The here and clown

Exploring clowning in relation to presence in theatre

Abstract

This practise-as-research paper applies Cormac Power’s three categories of presence (2006) to contemporary clown training and performance in the theatre with specific reference to a recently devised performance that used clown principles to open up challenging discussions around shame, race and Afrikaner Identity. Through my perspective as a South African educator, clown practitioner and postdoctoral fellow, I propose that the contemporary clown’s failed efforts to sustain the audience's belief in their persona is what paradoxically leads to the clown’s success by drawing attention to presence as a multibodied phenomenon. Failure, a key principle of clowning, is an effective performance strategy that relies on the performer's awareness of their presence as a dynamic exchange to establish and maintain connection with an audience through listening and reacting to audience appreciation (laughter) or lack thereof (silence). Through critical reflection of the clown as both a state of presence and a performative strategy, this paper highlights the valuable role that the clown’s insider-outsider position plays in bringing about awareness and learning in both theatrical and pedagogic contexts. 

This work is based on the research supported by the National Institute for The Humanities and Social Science.