Cluj-Napoca National Theatre reprises the production War of the Clowns directed by Eli Simon, Tuesday, 31 January, 07.00 p.m.
We are waiting for the young and the old to rediscover the birth of each clown, with their own distinct personalities, some exuberant, others introvert, some mean, others nice, all equally disobeying the advice of Mother Clown who anxiously watches as her children learn to play "life". Full of energy and always ready to make mischief, the clowns take us, for a while, out of the quotidian numbness and make us taste a different rhythm, look at interpersonal relations through different lenses. We invite you to discover together with us how the mind of a clown can be more powerful and more creative than the mind of a non-clown. And if we use our clown mind (which everyone has, even when don't behave like "clowns"), amazing things can happen.
Eli Simon, acting professor in the US, at the University of California, Irvine, specialist in the art of the clown, explains:
"Clownery is deeply connected with the age of childhood and this is one of the reasons the production begins with a birth. Clowns and children are innately curious. Why does this object function like this? Who do people think I am? What else is possible? Clowns ask such fundamental questions, they explore the unknown and end up discovering things which vary from ordinary to extraordinary. When children or clowns take risks, it's a lottery whether they will be successful or not. Going through such experiences has to do with the innate desire to be seen and appreciated. Children (and clowns) need an audience. They love the fact that you are there to see them. Without you their playful spirit would die and as spectators to their games we avoid telling them their games are silly. Instead we watch amazed as they transform couches into castles, gardens into magic kingdoms and tricycles into supercars. I have recently watched some children playing and was fascinated by their need to find sticks to fight with. They transformed the sticks into guns, swords and spades. They were laughing wholeheartedly, competing in killing each other. I am fascinated by the human desire to play - most visible in children - and how games often become competition. The rules are established. You want the best in your team because they usually win. There is no joy in loosing...and who wants to be seen as a looser? War of the Clowns explores these impulses of the game and the manner in which the innocent games of the childhood prepare us for the games of the war of life later on."
Who competes here? How are the sides organized?
"When I direct a clown production, they always separate into two groups, without me influencing them. "In-clowns" and "Out-clowns". This separation happens naturally, and the actors are quickly drawn to one type of clown or the other. In-clowns always have an answer. They always know what is happening because they are what is happening. They do not try to be leaders - they are leaders. They're also hip, suave, arrogant, and sophisticated. When they take the stage, they take the stage. They belong there and feel good in the limelight. They are experts in everything. If you ask them if they think they are smart, they will shake their head affirmatively without hesitation. If you ask them how they became so smart they will nonchalantly shrug their shoulders as if saying: "I don't really know, I was born this way".
Out-clowns, as you may have guessed are the opposite. Out-clowns, as you might have guessed, are just the opposite. They are clueless, unsophisticated, awkward, and essentially uncool. When they take the stage, they project an air of discomfort as though they would prefer to be left alone. If you ask them something, most often than not they will stare at you, not knowing what to answer. You might feel the need to hug an out-clown to encourage and comfort him."
So this is a real war between in-clowns and out-clowns?
I have realized that we all have an In-clown and an Out-clown in our souls. The actors tend to privilege one or the other. You either land on your feet, or you fall. You either know everything, or nothing. You are either superior, or inferior. But here is the difficulty: if you are an in-clown, talented, glorious and lucky, you might be very sad. Sometimes your inner self overwhelms your outer self. You are tempted to hide your shortcomings. While In-clowns find extraordinary talents that allow them to reach their goals. But even all-knowing In-clowns stumble and lose their way.
War of the clowns is based on the rupture between those who are In and those who are Out. If In-clowns wish to conquer the world, they can do it only by subjecting Out-clowns, by totally dominating them, by transforming them into slaves to prevent them from rising against maniacal leaders who wish to destroy their souls
Is there a rule that clowns must follow, other than the red nose which is a feature of their identity?
"Yes, the no.1 rule of clowns is no words or verbal sounds.
Language is the means to think and verbalize intelligent thoughts, jokes and offers the possibility to give witty lines. So why should clowns be silent? For starter, the theatrical language prevents the emergence of the clown's natural self. Most often than not, by verbalizing actions, the clown cannot fully enjoy the truth of the moment. Words allow the clown to become "impetuous" and find a solution to get out of the jam. Overthinking a situation can undermine the potential of some magnificent actions. When language is subjected, clowns begin to express discoveries, inspirations and emotions at maximum level of physicality. In this manner the clowns' means of expression are truly connected to their inner lives.
This does not mean that clowns should forever be silenced. For many years, many exceptional clowns, such as three of the Marx brothers, Lucille Ball, and Red Skelton, used words, jargon, grunting, shrieks and song to extraordinary effect. It's hard to imagine how high they might have got without their voices. Each actor's clown might long for words but, at the beginning of the clown training, they must take a vow of silence. Let impulses and actions speak first. Let physical expression flourish first."
Written by Ștefana Pop-Curșeu
