The Art of Vaudeville Circus as performed by Gary F. Mooney Copyright O 1995 by Gary F. Mooney, all rights reserved.

A course in creative entertaining as taught by Gary F. Mooney. The Art of Vaudeville Circus as performed by Gary F. Mooney Copyright O 1995 by Gary F. Mooney, all rights reserved. etouTilroto A course in creative entertaining as taught by Gary F. Mooney. Table of Contents

Character Costume...... 3 Routines....

Character Clowns...... Auguste Clowns

Masks...... Body Language...... 6 Facial Expression ...... 6

Slapstick...... 9 Puppets..... 10 Clowuolog.v: A Course Outtine. Copy"ght @ 1995 by Gary F Mooney The Art of Vaudeville Circus as performed bY Gary F. Mooney

L*. Overview: Character' Costume & Routines

costume & Routines' There are three major elements to being a good clown: Character, l. Character: Talents: and funny flaws in this character? If you what kind of personality does your character have? what are the talents, our finest talents when creating a character' If you are an have any unusual talents -- .rr" ih"- I We often overlook of your audience (and if you are really good' arlist, you may cany a large paper pad and malker to do line sketches ethnicaly in that curture. Musical talents are common' sell them). If you speak a iecond ranguage you may think very physicalry active chatactsr,when a disabled performer both instrumental aad vocal. An athlete might design a talents' can be equally enterlaining with his or her positive

to your clown character' You must first know who you are' Even if you are excessively clumsy, this may be an asset or you will confuse Your audience'

training ue: Balloon sculpture, pantomime, story telling' Some of the traditional clown skills that r-equire special juggling, equilibristics, tcrobatics, plate spinning' circus skilts that are also associated with clowning include: utticycle, music and dance.

Attitude: your character reacts toward others' Your character must have an attitude. This is how staee" quote Mark Stolzenberg in his book, ''clown for circus & The word aritudehas a second meaning. To from ,,Anattitudei,safrozenpose,sralueorsnapshotofaclowninthemidst or an intention; he or o-f action. rhe ilown itay be showing emotion shemtaybecaughtinthemiddleofdoingsomething.Clownsoften a pose'" slow dawn or f ieze in the middle of a routine to hold

More on attitudes wiil be explored in the section on Then ny another. Do it in front of a mirror, or with a friend. improvisation.

2. Costume: your face & costume reflect who you are? Every clown aims to be unique and original. How does costume will project on first sight everything about your Your costume, and the sccessoriesthat are a part of your character' wearing a tuxedo pattern gives a more character. Some clowns use a baggy jump suit for a generic hat will identifu you with different professions' sophisticaled demeanor. Wear;ng a iitrersnt type of

to €very parade' This uniform will be a paft of your new coordinate your cosnlme as a uniform that you must wear you are a colorful chatacter yow costume should represent the attitude that you wish to project' lf identity. It body motions- A a mjme i, ,rrry piain, not to djstract from subtle should reflect e greatdeai of color. The costume of exaggerated. clown in drag wears a dress & pumps' Keystone cop wears a policernan's uniform, however

DRAFT COPI'3/16/95 nase 3 Clownolos.v: A Course Outline. Copyright @ 1995 by Gary F Mooney

Costuming can be carefully pattemed and tailored, and cost a forfune. It does not have to. I usually find what I need at the Salvation Army for under $20, including shoes'

Accessories, such as hats, wigs, eyeglasses or jewelry also give an impression of yow character rcle. False noses and.foke beards are considered accessories ifthey are pre-assembled and ready to attach.

Hats: The The hat is tlre most impotant accessory ro a performer. The propef hat can define your character at a glance. the hat is thc most obvious part of any uniform. It is also the easiest to remove, or change. A pith helmet may define African hunter, or explorer. A ten gallon top hat would be a t'ich man, or Abraham Lincoln. A spike helmet is a W.W.I soldier fighting for the fatheriand. Baseball caps suggest a sports enthusiast. T\e street performer's hat is also his collection Plate.

Uniform hats can be from genuine uniforms, or replicas in tiny size and jumbo designs.

Wigs: prifessional clown wigs can be purchased in a costume store. A conventional wig may be dyed and styled' Your' own natural hair (or lack thereoll may be all you need. The proper hat can cover an multitude of skins. Bald wigs rubber. are pattemed out of white cotton/polyester, or from tan colored nylon. Some are made from a molded

Eyeglasses: the old lenses Ciuracter eyeglasses have frames that are simply outrageous. If you find a wild pair of sunglasses, fitted, or the may be replaceJ with your owo prescription. If you have perfect vision a zero-prescription may be may frames left empty. You can sculpt around existing fi-ames, but be careful to design it safely' A wild wiry aray put out some one's eye if you tulx your head too quickly'

possible. For those of us who need corrected vision, especially the nearsighted I wouid recommend contact lenses if For those like myself who cannot weal contacts -- I suggest character eyeglasses.

Buttons: (pronounced -- If you have a message you cax say it on a button. Clown buttons can have firnny lines like: "I-Y-Q" ,'I just button. Your clown name is a wike )rou."). The clown responds with "l like you too!" mispronounced like the uery appropriate button. A photograph of your clown face is an excellent button idea.

Jewelry: give Jewelry may have a special meaning to you. Certain stones may make you feel good. Some people even stones like 4 rings on and crystals credit for harnessing energies that help them perform. Other meanings ar€ more tangible, Gumdrops one hand that spell out your clown name. Earrings in the shape of a symbol that reflects your attitude. ,'Gumdrops". on a necklace for for a clown named lce cream cones for a clown named "Yogult". Musical symbols a musician. Small children may grab at your jewelry, so be careful'

jewelry my mobility. It would I do not wear any jewelry at ali. My character is very physically active, and impedes and a lapel pin. be dangerous for me to do acrobatic tumbling, for instance, if I were sporting a heaw necklace

Handbags, purses and suitcas€s: of a giant Howie Ma'del had a great accessory "hand bag". This was a shoulder slung pouch sewn in the shape hand. It was hystedcal all by itseli before we even saw what he had inside. You can decorate your handbag, briefcase or purse to make it a part of your costume.

3. Routines: Routining is Wlrat are you going to do out there? A beautiful face will get attention, but may not hoid it for long. good routine rvill sur-vive the most important element in clowning because the routine is the result that entertains. A even without cosfumes.

middle and end' There are three basic parts to any routine: the build-up, climax, andiinale, also called: beginning, yow audience and Remember that every work of litei'ary ar1 has three parts -- A beginning, a middle, and an end. If in real trouble. you are in the same plu"", yo, are doing well. Ifthey reach the end before you do, you are

DR,4FT COPY 3/16/95 Pase 4 .Clownolosy: A Course Outline' Coppight @ 1995 by Gary F. Mooney

Breaking the formula down even further, there are several major elements in drama, whether it is a book, movie or clown skit.

7. Establishing scene or introduction. This is the set-ap that lays the foundation for whatever is to follow. 2. Objective. This is the goal sought by the hero of our story' 3. Primary conflict, This is the main obstacle that the characters, or hero must overcome to achieve this objective. 4. Plot complications. This is rvhere imagination fills the air. New characters and situations interact with the primary conflict to intrigue and challenge the characters and audience. 5. Resolation of primary conflict. The term "resolte" is the key. The hero now determines his course of action, even if it is not yet implemented. This is the climax of the routine. 6. Consequences andfail-out. How does the solution work out? What complications arise? 7 . Finale, Tying up loose ends. Setting up an open question ending is a device to suggest a sequel.

Establish a rhythm in your routines. Get the audience to move with you, and follow your beat. This willpcas your audience cornpletely. The easiest way to establish a rhy4hm is to literally steal the beat. Using an accompaniment or a musical background is an excsllent way to establish a rhythm'

Start off with interest, but slow. Save yor:r best stuff for a climax. Follow the mood and intensity of the music. Foiiow a stoly line, if possible. Take unrelated events and combine them into an inventive situation.

practice, rewrite and revise. Improvise at wi1l, and remember the good stuff for rewrite. If a spot feels "dead", then work on it, or eliminate that spot to shorten the whole act and save interest. If it doesn't work, drop it' Invent something else that does work.

Use the topics from comedy improvisation to build your routine -- Cause and affect, Characterization, The running gag, theforgotten conflict, Two wrongs make a rite, Slapstick, skill and dexterity, Disappointment and grafirtcafion,failure and success. These are covered in a later lesson. Character clowns: A character clown isthe most familiar to polite society. If an identity other than "clown" is perceived by the audience by use of costume or make-up, and the appearance is somewhat believable, then this clown is a character. Characters usually rely on costume, accessories and hair style more than face make up. The best example, and most imitated, being Groucho Man, whose cigar and glasses were his costurne -- only mustache and eyebrows were painted.

Impressionists: We all imitate friends or celebrities. Impersonating another person to amuse is to pedorm a carkature, ot an impressinn. Familiar featules, gestures and speech patterns are exaggerated to amplify this familiarity. Thus a comic impersonator is a versatile "character clown"' Fatmous impressionists: Rich Little, Frank Gorshen, Billy Crystal, Dana Carvey, Johnny Carson.

Stereotypes: Anothei form of caricafure is the stereotype. Ethnic fypes, fall into this category. Mannerisms related to a profession, culture, hobby, gender or concerted belief fall into the stereotype category. Picture, for instance a iupuo"t" lady sutgeon who is a sumo-wrestler on the weekend. She knocks out her opponent, then operates on their injuries. Father Guido Sarducci (Saturday Night Live) Hip, cool. modern, street smart orthodox Roman Catholic Priest. Delta Burke: Bold, conceded, excessiveiy confident of her own absurd viewpoints. Marx brothers: Groucho, wise cracking with painted mustache and eyebrorvs, glasses and cigar' Chico was the hot blooded Latin. Harpo was silent, but very expressive ttu'ough physical gestue and n'emendous musical talent. Steve Erckle (Farnily Ties): "Nerd". Innocent, accident prone, well intentioned disaster area. Archie & Edith Bunker: Dominating bigoted husband and submissive good-hearted wife' Bundys (Married With Chii&'en): Father a working slob, wife ffustrated spendthrift, daughter a brain-dead (blond) sexpot. Son is socially inept lonesome loser. Dr. Joycelyn Elders: lnadvertent exaggetations in dress, accent and attitudes. Lucilte Ball: Well intentioned, complicated schemes caused her trouble in every show- Keystone Cops trip over each othet in their haste. DRAFT COPY 3/16/95 pase 5 Clownolosyr A Course Outline. Copyright @ 1995 by Gary F. Mooney Auguste Clown: The auguste clown wears abizane or loud costume. Augustes are identified as a clown, unlike the character clown who identifies with his stereotype. The auguste is likely to be hit with a pie, or be the victim of a practical joke. The auguste wears facial make-up that allows flesh tones (skin colored base) to show through. The "egg-head" or "cone-head" is associated with this type of clown costume. Lou Jacobs (Ringling Bros. B&B Circus), Emrnitt KeIIy and Emmitt Kelly Jr., Red Skelton. White face clown: The white face clown is an immaculate creation. Not a spot of natural skin is exposed to view. All skin is covered by costume or make-up a:rd hands are gloved. White faces are very exquisite to look at.

Whitefaces are classier than augustes. [n a team, a white face would be the straight man to the fall guy auguste. The whiteface is technicaliy supposed to be silent, though the silent rule is frequently broken. Noise making props serve as attention getting devices. Other props are used to communicate or as sight gags and may be part of their costume. Clarabel"" (Howdy Doody Show@), Bozo the Clown@ (Kid's TV show), Ronald McDonald@.

Rules of White Face .No natural skin may be exposed to view. Ears rnust be made up, or oovered. Hands must be gloved' Costume must show class. The white face is no bum. Leave sloppy to the Augustes, or to the Hobos. The White-Face is the "role-model". .Choose your "gags" carefully. .Never do anything that may constitute a danger to your audience, or yotu colleagues. joke. people may be fraumatized. 'Never make an audience member the "victim" of your practical Sensitive 'If you "fool" the audience, do so in a way that is not insulting to them. Masks: A mask is an easy method of assuming the identity of another character. No one can see your real face while wearing the mask, so you and the character are removed from each other. Wearing different masks, one can assume the different character of each mask. Full mask: Covers the entire face so only eyes are exposed. Half mask: Covers the top half of the face leaving the mouth uncovered. Body Language: Body gestures may speak as well as words or facial expressions. Nervous or trembling hands indicate anxiety. Tapprng a toe is a sign of boredom. Stepping back shows fear, or suprise. Jumping demonstrates joy, or anger. Facial expressions: Without a mask, the face must express the inner feelings and personality of the character. In expressing an emotion or attitude the actor's facial expressions become a mask that the audience sees.

Expressions to practice include: anger, annoyed, anxious, boredom, brilliant revelation, depression, doubt, dreamy, fiight, hunger, intoxication, joy, lonely, Ionging, loving, lustful, maternal, mischievous, nausea, pain, passion' pleasure, pouting, resolve, serene, shyness, skepticism, sleepy, smile, ..etc. For mort see: Qttrilwkin lmprovisation. Mime: The pantomime, or mime artist, as a silent character, relates only through body movement and expression. Make- up, if worn at all, is a simple white mask, highlighting the eyes and lips. Costume, also, is simpie so not to dishact fiom the subtle dance iike movements of the performer.

Music" or nanation is permitted, but the artist must remain dumb. True mime uses no props. Empty hands hold imag.inary objects. Marcel Marceau, Bob BerkY

DRAFT COPY 3/16/95 pase 6 Clownolog.v: A Course Outline. Copynght @ 1995 by Gary F. Mooney Comedic Devices: There are many reasons for frrnny things being funny. Mostly, familiarity is a catalyst for humor. When we recognize a situation and say, "H"y, ... that was me two weeks ago...," then we can laugh at it through sympathetic nostalgia. On the other hand there are some proven formulas that a:'e just good comedy.

Sight gags: A visually bizane situation is a sight gag. Seeing something tlat does not belong leads one to wonder how it got there. Wearing three hats is a sight gag. Showing a contract written on a roll of paper that scrolls out is a sight gag.

Running gag: An event that repeats. itself at opportune moments in the routine is a running gag. Sometimes one gag will r-ecur in several routines. For instance, Pa Kettle's starched bib would constantly spring up from his vest. "Family Matters" Steve Erckle repeats the line, "Did I do that?". Another example is Norm Peterson walking into "Cheers". The bar crowd shouts "NORM!". The shout is not funny in itself, but it sets up his hilarious one line response. Fibber McGee's closet avaianching on his head each time he opens the door is a running gag.

Denial: To compietely ipore a situation - as if it does not exist -- can be funny in drama.

Cause & Effect: It is a given; If you do this, that will happen. As much as you say it will work out otherwise, cause and effect vtll rule the day.

Coincidence: Two unrelated events occur at the same time, as a bell chimes when a character throws his hat to a hat rack.

Over-importance: When a character gives "life threatening urgency" to a very trivial matter.

Stupid human tricks: Trying to show a dog a new ffick, or demonstrating to a baby how to eat produces a humorous display.

Forgotten conflict: You start with a conflict that falls out of importance. It is forgotten in the complexity of the plot. Reintroducing this situation at a key moment can reshape the central conflict.

Two wrongs make a rite: Two bad situations thrown directly at each other can cancel each other out, or make things twice as bad. That is why "rite" is spelled as in the word "ritual". For instance a nuisance mother-in-law may team up with a nosy iandlord and go on a honeymoon. They are both gone! What a relief. However. when the landlord's widow rehrrns from her tragic honeymoon, she is now our hero's mother-inJaw, and his land-lord.

The familiar stranger: A stranger, or kook, with whom the hero has no real relationship. But this stranger keeps "wandering in the shot".

Near miss: The goal is achieved by someone other than our hero. Thus our hero suffers a "defeat".

Disappointment and Gratification : Also called Failure and Success is to have the hero wotk hard and just miss his goal several times. Then when he finally reaches his goal it is a much more valued prize.

Skill and Amazing Dexterity: Observing someone resolve a simple snafu by way of super-human resoulcefirlness is errthralling.

DRAFT COPY 3/16/95 r.zse 7 Clownolog,v: A Course Outline' Copyright O 1995 by Gary F Mooney Slapstick: contact-- This is a team effort, and both performers should Safety first! Slaps, hits and kicks do not make physical an illusion' The victim only acts as if he is hit' In fact' understand what they are about to do. Sounds oiimpact are noise, the " slapstick" ' this art is named after the sound effect tool used to make this

Face slap #I: front of victim's face and slap you[ own hand at the Touch victim,s chin wrth one hand. swing yout other hand in jerks his own head to pretend he was actually hit' wrist (for noise). Both oiyour hands folloiihrough. The victim

Fsce slap #2: claps his own hands at the time of impact' Or, the you swing your hand in ftont of the victim's face. The victim hands just at the moment of impact' sound mayll made by a third confederate clapping his

Pratfullsz by tripping, or as the result of a slapstick hit' Amolg the fr.rnniest things a clown can do is to fall down' Whether you can make a fall look a laugh' Falling safely is easy. With a little training lVtt* Vou hit the bourds it will get dramatic without getting hurt.

Bumpz a rhythm like dominoes going in both directions' Bumping into other performers can cause a visual chaos, or principle of an "unstoppable force meets an immovable Walking into a stationary object is funny. Working on the sfieet lamp scurries away this gag is even funnier' object,,, one assures trrai the performer will pratfati. tf tne

Near miss: target does not realize he was in any peril' A disaster closelY averled can be funny, especially when the

Board maneuveri mops & brooms' pipc sections and other long items. Swing and ducktechnique is used with ladders' long lumber'

Fanny sw&tl The tush is a good talget for a slapstick impact'

Gut shotz Catching a dodge ball with the force of a cannon ball'

Eye poket moves in toward the vicfim's face' Your paltner must Extend the two fingers. curl your fingers in as your hand trust you not to touch his face, or permanent injury may result'

Ear grab, ot nose grubz of your "victim" Then the victim moves with your Again, you plglgqd to grab some one's nose ol ear with the help nand. ttre illusion is effective, and leaves make-up intact'

Groin shotz be self-evident' This is an exclusively "adult show" move for reasons that should

Ten Ton lVeight : The bottom is missing so that the four walls drop This is a hollow box that falls on the performer from above. is painted "10 Tons"' around the perfbrmer without injury. The outside of the box

DRAFT COPY 3/16/95 Pase E glsgEolotg: A Course Outline' Copynght @ 1995 by Gary F Mooney

Props: a prop, or property. A prop can" be a practical tool' Any item used by a perfo'ner as a tool or visual aid is catled inflatable guitar' Props can be store bought' or home made' like a deck of cards, or only for show like a toy any given prop' Audience appreciation will ieflect the effectiveness of

it was a microphone? You were props: Have you ever picked up a hair brush and pretend Improvising a stirring bowl' you head you have a. hat' A real hat can be used as improvising a prop. tsy putting apaperplate on Acting is your tool' A banana canbe ag* It"agt"ation is the limit'

is something else' Use it in an appropriate way for the imaginary Exercise..Pick up any pbject near you. Pretend it item.

ask yourself this basic question: Inventing props: In developing yotx'own bag of tricks, you should

"This is mY character' I need a? ? ? ? '"

doctor needs a stethoscope' A policeman is hoho,you may need a cigar, stick and bag' A If your character a would use' is used). Figure out what kind of item your character needs a billy club (except in L.A., where riotge"ar ti-.r normal size rhat spews out coins as a slot machine then make a facsimile #;;r;; iir". n p*k-iog *"t", tlr., uoy material, but safety and non-toxicity should be considered' would make a ftrnny prop. Props can be made 6o- is Foam rubber has an added advantage of being soft' It Foam rubber is very popular, though tricky to work with. of a piece of foam rubber someone on the head with a sledge-hammer made safe when playing rough. Bopping is would cause Serious injury. A foam rubber sledge hammer painted to look real is safe' u,ing'l""ut wood and steel a slapstick weapon to contend with'

sheets can be pru'chased in large sheets as building styrofoam is light and very easy to cut and shape. Styrofoam as a: guitar' hat' sword' backdrop' etc' One insulation. Frorn these sheets you can cut and paint ,u"h it"-'. fragite material. A karate chop can easily break a piece of advantage of Styrofoam is that is a very weak ald hJaiy metal clown-guitarist can easily destroy his guitar on stage' sryrofoam painted like a wood board or a brick. A break if too much stress is applied to it' The disadvautage of Styrofou- it it is fi-agile and will

Papier.mdchtiiseasytoshapeandfuntoworkwithifyoulikemessyprojects.Papier-mdcheismadebysoakingis of the item you wish to sculpt' When dry this sculpture newspaper in a wet paste, then layering it into the shape fairly light, and rigid' afin or leg casts and police casts of footprints plaster of Paris is another messy medium, best known for making Mixed with water the liquid form can be of Paris can be sold as a gypsum based powder' and tire tracks. Plaster to This cast is heavy and fragile. when powder is applied poured into a mold and dries to a detailed pturt"i"urt. gauzelikebandageitcanbeshapedthesameaspapier-miche.Thisguu,"*'upwillnotshatter,butmayfrayatthe edges, and will dissolve if made wet'

going to take much punishment' used in building and Fiberglass is a medium used to make props that are light and impervious to water once it has set' repairing car bodies and boat hulls, fiberglass is hard,

supplies store' Other rnaterials can be found at your local afts & craft

things to work with at party supply stores' toy stores' Pre-constructed props: You can find many wonderful fall in love with' buy it ! If you see a magic aoa magic shops. Ii you find u p'op thut you tbeatrical supply irors"i, you make at props ut" tft"n consttucted superior to anything can trick that inspires you, buy it ! Factory made

home .

DRAFT COPY 3/16/95 Page 9 Clorvnolos,v: A Course Outline' Copyright O 1995 by Gary F Mooney

Puppets: you may consider working t'ith a puppet' A puppet is If you need a partner, but still prefer working alone, then by the performer's hand or by wires' but puppets take on an more than a prop. Puppets are mechanically controlled personality. Puppets can communicate witl an audience animated life of theu own. They have their own individual in a verity of waYs.

performer believes that the puppet is a real' living' How the performer reacts to the puppet is cntical. If the in If the performer does not react at all' then the breathing critter, then the audienci will get caught up the illusion. puppet is less believable'

tongue depressor or other type of stick' stick puppets are a simpie figure glued to a pop sickle stick,

They perform on a small enclosed stage that conceals the Marionette puppetsare operated fiom above by strings. for the marionette' or perform to a prerecorded soundtrack' puppeteerS above the action. The puppetee. -uy tptut

motion of the performer's hand' They can be made of hand puppetsare puppets whose mouth is operate

puppet developed by Jim Henson' originally developed ,,Muppets,',. is a registered trademark for the style of hand ,,children's have enjoyed stardom in various media such as' for the Television workshop" these characters commercials, featue-lenglh motion pictures' tce- educational television, vaudeville-variety television, television skating show, stage shows' and print advertising' ventriloquist (a voice artist who can speak clearly ventriloquial figures are the traditional pupp€ts used by a mechanism that allows facial gestures, moving the eyes, without moving his lips). These figures have a complicated figures were finely crafted ft'om wood' Newer models are eyelids, eyebrows u, *"tt as the rnouth and neck. older seen on wooden dolls' made ftorn more rnodern plastics that hide the noticeable clefts

may be radio controlled' or hardwired into a Electronic robot puppets are operated by remote conffol' They control unit.

How a puppet communicates: or "woofl", or "hissss" if he is a snake' But' they do not silent puppels say nothing. Animal puppets may "meow", to show affection. If the puppet likes someone it will "smile" use language. Silent puppets can snuggie wittr people it may bite them on the hand (a11 in fun)' Thank and move in closer to the person. If the puppet iittit.t someone goodness cloth teeth don't hurt'

the perfotmer as an interpreter' The puppet is too lYhisper techniqueis a good way for a puppet to speak using the performer. The performer then repeats what the puppet shy to speak aloud, so it whispers a message in the ear of has just told him in his conversation'

benefit of this is a clear voice' Also' musicatr Prerecorded soundtrackscan be used for scripted shows' The playback equipment, and the limits it places on improvisation harmony is possible. The disadvantage is the need for or interaction with the audience.

Solopuppetisapuppetwhosepuppeteerisvisible,butnotacharacterintheshow.Thepuppetactsandinteracts ignored' This occurs when the use of a stage to with the audience. rn pupp"t..r who actually speaks is simply remalns 1n plaln \4ew' conceal the puppeteer is impractical, and the puppet€er

or throat' It is a difficult afi to perfect' and Yentriloquism is the art of speaking u.ithout movement of the lips A good ventriloquist can be convincing' Moderate or r-equires many hours of practice in frlnt of a minor. 'ery poor skill can be more distracting than effective'

be use

DL4FT COPY 3/16/95 Pase 10 Clownology: A Course Outline' Copynght @ 1995 by Gary F Mooney Improvisation: previous preparation' Sometimes technical Improvisation is the art of performing extemporaneously, or without must now improvise' This situation could be fbrce a performer to aban

Attitudes: include the following: A simple improvisation is to assume an attitude. Some attitudes

Situation: situations? Hold that attitude. How would this attitude respond to the following chair: Intenuptiorzs aI work; Missed your bus; In a r.owboat on the rapids; A surgeon in surgery; In the dentkt's Nexttoamemberoftheoppositesex; Inthemiddleofabusystreet; Oiacrashingplane; Onaclesertisland; Standing in of the targets at a rifle range; Getting married ; Gettinrg a ipeedrng ficket fi:om a policeman; f'ont ...make Ltp your own settings ' Vour kitten jttst ran awat,; A monsf er is attacking Vou;

Staying in the same situation try a new atfitude'

Ensemble: How do these attitudes play off of each other? work with a partner. Each of you assufire s a different attitude. join in with his own attitude' Reverse roles. Try a new attitu;e. Have a third person

some of the following have been adapted from the There are a few fun games that involve improvising on a theme. fiom various theater courses' British television program "Whose Line Is It, Anyl'ay?". Others are

guess what kind of "quirk" each guest possesses' The guests The party: one person plays the host. The host must assigned to them. For instance he may be a coffee pot' are required to assume tne ialntity or characteristi" ,."."tly guesses, "You are a coffee pot !"' Other quirks or The guest must pretend to be a pot until the host conectly "off"" objects' chara-cteristics may be professions, animals, or animated

is suggested' The performer must assume the lYhat am I ? : Asituation is suggested, then a type of character situation is first date. Character is a chiropractor' suggested identity ,o rJu" the suiiested conflict. For instance, on these jnterests' Seind charzcter is a lady u*t oouut" The actors must build a relationship

'ile the character of the worst person to be in ll/orld,s worst: A situation is suggesterl. performer must assume become the waiter and say or do the least that situation. For instance, the si;iation is in a iestaulant. You kosher, or cannibal tonight, sir? " ' appropriate thing possible in that situation. "Wa,s that

of only questions. No affirmative statements are allowed' An actor is euestions only.. T\edialogue must consist ,frtac"O if he misses a beat, or states a sentetrc€ that is not a question'

imaginative use for this prop' Props: The performers are given an unusual prop' They must display an

with the letter sequentially next from the last Alphabet Soap.. F,achperformer must cite one sentence beginning sentence. For instance: "An aardvark walked leisurely down the street'" "BY chance, t:t'vo ants saw hint'" "Choosing to avoid an untimely slurpy demise' they hid u:der a mans shoe'" ,,Dying ti know wher.e the aardtark had gone, one looked about him." "Eaten, he was the monrent he stuck his head out'" ,'Fintlitts bits of toose anltennie beflueen his teeth, the aardvark .." "',etc' DRAFT COPY 3/16/95 nage 1l Clownolow: A Course Outline. Copynght @ 1995 by Gary F. Mooney

Magic: Aagic is called the art of illusroz. This is indeed tnre. Illusion is designed to fool the audience. But, fmling the audiJnce is not enough. As an entertainer your mission is to entertain youl audience, that takes more than trickery.

Great magicians use better than 95oh psychologt: only 5Yo physical work at the most, A magician may practice a move or trick for months. However, real magic occurs in the mind of the observer, not in the magician's hand.

Magic is also a very secretive art. The course will include tricks, explanations and documentation that this syllabus will not disclose. Members of this class are sworn to not reveal any s€crets that they learn. This is a professional courtesy that all entertainers extend to one another'

Basic rope hicks, magic coloring book, mouth coils & streamersn simple card fficks, color changing scarf, & catalogs.

Types of magical settings: .SJ"gu magic: A stage show uses large stage props called illusions, and lavish sets. Stage magic requires a large stage with technical rigging and special lighting effects. This type of show is beyond the means of the av er age magic enthusiast. lhell known stage magicians include: David Copperfield, Doug Hennlngo Harry Blackstone Jr., Sigfried & Roy, Harry Houdini, Howard Thurston.

. platform magic: Platform magic utilize s tricks and effeAs that are large enough to be seen from a distance, yet small enough to be packed, stored and transported with ease. .Close.up magic: Close -up magic consists of tricks that ale performed intimately for just one person or a small gtoup gathered around the performer. Most card tricks and coin tricks fall into this category. .Table-hopplng: In restau-rants an entertainer moves fi'om table to table, entertaining the dinner gu.ests. .pocket magic: Tricks that are easily carried in your pockets. These are usually easy to set up and repeat.

Types of effects: . Productions: Making something appear - as if from nowhere. .Vanishes: Making an object disappear without atrace' . Penetrations: Two solid objects appear to go through each other. .Transformation: Causing one object appear to turn into something else. .Mentalism: Appearing to read another person's mind, or control their thoughts.

Types of tricks: .fef-working tricks: Tricks that use props with mechanisms gimmicked in a way that requires liule physical skill to perform. Other self-working tricks may be based on natural laws, or mathematical principles that the audience does not understand. . Sleight of hand: A skillful move intended to conceal a switch or deception. .Confederate assisted tricks: The effe-ct is accomplished by employinga shill, or secret confederate'

Traditional props: .Card tricks: Any trick using a deck of playing cards, or other type of cards. .Coin tricks: Any tricks in which coins are used. .Rope tricks: Tricks utilizing a length of rope. . SiIk scarves: Often used for color and misdirection. .Magic wand: A comfortable time-honored tool. .Livestock: Animals used in the routine for production or vanishes. Trained animals can have a greater role.

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Balloon Art: most lucrative' There are a small number of twist possibly the most popular clown skill and I have found it the a:rything the sculptor can imagine' techniques that allow a pencil balloon to be styled into

You can use a balloon pump' once you have mastered Inflating the balloon is a Herculean task for the beginner. yow breath control you may abandon the pump' is most difficult to start. once started the rest of the balloon Breath control: The first 1/4 inch of the balloon is the With one hand, hold it in place with your thumb and forefinger a heavy breeze. Place balloon between your lips. your lips' placeivertically on your lips. Pinch the balloon 112 inch from

talcum powder in the balloon that is hard on the lungs Do not inhale air jlom inside the balloon! There is a heavy uoi pr"u.nti the ballo

the way. Each twist you make displaces air in the balloon' Leave space at the end. Do not inflate the balloon all full, displaced air will force more pressure on the sides of the This air needs space to move to. If the balloon is too balloon until it PoPs. in the These balloons have sorne inherent risk lf one explodes Be brave and fearless. Yet, exercise some caution. The noise of an exploding balloon can startle or shock someone face it could fragment into the eye and cause injury. Temporary hearing damage may result if the balloon not expecting the bang. Their reaction may be'embatrassing' do's and don'ts with balloons' explodes too close to an ear. Here is a safety list of

DO: helps storage, but balloons cannot be used when cold' * Store balloons in a cool dry place. Refrigeration so - lo degrees. Extreme temperatures cause breakage' * Use balloons only at foom temperature, between * Avoid direct sunlight. lnfi'ared rays weaken the balloon walls' * Stretch balloon one time before inflating' or cup one hand to protect your eyes and hoid loose end' * wear protective glasses or goggles if inflating by mouth, guest or towardtheir torso NEVER TOWARD TliElR FACE! * Inflate the balloon in a safe direction, utuy fo- can squirt it at a guest's hair, but not in their face' * Let some air out of balloon before tying the eod. iou you only know a few' * Ask your guest what he/she wants. Give choices if * Develop a patter to say while twisting your sculptures' ,,Thank tave chance to thank you for the balloon gift' * Say you" to the guest befo& th"y a lib lines as an amusing "on l"' * For when a balloon ooeJpop (it happens) plan clever ad balloons' * Encourage a single file line for distribution of Then, show your pockets empty' - ar*y oo'iy balloons to complete your performance. "noGn DO NOT: on hot summer days, or near a heat duct' * Do not expose balloons to extl.eme heat, such as in a car balloon walls * Do not work in direct sunlight. lnfrared rays weaken the * Do not over-stretch the balloon' Once is enough' before completion' * Do not use old balloons if more than half are breaking ears' * Do not inflate a balloon closer that 20 inches to any body's body's eyes' * Do not inflate a balloon closer than i2 inches to a:ry ( Squirting toward the hair is O'K')' * Do not squirt air toward a guest's eyes, nose, or mouth. - for the lungs' * Do not inlale balloon powder' This heavy talc is bad thern' * Do not encourage vulgar requests' Substitute or ignore of squeaking balloons' * Do not perform for g;"rt. *io cannot tolerate the sound 'etn wanting more' * Do not overstay yow welcome' Always lcave

DRAFT COPY 3/16/95 Pase 13 Clownolow: A Course Outline. Copyright @ 1995 by Gary F' Mooney

TWISTS: Simple /wisr is just that. Twisting the balloon at least three half twists forming a fold in the balloon. Babble rpist is a small round bubble of about 1 inch or less' pinch twist or Esr twist is a bubble twist folded end to end making the balloon bend at a right angle. Apple twist pushes the knot up through the middle of the balloon where a twist holds it in place. the balloon. tiiernsl bubble is a bubble broken off inside the balloon. It is floating freely inside End twisf is an ear twisted about 12 times. When part of balloon is popped" this acts as a knot. Standing body is a four legged body standard for many animals' Sitting body is a standard postue of an animal sitting. Snlking body is a standard of an animal lying down, or in a Pounce position. Braiding is taking three balloons and braiding them together'

And with a little The most common requests I have found to be the sword, dog, teddy bear, giraffe and rabbit. imagination you can make almost anything from these balloons'

sculptures. There are many good books on the subject of balloon figures and animals. These demonstrate specific My belief is that creativity is the mother of invention, or something like that.

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Balancing: looks' The trick is to use a long item' watch the be an impressive feat' It is easier than it Batuncingan item can top' it is that easy' Balancing with Adjust thcbottom to remain underneath the very top of the item *r,lr"iui*"i"g. goal' while dotng the hoola-hoop is the ultimate both hands, on the forene-J-o,. norl" andieet Heauer bamboo poll' umbrella' and spinning ball used are the: broomstick, peacock feather' Items frequently physical sfi'ength' just as easily, but they require more objects llke a hat ,roni"uo"i"used

Juggling: to hold them' Thus' If you have nurnber of objects more than you have hands Jugglingis the act of manipulating a you must use only to be juggling' To juggle two objects you need a minimum.oriit"i the average two hands, "u:*ts jriggling, volley is over' There are three is call a volley. when you stop the one hand. The act of .luggling non-stop and numbers' for-t of in jugglitg" patterns' props "*p.rtise

PfOpS: -.-,- r^-r --^*. ,,"^,.1 h,, heoinners are silk scswes arrd hean bags. Theobjectsusedinjugglingareca||edprops.Standardpropsusedbybeginnersarcsilkscat,rubber or silicon' Other props used by jugglers use high bounce Uutts *aa" oitu" ft*afo"a lntemediate The adva[ced juggler may move on to juggling cluhs, rings, cigar boxes and rubbet chickens' intermediates are running chain saws and whatever the props such as ,*o,i,, bowling balls' more difficult or dangerous 'o"nes' imagination maY find at hand' juggled in different ways' Other standard props are traditionally is powered by a string stretched like a yo-yo with no string attached. It The diubro is a fiee flying top that works sticks in the juggler's hands' between two bouncing it from right to left' hand held sricks that control a third stick, Devil sticks-. o1-*o making a clacking "o*porld w.c. Fields. Shuffling and sandwiching cigar boxes cigar Boxes *.r".nui" iu-ou, comedian noise with each move.

Patterns: Standard Patterns are sometimes also called /ricfts' foom the direction you toss each prop' Patternsevolve patterns are possible with three objects' cascadeuno tnl ,noi"r. More advaneed patterns ar.e the chin grah' brnrnd the back, unier the leg' U-motion' onesy-ttrosy,"orroa"Jirrse illusion, noun""r., like the chop, "tui, others' bounce, arm spin' Ieg spin' neck spin and forehead drop, biting, knee Numbers: Tltenumbersjuggleraddsmoreitemsintohisbasicpattem-Threeobjects,:T:T*:::,-iejuggler.Fivei1"*1*q"lt:t,.1ffat deal of overhead and more is-phenomenai ! Iuggling -yv objects is expert, s.;;;;" for the extra items used in the volley' high is rrr" way to -uk. -o.. time height for high throwsi'irrr"*"g ""rv Flourishes: of the volley' Also referred to as a trick' A fancy or flashy display, not a normal part

Stealing: -:-,- :.:^ otnnriao the volley'vollev. TThis can be fonned into without iutemrption it is called^^11^A stealing the when a partner takes over your volley develop a rapport' Also called take-away' an impressive.outio"-iitn" iu*""

Passing: Passingpropsbetweenpct{omersisimpressive'Iftwojugglersstartrviththreepropseach,thenallsixpropscan"i'r" any prop can be putt"*r. traditionalpassing tool is the club' However' be passed back and tor*r ln different jugglers in aformation volley' passing pattems .uo ur"o*,irodate mole passed with adequate practice_ Different

DRAFT COPY 3/16/95 Paee 15 Clowngloey: A Course Outllne. CopFight @ 1995 by Gary F Mooney

Gags: the monotony of a purely Ofti, gags are used to inject humor into a juggling routine. These sight gags break up a whiskey bottle or skills oriJnted display of deierity. Sometimes a gag prop is used, such as the rubber chicken, joke' the jugglers o*o rho". Sometimes the gag is a bit of patter in the form of a hilarious

juggler by a When dropped, this ball . Ball on a string is a popular gag where a tennis ball is fastened to the string. will swing between the legs and back into the volley' juggler who threw it. . Reyerse spin ona high bounce ball will cause it to "boomerang" back to the .Two-tonpropisagood,,out, fotadroponstage. whenyoupickupthepropyoupantomimeextremeweight' into the air' you strain to pick it up, but it is just too heary. Finally you give up trying, the prop flies high in hospital shows. . phony body parts can shock, and sometimes disturb audience members, and should not be used .plungers *i u gugitem that "suck". A juggler could overdose and "plunge to his death !"' . Rubber weapons thal are obviously fake can still be passed off as gag items' into your pattern' . Drop/bounce is when you throw a high bounce ball at the g'ound and it bounces back few times this thud- .nrip/thud is a soft cored ball that does not bounce. Ifthe audience has seen a ball bounce a ball will be a suPrise to them. Equilibristics & Vaulting: vaulting and Rudimentary acrobutic balancing *o*r such as head-stands, hand stands, are called equilibristics. jumping are ielated to this balancing skill. Equipment used for this art includes:

.Unicycle: A one wheeled apparatus with pedals and a seat' .Rola-bola: A board resting on a cylinder. One must balance on top of this apparatus. . Stilts: Stilt walking fails into this balance keeping category' .Rolling Globe: A giant ball. The performer balances atop' . Pogo-stick: A spring loaded pole the performer jumps on repeatedly' the room still on top. . Unsupported ladder: performer balances atop a 5 foot ladder and walks it across .Trampoline: A mat stretched betweeu strong springs to produce high bounces fiom the performer. . Slack-rope/Tight-rope: A rope stretched between two points the performer balances atop of. tricks. .Sway pote: A long pole, often taller than2} feet. The performer does headstands, hand stands and other .Human pyramids/Human columns: Acts where one performer balances atop of another.

Routines: You may start Skill is impoftant and impressive, but to make an enterlaining act you need to develop aroutine. music is not available, you may with music, then do your fivorite juggling tricks to the rhythm of that music. If develop patter, or a monologue to work with your tricks' practicing' If you have enough tricks Length is important. If you can't fill 2 minutes with different pattems - keep impressing yourself' to last 20 minutes -- yorriroutine had better hold their attention or you are only

Build it up with a your juggling routine should have the same vedty as any good drama. Start off slow and sure' Then, tie it up with a finale' combination of arnazingdexterity and goofy gugr io the point of a phenomenal climax.

DRAFT COPY 3/16/95 Paee 16 Mooney Clownolog.v: A Course Outline' Copyright @ 1995 by Gary F Theatrical Make-uP, the actor be seen by an audience, so far away ' Make-ap is how Every4hing on stage must be made larger than life to Greek theater used masks we use base' eyeliner' exaggerates his appearance to be recognized by an audience. We also use sccessories like wigs' eyeglasses hightighters andpowderto create u uniqrr" look for the performer' costumes' u"A ji*ary,to be covered under the category of

Cosmetic Make-uP: setfings' Use by men is mostly discouraged cosmeticsare commonly ur"a by women and girls in every day social in supermarkets, drug stores, department,stores and discount unless for medicai ."uronr. Cosmetics are availible cosmetic use should be subtle' and may not be easily stores. cosmetics are meant only to accent ones features. noticed. Theatrical Make-uP Technique as cosmetics' except for a lack of subtlety Men require Application of theatr rcal ,,'u[-up is fundarnentally the same found in special theatrical suppiy houses' and costume shoppes' make up the same as women. Theatrical makeup is

Thepointofusingabaseintheateristocreateapigment,orcglolshade,thatcanbewellseenunderartificial light, it will appear pale and sickly under these lights' lighting conditions, great distance. If theialce is too "r;;; invisible. nigntigntt,or other fcatures are greatly exaggerated If the face is too dark, then facial expression will be for better clarity at a long distance'

face: Cleanse the the as well as to prevent contamination that may affect Cleaning the face is important to maintain good' hygiene, cause skin irritation, acne' or the d'eaded "black-heads"' application of your desifn. Failing to frst J"*t" tiuy as: old make-up' of makeup. other contaminants can also be detrimental' such oily skin can effcct the appiication your form of dirt or debris' To cleanse I recommend using loose facial hair, chunks of fooO or crumbs, or any othcr favoritc soap, and water. Dry your skin before continuing'

creams tend.to be oily' They may build up and actually I do not recommend.,fa ciul creams for cleansing. Facial a dry skin condition, only after cleansing' clog the pores. Facial creams are a good remedy for

Tying back Your hair: ideally, a hair net should eliminate this problem' If you have long harr it will get in the way of make-up application. I commonly use a long balloon tied uiro accomplished *it1, u tl-pi" elastic hair band' Tying back the harr -ry i" qutte Rubber bands tcnd to snare the hair' and can be off like a rubber band, though I would not recommend it' painfirl.

Applying Base: your face. It is applied to all exposed skin' Theatrical bases and Your baseis the bofiom layer, or foundationof formulas' Typically, they are made from the basic foundations comc rn ,nuny *a *" made wiih different "ln.r, Each has its own benefits and limitatiotts' ingredients called either g rease paint ot water bqsed'

foundation: Water Based removed with a damp sponge. Water based make-up is easily This formula is water soluble. It is easily applied with However. wtterbased makeup will run if made wet' This can soap and water, making other solvents unnecessary. Water based makeup is crying, or the spilling of liquid, including beverages' be caused by rain, sweating, "ny packaged in tubes, and in cakes'

Grease Paint: preparation than water based' but I is more durable when properly applied. It takes firore Grease Psint makeup Then ttuoa, or with a dry sponge (water and oil don't mix)' think it is worth the efTort. Applicatron -uy u" -ua. uy prevent smudging' it must bc set with powder to removg thc shine and

DRAFT COPY 3/16/95 vase r7 Clownolosy: A Course Outline' Copyright @ 1995 by Gary F' Mooney your-hands' This softens the compound' and warm the makeup with friction by rubbing it vigorously between cold state the makeup may streak, or clot into flakes makes it easy to apply evenly. If grease paint is a-pplied in a once set.

you should remove the base on this area using cheesecloth' If large areas are to have another color or an appliance,

Powder Sock: powder is applie-d from inside a cotton sock' Put the powder Setting makeup is done tl/lth a powdered tulc. This powder p".*.ut"t through the cloth. Now shake the sock in contents into the sock, then beai the sock until the may be made' Be careful not to use a dirty sock that front of the face, touching it lightly at first. fnen futt contact -Be you need to prevent sticky or tacky spots' will mark your makeup. liberal with the powder. Use more than to inhale. powder only in well-ventilated a'eas. ventitqtion is vnportant t ralcum powder is heary, and it is bad

Powder Puff: as to how you apply power' An altemative to the powder sock. It is the performer's preference

Powder Brush: powder may cake and flake if not removed' After brushing' Brush away excess powder with a soft brush. Excess that spot, brush it and repeat until it is gently touch all parts ofyour face. If a spot is still tacky then re-powder smooth to the touch'

Liner Brush: for making thin, fine lines' Thefine line brush is a small thin tipped paint brush used

Eyeliner Pencil: Pencils ale easier to use and store than brushes' Pencils The eyeliner pencil has a soft core of pigmented makeup. versu's pencil is by personal preference' require easier cleaning. The choice between usage of a brush

Sponge: Larger sponges are used to apply a base foundation' A spongeis used to blend one pigment over another.

Color Stick: in. Thgy mav be in a thick cylinder or be crayon sizea' color sticksare the containers that some grease paints come grushes may be used with ail to dilute this pigment on a stick' Sticks are often applied directiy to the skin.

Blush: brush. Usually very subtle in application' blush Blush isa powder based pigment applied with a special applicator adds color and defines the cheek bones'

Rouge: lips' noule is a reddish iiquid for coloring the cheeks and

Crow's Feet: of the eyes, adding an illusion of age ' crow,s feet arr line s extending beyond the sides

Live Eye: it uppermost sulface, above the lashes' This emphasizes Live eyeis the technique of darkening the lower eyelid on the outline of the actual eYe'

Appliance: might include a mole, a tattoo decal' phony nose' false Any item that is glued to the face is an appliance. This mustache or Pre-assembled beard'

False Lashes: te the eyes' Artijlcial eyelashes are'"o oftenn*en gluedo'rerl in placenlace ito enhance and accentua

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Nose PuttY: Noseputtyisawaxygumthatisusedtofilloutfeatures'likeabrokennose,fatlip,orawart.Materialusedfor wqx' this purposl is also called scsr wsx' or mortician's

Liquid Latex: when it sets' the latex retains it shape' It isa form of rubber that is made into fluid for application' Liquid latex an appliance and are'appiieO to it.' At this point the dry latex becomes also retains any crepe hair or appliances tf,at can be re-attached with spirit gum'

Spirit Gum: to the skin' ipirft gam is a glue used to attach appliances directly

Crepe Hair: natural hair. It is stored in a braided state' many naturar hair colors and blends with an actor's crepe hairis made in spirit hair for sideb*rns and beards' crepe hair is applied with when pressed or steamed, it is convincing as facial gum, or by liquid latex.

Glitter, or Sparkles: Glittermaybeappliedasapartofone,smakeup.CommoninclownfacesmorethaninStagemakeup. make-up: Removing whatever "No tears" baby shampoo is the rnost popular' I use shampoois the best solvent to remov! your face. hairshampoolhaveathand.Apply*esr,a.npoobypattingitintoyourface.Letitsoakinforatleasttwominutes,all traces of with water. Releat this process until you have removed then wipe with a clean rag. Rinse your face your make-uP.

and greasy. cold cream smear the make-up be used for make-up removal, but it is messy 1e1ds 1o cold creamcan has the same limitations' based make-up remover is expensive' and and does not rinse wlttt water. ienoieum "t"ao with the same properties as cold cream. vegetable vegetabteail is another effective arternative. This is inexpensive good salad bar' oit ritt also leave your face smelling as fresh as a

Face Painting: home. A reminder, if you will' parents love to see tbe something that the kids can take Kids love to see the clown. have a Parents pay, sometimes exfiavagant arnounts' to of the event. That is the success behindface-painting. cloun leave their mark on a child's cheek or am'

Ipreferwaterbasedpigmentsforface-Painting'Theyare.easiertowash'andhavelesschanceofallergicreac'tions'individuals' fhese ingredients gan cause allergic reactions in certain Some grease paint, ar"-bared on animaffats. a doctor' "Q-tips" make adequate brushes' Think of yowself as Keep clean water and clean brushes. Disposable your painting palettes sbould be' Note that in some giving each new child an inoculation. Tha-t is fto* t*ii" communitiestherearehealthcodelawsthatregulateface-painting'.'really.

and name your price' Have a sign menu postd with your favorite designs

DRAFT COPY 3/16/95 naee 19 Clownoloq.v: A Course Outline' Copyrighl @ 1995 by Gary F- Mooney Discerning your audience: Each \\4rat is appropriate in a nursing home, or a nursery school? Obviously these groups are vastly diverse' audience is different, even within the same age g'oup'

person may be offended A joke that one person finds hysterically funny may only confuse a second person. A third by iuch a cornment. These are the sensitivities that this chapter will cover'

adolescent; teen age; I have selected eight categories ofaudiences that I perform for: Pre-school; elemcntary; young adult; mafure; nostaigic; a-nd family. Each has a different set of "do's and don'ts" .

Pre-schoolers: Pre-schoolers pre-school children are sponges for new knowledge and experiences. Everything to them is new' is wasted on them' know only their needs, iottin"tr. Pre-schooiers have no pre-conceptions, therefore magic "od you The audience first has Magic is iesigned to fool the audience. cannot fool if the audience has no expectations. to learn the difference between possible and impossible before illusions can amaza

a leams is: pre-schoolers are frequently frightened by white face clowns. I believe it is because the first thing baby face destroys the first firm ,,This is what mommy and daddy look like, and I am just like them." Then, the white innocent souls: convicfion they have developedin their young life! ln the business we call these ffightened, "screamers". The only thing a clown can do is to keep his distance'

more "normal" looking face I When I schedule a pre-school show I choose a "character" type clown. By using a rest join in' Screaming is find fewer screamers in the crowd. If one kid starts screaming, you can bet the will contagious in this age group' so you want to avoid spooking these kids'

good. Music routines are excellent A lot of color and movement is appropriate for this age. Juggling with silks is Try playing active games like for this age group. Sing alongs u.. u go"d way to hold the attention of pre-schoolers. "Simon says", or musical chairs.

kids this age will not Be tuctile. Hand out props that the kids can touch an feel. Remember, though, that let go, hand him automaticaliy giue something back. lf a child becomes too attached to your prop and wont something eise that he can keep. Kids will usually make this kind of trade.

Primary and Elementary: an intellect. These kids At this age level the chili tras acquircd the senses of doubt and wants. They are developing eager to leam' They will yield to have a of reality versus fantasy. At the elementary level children are still "oo-""pt their intellect. authority und b"li"u" almost anything. They may doubt, but imagination can replace

gags that a child might imitate and children this age ar-e imitative. If they see it, they will try it. Avoid any tricks or a child might imitate. Children do stupid things. be harmed. No firel No real knifes! No "death deftins stunts" that child often does not know' Clowns also do stupid things The difference is, a clown knows what is stupid. The

always ready for the Magic is appropriate for the primary/clementary audience. Their developing intellect is they try to figure out cballenge. Fi.rtltr.y try to anticipate wtrat will the clown do next. When the magic happens is to tbrow the qucstion how it was done. Tbey muy nug you to tell how you did a triek. The way I deal with this I make my escape' right back at the child. I asl, "ftow would you have done it?" While they are thinking,

to their intellect Language skills aredeveioping in the elementary audience. The use of ftgurative language appeals . Simile: He was as big as a blimp, and bad just as much gas' .Metaphor: He is an elephant' Big ears and he never forgets' .Overstatement: He has all the money there is in the whole universe! I guess I . Understatement: A double chocolate peppermint swirl hot fudge sundae with nuts and whip cream!! I iike it a little. . personilication: My bicycle rode mc home. or, The tree sang a song. .Allusion: He danced like Barisnacov. .Double entendre, Homonyms or the Pun: We saw neigh a knight last night'

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bad, if they remember you, they will emulate you' If you will have a lasting effect on kids at this level. Good or not at its best' they don't remember you, yolll'performance was

Adolescent: ever have' adolescents are the most challenging audience you will Let,s enter a performer's HELLI ...not really. But,

have gained enough seif-confidence to ,,challenge" is the word. At this age, about sixth to eighth gtade, children will get show-offs who try to steal the focus of your audience' challenge authodty. You will get hicklzrs. .You The besl way to deal with these antagonists is to:

A. Ignore them, or, B. Beat their challenge'

must be so excellent at what you do tlat your one way to overcome the adolescent's challenge' You There is only props, he will be adolescent sees-a dazzling display ofjuggling five supreme skill puts him in his place. After the embarrassed to attempt the feat' "good guy"' If you have won the audience as you can not act as disciplinarian' You have to stay the As a perfbrmer do is stop The audience wants to see your show' A11 you need to a whole, use peer pressure to quiet the heckler. that you cannot continue under these conditions, and thank your performuo".. o,ri"ilu to the entire audience "*ptuio off stage' in"* fo. their attentioo. E.n, politely pick up your bag' and walk

Dothis,anclyorrraudiencewillllnchthathecklerbeforeyouleavethestage. control' you are adding fuel to the fire and it will easily burn out of Never try to shout down an adolescent heckler. an exercise is actually healthy if it does not disrupt an you may indulge in a battle of wits after the show. Such powerful penonality as your fiiend and ally' ongoing perforrnance. This is a good way to acquire a in performing arts' They have a great deal of energy' Ironicaliy, this is the best age level to begin teaching students to help-others and to build tangible tbings. They seek and no real ambition, i, ,p"io it on. The;e uat ."iug"r began to juggie' recognition, and accomplitn-"nt. This is the age I frst

If you are booked into a high to deal with their new found feerings and emotions. T::;_i;J:, are busy trying pride or Use more real dramathan straight humor. Romance, school, remember to elicit in emotionql response. and you will have a winning show' jeaiousy make a good theme. Tie romance in with achievement

the DMV' ...the dean's office' These are that the audience would recognize. Going to the bank, Deal in situations license' rJcognize the-frustration of waiting in line for your driver's situations that a teen coutJ relate to. They wi[ If they haven't already done it, they soon will' presentation' This age audience is very have a positive therne follow throughout youl Explore differentJ'eetingsand a an interesting path' The key here is to stay with central cerebral. They will follow you if you take them down you' theme. If you perform musically, this is a good outlet for

your skill is your only asset' Clown faces are not well received here' Again'

are less adversarial, with few exceptions' They workshopsat this level is a fun challenge. The students. Teaching intellectual comedy' and draria. Sometimes they can even appreciate are very motivated in itre ,toay of theater,

or he is planning the cours-e of and diversion. He is looking for the meaning of life, "ffJffif;f,hil"rfi: ;3;"r", and free' toll on the-psyche' so the young aduit show can get wild the universe. Such an awesome task takes u rr*..y Let it all hang out, within good taste' hire a Dinner clubs might hire a magician to perform' They may close-up magic is a good diversion for this group. is good' Make sure you have a curlent reperloire' motivational speaker For a club or organization. i4usi"

DRAFT COPY 3/16/95 Pase 21 Clownolory: A Course Outline' Copynght @ 1995 by Gary F Mooney

Mature: some sort of security' Some ,,Man.ied with children al home" is how I describe this group. These folks seek can reassule them that they are o'k' Their problems are assurance that they will make it through tomorrow. You for this group are "top 40'classie nothing compared to this... Then, do a stand-up routine. Musical standards oldies".

Nostalgic: These wonderfirl people are so happy Eventually you may perform for a nursing home or shelter for the elderly. repertoire of oldies music from the early 20th for the company tbey will accept anything you do with love. I keep a century for sing alongsjust for this occasion'

Perhaps a physicatly impaired. may not see too w-e11. Althitis may immobilize them' Many of the elderly we -The -They pre-school here for bright colors and lots of motion' Just don't person is hard or n.*nilot deaf. rules of apply Lxpect this audience to get out oftheir seats, or wheel chairs'

live tap dancing, magicians, jugglers, Many of these folks remember the old Yaudeville circuit. This was when theil youth in such a tangible way gives you' the musicians and mimes *outa upp"* on stage nightly. Recalling performer, an angelic demeanor in their eyes'

-- in her 90's -- who asked me to dance a wallz' One incident I will always remembet, thet'e was an elderly lady me dancing all night, except my partner insisted that I help him Naturally, I accepted her offer. She might have kept^help needed his, and I thanked him once we were in the take down sound gear. He did not really need my - but I car.

Family: Keep this in mind when routining a family show' one family may include members of three generations, or mofe' will be offended. Gear it toward the elementary lf you design your routines for the 4-yearolds, then the elementary agers, you will lose the attention of the younger kids -- teen-agers will be bored out oithe minds. Gear it toward teen members.

that you lose any part of your audience' Do short bits, something for eyeryone; no one routine so long

Everybody want's to see little Billy when the Ask for volunteers. Audience participation will keep their attention. Mom and Dad all have a common intsrest magician cuts off his arm with tfre "magic arm choppei'. Brothers, sisters, preschoolers may believe that Billy is in real danger, and start to in seeing this little brat shed blood! (Remember that in your choice of tricks' scream. This is not funny to the traumatized child.) Use discretion

love to see Dad in a situation out of control' if Try making t,,e parentshuman. Use parents as volunteers. Kids will just for a couPle rmnut€s.

your name?" and "Are you young?" These are easy lnteract with the audicnce. Ask lots of questions, like "what's not answer, say: "Thank you' Now who's next'" Do questions, but somettmes the pressure is gfeat. If a child does this child will approach you after the show and not further traumatize the silent child by forcing an answer. Usually talk your ear off, without an audience watching'

You must work harder to keep their attention' and this The teen-agers in the palty wili often wander off. L,et them. your show. Do the best job you can with those who would jeopardize the younger audience. It is their loss to miss remaln.

Dn/lFT COPY 3/16D5 Paee 22 Clownoloqv: A Course Outline' Copyright @ 1995 by Gary F Mooney Marketing: law of su-pply, and demand' If you are the only clown in a Making money at entertaining follorn's understanding the If, bowever, every church in the area sponsors it's four.county area the chances aie good you wili get ttt-e business.- take away fiom your earnings. own clowi ally, thenthe large supply of clo'ins will

-- just like real estate' A clown who has no poorly trained clowns wiil lessen the value of all clowns in an area ail clowns' A client who hires a $ 1 0 per hour poor rnake-up and cheap price can leave a bad impression of training, If the client be worth the $ i 25 that I now ask for a home party' amateur may be unrmpressed. Your shorv may well ,,that may equate your price wrth their performance' still remembers last clown!" unfavorably, he or she

Beforeyoucanbereadyyoumustbegood.Youmustsay,.'Iamworth$200pershowonabaddav!''withaclear guilty, you may be ready, or delusional' I will assume you have conscience. If you can say that without feeling learned your lessons lvell.

Clients: is yoru' boss in that he tells you where to be' and when' The person who gives you money is the client. The client representsihe interests of the people in your audience' lfyou He sets the condition, ofyo* ort. The client "oit rewards -- the repeat engogementl The happy client the client you may receive the most coveted of all can impress stutters. pass out your phone number like a bingo-caller with the will be your best form of advenising. He/she will

money and run' if the client is not impressed you can only take the

Who are Potential clients? only one birthday a ycar. If you find one family . parents of small children are first on the list. But each child has get really tired of your old material' with 52 children, that,s one show a week. And they would

here can make a career last for a long time' . Day-care centerso Elementary schools. A good showing

the social planning committee for any . corporation picnics and family parties. Knowing an inside contact on company will give you the inside track on this one'

promotion, or just refer your name to clients for parties' . Restaurants *ray consider having a clown for a general

get lucky' It is a good public selice to .Hospitals generally do not pay for services' but sometimes you may ally' donate time through a local civic organization or clown

programs' .Hotels are often seeking entertainers to participate in activity

public facilities' .parks and recreation services hire performers for events in

welcome capable & qualified clowns with open .circuses -- There are about a dozen traveling circuses that will afins.

Agents: V[ry would I want to use an ugent? Here are some good reasons'

client base' 1 . Agents already have a strong wealthy and importanl corporate clients' 2. Onegood agent can supply ill the tal"nt for several are listed in the yellow pages under enterlainment agencies' 3. Agents spend therr o*n -on"y on advertising. They for your contraats' 4. Aients are good at negotiating prices and other terms to your aftention 5. Alents oft"n hear insiie marketingtips that would never come You represeut that agent work for you treat him faitly. The good agent deserves bis feet' wben an agent scouts out tell to, you. pnoo" nu-b"t, thank him for the compliment' Then when you go on his 1ob. If the asent'i client urt , him to cail the agent! The agent will then call you'

DL4FT COPY 3/16/95 otse23 Clownoloe.v: A Course Outline. Coppight @ 1995 by Gary F Mooney

If you share the stage with other entertainers An agent may offer your services as part of a much larger package. will get you black-halted with your agent, and is remember stage etiquette. Do not uosiaee other performeril rhis disgrace to all clowns who are PROFESSIONAL'

agent to handle all their business, Exclusive representation -- AVOID THIS TRAp! The big name stars need one Rernember, the agent that books you o"",tr You should be able to contract through any agent, or book directly. v"" him over! i, yo*. lifeline to more work. Pay him fairly. Don't steal his leads. Do not screw

Bad agents: a nightmare -- and in my humble opinion there are more Just as a good agent can be a Godsend, a bad agent can be an agent: bad agenis than good. Things to be leery of when dealing with

"The client has not paid me yet'" payment on delivery of services. Some agents will delay payment with the excuse pay their talent ftom until the client's check Reputable agents get their money up-ffont, or have u ,"t.iut fund to clears.

of what you are getting' standard Bilking the client is when the agent charges the client an amount far in excess $300 for yslll services, and you receive only agent fees range from l0% to :ox. tr*re agent is charging the client $50 sornething is wrong. if you get work, or not' They il'e mostly Lazy agents usually have some other source of income and don't really care harmless, but don't expect any work from them' OUT. Don't explain why, just GET OUT! Casting couch -- if you feel at all uncomforlable with an agent -- GET quickly. clients don't know it' but other check with other perlbrmers. Bad agents get bad reputations very enter-tainers will avoid a bad agent, and gladly caution the uninitiated. Contracts: other. lhese are called contracts' Tltey llritten agreementsare used to clarify what each parry expects from the of agreemenl -- or contract -- will state concisely are meant to avoid miscommunication and confusion. A letter provide for you' what you will do for the client. It will also state what the client will

Your contract should include the following information: .Your name .The name of the client .The date and time to begin your performance' .The location of the performance. .The length of dme you are to perform' .The number of perfotmances if more than one' .A general description ofyour performance, such as: 4uu rv.r "magie CIOWn tO Create balloon SCUIptUIeS ano pass uut ulUrrruuuuor Srrrr receive' This is yout . Statement of co*pensation l- or, how much money you are to fee' or barter arangsment' 'Method of pa1'ment. Is it by check, cash system, or toys that you pass out? . Materials provided by the client or the talent. Who provides the sound he provide transportation? . other compensation. Does the client provide a meal or lodging? Does

down on paper there will be no confusion on the day These things should be agreed to in advance. If they are wlitten of the show.

or handled separately' This is between you and the agent' Note. Agent fees may be a parl of the contract,

Dh4FT COPY 3/16/95 Pase 24 Clownology: A Course Outline. Copy'ight O 1995 by Gary F Mooney

Price: mistake. They under price themselves ,,What is my show worth?" This is where most pedormers make their biggest listen up! and spoil the market for everyone. Here is how fair market value works -

government offered you $5,000 a 1i2 hour to your show is worth the best price you can get. If the United States The reason most clowns make small clown for the White House's nurt.ifgg Hunt pafty -- would you be worth it? "No" that they dont ask a fair price for money is because they ask for small ."on"y. They are so afraid of hearing their skills.

,,How that this ain't Fort Knox you're A parent asks, gruch do you chareg?" The dreaded question. You know You don't want to hear the client say "No " talking to. you *uot toiffililple ,rrrile and laugh and be happy.

price. You may find that clients How much do you think your show is rvorth? Double it. That's a good starting lot of money^ but I know you are worth ft'" will give an added ualue to your performance. If the client says, "That's a | still come down in price' But don't you,i" hit the jackpot. He may iay "That's too much money " -- you can compromise below a minimum Price'

raise you $50 ?" Accept what the client Remember, a client will never say, "You are not expensive enough, can I high, then negotiate. can well afford. Be fair. Don't bilk the client. You have a right to start Minimum Price: received These shows don't come I do not consider a show for less than $50' For a one hour show I have $800' to travel to find it' I have friends and often, and they don't come to you. For the really big money you need plus travel expenses' colleagues who do corporate demonsffations that price in the $ thousands, Mailing list: Send postcatds to them periodically' Keep a record of your clients, and the agent who booked you with them. perform again at their request' The word Thank thsm for using you in the past. Remind them that you are ready to of mouth advertising will be amazingif you just prime the pump a liule'

Taxes: oftax burden Enough said' I As aself-employed, independent contra(toryouhavethe additional blessing (CPA) for this one' There are some would recommend that you consult your favorite certilied puhlk accountant things that boggle even this jugglers mind.

DR/lFT COPY 3/16/95 Page 25 Mooney Clownoloey: A Course Outline' Copynght @ 1995 by Gary F

cause and effect,T INDEX certified public accountant (CPA), 25 character, 3 chalacter clown, 5 accessories, 3,4, l7 character eYeglasses, 4 accompanimsnt,5 cheesecloth, l8 aqobatic,4, 16 Children's Television Workshop, 10 acrobatics, 3 chin grab' 15 adolescent,2l choP,15 adult show, 8 cigarboxes, l5 advertising, 23, 25 circus skills, 3 agent fees, 24 circuses, 23 agents, 23 Clarabel, 6 allergic reactions, 19 classic oldies, 22 allusion, 20 claw, 15 appliance,18 client base, 23 arm spin, 15 clients, 23 artifi cial eyelashes, 1 8 climax,4,5 attitude, 3 close-uP magtrc, 12 attitudes, I I clown allY,23 audience P articiP ation, 22 clown in drag, 3 auguste,6 clubs, l5 auguste clown, 6 coin tricks, 12 coincidence, 7 balancing, l5 cold cream, 19 ball on a string, 16 color sticks, l8 Ball, Lucille, 5 comedic devices, 7 balloon Art, 13 confederate, 12 balloon pumP, 13 consequences,5 Balloon sculPture, 3 contract, 23 balloons, 14 contracts, 24 bamboo poll, 15 CoPPerfield, Davjd, 12 base, l7 corporate clients, 23 bean bags, 15 cosmetics, l7 behind the back, 15 costume, 3 Berky, Bob,6 cotton sock, 18 bilking,24 craYon,18 biting,15 crePehair, 19 black-balled,24 crow's feet' 18 Blackstone Harry h., 12 Crystal, BillY' 5 blush, 18 boatd maneuver, 8 dance,3 body language,6 daY-care centers, 23 bounces, l5 denial, T Bozo the Clown, 6 devil sticks, 15 breath control, 13 diablo, 15 briefcase,4 disabled' 3 broomstick, 15 disappointment and gratifi cation, 7 build-up,4 disculing audience, 20 bump,8 Your disciPlin,2i Burke, Delta, 5 double entendre' 20 buttons, 4 drama, 2l droP'/bounce, 16 card tricks, 12 droPlthud, 16 caricature, 5 dumb,6 Carson, JohnnY, 5 Carvey, Dana,,5 ear grab, 8 cascade, 15 effects, I 2 casting couch,24 DRAFT COPY 3/16/95 Pase26 Clownoloqy: A Course Outline. Copynght @ 1995 by Gary F Mooney

Henning, Doug, 12 egg-head,6 Henson, Jim, l0 Elders, Dr. JoYcelYn, 5 highlighters, 17 elementary,20,22 highlights, 17 elementary schools, 23 hit the boards, 8 emotion,3 emotional resPonse,2l hobo,9 homonYms,20 ensemble, 11 hospitals,23 equilibristics,3, 16 hotels, 23 Erckle, Steve, 5, 7 Houdini, }Jwry,12 establishing scene,5 human columns, 16 exclusive rePresentation, 24 human 16 eye poke, 8 PYramids, 17 eyeglasses,4, l7 hYgiene, eyeliner, 17 illusion, 12, 15 eyeliner pencil, 18 imPression, 5 impressionists, 5 face slap, 8 imProvisation' 5, 1l face-painting, 19 imProvising 9 facial creams, 17 ProPs, indePendent contractor, 25 facial expressions,6 introduction,5 failure and success, 7 inventing 9 fake beards, 4 ProPs, falselashes, l8 Lou, 6 false nose, 4 Jacobs, jewelry,4, 17 familiar stranger, 7 juggling,3, 15 family,22 fanny swat, 8 KellY, Emmitt,6 Father Guido Sarducci, 5 KellY, Emmitt Jr.,6 fee, 23, 24 3, 5 feelings,6,2l KeYstone CoP, knee bouce, 15 fiberglass, 9 figurative language, 20 language finale, 4, 5 body,6 fine line brush, l8 foreign,3 flourishes, 15 10 foam rubber, 9 PuPPet, skills' 20 focus,5 language latex, 19 forehead drop, 15 agents,24 forgotten conflict, 7 lazl leg sPin, 15 formation, 15 letter of agreement.24 foundation, lT liner brush, 18 frozen pose, 3 liquid latex. 19 gags,6, 7,8,16,20 Little, Rich, 5 live eYe, 18 glitter, 19 livestock, 12 globe, 16 (iorshen,Frank, 5 maglc, 12 grease Paint, 17 magic wand" 12 groin shot, 8 mailing list,25 gut shot, 8 make'uP' 17 Marceau, Marcel, 6 hair band, 17 marionette, l0 . hair net, 1 7 marketing,23 hand stands, l6 Marx brothers, 5 handbags, 4 ba|,3,4,9 Marx, Groucho, 5 masks,6 hat stand, 15 matare,22 head-stands, 16 McGee, Fibber, T hecklers,21 DRAFT COPY 3/16/95 Pase 27 Clownology: A Coune outline- Copyright @ 1995 by Gary F Mooney

practical joke, 6 msntalism, 12 metaphor,20 Pratfalls, 8 9 mime,6 Pre-constructed ProPs, 20 minimum pice,25 Pre-schoolers, soundtrack, 10 moDologue, 16 Prerecorded mortician's wax, 19 Pice,25 muppets, 10 PrirmzrY,20 conflict, 5 music, 16,22 primary musical,3 Productions, 12 musical background, 5 properfy,9 props,9, 15 12 nea.r miss, 7, 8 PsYchologY, 13 neck spin, 15 PumP, negotiating,23 pumps,3 nose grab, 8 Pun,20 10 nose putty, 19 PuPPets, 4 nostalgic,22 purses, numbers, 15 23 numbersjuggler, 15 recreatton services' repeat engagement,23 nursing hame,22 resolution,5 resolve, 5 objective, 5 restaurants, 23 oil, 18 15 oldies, 22 reverse cascade, sPin, 16 onesy-twosy, 15 reverse 16 open question ending, 5 rhythm,5,8, rings, 15 out, 13, 16 over-importance, 7 robot, 10 16 overstatement, 20 rola-bola, RollingGlobe,16 pantomime,3,6 Ronald McDonald,6 papier-m6ch6,9 roPe tricks, 12 parenrs,22,23 rouge,18 parks,23 routines,3,4,5,7.22 parties, 23 children's,20 juggling, 15, 16 passing, 15 palter, 16 stand-rry,22 patterns, 15 rouining,4,22 chickens' 15 peacock feather, 15 rubber weaPons, 16 pencil balloon, 13 rubber gag,7 penetrations, 12 running personification, 20 phony body parts, 16 Salvation ArmY,4 19 physically imPait ed" 22 scar wax, picnics, 23 scarves, l5 20 pigment, 17 screarners. 25 Plaster of Paris,9 self-emPloYed, tricks, I 2 plate spinning, 3 self-working platform magic,12 set-up, 5 19 plot complications, 5 shamPoo, 12 plungers, 16 shill, 15 pocket magtrc, 12 shower, & RoY, 12 pogo-stick, 16 Sigfried gag,7 postcards, 25 sight gags, 16 powder, 17 sight 12, 15 powder brush, 18 silk scarves, powderpufl 18 simile,20 powdersock, l8 situation, 1l Red, 6 powdered talc, see talcum Powder, 18 Skelton, DRA.FT COPY 3/16/95 Pase 28 Clownolog.v: A Course Outline. Copyrieht @ 1995 by Gary F' Mooney skill and arnzingdexteritY, 7 ten ton weight, 8 Howard, 12 slack-r'ope, 16 Thurston, tight-rope, l6 slapstick, 8 sleight ofhand, 12 tips,23 15 solo puppet, 10 torches, 16 soundtrack, l0 trampoline, T2 sparkles, l9 , transformation, spinning ball, 15 traumatized,22 12, 15 spirit gum, 19 tricks, make aite,1 sponge,18 two wrongs prop, 16 stage etiquette, 24 two-ton stage magic, 12 l5 stand-up routine,22 U-motion, l5 stealing, 15 umbrella, under the leg, 15 stereotype, 5 understatement, 20 stilts, 16 16 story telling, 3 unicycle,3, street performer, 4 uniforms,4 ladder, 16 stupid human fficks, 7 unsupported styrofoam, 9 l2 suitcases, 4 vanishes, sway pole, 16 vaudeville,22 swing and duck, 8 vaulting, l6 oil, 19 swords, 15 vegetable ventriloquism, l0 10 table-hopping, 12 ventriloquist, tactile,20 volley, l5 take-away, l5 based, l7 talc, see water talcumPowder, 13, l8 whisper technique, l0 face clown, 6 talcum powder, 13 white 17 talents, 3 wigs,4, tax burden,25 written agreements,24 taxes, 25 teaching workshoPs, 21 young adult,21 teen-agers,21,22

DRAFT COPY 3/16/95 oase 29 'tauoo1g ',{ trog fq ryEnot so Sulalnyaraa a^rroa,o u! astnor V OTO"F'T/V!OTE

'C 'polreser slq8r-r 11e '.,(euooytr FreD fq SOO t g lq8u,tdo3 ,teuoolAl'f, rtreo fq pauro;red ss snrrlJ oIIFepnBAJo uY eql