Tag: John Towsen

Alternate Reality

This month as my mind wanders while I do laundry, and dishes and go to the gym and shuttle My Kid to Girl Scouts, soccer, and ballet and write my little mom blogs, I will imagine what it would be like to be clowning in Barcelona:

The 2nd one month “Clown Master Class and Comic Formulas” course will begin Monday, March 1st and conclude Sunday, March 28th. Registration is Sunday Feb. 28th at 16:00 at the Nouveau Clown Institute. Classes will be held 5 days each week from 10 am to 6 pm, Monday thru Friday, totaling 120 hours. On Saturdays students will be in the media rooms to attend special viewing assignments of films and videos. In addition, each student will receive a one on one session with a master teacher. At the end of each week, both Saturday and Sunday evenings, there will be performances presented by the students, faculty and invited guest artists. These performances will be open to the general public.

If you are interested in attending the Nouveau Clown institutes “Clown Master Class and Comic Formulas” March, 2010 session then visit our web site at www.clownfish.es/nci.htm . Here you will find detailed information and the official form to apply for acceptance to the N.C. I. Registration closes January 31st, 2010,

The master class instructors confirmed at the moment are as follows:
John Towsen, Pepa Plana, Alex Navarro, Pat Cashin, Greg de Santo, Mag Lari, Giovanna Bellina, Eric de Bont, Rick Parets, Jorge Pico, Loco Brusca, Grada Peskens, Jef Johnson, Jango Edwards, Monti, Tortell Poltrona, Christian Atanasiu, Jordi Purti…and more. The additional faculty members for the March session will be announced in the near future.
Also we suggest you do a little research about the artist who will be your instructors during the March session so you have a basic knowledge of their approach to the clown art. Those of you who have clown or comedy routines, stage acts or numbers that you would like to perform in the weekly “Cabaret Cabron” productions please bring those items required to present your act including music, props and costumes. A maximum of no more than 3 acts from your repertory is advised. We also recommend that you bring any audio/ video material of your work which can be viewed by us to assist us in directing you. In addition to the in class sessions you will receive selected data based materials .It is a mandatory request that you bring with you a pen drive or memory stick in which this data can be stored. This information will be a useful reference in the future once you have successfully completed the master class and graduated from “The Nouveau Clown Institute”…that is if you graduate!!!
Finally and most important of all it is the wish of the N.C.I. staff to make your visit as creative, productive and inspiring as possible. To achieve this we remind you that the “Nouveau Clown Institute” is an educational institution of the highest standards and if you come with open mind and open heart then we will open the door for you to a new future. The concept of this school is that it is a school for all professional clowns to learn, teach and exchange among each other and second that new actors who are interested can come and the opportunity to have direct contact with master instructors besides each day an exposure to assorted production, skills, technique and an understanding of the comic formulas that make comedy and clowning function in all environments. This school belongs to all members of the Nouveau Clown community. It is the desire of N.C.I. to function as a launching pad for actors to become familiar with the variety of clown artists and schools that specialize in comedy and the art of clown.
If you need additional help of have specific questions please contact us by: email at nouveauclown[at]gmail.com telephone: 00 34 699341100
To view the facilities of the “Nouveau Clown Institute” located in the Roca Umbert Fabrica de les Arts in Granollers, Spain www.rocaumbert.cat/ie6/home.php#
On behalf of the N.C.I.
Sincerely yours,
Jango Edwards

The Day after the Jango Edwards Workshop

Jango warned us that we would experience a let down after the workshop is over, and it is true.  I am feeling very much alone here in my apartment while My Kid is at school and The Husband is at work.  But, thankfully, I have a performance coming up on Monday to keep my mind and body occupied. I am feeling connected to the clown community though.  Last night in Soho I talked to Michael Bongar and Stanley Sherman and Jim Moore, contemporaries of Jango Edwards, who became a clown in the 1970’s, working the streets of Europe.  John Towsen, author of Clowns was there too.  I just got an e-mail from Kendall. Someone from Circus Cirkor playing at BAM this week contacted her to talk about clown and risk.

Speaking of risk, it was a risk to take the Jango Edwards workshop this week.  Based on what I had seen on the internet, I found him offensive and scary and I was dis-inclined to take the workshop.  But, Jef Johnson said that his workshops are inspirational.  So I took the risk.

Jango’s aesthetic is certainly not mine, but the way he talks about the importance of clowns in the world is something I have not heard since I was last around Steve Smith.  There is something wonderful about the belief that the world needs more clowns when one is a clown or a clown in training.  When I was at Clown College, we were working and sweating and nursing injuries because we were trying so hard to win of the contracts to tour with The Greatest Show on Earth, kind of like So You Think You Can Dance. At the same time we were taught that it was important for us to appreciate what we had been given.  It seemed  a happy bit of subversive action, reflected in the promotional materials at the time, that there was as much pride in the Clown College graduates who had gone on to become doctors, teachers and lawyers as those who become name entertainers or part of Clown Alley on the Red Unit or the Blue Unit.

Steve Smith made sure that when we left Clown College, with our professionally designed agent suits and our make-up kits full of the Krylon, Mehron and Ben Nye products that worked best for our particular skin, in addition to all of the crafts and skills we had been taught by our many impressive teachers, that it was our obligation to be kind and generous to all clowns.  As healthy 20-somethings who had just had the door to the corporate entertainment industry opened for us, it was humbling to be reminded to respect and appreciate the work of those who learned everything they know about clowning in a class at a senior center or at clown club conventions.

Sometimes stage and cabaret clowns and  Ringling-style clowns look askance at each other’s aesthetic sensibilities, but Jango, who brings to mind Ken Kesey and the Merry Pranksters wants all the clowns to come together in the same community.

The way Jango used music in his workshop reminded me of the Search Weekends at the Newman Center when I was in college.  After intensive days of learning and sharing we would stand in a circle with our arms around each other, tears shining in our eyes as we sang Simon and Garfunkle’s Bridge Over Troubled Water.  With Jango we did the same thing, but the song was Smile, by Charlie Chaplin.

The Sunday before I took Jango’s workshop, I attended a talk about fasting and almsgiving, which are part of all the major world religions because they can lead to humility and transformation.  The same can be said of a good clown.