The Art of Vaudeville Circus As Performed by Gary F
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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.