​Trigger warning: pain, torture and some rather pernickety explanation. 
 
One of my Dark Clown scenarios is called 'The Menu' (subtitle, or 'For Her' - think of Don Draper-era gentleman ordering for his date).
 
Before we begin, some elements are put in place* – see below – but for a better reading experience I’ll get straight into the setup now.
 
It’s for two players (any gender). 
Imaginary Circumstances: I invite the players to imagine they are two prisoners in an anonymous torture realm. They are put in the ghastly predicament of being forced to choose the day's torture for the other. 
A loud voice (me, in the role of Controller): ‘The first prisoner will choose for their comrade. NOW!’
Prisoner One pants or grizzles with anxiety** Choices flash before their eyes, each one more horrific and problematic than the other.
Prisoner Two has the predicament of high-stakes uncertainty (I instruct frequent clocking of the other player – the head-turn of the clock acts like a laughter nudge). 

Prisoner Two is aware that their fellow is in charge of their well-being (or rather, unwell being). 
Prisoner Two is also aware that under duress (humans do not think well or kindly under duress).
(Both prisoners are also aware that is something is chosen that is not sufficiently dreadful, then something even worse will await them.)
Hesitations, false starts, stutters can all be used rhythmically.
Prisoner One finally chooses something. 
Prisoner Two makes a yelp or other involuntary sound. Their job is to really imagine what that would feel like, and to make a sound of anticipating that pain (and indignity sometimes). I just did this on a recent workshop and the player whose partner announced ‘stoning’ – portrayed such shock. Her eyes widened ina compelling disbelief and something happened to her body almost as if she had just been stoned.
Two must then make a transition from this trauma, must somehow put this abomination aside because now they have something equally? more? dreadful to do. They must now choose a torture for ‘Prisoner One’. 
Two is so distressed they cannot think (but the performer inside is making rhythmic sounds of distress to work the audience's laughing gear). 
Perhaps they take too long (the delay is now excruciating for ‘Prisoner One’.
Perhaps the Controller yells: ‘Taking too long, Prisoner One, choose again!’
Problem for both of them. One’s reprieve is nothing in the face of having to again contemplate a torture choice for Two. 
A squeal from number Two. The tension is held or ramping (perhaps the prisoners play a call response rhythm of contrasting sounds), stretching out the suspense for the audience.
Depending on the sensing of the impulse and the moment, perhaps at this point One shouts something very horrific (some maiming may be involved).
Or, perhaps ….
Prisoner One (coping with the stress and regret at having already traumatised his fellow, continues to painfully dither).
Unable to deal with the stress of waiting any longer to hear their own torture (and secretly, attending to the need to adjust the audience’s breathing with a softer timbre), Two might, from the corner of their mouth, begin to urgently whisper: 'Choose, choose something ... Just choose!' They have been forced in to the ghastly and absurd predicament of urging the other to name their next harming.
 
About two minutes playing-time is plenty for this exercise.
 
‘Thank you!’ I will say. ‘Well done, well done. Step out of it, everybody have a shimmy. Good work.’
In an in-person situation, I will ask the audience (the watchers of the exercise) to hug the players***  I also prompt the players to hug each other. 
 
*Preparation for this exercise
Of course, there is the preliminary training leading up to this: bodies prepared, voices prepared, key comedy craft given, Dark Side Play on a number of the Marginalised Emotions, my talk on the aims, origin, inspirations and ethics of the work. The possibility (rare, but possible) of upset explained and normalised and Upset Procedure put in place. 
 
For Red Nose Clown I transparently let people know that I may be speaking to them in the role of grumpy Clown Professor. I explain the source of this (the Lecoq/Gaulier pedagogy) and explain some of the many reasons for this: to help them feel some of the useful alertness that is useful for the clown, to keep them I the present moment, to stop them going into their hears or the future and theyebylosing contact with their flexible, expanded physicality and contact with their audience etc, etc. In the Dark Clown work, I explain that I will play the role of a Controller. I remind the watchers that they are to be themselves (although the Dark Clown player will be looking at them as if they are an invited audience in the torture facility, and responding to them from within that reality). I also let people know that I speak in tow voices - the Controller, but also in a voice where I am offering side-coaching in my role as course leader or feeding in text.
 
I put a pre-step in place where people name some types of torture. Sadly there are many. Humanity, it seems, just loves to inventively hurt its fellows. I suggest a number of methods I have researched. 
 
I also check whether participants have any no go areas e.g. ‘You can do anything but don’t do anything to my teeth.’ Or ‘Anything, but nothing to do with fire.’ Consent is important and this step can take some stress off each player.
 
Always before beginning, and I put this in place when I work with Red Nose Clown too. I make it clear that a course participant is free to leave an exercise if they feel the wrong level of discomfort. 
 
** see the previous post on this blog the importance of the players’ use of audible breath (among other things) as a way of working rhythm and keeping the audiences’s laughing gear ready and flexible.
 
*** At the start of the Dark Clown section of the work, I give a recommendation for hugging, it helps to soothe the adrenal system. I also acknowledge that those who are hug-averse can offer a bow with hand gesture of thanks instead. I also lead the whole group periodically with an adrenal soothing exercise from Donna Eden’s Energy Medicine work.
 

Trigger warning: genocide

Recently, after I posted a new instalment of this blog, a Clown & Dark Clown 'graduate' wrote to me.

She said: 
'I’m extremely excited about the Dark Clown book you are writing. Your workshop is still as vivid as ever in my mind and that was 10 years ago. Since then I’ve been deeply involved in teaching storytelling/theatre-making for social justice, a journey that has led me to Rwanda five times. I took an intensive course, the “Harvard Program in Refugee Trauma” (HPRT) through Harvard’s medical school. The course - which deals with trauma and recovery - had direct ties to storytelling and I needed to know more. 

'So much of what I’ve felt, stories I’ve heard - the absurdity behind fear, hatred and violence - has been processed into numerous dark clown scenes in my head ... I found it was useful to do that, just to process the insanity and learn to walk with it. Right now I am working on a Master in Education and I’ve been making loads of connections between teaching and red nose clown work, also. Thank you for your work, it’s left a lasting impression on me and became a tool in my everyday life.' - Ongoing-Learning Educator and Theatre-Maker who focuses on Social Justice Education and Kinesthetic Learning

The Course Participant has asked to remain anonymous – I am going to call her Sandra. The course she attended was set up by a host (Lyndi Smith) and took place in Coventry. 10am – 5pm Monday 12th to 16th April 2010.  Just a side note as I look at my files, I see that this was back in the days when I promoted Dark Clown with this description: ‘ A chance to play with a darker kind of humour … an experiment with the edges of laughter … a way to create clown characters and performing ensembles with more edge and relevance … a way to update the sweet and poetic image of the clown … a way to make a more exciting and demanding rapport with audiences ...’

After hearing - in a FB DM exchange - that 'Sandra' found the Dark Clown work helpful to  ‘process the insanity’, I was compelled to contact her and we set up a Zoom chat.

When we connected on Zoom, Sandra first spoke about the Clown part of the week-long course. With a photographic memory (or perfect note-taking and subsequent application)* she recalled techniques she learned on the course and now uses regularly, although not under the name of ‘Clown’: e.g. dancing with different parts of your body and the point-and-name exercise which I learned via the wonderful Niall Ashdown. She appreciated the benefits of the work, saying that for her these exercises ‘slowed down time’, enabling greater ability to appreciate how your body is sharing your story and how you are connecting with your audience. She mentioned, too, how memorable the work was – ‘you can’t forget about it and go back to the old ways’.  
 
Sandra said that the Clown & Dark Clown course provided her with ‘a way to look with an innocent eye'** even when in unsettling situations such as looking at the bones of victims in what was Nyamata Church and now is the Nyamata Genocide Memorial Centre.' (Remains are now being stored out of sight).

The Clown's curiosity was helpful too - Sandra found that ‘curiousity diminishes fear’ and felt that this allowed her to simply ’be’ with the Horrific.  She said: ‘I was asking myself – how does one respond in order to be with this? And I realised I had prepped for this. Clown work heightens the senses and slows things down and that made it endurable ... listening to the stories people recounted of rape, of being made to dig their own graves. Through the Dark Clown work, I had had the opportunity of experiencing in a safe learning space - a way to imagine and embody humiliation, despair and shame and fear.'
 
Like me, Sandra appreciates that the response of anger and outrage is the ‘tip of the iceberg’ and that underneath are the Marginalised Emotions*** such as self-loathing and mistrust. These are not emotions anyone would logically choose to experience, but they can remain life-sappingly trapped if one is unwilling to look at them, or, to use Sandra's expression 'walk with them'. 
 
'Through the lens of the Dark Clown work I was able to see the component parts of the situations, examine what I was hearing. The fact that I walked the Dark Clown scenarios helped me stay settled and grounded in the face of absolute darkness and look at my emotions in a curious way. I could see things, too, from a variety of perspectives, see it as theatre and imagine: what would be like as a performer to perform this? What would the victim do in response to the perpetrator’s actions, what would the bystander/onlooker do? And my training at Harvard supported this.’****
 
I was gratified to hear this, reinforcing my own instincts that being able to Witness the detail in the Desperate Predicaments of the Dark Clown work had a benefit and validity. The aim with the Dark Clown work is that the player is able to pretend well enough so that we in the audience experience the Palpable Cost of contemplating a horrific choice - for example: someone playing in the line-up exercise is given the instruction to decide who in the group will be punished. ***** In the playing of the exercise, the aim is that the audience see: how the prisoner/player looks being given the alarming instruction, their panic/conflict/desperation while considering making the Impossible Choice and then how they look afterwards - experiencing shame and horror that they complied. 

We get to see and feel these moments clearly, broken down -  as contrasted with, say, a horrific situation being delivered in an opaque chunk (e.g. as one might read or hear the fact that people were forced to select who died and survived). When presented with a ghastly fact / event / news / story, it is natural that the nervous system shies away, retreats. There is aversion and a level of numbness. (We might even feel that it might be morbid to take time to imagine such a thing.)
 
And as a side note – the audience of the Dark Clown is (via the comedy craft) is encouraged to make a sound – a laugh (albeit a Troubled Laugh) which provides the opportunity for some release as opposed to the hushed reaction ’don’t look’; an alternative to silence, shutdown and holding in. 
 
Sandra further values the contribution of the Red Nose Clown and its 'pulse of empathy'. She mentioned Rwanda's emphasis on forgiveness and reconciliation and that she had encountered perpetrators who had confessed, experienced a process of contrition and who are in the process of making reparations. She found herself in situations with these people and she found that she was able to just be with these people, to humanise not demonise them - to imagine them in the darkest and scariest moments, making the regrettable choices that they made. Sandra said that ‘curiosity and the pulse of empathy had helped me connect to the darkness and joy in another, and learn that in spite of the Horrors, there is common ground: these folks were parents, grandparents, farmers, enjoyed jokes and dancing.’

Sandra also said that Clown & Dark Clown work has also played a part in her own healing (including therapy) from vicarious trauma, accrued over the years (by being able to use the Red Nose Clown’s ability to access joy, to find relief and provide a thinking and feeling space via curiousity). Sandra again mentioned the value of Red Nose Clown providing ways for her to ‘refill’ on compassion (many care workers experience empathy burnout).

Back in the context of my open workshops for theatre practitioners, I shared with her a new practice I have installed on the Clown & Dark Clown course (when I sense it is needed or might be about to become needed). I invite participants to enter Red Nose state and to find a piece of wall or furniture and to comfort it e.g. 'it will be ok, you're doing really well. Yes it's scary but there are still donkeys ...' etc. Sometimes I instruct them to reassure or apologise to the floor and walls: 'I'm sorry you had to see that. It was dark, wasn't it?'
 
Sandra again expressed her good fortune that fate had led her to the work ten years ago: ‘When else do we get the chance to encounter the Marginalised Emotions except when it happens to us?' In the workshop we have space and are encouraged to have flexibility and are called to employ a shifting viewpoint, and shifting modalities of awareness. She said she felt that the Dark Clown work was ‘bigger than a performance practice – it is a practice for life, giving guidance, a kind of map to navigate the Horrors.’ 

I currently do not and would not offer the Dark Clown work as anything other than a theatre arts practice although a couple of course participants who were therapists have commented on the value they felt the work offered and mused on its further potential. (It is not a goal I am aiming towards, but perhaps, at some point in the future, the Dark Clown work might find a place as a component contained within a larger training programme led by a care-worker programme or some kind of well-supported teaching  or psychological training programme.)

Like me, Sandra saw that this is not work for the already traumatised. They have had the encounter with Horror, they need different help to recover. But it may be possible that for future care-workers, the Dark Clown work may offer valuable benefits.

Meanwhile, there are those of us who, although we have not been as close to experiences of large conflict, are still being remotely affected by world events - in the news, on our Facebook feed and as we walk the streets witnessing people living in destitution. At a daily level, we are not given time to deal with any feelings we might have about dreadful events in this world that we know ourselves to be a part of. *******
​Many participants report gratitude for the side benefits of the work:

'I have learned to better recognise how and where these emotions sit in my physical body, to better label and understand their influence on my being. Once labelled and located, they are better explored with the opportunity for release or conscious use to transform. I now have a process allowing me to hold on to what is useful, work through and release what is not.' - Course Participant

I aim to hold the Dark Clown work as ethically as I can. Please do see the helpful FAQ's for the work. The work walks an edge. But, like many theatre practitioners, I have an interest in inner and outer humanity and I feel it is an edge better looked at than ignored. Hence my being gratified that this particular course graduate's felt similarly and articulated her thoughts so generously and well.

For clarity's sake, let me repeat: I currently do not offer the Dark Clown work as anything other than a theatre arts practice.  Read more here.
 
*I took copious notes on my first workshop with Philippe Gaulier and Monika Pagneaux – I was magnetised by the enlivening, mysterious, de-mystifying work these masters were offering and that influence has been enduring, even as I mixed it with other theatre forms and bodies of knowledge.

​** one could also say ‘beginners mind’

*** What are the Marginalised Emotions? Imagine a horizontal line. If human expression were expressed as a continuum, you might have joy way over there on the right, and, if we are talking Red Nose Clown, we might have expressions such as silliness, loveliness, pride, bashfulness relatively nearby. As we near the centre of the line there may be grumpiness, crossness, even anger. But what about the other half of the line? Now we are heading for the expressions of the Dark Clown, what I call the Marginalised Emotions – such as: hyper-vigilance, fear, distress, shame, anguish, regret, guilt, humiliation, indignity, disbelief, grief, shock, absurdity, desolation, despair, physical pain, horror, terror and existential dread. (Listed in no special or incremental order).


**** Having had some access to Holocaust training, I avoid any role play focusing on Perpetrator / Victim scenarios. Where there is a player representing a guard, I limit their participation strictly. I say: In this work we are not interested in the Perpetrator, we are interested in the person being given the opportunity to release via the Predicaments into the Marginalised Emotions and to believably but strategically play there in order to affect the audience. If the person representing the guard needs extra clarification, I invite them to imagine that they need to ‘do their job’- they need to vigiliantly watch the audience and the prisoner otherwise they could easily be in the prisoner’s place. I read in that Maria Alyokhina (Pussy Riot Member) in her book Riot Days  describes how the guards had found it very effective to delegate certain prisoners to police the others (in order to gain back privileges - 'privileges'- which had been inhumanly denied them).  

***** Line-up exercise – see the post on vulnerability.

****** Hannah Arendt’s concept of the ‘Banality of Evil’ articulates people doing beyond dreadful things in the name of doing their job.

******* In her excellent book, The War Hotel, author Arlene Audergon points out that the world has a tendency to want to separate off and see countries where ghastly conflict has taken place as ‘tribal’ or ‘civil’ war, rather than being situations where people were manipulated and divided by politics towards unthinkable ends.

Life and Death ...
Gotta love Shakespeare - The Comedy of Errors (a ... comedy) starts with a man being condemned to death. (Egeon, a merchant of Syracuse, is condemned to death in Ephesus for violating the ban against travel between the two rival cities). My dark imagination was engaged.

​Set-up = stage set
The great joy of directing a final year production at a Drama School means the Design Students can support the production. I decided on a bold premise. The whole play takes place on a television sound stage. Before the play proper begins, people with headsets and clipboards roam the set - at this moment just a large empty grey platform with a gentle rake.

Most of the play was played for comedy - there was, however a Dark Clown predicament in the opening scene, which I describe here.

Pressurised Predicament - Beat the Clock
A giant clock face (whose hands turned throughout the play) is suspended at the back. At certain moments, the names of the various shows* is projected onto it e.g. (towards the end): 'The Abbess knows Best'.

A sofa is brought on and we hear a classic undulating tones of an American chat show Voice Over: 'Ladies and Gentlemen, citizens of Ephesus, welcome to 'Beat the Clock', with your host, that provocative Prince of electrifying entertainment, Duke Solinus! 

Act 1 Scene 1 - bit of Implication
Canned applause and the production staff gee up the live audience applause too, using cue cards.

​Duke Solinus: Hello Ephesians! Welcome to the show where we find out: will someone be Frying To(morrow ) Night? (Badoom tish ending in a short blare of electrical fizz) But first, do you want to see the chair?  

Audience are encouraged by cue cards to chant 'Show. Us. The chair!'​ (supported by canned chanting)

A chair, somewhat reminiscent of an electric chair, is brought on. (Scary tick tick buzz sting and the chanting ends on a button)

Duke Solinus: So, Lance - who do we have in the chair tonight?
Voice Over: Well, Duke, today's illegal immigrant comes all the way from Syracuse. He's a small businessman, separated from his family. Let's give a warm welcome to our somewhat melancholy merchant from ... Syracuse!

Audience are encouraged by cue cards to boo at the mention of their rival town​ (supported by canned booing), as Egeon - in an orange prison uniform, handcuffed and hooded is frogmarched on by two operatives wearing attire reminiscent of executioners and differently masked.

Egeon's hood is whipped off and the poor man flinches and blinks, dazzled by the light. A studio crew operative has crawled on and, kneeling, affixes a lapel mic to Egeon, which unexpected action (and the fact that there are wires involved) startles and frightens the captive Egeon.

Duke Solinus: Speak, Syracusian! 
.... 'say in brief the cause
Why thou departed'st from thy native home
And for what cause thou camest to Ephesus.'

High Stakes and Enforced Performance
Egeon begins to tell his tale (the pressure is on because Egeon's tale is, not in the least 'brief'). Plus  not only is the poor man being forced to tell his tale, he finds himself in the ghastly position of being made complicit in the prostitution of his personal pain. No sooner has he begun, when smiling hired actors dressed as mimes come on with props to enact the events. Imagine the humiliation of your heart-rending tale being presented as prime time entertainment. Imagine recounting how sailors stranded you, your wife and your twin babies to a 'sinking-ripe' ship while smiling facilitators waft a rising cloth (to represent the sea) up to your neck and bind plastic baby dolls (representing your missing children and their servants) together. Imagine hearing audience laughter while this is happening.

When Egeon falters with stress, disorientation and emotion, the Duke says:
'Nay, forward, old man; do not break off so;
For we may pity, though not pardon thee.'
It's like those unscrupulous reporters who prod people's emotions: 'And how did it feel when (the disastrous thing) happened?'. Here it is even worse: 'You're still going to die, but let us have an emotional experience from your predicament'.

The cost
Egeon is forced to continue his account and he does, lamenting that
'by misfortunes was my life prolonged
To tell sad stories of my own mishaps.'

Whereupon, the Duke obliges him to recount more: 'dilate at full
What hath befall'n of them and thee till now.'

Once Egeon has been wrung out, Solinus makes (in this production) a show of cheesy magnanimity by posing the challenge:
'I'll limit thee this day
To seek thy life by beneficial help:
Try all the friends thou hast in Ephesus;
Beg thou, or borrow, to make up the sum,
And live; if no, then thou art doom'd to die.'

As in the plot of the film Run Lola Run, Egeon must raise a huge sum (in this case, a thousand marks) and he only has 24 hours to do so (... or 'feel the burn').

Duke Solinus then points in a showman-like manner at the large clock which sounds a few loud and momentous ticks, followed by the electrical buzz sting. 

Egeon is stripped of his prison uniform and begins his faltering steps off stage while studio crew rush onto the set with cue cards encouraging the audience to chant 'Beat the Clock!'​ (supported by canned chanting).

On to Act 1, Scene 2 ...

* Antipholus of Ephesus's house was played like Friends, with Adriana and Luciana discussing Adriana's problems over a tub of Hagen Daas. At the moments there were costumes and props for other shows passing through e.g. a war programme. Plus Teleevangelism (Pinch) and adverts for Angelo's jewellery business. The courtesan was portrayed as a successful Dominatrix. Voice Over: "In just a moment it's double your pleasure with the gang from 'Ephesus Bay' - it's the one where Adriana's miffed at Antipholus's tardiness, Luciana is obsessed by hot new boy in town and as usual, Dromio gets the wrong end of the stick ... Laugh? You will, but first a glimpse of late night low life - it seems local businessmen are seeking a little correction in 'Ephesus Vice'. Stay tuned!"

Sobbing for the fun of it
To prepare for this exercise, there are two steps.
First in full group I give a short demonstration of me talking about a happy day, but while sobbing. ‘Choose a happy moment, a real one – no you don't have to choose a moment that is very precious, just a nice simple happy day.'
​ 
The group pair up and take it in turns to do this task.
 
After each turn there is usually a lot of laughter. Most people can remember an instance of crying in childhood and at some level enjoying the rhythms of one’s own demonstration of injustice. Not that the laughter is about any kind of insight, it is mostly just a response to a release of energy, or the fun to be had in being given permission for rhythmic vocal play.
 
List your possessions
Step two. Find a new pair partner. (I find it advantageous to keep the energy circulating in the room).

This time, the first one to try the exercise will list their possessions, just as they come to mind, actual possessions, starting with something small. Each thing named needs a small piece of mime or gesture and the object needs to be created and or placed somewhere specific in the air around the performer, i.e. to the or right or left, higher or lower. For example: a pencil could be held up vertically, or measured between two forefingers; hands could make four quick tiers for 'towels'; a pillow could be held in two curved hands and given a little shake. People can use pantomime blanche, where a rectangle drawn with forefingers can represent a TV. Or it can be quick mime i.e. typing fingers on a keyboard for laptop. Each time each object is mentioned, the accompanying gesture needs to be in the exact same place. 

Their partner’s role is to put pressure on them, hector them (to help create a sense of High Stakes), asking 'What else?', ''What else have you got?', and once there are a few things, the partner will shout 'LIST!" - and the do-er of the exercise must list in exact order each thing they mentioned complete with the exact gesture and location in space. Of course any mistakes are to be welcomed. If there is brain freeze, the perfomer can make a sound to voice their anxiety. Dark Clown work represents the Marginalised Emotions. Any dithering or tongue trip can be voiced. If they can't remember the list or get something out of order – great! The doer can feel the embarrassment or other emotion of the wrong gesture or wrong order and to express that with inflection of voice, breath and/or gesture. 

Swap - the other partner lists and the first do-er hectors.
 
The Consumer Guilt Scenario – basic setup 
Now – the Consumer Guilt Scenario. The group line up chairs ready to sit and watch as audience. This is a solo piece. I ask who is willing to be the first player and I add more information: 'Imagine that you are standing before some kind of Tribunal (think of ‘self-criticism’ in the Stalinist era, or a less violent version of a ‘struggle session’ during the Cultural Revolution in China).'
 
The player needs to invest in something at stake – even if it’s at a simple level of nervousness and uncertainty as usual in any panel interview: 'What will the outcome of this interview be? How many items must I list? Is my list long enough? Is my list too long?'

Remember, Dark Clown uses a High Stakes to release the impulses for Marginalised Emotions. I play my part in offering stimulus to raise the stakes.
 
Transparent teaching
I let the group know that when I raise my voice or speak harshly, that I am taking on the role of a power figure. The player of the moment is invited to pretend in the proposed predicament as well as they can, knowing that they also need to avail themselves of any moments of naturally arising impulses and to give them shape and sound. The work on the course leading up to this exercise lays a lot of ground work, so course participants know what the methodology is and why things are happening. They have also had a preparatory talk laying out the aims and ethos of the work.
 
When I give a sharp command, the aim is to startle the physiology – most people’s intonation will rise when given a sharp instruction, some people stutter (these form part of the rhythms and timbres we play with as 'Dark Side Play'). Those who have worked with Gaulier or a Gaulier-trainer Clown teacher, will know that the teacher's interventions in role as grumpy Clown Professor are there to give the (Red Nose) Clown a skip in their step, or to release an emotion (the Red Nose Clown’s unmasked humanity which we love to see), or to allow the Clown to release some élan, to ‘save the furniture’ (save the situation).
 
As stakes-raiser, I say, or shout ‘What have you got?’ And they are off.
I switch to my coaching voice to remind them to give clarity and simple precision to each item they mention. 
 
The mechanics of responding to the audience within the Predicament
From the start of the course, I have been encouraging the participant to look and see (‘when you look, remember to see’). The other way I phrase this is to emphasise ‘noticing’. Each audience reaction can feed the performance of the player.
 
The performer needs to work the audience as a comedy player needs to work / respond to an audience, while in their imagination, they see and respond to the audience as the panel.
If the audience laugh, it is useful to imagine that perhaps they did not understand, perhaps some of the ‘panel’* don’t speak your language - this gives the opportunity for the player to repeat it (exact timbre, rhythm, volume, using proprioception) you say it again (usually another laugh occurs) - the player can then allow this to unnerve them and therefore take the opportunity of a further repetition (as if due to nerves), and say the thing a third time (usually someone else in the row of watchers/class audience with laugh then  Rule of Three). Then the player can react with anxiety to the fact that they are being laughed at. This serves two purposes: a/ the logic of the predicament - 'is laughter a good or a bad thing?' serving the stakes and performed emotional state of the player and b/ the comedy craft - 'laughter an interruption that must be dealt with’ as Avner the Eccentric says.
What, in this moment, does the interruption do to the figure in the improvised predicament? Does it put them off their game, shame them?
Ongoingly, there is the pressure to keep more items coming, and of course to ramp up the rhythm by responding to the command: ‘LIST!!’
 
Raising the stakes again - the importance of imaginative investment
Ok – let’s go back to the set up for the exercise – because there are a couple more elements to it.
 
The name of the scenario is Consumer Guilt. I remind the player of the moment that they can begin the improvisation crying or they can work the items / list game first, then do the list citing or break out into sobbing as a counterpoint / contrast / escalation. I remind the player where necessary to avail themselves of different rhythms and timbres.**

Combined with this, I invite us all to reflect on our privileged lives and the obscenity of what we own in comparison with many in the world.
 
To activate this further - one more thing is set up. I mention the ghastly earthquake in Haiti, and invite the player to see, over to the left (metaphorically, In their minds eye) – a little grandma - to imagine a poor little aged woman who has lost everything … every thing … I say. She is there, naked, under a piece of plastic supported on sticks, next to running sewage.

'Ok now – what have you got?'
 
Every so often, if people are not allowing the emotions of guilt and shame to surface, I prompt them to look at Grandma.
 
And to say: ‘I’m sorry Grandma.’ And to say it: 'Again!'
If needed, I invite them: ‘can you sob a bit?’
'List!! What else have you got?! Look at Grandma, say: "Sorry Grandma."'
 
If people can segue into sobbing, a further level yet can be added where they look up, appalled at themselves and say ‘oh god!’ and play with what timbres and rhythms of that game - or use 'oh god' as punctuation / counterpoint / alternation with the game of listed objects interrupted by the apologies to Grandma.
 
Trouble shooting - noticing and sounding the arising emotions
People can, understandably enough, focus on coming up with the next item. There is zero need to come up with anything interesting, there banal the better. People tend to be task-oriented rather than being-oriented. What's key in clowning in general is noticing, accepting and including any passing emotion that may arise. While the list is necessary and important to get a rhythm going (as well as provide the content for the contrast, the obscenity of plenty and the picture of inequality), what we really enjoy are  the little flinches, the flecks of pain that read in the eyes of the player who is immersing into the pretended (but heck let’s face it fully grounded in reality) Predicament. Any anxiety about a delay in finding the next item, or fear of not being able to think, or nerves about standing in front of other - all these are impulses to be experienced. All Clown students would do well to allow themselves to express the micro-emotion of the moment in sound and movement. Wonderful, strange, little quirks can affect the face or the voice under even a modicum of stress.
 
Resistance and the accidental extraordinary physiological response
People sometimes resist looking at Grandma. (Thereby cheating themselves of the opportunity to escalate their playing energy).
Working in Holland in January***, despite several reminders ‘Look at her!!’, the player was resisting doing that.
‘Look at her!!!!’, I insisted, and she did start to turn her head ... but before her neck fully turned, it snapped back. It was this wonderful, compelling, unplanned flinch of aversion!

We laugh with delight or incredulity or just plain surprise when the Red Nose Clown does a spontaneous something that is quirky and fresh-minted from the impulse of the moment.
For me – that involuntary flinch was a similar gem - eliciting a gasp of Troubled Laughter.

These unbidden gestures (accidents of the moment and of physiology) are the nuggets of the joy / pain / catharsis of the Dark Clown. The wonderful performer who plays The Seal in the ‘Eco Horror’ scenario shown in the Dark Clown documentary (Hospital Clown Faith Tingle) has done the Clown & Dark Clown course three times. She surrenders her physiology to the imagination and the impulse of the moment. In Dark Clown the impulse can be an ongoing (pretended) stress situation. Once, doing the ‘Horror Is’ exercise, she invested magnificently in imagining her phobia/object of dread and her forehead veins bulged and danced in a compelling way. And because her rhythms were in place, laughter was released. A sound could be made in a moment of witnessing stress – cathartic nugget.

Let's go back to the player in Holland and that wonderful flinch! What we saw in that moment was a human who would not look. Her very body resisted the direct command. It was such a human response – we all know in ourselves that knee-jerk will, that aversion, that refusal to look at pain - those moments when we really do not want to look on hurt or ugliness, when we want to live our lives as we have arranged them, not accept responsibility for others, and not have our status quo threatened. Arrogance and fear mixed – how is that for a Marginalised Emotion! And I love it all the more because it is not coming from reason, it's coming from the body's primal instincts, the Amygdala response (if talking about the Amygdala in that way is still good science).
 
Shame - another memorable moment
In December 2019, there was a wonderful iteration of this exercise. The player of the moment was a talented actor and dancer. 
In his list of possessions, he mentioned shower gel and a loofah. Something about this, about the way he said it, had a quality that attracted my attention. He is an intelligent person and was no doubt alert to the particular combination of privilege to be able to afford the healthy natural and rather exotic product (the obscenity of owning items which invest us with a touch of smugness) and also the vanity of it too - like the Beckhams, we exfoliate.

I said, 'Ok you are going to take that loofah and that shower gel and have a shower, and apologise to Grandma while it is happening' (Just so you know - I have a rule that course participants can choose to break and leave an improvisation if they so wish at any moment of their choosing). He took the invitation / provocation and began to shower (fully clothed, just to be clear!) and he did something I did not expect. He remained in relationship with (aware of) Grandma as he started to come showering, and then there was this little instinctual shift of his body and he turned the front of his body away from her. We saw a human being ashamed to have the luxury Grandma did not, ashamed to affront Grandma with his nakedness, and also ashamed on his own account of being naked in front of Grandma. So poignant, so ghastly. I am no stranger to the emotion of shame and it is so – I don’t know the word … liberating, reassuring, the opposite of alienating? Validating? Healing? Thank heavens for Brené Brown doing her risk-taking work in the field of Shame. To be able to see these awful moments of life in a ‘safe’ setting in the ritual space of theatre or theatre making or theatre training.
 
*To be clear, the player looks at and is tasked with reading the audience as 'panel' (while attending to their laughter and other responses according to the techniques of comedy craft, as audience). The audience when watching exercises or scenario improv’s are instructed to be a normal audience. When I say panel – this is the reality of the predicament of the performer. The performer is playing someone standing before a panel. The performer responds to the laughter and silences of the audience from within the pretended predicament. Occasionally one needs to coach participants sitting in audience (either in Red Nose or in Dark Clown exercises) to avoid the impulse to coach fellow course members - i.e. to call things out to them that you think they should do. The work at hand is training how to work a normal audience. If people are calling out as peers/would be coaches, how is that helping their fellows train to work a normal audience?
 
**When we do a very early Red Nose Clown exercise ‘Moving Around the Room Like’, I land this point: ‘Clowning is not intellectual. It is often a shape, phrase, sound timbre rhythm that we like … so much that we’d be happy to see it again … and again (the Peekaboo exercise reinforces this, so does the example of playing with a baby ‘LookatthePanda ….’). We see how laughter can wane or fail if people have not built sufficient proprioception skill to accurately reproduce the thing that happened just before the laugh. If they do it softer volume it’s a disappointment and can remove the possibility of a rule of three; if they forget what they did, tumbleweeds may ensue.

***'Comedy can make people aware of what is going on in a way that is easier to digest than the news. It engages people more. I got what I came for and I a lot more fun, playfulness and laughter than I expected, given the subjects are ‘dark’. What surprised me though, was how very alive I felt after the weekend with the Dark Clown.' - Course Participant Jan 2020 Utrecht

The first time I was told to 'Sing as if your life depended on it' - it was in a workshop situation, happily, not IRL - 
and I gave it my best shot.
But I remember, at the moment of hearing the instruction, feeling dumbstruck and demotivated.
For most of us in the Western world, our lives are blessed to the degree that having to actually sing for one's life is something difficult to imagine. 






​High Stakes Predicaments and Marginalised Emotions

You are standing in a hole you were forced to dig. It is wartime and it is clear this is going to be your grave. War films I saw as a child had heroic behaviour. The clown can be courageous but the clown is mainly there to show human failure. In Dark Clown terms, failure is less of a personal failing/flaw but a result of circumstances being so strong and oppressive that we are forced to jettison our own values and dignity. Later in this post I will describe an exercise I call 'Selling Yourself Out to the Enemy'.

With the Red Nose Clown, we enter Clown State and the spontaneous play follows (having greased the wheels with exercises enlivening the body and derailing the control brain, of course).

With the Dark Clown, I set up predicaments for people to imagine themselves in - Predicaments with High Stakes, so as to help people release imaginatively into the Marginalised Emotions. On a the Clown & Dark Clown workshop, before we approach the Predicaments we prime the body; visit the Emotional Zones with voice and breath; and open up awareness of patterns of rhythmic play. 

A Dark Clown Level Two Course Participant reflects

On an early Level Two Dark Clown course in Oldham 2012, I inaugurated a couple of what were at the time new exercises. One Course Participant from that course answered my recent* questionnaire* and wrote this:

'Dark Clown is an exhilarating opportunity to embody devastating emotions and to admit the inadmissible in a safe environment. Two experiences stand out for me – one I watched and one I performed. I wept with deep humiliation and guilt as I laughed, whilst watching an exercise where a workshop participant was being asked to recount what he was going to have for Christmas dinner to a child in famine-struck Ethiopia.

How could it be possible to experience two such contrasting experiences at once? How freeing it was to be able to admit to experiencing emotions that would be condemned by my upbringing?

The one I performed was the following: I was playing my cello in a concentration camp and not only my life depended on it, but so did that of all my fellow inmates. And a small detail - I did not have any instrument to play either. I relive this from time to time. I remember feeling authentic rage at the abuse of me, my instrument, my art and the co-sufferers for whom I was responsible. That experience shone a laser mirror into my soul - reflecting back a sheer and bitter bloodymindedness - of which I can now feel proud.’

Saving Private Ryan - the Steam Boat Willie Scene 

There is a scene in Saving Private Ryan - I sat and transcribed it from the film (you're welcome!)

A German prisoner with a shovel standing in a hole is handed a cigarette by his American captor. He inhales, looks at the cigarette appreciatively.

German Prisoner: American? I like America - Steamboat Willie. Toot toot!
 
Steamboat Willie’s American …
 
More soldiers come with their guns at the ready. He stops smoking the cigarette he was given.
 
Ich bin gar nichts fertig. Es muss noch mehr tiefer geworden. (trans: I'm not ready. It's got to be much deeper.)
 
US Soldier: That’s what you think.

One soldier grabs the Prisoner.
 
German Prisoner: Nein (it’s a sob)
 
He jumps back in the grave and starts to dig vigorously.

 ... noch nichts fertig ...
 
He looks at gun and begs:
 
Please…

Resumes energetically digging.

I like America! Fancy Shmancy, go fly a kite, Cat got your tongue, cool beans! Betty Boop, what a dish! 
Betty Gable, nice gams ... sings: "I say can you see, I say can you see, I say".
... Fuck Hitler ... FUCK HITLER!

'Selling Yourself Out to the Enemy' Scenario

Giving the example of this scene from Saving Private Ryan, I asked the group: can you think of  a person or group whose values are in opposition to yours?

The Course Participant I quoted earlier threw her hand up. 'The Taliban! I'd like to do the Taliban!'
So she did. The improvisation went something like this:

I love your approach to justice! I agree with you. Women should be covered up, women should not speak - not like me, now, speaking to you. Gah! Speaking to herself, shouting: SHUT UP! See?! And women, women should be covered, Yes, Silent. Silent! SHUT UP! 
And invisible! Yes!
She held her hands in front of her face, she desperately tried to hide her uncovered areas.
Speaking about herself: Gah! Disgusting! beating her own bare arms: Disgusting!
Western women are disgusting! Let me show you - Beyonce, yes? Skimpy leotard. Give me a machete, I'll show her! Take that, Beyonce!
She waved an imaginary blade about as if hacking at Beyonce. Gah! Take that! More hacking.
Singing: 'Single ladies' No! no singing. Death - death to western women ... Death to Beyonce!
She held her arms out pleadingly:
I can help you. Gahh, my arms sorry about my arms - I'll chop them off, look ... look ... look!
Death to women who speak! And think! Gah! Beyonce! Oprah, Mary Beard. More hacking. At the imaginary women, at her own arms.
​'Who runs the world?' You! You the Taliban. I'll ... I'll grow a beard, yes! Let me join you, please.  Please?
​Please!

See here the many comedy craft games involved to make this Dark Clown scene work (aiming to generate laughter even while generating a believable portrait of desperation and fear): physical games, the games of repetition (of words, of movement motifs), the game of solution/new problem and the breath and emotions all employed with variety and calibration i.e.responding to the audience (reacting hopefully or anxiously to laughter or other audience reactions as if responding to the reactions of the enemy). All with the aim of generating  the experience of Troubled Laughter for the workshop audience.

The talented comic performer Trixie Mattel said in an interview somewhere: 'Comedy is the intersection between specificity and exaggeration.'

The more vivid and specific the predicament is, the more the Dark Clown player can launch off into the Marginalised Emotions and flights of fancy caused - not by wonder (as for Red Nose Clown) - but through the imaginative investment in a high stakes predicament and the cathartic joy of employing and enjoying an agile vocal and physical play to depict extreme desperation, fear, alarm.

The Dark Clown performer needs a good predicament,  and then to be able to Mine the Predicament - choosing things to say that make logical, emotional, dramaturgical sense; things that will keep the audience on the hook. To Mine the Predicament, the Dark Clown performer also needs to find agile changes in rhythm, timbre and emotion in relation to the audience's reactions, or in reacting to the previous thing they themselves did. Things can be extraordinary (in extremis, we do not cry or flinch in socially inflected ways), but the suffering must be believable - there can be no sense of the clown enjoying shocking us by appearing to relish the pain or enjoy the exaggeration for its own sake. As soon as the Dark Clown performer comments on or adopts a self-indulgent grotesquerie, the audience is let off the hook, and the laughter is no longer a Troubled Laughter - i.e. a laughter born of / or containing conflict.

* The questionnaire is for 'graduates' of the Clown & Dark Clown course  and or the Level Two Dark Clown course. Any 'graduates' reading this I welcome your contributions! Write to me and I'll send you the questionnaire.

'Pretty girls in nice gowns - no.'

I was approached by the remarkable performing artist Ines Lua to direct a production of Jean Genet's play The Maids in Oporto, Portugal in 2003.

Playwright Jean Genet wished for the play to be performed by men. Here I would have three attractive young women to play the two maids and their employer, Madame. Although there is plenty of self-loathing in the play, there are also evening gowns and maids uniforms and I wanted to avoid any possibility of the audience's attention being de-railed from the bleakness of the situation portrayed. So I thought - Enforced Performance is the way!

I was introduced to the writing of Jean Genet when I was seventeen and a strong imprint was made. Genet inspired me with his underdog stance and his aesthetic of degradation. For those who do not know, Jean Genet was wrongly accused of theft when he was a boy in foster care. He decided that he would make the active choice to live as a thief, and wrote a long-form poem and a novel while in prison. He sought out and introduced himself to Jean Cocteau, who was impressed by Genet's writing and not only got Genet's first novel published, but, enlisting the help of Sartre and Picasso, petitioned the French President to save Genet from life imprisonment. Genet never returned to prison and spent the rest of his life as a writer and as a political activist. Theatre maverick Lindsay Kemp created his production Flowers, inspired by Genet's novel Our Lady of the Flowers.)

I offered my concept to Ines Lua and Micaela Miranda (co-producers) - that the piece be set in a women's prison. They, and the actor playing Madame (Lecoq-trained actor Sandra Salome) agreed.

Play within a play

When the Marquis de Sade was confined within the asylum Charenton, he was permitted to create plays using the inmates, to which members of the public were invited, as memorably explored in Peter Weiss' play 'Marat/Sade: The Persecution and Assassination of Jean-Paul Marat as Performed by the Inmates of the Asylum of Charenton Under the Direction of the Marquis de Sade.'

Of course, setting something in a location (or time period) is not enough - you need a clearly articulated and delivered game. So - imagine a regime* presents plays for the public, performed by actual prisoners. For the prisoners, first night nerves combine with the humiliation of public scrutiny, plus uncertainty - what will happen if they do not perform well? Backstory: female cellmates are separated and rehearsed separately. 

​I had to check with the young company as to their budget, because performing in a black box would not do - we needed the audience to be presented with a space they (the audience) could believe (with the support of suspension of disbelief) was as secure as a prison space. Their set designer came up with an ingenious solution: there would be two angled walls, and a flat as a back 'wall'. The soundscape would provide loud metallic door slams to make viewers believe that unseen doors could be opened to admit the prisoners onto the stage area, and securely slammed and locked behind. All the furnishings - a bunk bed SL, a lidless toilet SR would be clearly bolted to the grey walls which were painted to appear sturdy. Also clearly bolted to the SR wall was a shallow little belle époque console, and above that a gilt-framed oval 'mirror'  (just the frame, as a mirror could of course be broken and used as a shiv). There was a peep-hole which connected to the guard's station and above that a surveillance camera pointed into the cell and streaming live feed to a monitor visible above the guard's desk. See below for a space plan.

​The audience would enter past a guard. She had a tiny office or station just inside the theatre doors.  She would solemnly nod at them, perhaps frisking the odd person or asking to see inside their bag. (Ideally she could have also pointed at a poster saying 'Do not speak to or hand anything to the prisoners', but we did not have the resources to do everything, and what we had worked well enough).

​A little bit of Implicating the Audience

As the lights lowered there were musical theatre announcement chimes, then a soft and pleasant voice said: 'Good evening, Ladies and Gentlemen. The performance of "The Maids' by Jen Genet is about to begin. If your mobile phone rings during the performance, the actors will stop - and wait for you to finish your call. Alternatively, you can opt to switch off any electronic beeping device. Thank you. Please remain seated for the Security Test.' This was followed by a a loud sound of crackling electricity - lights flickered, and an orange lighting strip embedded into the floor blinked - all giving the illusion of a kind of electric forcefield between stage action and auditorium. 'Teste de segurança terminado.** Attention guards, open the doors.'

​Black out lights up and loud airhorns, the sound of batons thumping along corridor walls, doors opening and closing*** (rhythm) and a female prisoner in an unattractive uniform (I think we chose a kind of catering uniform), arrives on stage as if she has been shoved - staggering and falling. She orients herself - bright lights, she sees the audience, feels self-conscious, looks about in disbelief (clear clocks) at the replica of her old cell presented as stage set. A second prisoner is also thrust out, less violently.

High Stakes

​The two prisoners regard each other - the horror of being surveilled - by the guard SR, by the audience. Imagine the way prisoners look at each other when they are being watched, careful not to endanger themselves or each other. In torture realms, uncertainty is part of the torment. You are never sure what the rules are, what the duration of time will be, what will be coming next. The trope of embarrassed non-activity at the start of a show has been done beautifully by a number of clowns (and Beckett) ****.

Here their anxiety is ramped, their breathing is activated. Their eyebrows are each telegraphing each other - immobilised, as if in a Mexican standoff. The second prisoner (Micaela/Claire) makes a gesture of urgency to her comrade. Ines/Solange is looking intently back at her, after all, Claire has the first line. So Micaela/Claire resigns herself to speak, in anguish: 'Those gloves! those eternal gloves!' Ines/Solange starts, looks at her bare hands, panics, looks at the audience, then sees, laid out along the front of the stage a row of plastic bags - like evidence bags in a police station, the props for the play are contained within them. Ines/Solange flings herself to her knees, crawls back and forth urgently along the front until she finds the correct bag, claws it open and frantically tries to get on the rubber gloves. The fingers are not fitted right and flop about. (real emotion plus touches of the ridiculous). 'Everything that comes out of the kitchen is spit.' Ines/Solange is nervous (the prisoner playing Solange is not a trained actor*****) and on reflex, she spits onto the floor.  Horror for Micaela/Claire. The classic clown trope of problem -solution leading to new problem - leading to new solution ad infinitum; the Clown's Sisyphean predicament. Ines/Solange starts to scrub frantically to clean it. 'So stop it!' By reflex, and in keeping with the principle of comedy nudges, Ines/Solange does one more scrub. 'Go!' Ines/Solange, has a problem ... there is no escape - she clocks the audience, the surveillance video, the entrance (which leads back to the cells and which is sealed now)  She solves the problem ... by standing with her face to the wall.  

Two lines were cut but, we follow Genet's stage direction where Micaela/Claire goes to the 'mirror' and touches the unfamiliar and absurd dressing table and the fake, securely attached flowers in the securely attached vase.  (We played Claire as more vulnerable, traumatised, given to hypnotic moments. Ines as Solange had a vigorous, nervous, courageous, protective quality).
Micaela now must say the lines 'Claire, Claire are you there?' as if her fellow player were not in view.*****

At this moment we had the prison guard (Sandra Salome) shunt open the peephole (it makes a sound). Ines/Solange is startled as the slit is right in front of her and she is eye-to-eye with the guard.
Sandra/Guard (stage whisper): 'Turn. Around.' Hesitating, Ines/Solange does so and Micaela/Claire says: 'Ah, you're back.' (For Ines/Solange this is a playing moment similar to the disorientation played by Pedrolino in Commedia dell'Arte, when everyone is pretending that he is dead).

​... and so forth. Important at the start to a/ clearly establish the situation and b/ create some comedy using contrast, rhythm, clocking etc.

Believable yet exaggerated 

The Prison Guard had an old-school cartoon-jailor-style large ring with keys around her waist. Her costume had a pleated skirt, like some ghastly headmistress.
She also has a thermos - I must have seen a film where a petty official had a thermos on their desk. (I's an intuitive choice - but if I seek to elaborate - although she is obnoxious it also brings a feeling of; she's harmless. Or does it? Somehow the thermos is creepy. She is too comfortable with her thermos - the obscenity/chilling reality that a jobsworth is a figure of power ... the banality of evil). The Controller in Hamlet or Die had a thermos. (Spoiler alert: beyond being a predilection of mine, the thermos turns out to have plot ramifications.)

Plot Twist - use everything

So the prisoners are reciting the play, performing it as best they can - they notice at one point that that surveillance camera is off - they investigate and realise that these are their actual, usual bunkbeds. They start to hunt in their hiding places and discover a vial of pills.

The Madame is due to return - guess who it is? The prison guard. She wears a wig hat and feather boa over her uniform. She suspects something is up and is violent with the prisoner playing Solange, pushing her around and forcing her head into the open toilet bowl. A beautiful red satin dress also gets pushed in to the toilet later in the play.

The plot of Genet's play has the sisters doing a role-play ritual that is intended to end with the death of one of them, via the preparation of a poison tea. In this version of the play, they sisters manage to place the drugs in Madame's thermos (she carries it with her, of course).

Follow through

Madam realises something is up and makes the prisoner playing Claire drink the tea. The guard leaves.
Death is here and she is watching us.' says Solange.
'Let me go', says Claire.
Micaela/Claire takes to her bunk.
Solange continues, distraught - a moment comes when there is no reply. Solange repeats her line, waits then says (inserted line) : 'don't worry darling, I'll do your part.'
Solange finishes the play, reciting both parts, poignantly.
C: Let's finish with this, Solange. I can't bear it anymore. Leave me alone.
S: I shall continue, on  my own, alone my dear? Don't move .... (she clock that by now Claire is completely inert ... but continues - out of grief, out of fear, out of divine hopelessness? 
The prisoner playing Solange tears off her prison uniform and strips to her knickers.
During the 'condemned to be mourning for my maid' speech she goes to the toilet, retrieves and puts on the damp red dress mentioned in the text: 'It's the red costume of criminals' ...
She is looking at the audience in disbelief as they continue to watch.

One evening Ines was having difficulty getting the red dress on and lost her way in the text and she started improvising. She looked at the audience, really eyeballed them across the now gently glowing 'force field' strip. It was brilliant!
'Oh you think it's funny do you? You sitting there in your seats and me here in my knickers!'
She used some of Genet also: ''Who, who is going to make me shut my mouth up? Who will be brave enough to call me "my child" ... I served. I did the appropriate gestures to serve. ...I smiled at you ... I bent over to clean the floor' (these sections of text wonderfully appropriate to our adaptation), ending Solange's soliloquy with: 'We are lost, Clara'.

And continuing, the dialogue all being spoken by the sole survivor.
'Clara you may serve the tea ... My lime tea, I ordered you, Let's finish with this ... this house is poisoned ...'
And she finds the damn thermos and drains it and licks the inside of the cup top, continuing: 'Madame should have her Lime tea ... Madame is having her Lime tea ... for she needs to sleep ... don't you interrupt me again ...But madame ... I said, Tea!'

And she crawls onto the bunk, spooning her dead fellow prisoner. 

Leaving it in their laps

Announcement by the same sweet-toned female voice at the start, a little more firm and official sounding now : 
Ladies and Gentlemen, a peça terminou ... the play is finished. Please leave the vicinity. Thank you for choosing our play and good night.

Black out.


* hm, one of the things that bothered me about Bouffon was that is was meant to poke fun at the beautiful people - I guess this model works where upperclass (wealthy) people are in the audience. In my experience of Fringe theatre there will be a good amount of your audience who are other performers (i.e. not really a privileged class) - of course we can all benefit by having our faults and privileges mocked. I wonder if this is why the idea of 'enrolling the audience' appeals to me. Jon Davison came and witnessed day two of my Clown & Dark Clown course years ago and said - 'so you put the audience in the role of the oppressors'. I was not sure at the time that that was correct, or possible. I feel that an audience know who they are - they are the ones who paid for their ticket and then walked in. Someone has to accept a role to play it, I thought. But perhaps what Jon meant was simply ascribing them this role, not synonymous with asking them  to play the role.  You can jolly audiences in to taking part, as many clowns and cabaret artist do. (Or entrance them into taking part as Lucy Hopkins did in her transcendent show 'Ceremony of Golden Truth').
As I reflect on the dramaturgy of this production of The Maids and also Hamlet or Die, I went to efforts to let the audience know what the situation was. The audience find themselves 'cast' as an audience witnessing oppression for their entertainment. It is not that I wish place the audience in the role of perpetrator. No. I aim for the audience to find themselves in a situation which they find unsettling and repugnant - and while they know it is 'only a play', due to the 'suspension of dis-belief' effect' they can experience conflicted emotions ('I witnessed it therefore I am complicit' or, as happened in Hamlet or Die 'I sang along with the Controller and afterwards I felt so bad.')
**actually, the whole play was performed in Portuguese. I can find no translation in English that satisfies as much as the use of the word 'terminado'.
***actually, on a page of notes for the sound designer I see I have written very specifically: 'aruga aruga (2 secs gap) aruga aruga (2secs gap) aruga aruga (2secs gap) aruga argua aruga argua aruga argua SLAM!!!!)
****The wonderful Australian clowns Los Trios Ringbarkus spoke with nervous high-pitched voices: 'Our band hasn't arrived yet ... so ... we'll wait.' And they got chairs and sat and faced the audience uncomfortably.
*****The actor acts a prisoner who is not an actor, trying to act the role of Solange, currently in role as her sister 'Claire' - phewph.