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But for me, although I agree that clowning is a form of acting, clowns do not engage with fictional worlds in the same way as actors. Each of the clowns develops it’s own personality, and ub of our work in rehearsal comes from diving deep into that personality and coming up with, for lack of a better term, a unique point of view for each clown.
The world right now could use a few more Charlie Rivels and Lou Jacobs and a few less naked, post-ironic somethings in red noses performing their new traditional Heyoka-inspired bouffon piece entitled “Clown Labia Now! I am currently a Visiting Lecturer there, as well as Co-Director of Studies at the Barcelona Clown School, where I have worked with many clown teachers of varied approaches, such as: At the very least, they are decent theatrical nagegante that generally engender a good response from our audiences in my completely biased, artist-seeking-validation opinion.
Asking if clowns have to be funny is like asking if clowns have to be clowns. In a broad sense, this is what actors do: Not to start a whole different conversation, but it’s not realistic for us to pursue higher training at this point in our lives, and so we’re cut off from training with any grand closn that might uncover the gurus within us.
So, I hope I have gone some way to backing up here what was originally a short critical review. What are we missing? His haughty dismissals of the “maniacal clown who freaks out the neighourhood” set the tone for a book that has pretensions to superiority: It’s only when as performers honestly embrace the true emotions our clowns are feeling do we get laughs. Otherwise, what would be the basis of clowns? Which comment did you mean, yours or the one about clowns not having to be funny?
El clown, un navegante de las emociones – Jesús Jara Fernández – Google Books
Posted by Jon Davison at 9: So I think that wanting to be more profound than being funny is a big presumptuous error. Simon’s words about freedom from funny, i’m hearing him as a teacher urging his students not to try and jump straight to smashing watermelons with sledgehammers before figuring out that it’s Galagher’s honest rage that makes it funny not that i’m particularly turned on by Galagher, but the point still stands.
That’s why there are so few good ones. Monday, 29 March Review: As Philippe Gaulier says: Hello Anonymous, Firstly, in response to your doubts about my actor training, I came to clowning from theatre. However, and this is where I get lost, our pieces are always funny, unless they’re so overwhelmingly sad they make you cry, and even then you’re laughing.
I get cloown, you’re “edgy”. A little tip- before you blatantly announce that someone is “clueless about clowning” make sure you yourself are not. I am not saying they are not good as performers, just that I think they have distanced themselves from clowning which is what annoys me about the book, in that it criticises and demeans other clowns. If clowns have anything to teach us, then it is that we are all ridiculous, and they do this by exposing themselves in front of that audience.
Truth is, clowns are generally funny by nature, so if you have to force actions to get a laugh or try really hard, I suggest reworking skills and perspective, something is wrong.
However –and these are now emocones written wearing the hat of an artist commenting on his own work and therefore completely devoid of any sort of objective analysis– I happen to think that our finished products are pretty good.
The very simple and elegant joy of a clown is the magic of spending some pleasant time with a very silly person who can entertain a small child, their older siblings, their parents and their grandparents, all on different levels, all with the same material.
I think this is a mistake many in clowning make and it is an easy mistake to make. It’s a sad day when people who are so clueless about clowning are actually publishing books telling us how to do it, such as this from Eli Simon’s “The Art of Clowning”New York: Is the sole goal of the clown, according to your vision, to make an audience laugh? We’re not dumb enough to think that we’re the ones carrying The Torch, but clowm naive enough to believe that we’re doing something worthwhile.
It’s not likely people will want to watch a performance of raw “showing” instead of “being”. What you say holds true for an actor who is called upon to be convincing within a set of fictional circumstances. So if you would like to focus on the “maniacal clown who freaks out the neighborhood” the “Bozo-types”, by all means go ahead. As an actor for instance because clowning is a form of actingone’s focus is not on “what emotion can I now show to get a response”, but rather on the circumstances of the scene and objectives within.
I believe Your option is not based on expirence. Also, is clowning only about being funny? Best regards, Jon Davison www. We really embrace that, and in my role as director i am always cautioning people not to rely to greatly on “Being funny” because the audience will be turned off by your falseness. Of course, this happens all the time in clown training, but the eventual aim should be to find how one fails, admits it and that the natural response of an audience to this is laughter.
Do we want to watch a clown, or someone pretending to clown, not being true to their inner clown, but hoping to get a laugh, looking for response over their experience in front of people. It’s better to join a clown for a journey, and watch them be rather than watch someone get up there with gags and the simple goal of getting positive attention.
We’re stuck as humble clowns trying to make it in a modern world where we’re exposed to many different forms of media but have found comfort and freedom of expression in something wmociones was once a cousin of an old and proud tradition.