Kursbeskrivelsen er på engelsk, da kursets arbeidsspråk er engelsk.
When we allow the clown to think, it is amazing what they come up with!
In a clown’s world, many problems arise. Problems arise that in our world might be easily solved. But clowns have a different intelligence, which might generate many other problems until it solves the task (or not). Clowns encounter a lot of failure. Failure sustains problems. Problems become intriguing and, quite often in the clown world, funny.
Audiences love to follow clowns’ thoughts; to see clowns thinking and finding their own solutions for tasks and problems. Angela de Castro focuses this workshop on maintaining the state of clown by training the mechanism of the clown’s thoughts.
The clown’s thoughts may run between lines of text for speaking clowns (similar to an actor’s ‘sub-text’) or, for silent clowns, the text is their line of thought. Often harder than anticipated, maintaining the clown’s inner monologue allows us not to ‘drop’ the clown state.
Workshop participants will be challenged not to let their own thoughts interrupt or come before the clown’s thoughts. In a series of games and exercises participants will deconstruct the mechanism of thoughts, create space for their clown persona to think, and fill their mind with the clown’s loud voice, leaving no space for any other thoughts.
Often harder than anticipated, maintaining the clown’s inner monologue allows us to develop a true clown’s intelligence!
The workshop is suitable both for silent and speaking clowns.
The participants are asked to bring:
- The participants clown’s costume and nose ( if they use noses)
- Loose clothes for warm up
- Props: A cup, a book, a tie, a deck of playing cards, shoes and socks
«The focus on the technical aspects of clowning was really highlighted in this workshop. I felt like I learnt new things but also consolidated knowledge I already had. I walked away with a tool kit of useful exercises and techniques.»
-Shae Rooke, actor/clown
«Angela de Castro is, in my opinion, the world’s leading researcher and pedagogue in theatre clowning, and an outstanding performer in her own right. UK theatre and theatre training is the richer for having her as a resident in this country. She has worked with major companies including the National Theatre Scotland, and makes major contribution to the training of emerging artists across the UK. Without her work, British theatre would be greatly impoverished.»
-Prof. Maggie Kinloch FHEA FRSA, former Vice Principal, Royal Scottish Academy of Music and Drama, Glasgow, Scotland