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E-grāmata: Clowning Workbook: A Practical Course

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(Royal Central School of Speech and Drama, University of London, UK)
  • Formāts: 272 pages
  • Sērija : Theatre Arts Workbooks
  • Izdošanas datums: 26-Jan-2023
  • Izdevniecība: Methuen Drama
  • Valoda: eng
  • ISBN-13: 9781350050495
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Clowning Workbook: A Practical CoursePalielināt
  • Formāts: 272 pages
  • Sērija : Theatre Arts Workbooks
  • Izdošanas datums: 26-Jan-2023
  • Izdevniecība: Methuen Drama
  • Valoda: eng
  • ISBN-13: 9781350050495
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Using the techniques and insights of clowning, this book draws on original workshops and research to provide practical clowning exercises to develop wider acting practice in innovative ways.

The book offers guidance and explanation to key concepts in clowning, including the dynamics of the clown-audience relationship; the relationship between script, text and improvisation; and movement and voice, offering fresh and inspiring angles from which to view actor training.

The Clowning Workbook for Actors and Performers is part of the acclaimed Theatre Arts Workbooks series and features its characteristic blend of student-focused exercises with pedagogical tips for teachers.

Papildus informācija

A complete and practical guide to clowning for actors.
List of illustrations
xi
Acknowledgements xii
Preface xv
Introduction 1(10)
PART ONE 'THAT WAS FUNNY'
11(120)
1 Introductions and warm-ups
13(18)
1.1 Names and naming
15(5)
1.2 Wrong naming
20(11)
Case study 1.1 Clown workshop at AFDA, Johannesburg, April 2018
25(3)
Case study 1.2 Clowning and Puppetry workshop, London, April 2019
28(3)
2 Name Tag
31(16)
2.1 Name Tag as a game
31(5)
2.2 Laughter response
36(2)
2.3 Forgetting about the game
38(9)
Case study 2.1 Clown workshop for dancers, London, June 2017
39(1)
Case study 2.2 Clown workshop at AFDA, Johannesburg, April 2018
40(2)
Case study 2.3 Undergraduate Physical Theatre students, University of Stellenbosch, South Africa, March 2018
42(1)
Case study 2.4 BA European Theatre Arts students and graduates, Rose Bruford College, London, September 2017
42(5)
3 Ball play
47(14)
3.1 Throw and catch
47(14)
Case study 3.1 Clown workshop, Ngizwe Youth Theatre, Soweto, April 2018
53(1)
Case study 3.2 Clown workshops for primary school teachers in service training day, Southend, UK, September 2018
54(1)
Case study 3.3 Open public workshop at Victoria & Albert Museum `Friday Late', April 2018
55(1)
Case study 3.4 MA Voice Studies, RCSSD, London, May 2018
56(5)
4 Doing things when it's funny
61(14)
4.1 Throw the ball when it's funny
61(8)
4.2 Stop when it's funny
69(6)
Case study 4.1 Clowning and Puppetry workshop, London, April 2019
72(3)
5 On/Off
75(12)
5.1 Ball-Clap-Hit
75(3)
5.2 Leave or stay
78(1)
5.3 Leave when not funny
79(3)
5.4 On/Off with scripts
82(5)
6 Step-Laugh
87(14)
6.1 Step-Laugh -- crossing the stage
87(3)
6.2 Step-Laugh scripts
90(11)
Case study 6.1 Weekly clown course, London Clown School, June 2019
91(4)
Case study 6.2 Five-day workshop, Brussels, November 2019
95(1)
Case study 6.3 Weekend workshop, Brighton November 2019
95(2)
Case study 6.4 Clowning and puppetry workshop, April 2019, London
97(1)
Case study 6.5 DH Ensemble, April 2019, London
98(1)
Case study 6.6 MA Shakespeare Studies, Shakespeare's Globe, London, December 2009
99(2)
7 That was/n't funny
101(10)
7.1 Catching the ball in a circle
101(1)
7.2 Catching the ball for an audience
102(1)
7.3 Any action in a circle
102(1)
7.4 Any action for an audience
103(1)
7.5 This is going to be funny
103(1)
7.6 Extended variations
104(7)
Case study 7.1 Weekend workshop, Brussels, November 2019
105(2)
Case study 7.2 Calgary Clown Festival, Canada, September 2019
107(4)
8 Make others into clowns
111(1)
8.1 Throw ball with intention
111(1)
8.2 Don't catch it when it's funny
112(2)
Case study 8.1 London Metropolitan University, BA Theatre and Performance, 2019
114(1)
Case study 8.2 London Clown School weekly class, 2019
114(3)
9 Laughter as a pardon
117(1)
9.1 Ball Tag
118(3)
9.2 Musical Chairs
121(1)
9.3 Grandmother's Footsteps with laughter conditioning
122(5)
Case study 9.1 AFDA, Johannesburg, one-week workshop March 2018
123(1)
Case study 9.2 Circus Hub, Nottingham, series of weekend workshops, July 2018
124(3)
10 Conclusions to Part One: Right and wrong thinking
127(4)
PART TWO 'I FEEL FUNNY'
131(48)
11 I (don't) feel funny
135(14)
11.1 I caught the ball
135(2)
11.2 Free scripts
137(1)
11.3 'This is going to be funny'
138(1)
11.4 Homework
139(10)
Case study 11.1 Week workshop, AFDA, Johannesburg, April 2018
141(4)
Case study 11.2 Week workshop, Brussels, July 2019
145(1)
Case study 11.3 Weekly clown course, London Clown School, January 2020
146(3)
12 Self-laughter
149(12)
12.1 Basic mirror self-laughter -- solo
149(2)
12.2 Mirror laughter plus free action
151(10)
Case study 12.1 Weekend workshop, Gent, Belgium, February 2018
152(2)
Case study 12.2 BA Theatre and Performance Practice, London Metropolitan University, November 2019
154(1)
Case study 12.3 MA Voice Studies, RCSSD, London, May 2018
155(6)
13 Reading others' feelings
161(4)
13.1 Doing the expected
161(2)
13.2 Doing what the audience expects
163(2)
14 Guess the show
165(8)
14.1 Solo performance
165(2)
14.2 Duo performance
167(1)
14.3 Trio shows
168(1)
14.4 Audience variations
168(5)
Case study 14.1 Week workshop, University of the Arts, Cape Town, February 2017
169(2)
Case study 14.2 BA Theatre and Performance Practice, London Metropolitan University, November 2019
171(2)
15 Feeling shit
173(2)
Case study 15.1 Comedy Module, BA Drama, Liverpool John Moores University, October 2017
174(1)
16 Personal clown skills
175(4)
16.1 Self-reflection
175(1)
16.2 Sharing your reflections
176(1)
16.3 Teaching your knowledge
176(2)
Case study 16.1 Research workshop, Clown Symposium `State of Play', Edge Hill University, December 2018
177(1)
16.4 Clowning socially
178(1)
PART THREE THAT WAS SUPPOSED TO BE FUNNY'
179(48)
17 Funny plans
181(12)
17.1 Make a funny plan
181(3)
17.2 On-script and off-script
184(1)
17.3 Plans with feelings
185(1)
17.4 Types of plan
186(3)
Case study 17.1 Devising class, London Clown School, May 2019
188(1)
Case study 17.2 Public open workshop, Victoria & Albert Museum `Friday Late', April 2018
189(1)
17.5 Funny plans and simple scripts
189(4)
18 Intruders
193(16)
18.1 Intrude on an organized performance
193(3)
18.2 Reverse intrusion
196(1)
18.3 Classical clowning
197(1)
18.4 Multiple intrusions
198(11)
Case study 18.1 BA European Theatre Arts students and graduates, Rose Bruford College, London, September 2017
200(9)
19 Clowns in plays
209(18)
Case study 19.1 Clowning and Shakespeare, Drama School -- Estonian Academy of Music and Theatre / Rose Bruford College, February 2020
209(1)
19.1 Richard Tarlton
210(6)
19.2 Will Kemp
216(11)
Notes 227(16)
Bibliography of works cited 243(4)
Index 247
Jon Davison is a clown performer, teacher, director, researcher, writer and musician with 40 years experience. An international performer and trainer who trained at the École Philippe Gaulier and Fool Time Circus School (Bristol), he runs workshops in Britain, North and South America, South Africa, and throughout western and eastern Europe. He was co-founder of the Escola de Clown de Barcelona in 2006 and previously taught clown, improvisation and acting at the Institut del Teatre de Barcelona from 1996-2006. He was a research fellow investigating clown training at the Royal Central School of Speech and Drama (University of London) from 2007 and is currently a lecturer at London Metropolitan University. His books include Clown Readings in Theatre Practice and Clown Training: A Practical Guide.
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