This Clown Philosopher Lives in a Wonderful, Whimsical World | Short Film Showcase

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I love making people laugh and smile and taking them to a different place that makes them a little happier. So this is my first time performing with a circus, so everything is new to me. The travel, the living situation, it's been a lot of fun. You live in RV trailers, you come to work in the tent, you explore the new city that you're in. I enjoy that life, it's fun. My techniques has been compared to the data Bango, really is impression walking assistance a little more Jackson while out of my friend I hadn't started not realized.

[Music] Clowns in a circus are the human connection for the audience. If there's someone who's going to reach out and shake your hand and befriend you at the circus, it's ultimately going to be the clown. So whatever your character is, the goal is that you have to make that audience connect. There's an old phrase that an old clown once told me is that a clown falls down so we don't have to, and that's the role that they play. People laugh as a cathartic relief.

My mom, so much humor is based on pointing out reality. People laugh at the things that they know are true. I get my inspiration from the characters and bits and routines from observing people, observing myself, reading, traveling. I mean, everything is grist for the mill. I mean, everything is, you know, there are things happening constantly around us all day, so I just try to pay attention to things.

Sometimes I'll have an idea that has nothing to do with what's happening in the outside world; it has something to do with that's happening with me on the inside, something more psychological. Physical jokes never get old. I mean, verbal jokes do, you know, because they're very topical most of the time. You know, you can hear with verbal jokes today and it's really, really funny, and you hear it, you know, ten years from now and you go, I don't understand that.

I think physical humor is sort of a timeless art form, and that's a great thing about physical humor: you don't need dialogue, so you don't need language. So there are no language barriers or no cultural barriers. A lot of people equate clowning ultimately with the symbol of the Red Nosed, the misfit clothes, the oversized shoes. When you say clown, they immediately think circus, whereas when you talk more theater, people think physical comedian.

Now there is a thing called clown theater which very much has been embraced by someone like Bill Irwin, David Shiner. A lot of the contemporary clowns that are coming out now are specifically working in clown theater, which is a little more metaphoric, a little more symbolic, and is really taking on a life. I saw Bill many years ago when I was living in Paris in the video, some engagement from the New York Times. Someone was doing an article on street artists and she interviewed me; she gave me this video and it was just fantastic.

From that day onward, I always thought I'd like to meet him and I'd like to work with him. I looked at that video and said to myself, that's the best common rule; that's the first guy that has been able to bring together theater, dance, and clowning and create this wonderful, wonderful piece of theater. I was doing Cirque de Soleil here in 1991, and he came to the show. I saw that he was in the audience when I invited him backstage. We met and we went out for lunch the following day.

Then we were casting and movie together and we had to come up with a clown routine for this, in this movie, and that's when we both realized that we had something great to go. [Music] Tenure won't prosper Osmond is early semester questioning who believed him cinnamon Patrice I see don't we only nice movie enriches.

Well, of course, Slava is internationally renowned for himself, no show, and the beautiful thing about him is that he's taken very much what most people would consider internationally a Russian tradition of clowning and he has shared it with everybody around the world. So that in a way, not only has the educated people to appreciate his style of clown theater and his style of clowning but at the same time he has stretched the range of what is considered a clown.

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A successful clothing said bill Samui. Yeah, as a performer in theater you're not normally creating these things new; you are taking a script and bringing it to life. As a clown in the circus, you are creating material that fits you; you are creating comedic bits that highlight what you do well. Working in the clowning world has taught me to constantly be creative; we constantly have things in my back pocket that I can do so that if a problem arises or if during a show something goes wrong during our material, you can then improvise your way out of it.

The question is where can you be employed. You find that you can work in theatre, whether you're working at a legitimate play or a musical or sort of clown the inner piece; you can work in the circus, you can work in variety, you can work in the street. As you move into a more intimate performance space, specifically variety, even the street, the legitimate theater where the format of the actual performance allows you more focus. The performing becomes much more subtle where you are; it's very much how do you connect your appearance and your style with where your performance [Music].

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Comedy and clowning has always been something that has been for the people, and for the longest time it was considered relatively common. So clowning has always been very much an art form of the street. Shakespeare ultimately came up with the word clown in trying to describe a country bumpkin character, or a simpler character who came in who is pure comic relief for a lot of his plays.

In England, the clown eventually found its way into the great English pantomime and was most put into the forefront by the clown named Joseph Grimaldi, one of the greatest pantomime clowns ever. How do clowns get involved in the circuit? Well, now we got to go to France where Napoleon I was a social commentary and satire on the one place he didn't do it: within the circus.

So English pantomime clowns come to the French circus and eventually clowns become the humor; they become the heart. [Music] The Red Nosed originally was equated with a drunk. Over the generations of clowns and clowning, the Red Nosed has become a symbol of humanity; it has become a symbol of emotion in that regard.

Once the clown's separated from the Auguste to the white face, which is symbolic of thoughts, whereas the a goosed clown with the red nose and then the human face is symbolic of heart or emotion, that circus gets more popular, clowns get more popular. The pantomime world is coming together, the circus reaching a golden age, and eventually where all this pays off a mass entertainment scale is with vaudeville and burlesque in America.

Well, with the creation of the motion picture, now suddenly slapstick humor and clowning becomes international because at the beginning of silent film, that was a glorious heyday for clowning. As I, as weasel said in Chapman of Norwood United meeting, we have working with for the strictest time even that has moved opinion with the booty month.

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You want to learn about great system of comedy, you look to Buster Keaton and Charlie Chaplin and Laurel and Hardy, even the Marx Brothers with Three Stooges. So you find the things that you can best emulate. Oh yeah, McCauley couch idiot Renault ze most spontaneous want animate attackers Croatia Slovenia stretchy own fantasy es que habla de genève.

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[Music] Whether you pursue a career as a stand-up comedian, whether you pursue a career as a comic actor or as a full-fledged three-ring circus clown, the goal ultimately of every clown is to make people laugh or at least to touch them in some way emotionally. What makes a clown powerful is the human heart. What makes clowning powerful is that basically the fundamental groundwork or the fundamental foundation, the Germans of great were the worshipping the primal.

The primal foundation of clowning is human suffering, you know, clowning is about being able to laugh about the things that hurt or being able to laugh at other things that you don't feel that great about. The embarrassing moment, feeling humiliated, the loneliness is expel, all of it, you know, the human condition. Clowning is powerful because it deals with the human condition; it's transforming pain into laughter.

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