Unit 2 - Theatre History
Module 2: Jesters, Tricksters and Fools
Lesson 3 - Clown Character

Introduction:
The keys to becoming a good clown are simple-
• have fun
• react to situations.
• respond to impulses.
This lesson will help each actor do all three through warm-ups and activities.

Objectives:
- to continue to explore various presentational styles in their dramatic presentations
- to become confident in communicating character through movement and gesture
- to use improvisation to contribute to the creations of works of dramatic art
- to use improvisation to explore characters and situations

Resources:
(pdf) Background notes for theatre history unit; additional clown warm-ups (optional), clowns to look up (optional) Clown noses, some props and costumes, clown sites.

CELs:
PSVS, C, IL

Components:
Cultural/Historical, Creative/Productive

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Talking Circle: What do you think of when you think of clown? Many people only think of the "fright wig" clown, at children's parties making balloon animals. The idea of clown is really about a character - child like in some ways (though not childish), innocent, capable of making us see the humorous side of life. Points out truths in life. Focus on character, not physical gags. (10 min.)

What is a clown? first recorded bout 2270 BC in Egypt comic spirit of clowning exists in every culture ancient craft speaks to that which is human in all of us many styles of clown and may know a variety of skills as a performer, such as: juggling, magic, contortion, acrobatics, sory telling, puppetry, tight rope walking, singing and clever dialogue known by their ludicrous antics, distinctive costume, and buffoonery characterized by broad, graphic humour, absurd situations and vigorous physical action

Warm Up "Pass a Face": The group stands in a circle. One person begins, make a "face" to the person # 2 on the right. # 2 must mirror the face back. Then person #2 makes a new face to the person on the right, and # 3 mirrors it back ... and so on, until it reaches all around the circle to the first person. This can also be done in 2 teams who race to pass the face around the circle first. The focus is on impulses and energy. Don't think, just DO! (5 min.) THEN add in funny sounds with each face passed.

Activities:

Activity One - "Emotions" Stand facing a partner. Decide together on 5 different emotions to be played (for example: anger, happiness, fear, surprise and sadness). Begin by one person showing an emotion, the partner is to feed off their partner's energy and react in a similar fashion. At any point, transform the emotion into a new one. The other person must follow suit. The emotion may move from happiness to surprise to anger to sadness to surprise to fear .... etc. Do not speak during the exercise, but make noises, sounds and gestures with each emotion.

Clowns play their emotions larger than life. They are played out to the audience. On a scale of 1 to 10 - play it at 10.

Activity Two - Journal

	Have your students write a journal that answers the following questions: What are the challenges of being a clown? What do you find the most difficult to do? How might you help yourself prepare to clown - to get into character?
Activity Three - Red Noses You will need several clown noses for the exercises described below and a variety of costume pieces and props available for use. Students may be asked to bring in their own props and costume pieces (simple things, such as a hats).

Working individually, students play around with the prop, exploring ways it may be used. They should consider things such as impossible uses, weight (gravity), slipperiness or stickiness. Once they have found the way to play with the object, ask them to find a partner and combine objects and ideas into a scene which shows their interactions.

B. Changing Emotions

With a partner, improvise a scene based on an idea which shows change in emotion, such as: "Lost and Found"; "Coming and Going" or "Building and Destroying". Use clown nose and costume piece to transform. Each person, prior to the scene, privately chooses an emotion to play when the improvisation begins. React to one another, allow the emotion to change as the scene progresses.

Bonus/Advanced Project:

Create a clown character: name, costume, voice, personality.
Put together a solo scene for your clown. Remember to:

• play the emotion grand, huge
• play it out front to the audience, eyes make contact with the audience
• keep it simple - what does your clown want? Why can't they get it?
• incorporate a physical element
• think about involving the audience in some way
• don't try for laughs, just play your character straight, the audience will laugh
• know the character - then use it - play the situation
• the only thing you are allowed to exaggerate in comedy is emotion - worry becomes frenzied anxiety, smaugness becomes unbearable complacency, and distaste becomes anguished indignation.
• Samuel West said, "It's overcoming a larger obstacle isn't it? Like if you're John Cleese in Fawlty Towers and you want a huge panic, your intention will be to have the menu typed in 15 seconds instead of 30, and the typewriter sticks. It's real, you see."
• don't be in a rush, take your time with the scenario

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