Using Physical Comedy for Building Resilience Laughing Allowed! It’s funny because it’s true

A How-to Guide for Making a

Physical Comedy Show to Build Will Weigler + Neighbourhood Resilience Rob Wipond + Michelle Colussi Introduction

In the fall of 2014, a group of people in Victoria, and can offer new ways of exploring, discussing Canada who shared both an interest in their and resolving shared challenges. Both the neighbourhood and a quirky sense of humour development process and the show itself created were brought together to explore a question: a vibrant space for people to talk freely about Could they turn their experiences of the ups and their common challenges. The post-performance downs of neighbourhood leadership, activism conversation with the audience and project and volunteering into physical comedy sketches? participants had nearly as much shared laughter Project participants were trained in theatre and and applause as the show itself, with people physical comedy techniques over six weeks and eager to talk about what resonated most for them collaboratively developed a show called Laughing personally in the different scenes. Looking at the Allowed! The Slapstick World of Neighbourhood problems in light-hearted ways led to different Activism. The one-night-only performance drew kinds of conversations about how to bring about one hundred and fifty audience members, most changes. A full-length video and shorter clips of of whom stayed for a focused conversation the show were posted for free online, and they afterwards to explore the show’s themes. too have subsequently been used by other groups Laughing Allowed! was such a success that, to prompt reflection and discussion at their own as the facilitators, we’ve developed this guide gatherings. to support and encourage others to develop This guide is organized into three main similar creative projects that can help increase sections. First, we describe the basics of our neighbourhood resilience by combining timely approach: Why to do a project of this kind, how and locally-relevant issues with participatory to choose a topic or theme to explore, and an research and physical comedy. overview of the creative method that we used. Our project was part of a broader Second, we provide a day-by-day how-to guide engagement effort in Greater Victoria led by for running your own project from start to Building Resilient Neighborhoods (BRN), an finish. Third, we offer more detailed notes for organization that launched in 2012 with the aim each workshop day that include tips, reflections, of helping to create and promote social, cultural, reference materials, and insights from our own economic and environmental resiliency through experiences. neighbourhood-based, citizen-led actions. What we’ve written here is intended only as a (For more information, see http:// guide, so please feel free to alter or adapt it to fit resilientneighbourhoods.ca/) Laughing Allowed! the particular needs of your own project and the provided powerful evidence that the arts can unique creative abilities of your team! be used effectively to engage people who don’t typically become involved in community activism,

All contents copyright 2016 by Will Weigler, Rob Wipond and Michelle Colussi. This guide may be freely, non-commercially downloaded, printed and distributed. Requests to adapt, publish, excerpt or sell this guide in a different form should be directed to the authors. Contact: willweigler (at) gmail (dot) com Contents

Introduction 1 Our Theatrical Approach: “Clown in Trouble” 3 Before You Begin: Deciding if a Physical Comedy Project is Right For You 4 Before You Begin: Identifying a Good Theme 4 Before You Begin: Recruiting Participants 5

Part 1: Developing the Show 6 Workshop 1: Getting the Lay of the Land 7 Workshop 2: Brainstorming Prompts 8 Workshop 3: Trying Out Some Comedy Sketches 9 Workshop 4: Developing More Material 10 Workshop 5: Developing a Structure for the Script 11 Workshop 6: Final Rehearsals 12 The Performance and Post-performance Conversation 13

Part 2: Extended Instructions and Notes for All Workshops 14

Appendix 1: Tips on Promoting the Show 30 Appendix 2: Online Video Examples of a “Clown in Trouble” 31 Appendix 3: Examples of Comedic Accompaniment Music 32 Appendix 4: A List of Gests for the Gest Exercise 34 Appendix 5: Stage Manager’s Map 35 Appendix 6: Acknowledgments 36 Our Theatrical Approach: “Clown in Trouble”

We developed Laughing Allowed! by After collaboratively generating barriers enables participants to combining elements of participatory some answers to their questions, identify opportunities for building research, resilience building, and participants begin to apply their resilience to overcome those barriers. physical comedy. This approach newly acquired knowledge about Whether it is shared only within can readily be used with almost any physical comedy. Working in small the group or presented for the group of people to explore a wide groups, they experiment with comic public, their creative work together range of topics. metaphor to find an exaggerated ultimately leads to performance equivalent for each of the aspirations material that captures and conveys Starting on the very first day of and the obstacles they have their collective insights in more a group’s participatory research identified. Essentially, they begin to nuanced and compelling ways than project on a locally-relevant issue, invent clowns who run into trouble. lectures or discussion alone can participants are introduced to some achieve. Additionally, comedy that basic elements of physical comedy: In the next phase, participants is not mean-spirited creates a non- red clown noses, what sight gags develop their ideas further and threatening atmosphere for people are and how they work, etc. When refine them, combining their to consider our own human foibles. the focus shifts to addressing the expanding skills in research, physical The light-hearted metaphors of topic at hand, the key is to avoid comedy, and mutually supportive physical comedy offerdiverse groups asking who’s to blame for problems collaboration. They discuss whether of people a framework to explore or what’s wrong with the way things each scene effectively and truthfully shared challenges and uncertainties are. Instead, participants are invited captures the nature of the aspiration in ways that can break tensions, to ask themselves and to ask each and the challenge or obstacle. lighten spirits, lift energy, and other, what do people want or hope Based on their personal experience engender trust between people—all for in relation to this issue, and what and first hand knowledge, they important elements for reinforcing is it that blocks them? This line of offer each other feedback and social cohesion and resilience. questioning leads to answers that make adjustments to the scenes. Comedy can give us permission to are good source material for creating As they discuss and subsequently laugh at ourselves, which is why we physical comedy, in particular for a refine each scenario to make the called our show, “Laughing Allowed.” mode of physical comedy known as exaggerated physical metaphor ring “Clown in Trouble.” When a clown truer to their actual experience, the tries earnestly to achieve something comedy routines become funnier. while being thwarted by an obstacle, In the process, these experiments that’s a Clown in Trouble.” may lead them to make discoveries about the nature of the challenges people face. Naming the different 2 Combining Resilience Building, Participatory Research, and Physical Comedy

In our project, we found that resilience building and participatory research can form a natural and very effective partnership with physical comedy. Building Resilient Neighbourhoods defines resilience as our ability to respond and adapt to change (to take “ ...physical comedy action) in ways that are proactive, build local capacity, and ensure offer[s] diverse essential needs are met. Instead of seeing themselves as being at the mercy of events or decision-makers outside of their community, groups of people a resilient communities take charge of their own futures by engaging local organizations and citizens in co-creating the neighbourhood they want to framework to explore see. In participatory research, participants become both the researchers and the subjects of their own research. Through their sharing and shared challenges and co-learning, they can develop new understandings about their own uncertainties ...” situations and formulate fresh avenues for social change. Adding clowning and physical comedy to the mix supports and encourages more creative, playful experimentation with a range of possibilities and solutions. 3 Before You Begin

Before You Begin Identifying a Good Theme

Deciding if a Physical Comedy It’s important to identify a compelling topic Project is Right for You or theme that will guide the direction of the collaborative research and scene building. You can draw on your own research into resilience or generate ideas by You want to create a fun space for inviting suggestions from those who are people to reflect playfully on issues of knowledgeable about the community where common concern. you will be working. A theme will lead to rich material for a comedy performance if: You hope to engage people who have different perspectives and draw on their lived experiences to enrich everyone’s It is closely connected to immediate shared understandings. concerns in the community. (As opposed to events or policies that do not have direct impacts on the people involved). You wish to initiate dialogue within the group and among the general public in It is an appropriate topic for inviting people a creative way, in hopes of fostering new to laugh at their own behaviours. insights or suggestions for changes to (Some topics may be too sensitive or difficult important behaviours, policies or practices. to make light fun of.)

You have access to a theatre director It involves people trying to overcome obstacles. and other facilitators for the project who (This is key to building scenes using the can inspire confidence and create a safe “Clown in Trouble” approach that we describe place for people to take risks. in this guide.)

It will readily prompt people’s memories of events, emotions, encounters with others, and real-life situations that they have experienced. (These all provide good source material for developing scenes).

4 Before You Begin

Recruiting Participants A list of some different options for participating. Some people may want to research and write but not act, others may wish Once you have decided upon a theme for the to help backstage, etc. show, the next step is to invite your community collaborators who will work with you to research, develop and perform it. It’s helpful to A clear statement about the time commitment. develop a spoken and a written “pitch” to invite People like to know how much is going to be people to participate. We recommend that the expected of them, and whether it will be okay pitch have the following elements: for them to miss some sessions etc.

A clear and concise description of the project.

Once your pitch is ready, here are a An intriguing explanation of the theme or few approaches to get it into circulation: premise—with a dash of playfulness! Post a flyer or leave a stack of them in well-attended community locations. Some information about the leaders of the project to inspire confidence that it will be well facilitated. Circulate a digital version via email, online forums, and any e-newsletters produced by local groups. Clarification about who you are inviting to participate, and what levels of experience or ability are, or are not required. Contact community leaders, groups and (We suggest making it as open and accessible organizations to ask if there is anyone as possible.) The potential value of in particular they know who might participating, including opportunities appreciate an invitation to participate in for learning theatre and comedy skills, this kind of creative project. contributing meaningfully to the community, and having fun. Try to get invitations to attend meetings or events where you can give your brief pitch about the project.

5 Part 1 Developing the Show

General Notes About ● To create a 40-minute show, ● We strongly recommend All Workshops we recommend as a minimum having snacks available at holding six weekly workshops, breaks during the workshops, each one three hours in length either by providing them or including a break. by encouraging participants to bring in snacks to share with each other. Eating lightly during breaks is a great way Items Needed for All Workshops for the group to relax, re- energize and connect. ✔ Note taker with an eye for ‘good comedy material.’ ● With any luck at all, ✔ Large enough rehearsal space to accommodate both the compelling ideas for scenes entire group working together and small groups working and hilarious lines will independently. constantly be emerging as ✔ Snacks and beverages for breaks, plus necessary utensils you work, so it is important to and serviettes, etc. have one of the co-facilitators assigned to take notes during ✔ Marking pens and a flip chart or large sheets of paper that each session and record these can be taped to the walls. gems for further development ✔ Electronic devices to play music selections and video clips as the work progresses. (e.g. iPod, laptop computer, speakers, digital projector if available). See the appendices for music and video ● Brief closing circles at the suggestions. end of each workshop can help keep the group on track. ✔ Enough chairs for everyone to sit and also to use in scenes Participants can be invited to as needed. share some of their favourite ✔ Slips of paper with “gests” written on them (see “The Gest moments from the day, and to Exercise” pages 18-19) and a small basket or container to voice any emerging concerns keep them in. so that they can be addressed ✔ A red clown nose for each participant. (Either wash the right away. noses between sessions, or label each participant’s red nose for ease of re-use from session to session.)

6 Workshop 1 Getting the Lay of the Land

Objectives of the project, and what they participants to re-arrange them are hoping to get from their in any way at all that shows ●  Get to know each other and participation. Find out what one of the chairs as appearing begin to feel comfortable. some of the unique skills to be “more powerful” than all ●  Develop a shared and experiences are that the of the other chairs. Highlight understanding of the project participants are bringing how physical relationships can and expectations. with them. convey dramatic meaning.

●  Share some basic ●  Discussion: What are our own ●  The Gest Exercise. understandings of physical measures of success? Invite all participants to select comedy. Open a discussion about a slip of paper that has a ●   Get an introductory sense what everyone feels would description of a gesture written of how physical actions can be a measure of success for on it. Instruct participants to convey meaning, especially themselves and for the show. find a partner and create two through gests, and of how Develop a sense of group unity scenarios that incorporate scenes can be developed from of purpose. both gestures so that they them. clearly convey a relationship, ●  An introduction to creating place, and situation. Bring the physical comedy. group together to share their Outline of Activities Explain the value and creations. ● Introduction to resilience, the importance of using red clown ●  Closing. process, and the facilitators. noses. Introduce common sight gags and techniques. Elaborate Discuss how the workshop ●  Inform participants about on the “Clown in Trouble” went, and address any what they can expect to approach to building scenes. emerging concerns. happen over the ensuing Introduce the concept of gests. weeks. (See pages 18-19 for more For more detailed instructions details). and tips, see Part 2. ●   Participant introductions and “asset mapping”. ●  Snack break.

●  Invite participants to introduce ●  The Great Game of Power. themselves, to share what made them want to be part Place six movable desk chairs randomly together in the middle of the room. Invite 7 Workshop 2 Brainstorming Prompts

Special Items Needed Using the list of gests as “gests” for the prompts. prompts, continue this skill- ●  A list of questions for helping Invite everyone to begin to building exercise. participants brainstorm ideas come up with ideas for gests related to the show’s theme. Review what was learned at the related to the prompts— previous session. physical actions or images that encapsulate particular ideas on ●  Reflect on last week’s Objectives the list. introduction to physical ●  Develop a list of ideas or comedy techniques. Emphasize ●  Closing. dramatic “prompts” related to that the comedy for this the show’s theme. show will be light-hearted For more detailed instructions ●  Establish the basic approach and based on identifying and tips, see Part 2. to the creative development universally familiar situations process. where hopes and aspirations encounter obstacles. ● Become more comfortable together and practiced in ●  Brainstorming a list of making scenes with gests. prompts.

Gather everyone to brainstorm Outline of Activities “prompts” to help begin developing the show. Create ●  Lead the group in a two separate sheets of paper physical warm-up exercise, for the “aspirations” related to accompanied by a selection of your show’s theme and for the comedic music. “obstacles” respectively.

●  The Gest Exercise. ●  Snack break.

●  Begin to develop possible

8 Workshop 3 Trying Out Some Comedy Sketches

Special Items ●  Develop gests and scenes from ●  Snack break. Needed the prompts. ●  Develop gests and scenes from ●  Handout sheets for Review the basic steps of the prompts. participants with the list of building a comedic scene Switch up the working groups, prompts from the previous again. Continue from where and continue using the list of week’s brainstorming session. the group left off last session, prompts to develop gest ideas using the brainstormed list of and scenes. Objectives prompts to work together in groups developing gests and ●  Share scenes and offer ● Increase skills for translating scenes. feedback. social issues into physical ●   comedy scenarios. Discussion: Providing feedback ●  Closing. on scenes. ●  Practice giving and receiving For more detailed instructions constructive critiques of each Open a discussion of how to and tips, see Part 2. other’s work. provide constructive feedback about scenes to each other. Emphasize stepping away Outline of Activities from evaluations of “good” and ●  Remind everyone of the “bad,” and instead focusing on purposes of warm-up a collaborative, constructive exercises, and consider process of trying to refine each inviting one of the participants scene to make it an even better to lead the group. reflection of what the actors were trying to achieve. ●  Physical warm-up with comedic music. ●  Share scenes and offer feedback. ●  The Gest Exercise. Invite the groups to share the scenes they have developed, and facilitate group discussion, feedback, and experiments in refining each. 9 Workshop 4 Developing More Material

Special Items Needed ● Develop gests and scenes from ● Post-workshop script the prompts. development. ● Handout sheets for  participants with the Participants can be given Set aside time before the list of prompts from the more freedom to incorporate next workshop to consider brainstorming session. elements of dialogue, props, or both a provisional order extended plot or action, as long for the show’s scenes, and as they support their scene’s ideas for a through-line that Objectives main gest. will tie all the individual ● Continue to develop physical sketches together. Develop ● Share scenes and offer comedy routines based on the working scripted versions feedback. prompts. of the strongest scenes ● Snack break. that have been selected for ● Assess the material developed development. so far and determine which ● Get into new groups to develop prompts have yet to be gests and scenes from the For more detailed instructions explored. prompts. and tips, see Part 2.

● Share scenes and offer Outline of Activities feedback. ● Physical warm-up with ● Identify the strongest scenes comedic music. developed to date.

● Gest Exercise. As a group, develop a list identifying the scenes explored over the past few weeks that are showing the most promise. Note any important issues or prompts related to the show’s theme that haven’t yet been addressed in a scene.

● Closing. 10 Workshop 5 Developing a Structure for the Script

Special Items Needed with written drafts of the with the whole group to take sketches that the group note of props, costume and ● Handout sheets for identified as the strongest. scenic needs for the pieces that participants with the have been created. list of prompts from the ● Refine existing scenes. brainstorming session. Practice all of the existing ● Closing. scenes and, based on any ● Provisional list of the order of important gaps identified For more detailed instructions the sketches. previously, generate new and tips, see Part 2. scenes. Ask participants to ● Copies of the scripts for the ensure all the individual scenes sketches created to date. have their own arc by asking themselves a key question as Objectives they work: “No matter how long or short it is, does this ● Develop and refine the script scene have an identifiable for the performance. beginning, middle and end?” ● Identify the music, props, ● Share scenes and give costume and scenic needs. feedback.

Outline of Activities ● Snack break. ● Physical warm-up with ● Show run-through. comedic music. ● Perform a rough run-through ● Distribute scripts. of the comedy sketches in order. ● Provide all of the participants ● Orientation with the stage manager.

● Give the stage manager time

11 Workshop 6 Final Rehearsals

Special Items Needed Objectives ● Snack break.

● All necessary props, costumes, ● Continue to refine the script ● Show run-through. and other stage needs. for the performance. ● Facilitator/Director offers ● Stage manager’s “map” of the ● Begin to feel comfortable in guidance and feedback. performance area showing roles and responsibilities for where the individual props, the show. ● Closing. costume accessories and scenery need to be pre-set.  For more detailed instructions Outline of Activities and tips, see Part 2. ● Copies of the script with ● Physical warm-up with staging and dialogue for the comedic music. cast. ● Orientation with the stage ● A large sheet, posted off stage, manager. with the list of sketches in order. The stage manager should set props, costume and scenery ● The final selection of music pieces in place and share the clips, in order, on a device map of where they are with connected to the stage sound the cast. system. ● Show run-through.

● Facilitator/Director offers guidance and feedback.

12 The Performance and Post-performance Conversation

Introduce the show. Before the show begins, describe for the audience some of the reasons for creating it, how the actors are members of the neighbourhood, and how the show was developed. Indicate that there will be a post-show conversation between the creators and audience.

Perform the show!

Conduct the post- show conversation. Ask relatively simple questions of members of the cast, and of the audience, to get the conversation going, such as, “Did anyone Follow-up activities. recognize themselves or see a Video clips of the show can be familiar situation in any of the useful tools to leave behind for sketches? If so, did seeing it others to use as icebreakers at treated humorously change your meetings. Cast members can perception of the situation in perform scenes at meetings or any way?” As the conversation events, and then discuss their advances, ask more probing experiences exploring important questions like, “Considering community issues through any of the obstacles presented comedy. Or anyone can distribute in the scenes, what would need red clown noses at meetings to see to happen for that obstacle to be what happens next! overcome?”

For more detailed instructions and tips, see Part 2. 13 Part 2 Extended Instructions and Notes for All Workshops

14 Workshop 1 Extended Instructions and Notes

Introducing the be made clear that although this Getting to know project is a collaborative project, all final each other creative decisions will rest with Invite participants to introduce At the opening workshop some the main Facilitator/Director themselves, to share what made participants may already know – there just won’t be enough them want to be part of the each other, while others may be time to reach consensus on project, and what they are hoping meeting for the first time. People every decision, especially as the to get from their participation. will have chosen to participate performance date approaches. Emphasize that a group of for a variety of reasons and there (One might describe it by saying, people with diverse experiences will undoubtedly be a wide range for example, that the project and interests is ideal because of experience with performing will start as a “participatory of the richness it will bring to on stage or with comedy. It is democracy,” but will in the later the collaboration. A show built unlikely that anyone in the group stages become a “representative around a series of diverse comedy will have undertaken a project democracy” with the designated sketches means that there will be quite like this before, so a good leader making choices based on plenty of room to accommodate way to start is to generate some his or her assessment of what different needs and abilities. clarity about who is in the room will serve the best interests of the and what they can expect in the entire constituency.) Once people have said who they weeks to come. While you won’t are and why they’ve come, you Most of the participants in be able to describe just what have an excellent opportunity to our theatre project came with the final show will look like, you open a more focused discussion strong pre-existing interests in can certainly spend a little time about what people feel would be a social causes, environmental talking about the overall vision measure of success for themselves concerns, community activism or for the performance. One point and for the show. Would it be other issues related to resilience; to emphasize is that developing enough for them just have fun however, you may find that a compelling story on stage with and learn how to do physical providing some introductory consistent characters and a comedy? Or do they want to learn orientation for your participants narrative arc is too difficult for more about the proposed theme? about resilience will be helpful for this kind of project and timeline. fostering group cohesion. Instead, the group will be developing a collection of short, (For resources and materials on varied comedic sketches linked resilience, visit our website at www. by the main theme. It should also resilientneighbourhoods.ca.) 15 Or perhaps they would like to see rehearsing or performing, as well The benefits of a red some productive dialogue in their as to share whether they enjoy clown nose community in a conversation singing, play any instruments, Red clown noses can be liberating. with the audience after the or have any special skills like Wearing them gives performers performance? Maybe they will be juggling, ventriloquism, voicing licence to be goofy and to feel satisfied if they are simply able characters, or storytelling. This unusually free to be honest. “Man to create a show that is genuinely miniature version of mapping is least himself when he talks in funny and makes people laugh. assets in a community enables his own person,” wrote Oscar Ask a volunteer to list everyone’s everyone to appreciate all the Wilde. “Give him a mask, and measures of success on a flip skills the group will be able to he will tell you the truth.” And chart. By taking a few minutes to draw upon when it comes to according to renowned theatre- examine this question together, a creating the comedy sketches. mask teacher Jacques Lecoc, “A cohesive sense of group purpose red nose is the smallest mask in will begin to emerge. Naming What’s so funny? the world.” Theatre director John the measures of success will not Wright notes that a red nose helps only fortify the participants’ Next, it is time to turn the an actor step into the clown’s enthusiasm throughout the participants’ attention to comedy, realm. He writes: “A red nose process as they see that they are asking the big question: “What amplifies expression, especially indeed achieving these things, makes something funny?” the expression of being baffled, it will ultimately help lead to Invite everyone to share at which is the primary world of their collective satisfaction at the least one story about a part of the clown.” Beyond the freedom conclusion. a performance (live or on TV or film) that they found to be it gives to the person who wears hilarious. Follow each story with it, the red nose also gives the Building ensemble a collaborative investigation audience permission to find the As part of building a communal asking, “And what made that so performer funny. It signals that sense of purpose among the funny?” it’s okay to laugh at the person participants, you can ask, “Are who is wearing it. For all of these It is likely that this line of there any personal concerns reasons, it is important that the inquiry will segue naturally into you have about being part of the participants get comfortable a conversation about some basic project, and what do you feel you wearing red clown noses during principles of comedy based on the are able to bring to the work that the workshops in anticipation participants’ own experiences. we’ll be doing together?” This of wearing them also during the Facilitators can then introduce will allow people to express any performance. On this first day four foundational elements that anxieties they may have about you can hand out the noses for will both literally and figuratively everyone to try on, and explain come into play in the weeks the role of masks and clowning in ahead: 1) the benefits of a red comedy. clown nose, 2) familiarity with sight gags and a three-step approach to creating physical comedy, 3) the concept of “Clown in Trouble,” and 4) the concept of 16 gests. Some common ● A Fishhook: Instead of looking situations in comic ways. sight gags right at something, or taking Physical comedy can generate hold of it, you look or reach or a sort of tortured empathy Common “sight gags” are useful move in the opposite direction when an audience feels badly for helping to develop scenes. first and then you “fishhook” for some poor clown who just Explaining how each works toward it. By going in the can’t seem to get a break. and inviting participants to try opposite direction first and This mode of physical comedy demonstrating them for the rest then moving in, you call the has been called “Clown in of the group (while wearing a audience’s attention to the Trouble.” It operates on a red clown nose) can help inspire object of your attention. very basic premise. A clown confidence in the participants is trying to achieve, obtain, about the simplicity and ● A Reversal: You have an solve, or build something, effectiveness of these kinds of expectation of what you think but there is something that comedic moments. Here are a few the object of your attention is, always gets in the way, foiling examples: but it abruptly turns out to be the clown’s persistent efforts. not at all what you thought it ● A Take: In a moment of This premise lends itself was and you react accordingly. disbelief, you turn to the well to explorations of what audience as if to share your ● A Slight: Someone seems to members of a community disbelief with them and then be extending you a gracious aspire to achieve and what turn back to the object of your welcome, an invitation of some barriers they face when attention. kind, and you start to accept they try. On this first day of -- but then at the last minute workshops, a good way to ● A Double Take: This is a it unexpectedly switches into explain and help anchor this delayed reaction. You turn a rejection and you are left concept for participants can your head and see something looking foolish. be as easy as showing some but don’t register the meaning video clips featuring a “Clown ● An Unexpected Twist: at first glance so you turn in Trouble” premise and Another class of common away. Suddenly it dawns on discussing why each one is visual gags are unexpected you what you may have just funny. What is the aspiration physical twists, where objects seen and you quickly look back and what is the barrier? or people often become funny at it again. by behaving in unexpected See Appendix 3 for suggestions ● A Comic Stop: You start in ways, being in unusual places, of these kinds of comedy routines control of your own body but or being an unexpected size. available on YouTube. seeing something so shocks ● “Clown in Trouble” you that it jolts you out of There are many different control. ways to be funny and many different kinds of humour that people will find funny. This project is based on the belief that great humour can be found by creatively revealing unmistakable truths about 17 In his book Why is That So Showing what you see elevate the power of the “most Funny? – A Practical Exploration happening with precision, powerful” chair. Then, invite of Physical Comedy, John Wright clarity and economy is usually anyone else to step forward to describes a three-step process going to be much funnier than disassemble and reconfigure the that is very useful for creating random crazy movement. chairs to create an entirely new “Clown in Trouble” scenes. way to show one chair holding Wright’s steps are these: The Great Game power over all the others. Step 1: Make a choice. Just go of Power When new ideas stop coming ahead and try something that After these introductions to to the group, point out how you have an idea for. It can physical comedy, it’s time to get this game aptly illustrates that be anything that involves an everyone on their feet to try some “economy” is a key to making effort against an obstacle. Ask exercises. “The Great Game of a dramatic or comedic impact yourself, “What is the character Power” was created by Augusto on an audience. There was no in this scene trying to achieve, Boal and appears in his book extraneous movement, no “acting and what is getting in the way?” Games for Actors and dramatic” or “acting goofy” to Then show it in action. Non-actors. The activity provides make an impression or to get a laugh; it was the singular Step 2: Exaggerate it. Take that an excellent demonstration of clarity and recognizability of choice you made and expand how simple physical images on the image that captured the it into a clown’s world. Note stage can convey surprisingly group’s imagination every time. that “expanding it” doesn’t clear meaning and often inspire This leads naturally into an necessarily mean making it the laughter of recognition. introduction to working with “bigger.” It means carrying the Place six easily-moveable chairs gests. impulse further in the same together randomly in an area of direction. For example, if your the room. Invite participants to character suddenly sees a scary take turns stepping forward and The Gest Exercise bug crawling up onto your arranging the six chairs in such a The German playwright and shoulder, exaggerating the way that it is obvious which chair director Bertolt Brecht used the reaction might mean slowing has more power than the other term gestus to refer to a physical down in terror after seeing chairs. Explain that the chairs action that quintessentially the bug. may be re-arranged or upended embodies a relationship, a change Step 3: Tidy it up. Take out in any manner, but all six must be in understanding, or an emotional all the extraneous actions, included in the final arrangement state. In English, the term gestus movements, and reactions. that is created, and one chair is translated as gest. Gests are a Keep only the most essential must clearly be seen as having rich source for effective physical bits. A lot of what makes more power than the others. comedy. Our project’s theatre something funny, Wright After the first volunteer sets explains, comes down to the up an arrangement, invite accuracy of one’s observations. other participants to offer their observations on which chair seems most powerful, or to provide any suggestions for 18 tweaks that they believe will director Will Weigler developed her hand over his eyes to shield this exercise as a good way to help his innocence, these two simple actors begin working with gests: gestures clearly establish relationship and circumstances. Before the session, prepare In their second scenario the two a basketful of little strips of performers create a different paper. Each strip should have a situation and relationship, while description of a physical action, still using the same movements. such as “lean in close to another After just a few minutes of person,” or “cover your mouth coming up with ideas on their with one hand,” or “fall to your own and practicing them, each knees.” (See Appendix 5 for more pair of participants is called back suggestions.) “ Showing what you and everyone shows both of their All participants reach into the scenes to the group. see happening with basket and pull out a single strip. Invite the viewers to describe Working in pairs, the what they saw. Did everyone precision, clarity and participants’ task is to create understand what the actors two separate, brief scenarios. were trying to show happening economy is usually They should not use dialogue or in the scene? As a follow up, create a complicated storyline. participants can be invited to Instead, in each scenario they consider whether or how they going to be much should simply perform their might strengthen or sharpen the respective gestures at the same clarity. funnier than random time or one after the other. Yet, crazy movement.” it should become absolutely clear Closing to the audience what is going on and what the two characters’ During the closing, point out relationship is to each other. For that everyone now has a good example, one strip might read, foundation in key basics for “point at something,” while the constructing physical comedy, other strip reads, “put your hand and in the following weeks over the other person’s eyes.” these techniques will be used There is no obvious meaning to develop scenes for the show. to be found in the combination Invite everyone to share any of these two randomly selected moments when smiles or laughter instructions. But if one performer spontaneously erupted during the gets on his knees to become the workshop. size of a child and points straight ahead while grinning with open-mouthed fascination, and the other performer becomes a mother, alarmed at what her little boy is seeing and clapping 19 Workshop 2 Extended Instructions and Notes

Begin the session with a physical Brainstorming warm-up accompanied by upbeat prompts comedy music. Do a round of the Gather everyone into a circle to Gest Exercise to get back into brainstorm “prompts” to help the swing of the work from the begin developing the show. Create week before, and to continue skill two separate sheets of paper building. for the “aspirations” related to

your show’s theme and for the Review the premise “obstacles” respectively, like the Having explored what makes positive and negative sides of a something funny during the ledger. For example, in our show, previous week, review the basic we listed things that made us premise of the project. Emphasize enjoy or commit to volunteering that the comedy can be based on in our neighbourhoods, and identifying the particular nature things that made us dislike or of how hopes and aspirations run avoid volunteering. into barriers, rather than being Use various questions to assist based on naming or criticizing participants in thinking about actual people, organizations or the theme of the show. On the places. This will ensure that the “positive” side, offer questions show will be accessible and funny like, “What makes you want to to everyone even when it grapples do that? What needs are you along the way?” You can pose with serious issues and concerns. trying to fulfill? What rewards even more specific questions like, or benefits are you hoping to “What is the worst/best thing achieve?” On the “negative” side, you ever experienced when you offer questions such as, “What are were engaged in that?” A single the challenges or conflicts that person’s unique experience can come up when you do that? What lead to group discussions and concerns hold you back? What barriers do you have to overcome

20 broader generalizations about how that experience exhibits an underlying, more universal theme. Encourage participants to think specifically about situations, feelings, emotions, experiences, and snippets of phrases or dialogue that are often spoken in such situations. Any of these can potentially become elements of scenes.

Begin thinking about gests Moving forward, these lists will be used as “prompts” to develop ideas for “Clown in Trouble” scenarios juxtaposing aspirations and obstacles. Either during the workshop or for a homework assignment, invite everyone to View full scene from “Where is everybody?”: https://vimeo.com/115137012 begin to come up with ideas for gests related to the prompts— on stage (wearing a red clown After this workshop, facilitators physical actions or images that nose) holding an enormous clock. can transcribe the brainstorming encapsulate the ideas they have As she stood there alone, the lists generated by the group been collecting. While developing volunteer she was waiting for onto handouts to give to the material related to our theme, was flitting around the audience participants at the next meeting. for example, the idea of glancing chatting people up. Similarly, the Some minor editing of the at one’s watch while waiting for idea of trying patiently to endure prompts for duplication or clarity, an unreliable volunteer to arrive an endless meeting was embodied and some grouping of similar or was exaggerated into a woman as a person (wearing a red clown related ideas may be warranted. nose) trying earnestly to stay awake while being overcome with the desire to fall asleep.

21 Workshop 3 Extended Instructions and Notes

Start with a warm-up of physical but simply to 1) make a choice, 2) Viewers can describe what they stretching and movement exaggerate it, 3) tidy it up. Advise saw, how they reacted, and what accompanied by fun music, and them that they are permitted to they understood to be happening then a quick round of the Gest employ a little dialogue or other in the scene. Viewers report on Exercise using the slips of paper. action to help set up or resolve what they found funny, or vividly scenes, so long as the meeting clear, or striking and surprising. Merging content and unfolding of the aspiration If something was vague, muddy or unclear, they report on that. and comedy and the conflict is expressed in the gest itself. If a viewer has a burning desire In this session, it’s time to merge to offer a suggestion for how to Five to ten minutes should the content and the comedy. change the sketch, she or he may be enough for all of the groups Invite participants to look over say, “I have an idea for how to to develop two or three brief the handouts and pick a few change the sketch; would you like scenes. Reconvene the whole of the ideas or prompts that to hear it?” The performers are group to show each other what are especially resonant for then put in the role of accepting they’ve come up with. them personally. Divide the the suggestion as an offering participants to work in groups to their work rather than being of three in different parts of Giving feedback informed by somebody else the room. Instruct them to After each presentation, invite about what they should do to select a few prompts from their everyone in the group to give “fix” their piece. Meanwhile, lists to work on together, and feedback on the scene. However, for their part, the presenters to translate or express each be sure to emphasize that for this should clarify what they were prompt in terms of a dynamic kind of work, it’s not helpful for trying to show and convey, so relationship of physical a viewer to comment on whether that the viewers can consider if actions—a gest or sequence of a sketch seems “good” or “bad.” they effectively met that goal, gests. Remind them not to try to Instead, group discussions develop long, complex storylines, should be a collaborative, constructive process of trying to refine the scene to make it an even better reflection of what the actors were trying to achieve.

22 or if they can think of a way to recognize the truth in it and help them better achieve it. This the funnier it will become. For approach to offering feedback example, we created a scene is elaborated further by the of neighbours at a community community-based choreographer meeting in which two people were Liz Lerman and John Borstel in paying more attention to their the book Liz Lerman’s Critical mobile phones than to what was Response Process: A Method being said at the table. It began for Getting Useful Feedback on simply with the idea of not being Anything You Make, from Dance present, and then was developed to Dessert. Giving feedback in this further to include all sorts of manner grounds the participants’ variations: how other people relationships in mutual respect at the table reacted, the phone and appreciation of differences. users’ reactions to the reactions, etc. The initial observation of an It’s funny because experience was turned into a gest it’s true and then expanded to a whole routine. It’s also important to remind everyone that the goal is not necessarily to produce a scene that is “funny” right off the bat. Instead, we’re trying to produce a gest or sequence of gests that accurately reflect the reality of our experiences. When a complex interaction is reduced to a gest it becomes easier to define that interaction, and the group can start to consider whether the actors have really pegged the true nature of the aspiration and the challenge to it. So the question should not be, “How do we make If the feedback from the group View full scene from “They’re this scene funnier?” but “How do generates useful ideas for here, but they’re not here”: we make it even more accurately adjustments, the performers may https://vimeo.com/115137015 capture the aspiration and the present their sketch a second thwarting of that aspiration that time. A facilitator may also choose we’ve experienced?” The closer to play a piece of recorded music it gets to sincerely reflecting— to accompany the work based on albeit in exaggerated form—what the mood or feeling of the sketch actually happens, the more to help heighten the comedic likely it is that the audience will elements. 23 Workshop 4 Extended Instructions and Notes

By now, the entire group has a the previous week to refine an aspiration is thwarted? If not, good sense of how to develop existing piece with a fresh angle. what adjustment can be made so and refine scenes from the list Encourage everyone to feel a that it becomes more precise and of prompts using a collaborative sense of shared ownership of the accurate, even as it is brought into process. This workshop is scenes that have emerged from the exaggerated world of a clown intended simply to hit the ground the group’s work so far, allowing in trouble? running by breaking into small those who are keen to develop groups, trying out more ideas, scenes further to freely do so, no Identify the and exploring more potential matter who originally thought strongest scenes scenes together. the scene up. Participants can also be given more freedom to At the end of the day, the group Add new elements incorporate elements of dialogue, can develop a shared list of which pantomimed or real props, or scenes are showing the most Now that they have been working extended plot or action into their promise, and which important with this comedy-making scenes. A facilitator can continue issues or prompts related to the process for a few weeks, some to experiment with adding theme haven’t yet been addressed participants may have come up comedic music to scenes where in a scene. The facilitator-note with new prompts or gests on appropriate. At this point, note taker can remind everyone their own and they should be taking of particularly effective of scenes that may have been encouraged to try out these new gests or fun snippets of dialogue forgotten. For this purpose, it ideas. Alternatively, some people and so forth can become a group can be helpful to give simple, may wish to return to ideas from effort, though the primary note descriptive names to scenes. taker can also record them during the sharing of scenes.

During the feedback sessions, it will be useful to remind everyone to attend to the clarity of the gests that are at the heart of the scene. Is the gest accurately summing up the gist of the character’s aspiration and the way that 24 You may find at this point that Facilitators may also want to set aside you have generated a collection time to meet on their own before of scenes that, with a bit of the next meeting to consider both a rehearsal, are virtually ready provisional order for the show and for performance. However, it ideas for a through-line that will tie is possible that you will have all the individual sketches together. some good beginnings of ideas Depending on the confidence of the and compelling elements, which cast, this work may be carried out by have not yet been fully fleshed the whole group during workshop out into comedy sketches. Some 5. These tasks are described in the further development work may following section. In any case, it will be required. This can involve be useful for the facilitators (or for collaborative work by everyone volunteers from the cast) to spend during the fifth workshop, or some time in the interim between the facilitators can take the workshops to type up the scripts lead in refining some of the for each individual comedy sketch loose material prior to the next (dialogue and descriptions of staging) meeting. to distribute to all the participants at the next workshop.

25 Workshop 5 Extended Instructions and Notes

Finesse the sketches a moderated conversation in conclusion. We took clues from person), we played with the the music so that the piece began After the physical warm up, it’s image of two people reading with only one person typing and time to turn attention to your messages and rapidly typing sending an initial message, and catalogue of the comedy sketches angry responses to each other then another quickly reading, you have created so far and decide while taking out frustration on typing and sending, and then what you need to do to round their keyboards. It was funny, another quickly reading, typing them out. The facilitators or but in itself was not yet a sketch. and sending, until gradually participants will have typed up We then tried putting the scene there was a symphony of five each scene and you can now pass to music and adding more people angrily typing and copies out to everyone for group people to the mix. We chose sending crazily, timed to Grieg’s discussion. Ask for volunteers to Edvard Grieg’s “In the Hall of the bombastic musical finish with get up on their feet to perform Mountain King” from his Peer everyone leaping away from the scenes. Ask the question: No Gynt Suite, which proved to be their computers in a huff. It was matter how long or short it is, an apt accompaniment to typing. a simple sequence of events but does each scene have a beginning, The musical piece had its own it gave the key gest a satisfying middle and end? built-in momentum that moved story-like frame to make it all A single gest can capture a inexorably toward a dramatic work as a sketch. comedic take on something recognizable, but to make it into a sketch, you’ll need a series of gests that start by establishing the premise and then serve to transition from one to the next until it concludes. For example, following a discussion about the frustrations of complicated, overlapping e-mail exchanges that involve many people sniping and bickering (compared to

26 View full scene from “Email Trail”: https://vimeo.com/115130460 This is not as enigmatic a process as it may at first sound. Explain to the participants that the task is just to ensure that the character’s aspiration is first established on stage in the scene as clearly as possible, and then the intense challenge or thwarting of the aspiration is shown next, and then a final resolution demonstrably and rewardingly must arrive (even if it leaves the character still thwarted). That will create a sense of a mini-story with a satisfying completion for the audience. So the final development and scripting of View full scene from “Welcoming”: https://vimeo.com/115130456 each scene is, in a sense, just a process of “sharpening” these in your search for a through- Rehearsals three stages. line. Perhaps there is a small group of recurring characters After practicing the sketches and giving each other more Consider a who are involved in an ongoing journey of some kind that takes feedback, do a run-through of through-line them through different scenes. the entire show. If you haven’t It’s also time to begin developing a A single prop might show up in already done it, this would be provisional order for the sketches. each scene. Anything is possible. a good time to assign a stage The challenge is to invent an In our show, we made use of an manager who will ensure that overarching through-line that old fashioned, hand-cranked props, costumes, lighting, sound, will tie the scenes together. phonograph record player and entrances and exits, and other Again, this can be created by the a cardboard box labelled “Songs issues are in order and ready for facilitators working on their own, About My Neighbourhood” that the live performance. If there or developed in collaboration with was full of records. The premise were community members who the whole group. A good through- – that each person went looking expressed interest in being line can help the audience make through the box for a song she or involved but didn’t wish to sense of what the show is all about he knew and then put the record perform, they could be good and why it is moving from sketch on the turntable to play it – not candidates to help with these to sketch. The most basic (and only served to link the scenes, but things. During rehearsal you perhaps most clichéd) format is it gave us a way to introduce each can check again to be sure that to have a Master of Ceremonies new scene with a title, explain the the sketches all have robust who introduces the show and presence of the accompanying beginnings and endings, and each scene. An easel with title music, and reinforce the idea that refine them if they still need placards can signal the movement our scenes were theatricalized tweaking. from one sketch to the next. By all presentations and not slice-of-life means, feel free to be inventive realism. 27 community dialogue that the show is intended to promote. Workshop 6 Make it clear that everyone should just sit back and have fun, but that after the show the Extended Instructions cast and facilitators will welcome their responses to what they saw and will value hearing their and Notes perspectives.

Facilitating the post- performance public the show, where they get moved You will be rehearsing many dialogue different sketches during the during the performance, and workshop. There may be some what cast members need to know Assign someone from the show scenes that participants can about their entrances, exits, who has a warm, engaging practice with each other on their cues, and the locations of their stage presence to facilitate the own time between workshops. props and costumes. The stage post-show discussion. It’s useful For more complicated scenes, this manager can also create a large to frame this as a conversation may be a necessity. For example, backstage list of sketches in the between the performers and one of our sketches was about designated order, so that the cast the audience, rather than as a the collision of two conflicting, can quickly confirm what scene question and answer session. unacknowledged agendas at a is coming next without having to This facilitator might consider community meeting. The gest memorize the whole show. having a few questions on hand was grounded in which of the two just in case the audience is feeling (See Appendix 5 for an example of facilitators got to set the priority reserved—perhaps something a stage manager’s map.) for the agenda using a series as simple as asking what of cards. The sketch involved a stood out for anyone, or what relatively complex routine of The Performance and was surprising. It’s perfectly placing and removing cards on a Post-performance acceptable to offer a question board, all timed to fit the music of Conversation to the performers, too, such as Scott Joplin’s “The Entertainer.” asking what stood out for them in The actors met on their own time Before the performance starts the process of creating the show, to practice the timing until they it can be helpful if a facilitator or if any surprises emerged got it just right. introduces the show to the during the performance. The audience, describing some facilitator can invite the audience During this workshop, the stage of the reasons for creating it, to raise their hands to share their manager should be very involved, how the actors are members own thoughts at any time. continuing to take notes on of the neighbourhood, and Beforehand, the facilitator of where all the props and costumes how the show was developed. the conversation may want to need to be pre-set at the start of Establishing the context in this way will serve as an invitation to meet with the performers to ask the audience to see themselves as participants in the ongoing Follow-up and legacy activities A video recording of the show, divided into sketches, can be a useful tool to leave behind for others to use as icebreakers at meetings, or perhaps to start conversations about group processes and balancing different interests. Some members of our cast distributed red clown noses at meetings, and watched how the whole atmosphere changed as the group worked through routine business items. Even more ideally, View full scene from “When Worlds Collide”: https://vimeo.com/115130459 though, participants in your show could perform scenes at meetings and events of various kinds, and the situation in any way. Or, what it is that they want to know then stay around to discuss what considering any of the obstacles from the audience. In one sense, they got from their six-week presented in the scenes, what do the post-show conversation can exploration of an important they feel would need to happen be regarded as continuing the community issue through a for that obstacle to be overcome? process that the participants comedic slant. themselves went through, In summary, use the post- And the best-case scenario opening their inquiry to the show conversation as a way to would be that participants from broader public by asking them encourage the audience to see your show, with the help of what they saw and whether any familiar conflicts without being this manual, feel inspired and new insights emerged for them defensive or aggressive about empowered to bring everyone in in the process. Other possible them, and without taking sides. their own group or organization questions for the audience (some Seen through the lens of physical together to use physical comedy of which could be asked by comedy, the show presents the to help build resilience. Feel free members of the cast themselves) audience with an opportunity to contact us if we can help you include whether anyone in the to understand the nature of a with any such projects! audience recognized themselves conflict, barrier, or obstacle or saw a familiar situation in in a new way, and potentially any of the sketches and, if so, come up with new approaches to did seeing it treated humorously responding to it. That’s the reason change their perception of we called our show Laughing Allowed! – to remind us all that sharing laughter about ourselves can be an important part of the serious task of building more resilient communities. 29 Appendix 1

neighbourhood as volunteers Tips on Promoting or community activists are inherently playful and often funny, so images like these will the Show be a good help for promotional efforts.

●  You may wish to start promoting the show well before it’s ready Be sure to reach out directly to groups and organizations to perform. There are many aspects of a show of this kind that that have email lists and other make it relatively easy to promote to local news outlets, and via means of connecting with email and social media. Here are some tips: people in the neighbourhood or community and solicit their assistance in promoting your ● Summarize the key elements by, for, and about the local event. of the project concisely and neighbourhood/community clearly, and with a little and the people living in it. This ● Though box office income creativity. The goal is to make will intrigue news media with from tickets can go toward people feel that they’re going a mandate for local coverage, supporting the financial costs to have a fun night out, but and engage people on social of mounting a production, also see a show that touches on media who care about their it may be more helpful for significant issues and themes. own geographic community. this kind of event to regard A one-page press release should ● Explain that though the show affordable ticket sales as part include contact information is strongly local in flavour, the of the promotional effort. We as well as links for further point is not to name names, suggest having a ticket price background on the organizers spread gossip, or target that is “by donation” so that it’s and the idea of the project, specific groups; rather, it’s an clear that you intend the show and should include some attempt to understand and to be accessible to everyone. brief quotes from leaders or explore common, recognizable Inviting a donation rather participants. For email or social challenges and universal than simply making it free also media, something even shorter themes. This will speak to reminds people that real effort is usually better, though a broader audience, with and costs have gone into the attachments or links to further people knowing that they will production to make it worth information can be included be seeing a thoughtful and their time and money. as well. engaging performance, not a ● Note on the poster and press ● Find an accessible location for neighbourhood mudslinging release that the event will be the show’s performance and party. followed by a conversation with emphasize that it was made ● Photos of cast members the audience and the cast. This wearing clown noses, highlights that the event is especially if they are about shared exploration and 30 well known around the learning. Appendix 2 Online Video Examples of a “Clown in Trouble”

Online examples of physical comedy sketches with a “Clown in Trouble” premise:

● A YouTube search for Teatro For general insights and resources Hugo & Inés will lead to on physical comedy try these: some marvellous comedy pieces. The two performers ● Chris Michael has an online site are Hugo Suarez (from Peru) called newslapstick.wordpress. and Inés Pasic (from Bosnia- com with the tagline “Making Herzegovina). Based in Peru, Visual Comedy for the 21st they tour internationally. Century.”

● “Lucy and the Chocolate ● John Towsen has an online Factory” from the episode ‘blogopedia’ called “All Fall Job Switching with Lucille Down: The Craft & Art of Ball & Vivian Vance from the Physical Comedy.” television program I Love Lucy. ● Tony Zhou has an excellent ● Look on YouTube for French online video series called “Every magician Yann Frisch doing his Frame a Painting.” Look for famous routine “Baltass.” his 8 ½ minute piece on Buster Keaton: The Art of the Gag. ●  The Montreal International Comedy Festival has a clip from a very funny act by Otto Wessely struggling to do a magic act.

31 Appendix 3

Examples of Comedic Accompaniment Music

These musical selections can be found on it was useful to cue the music to start several CDs, iTunes and YouTube. There is quite minutes after the selection begins since the most a range here, suitable for many different familiar or iconic parts of many pieces don’t kinds of comic underscoring. These are, of always come at the opening. The well-known course, only suggestions. The possibilities are strains of the Blue Danube Waltz, for example, virtually limitless. The ideal scenario is to have aren’t heard until a minute and a half into the actual musicians who can supply live musical composition. By contrast, Tchaikovsky’s Russian underscoring at the performance. We discovered Dance from the Nutcracker Suite starts right off when using these recordings that in some cases with a bang.

32 Aram Khachaturian Edward Elgar Carl Orff Sabre Dance Pomp and Circumstance O Fortuna

Quincy Jones Johann Strauss II Max Steiner Soul Bossa Nova Blue Danube Waltz A Summer Place

Herb Alpert Johann Strauss II Julius Fucik Spanish Flea Voice of Spring Entry of the Gladiators

Raymond Scott Johann Strauss II Elmer Bernstein The Toy Trumpet Also sprach Zarathustra The Magnificent Seven

Allen Toussaint/Alvin Tyler Nikolai Rimsky-Korsakov John Williams Java The flight of the bumblebee The Raiders March

Pat & Patachon Johannes Brahms Al Caiola Whirlwind (Theme) Hungarian Dance no. 5 Big Noise from Winnetka

Scott Joplin Wolfgang Amadeus Mozart Billy May The Entertainer Rondo Alla Turca Music to Watch Girls By

Bill Conti Wolfgang Amadeus Mozart Billy May/ Henry Mancini Gonna Fly Now (Rocky theme) Symphonie n. 40 K550 Baby Elephant Walk/Java

Rossini Amilcare Ponchielli Richard Marino William Tell Overture Finale Dance of the hours Rots-O-Ruck

Pyotr Ilyich Tchaikovsky Clément Léo Delibes Enrico Morricone Nutcracker Suite Russian Pizzicato The Good, the Bad and the Ugly Dance Antonín Dvořák Vangelis Jacques Offenbach Humoresque Chariots of Fire Orphee aux Enfers-Galop Edvard Grieg Infernal In the Hall of the Mountain Georges Bizet King March of the Toreadors Richard Wagner Ride of the Valkyries

33 Appendix 4

A List of Gests for the Gest Exercise

See pages 18-19 for an explanation of the Gest Exercise.

Hug another person Cover your mouth Close your hand in a fist in the air Hug yourself Cover both your eyes with one hand Close your hand in a fist in Kiss someone on the back of front of your chest the hand Cover both your eyes with both hands Start by standing up and then Check the time sit on the ground Cover both your ears with both Get another person to look hands Start by sitting on the ground at something and then stand up Cover another person’s eyes Put your hand on someone’s with your hands Sit on a chair and cross your legs shoulder (or shoulders) while facing each other Look straight ahead and then Snap your fingers once turn suddenly to the side Put your hand on someone’s Snap your fingers three times shoulder (or shoulders) while Walk toward another person in a row standing behind the person Lean in close to another person Start by looking straight ahead Close your eyes and then turn and then tilt your head at an your head Lean away from another person angle and look down

Close your eyes and then lower Raise one hand Look down at your own body your head and then look straight ahead. Raise both hands Back up Put your finger in front of your Fall to your knees mouth

34 Point your finger at someone Appendix 5

Stage Manager’s Map

35 Appendix 6

Acknowledgments

Additional thanks to all those who The original stage production of supported this project in word Laughing Allowed! The Slapstick and deed, including but certainly World of Neighbourhood Activism not limited to Ruth, Peter, Dan was part of a collaborative and the good people at High Point project led by Building Resilient church for kindly offering us Neighborhoods. Organization their home to create and perform partners, sponsors and volunteer the show; the First Metropolitan contributors to the theatre project Church for loan of props; Victoria included the following: West Community Association; Lana Popham; Red Willow Video Production; The Belfry Theatre, The University of Victoria Phoenix Theatre.

Book design: Kit Maloney

Production of this book was funded by a grant from the British Columbia Arts Council’s Arts- Based Community Development Program.

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