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(2015) 'The Work of a Clown Is to Make the Audience Burst out Laughing'

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(2015) 'The Work of a Clown Is to Make the Audience Burst out Laughing' n Amsden, Lucy C. E. (2015) ‘The work of a clown is to make the audience burst out laughing’: learning clown at École Philippe Gaulier. PhD thesis. http://theses.gla.ac.uk/6372/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] ‘The work of a clown is to make the audience burst out laughing’ Learning Clown at École Philippe Gaulier Lucy C.E. Amsden B.A. (Hons) M.Phil Submitted in fulfilment of the requirements for the Degree of Doctor of Philosophy School of Culture and Creative Arts College of Arts University of Glasgow January 2015 2 Abstract This is the first full-length study of clown training at Gaulier’s school. I take literally Gaulier’s statement, ‘The work of a clown is to make the audience burst out laughing’ (2007: 289). I interpret this to mean that the relationship with the audience plays a defining part in clown practice. Throughout the thesis I consider clowns to have audiences, and argue that the presence of peers in the classroom is a key feature of the learning. I take into account the individual nature of learning, by examining my own experiences learning Clown at the school, and comparing this with the experiences of other writers and a selection of practitioners that have given interviews towards this project. What I call a pedagogy of spectatorship focuses students’ attention towards their classmates, who are audience to everything that takes place in the Clown classroom. Gaulier’s observational skill and charismatic teaching style can enable students to perceive audience laughter and silence as crucial feedback. I demonstrate the audience role in three areas of clown practice: complicit play, the ‘flop’ and the use of the body as ridiculous. I argue that the École Philippe Gaulier provides lessons on the skills necessary to listen to audiences, so that each student can discover the ways in which she can ‘make the audience burst out laughing’. 3 Table of Contents Abstract ......................................................................................................................... 2 List of Figures ................................................................................................................. 5 Acknowledgement ......................................................................................................... 6 Introduction .................................................................................................................. 7 A day in the life ......................................................................................................................... 8 Research Questions .............................................................................................................. 10 Methods ............................................................................................................................... 10 Practical experience ................................................................................................................ 11 Interviews ............................................................................................................................... 13 Chapter structure ................................................................................................................. 18 Chapter 1: Gaulier in Context ....................................................................................... 21 Clown in the French Mime Tradition ..................................................................................... 21 Jacques Lecoq – Play and Popular Performance ..................................................................... 24 Gaulier in practice and research ............................................................................................ 33 Gaulier’s Texts ...................................................................................................................... 38 Clown ................................................................................................................................... 43 Laughter .................................................................................................................................. 50 A Working Definition ............................................................................................................ 58 Chapter 2: Pedagogy of Spectatorship .......................................................................... 60 Pedagogy .............................................................................................................................. 61 Pedagogies of Performance .................................................................................................... 71 Pedagogy of Spectatorship ................................................................................................... 73 The Student Spectator ............................................................................................................ 80 Teacher as artist/spectator ..................................................................................................... 84 Pedagogy and Politics ........................................................................................................... 91 Conclusion ............................................................................................................................ 99 Chapter 3: Complicit Play ........................................................................................... 102 Play Theory ......................................................................................................................... 103 Rhetorics of Play ................................................................................................................... 104 Types of Game ...................................................................................................................... 107 Le Jeu .................................................................................................................................. 114 Words on Play/Play on Words .............................................................................................. 118 Professional Play ................................................................................................................ 122 Complicit play ..................................................................................................................... 128 Inviting the Audience to Play ................................................................................................ 132 Conclusion .......................................................................................................................... 140 Chapter 4. Failure and the Flop .................................................................................. 142 Failure in Contemporary Theatre practice ........................................................................... 143 Failure and comedy in narrative ........................................................................................... 147 The Flop in Clown Practice and Teaching ............................................................................. 151 The Flop as Discussed by Practitioners ................................................................................. 154 Failure and Flop as Teaching Tools ....................................................................................... 160 Failure in Humour Theory ................................................................................................... 169 Unfunny Flops .................................................................................................................... 177 Conclusion .......................................................................................................................... 179 Chapter 5. The clown body and concepts of self ......................................................... 182 Clown Bodies in Gaulier’s Writing ....................................................................................... 182 The Clown Body in Gaulier’s Classroom .............................................................................. 185 4 The Masked Clown Body ..................................................................................................... 186 Ridiculous Self ....................................................................................................................... 193 Circus Clown Bodies ............................................................................................................ 195 DeVeloping a Clown Repertoire ........................................................................................... 205 Conclusion .......................................................................................................................... 214 Conclusion ................................................................................................................. 216 Appendix
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