It was all I dreamed it would be.
When the melodrama block ended my roommate and I likened it to five weeks of asparagus every day. Sure you like asparagus but after five weeks of it every day you get sick of it. Then we likened our clown block to five weeks of soft fresh out of the oven walnut, sugar drizzled cinnamon rolls. The only catch is that you have to eat five pounds of them every day for five weeks. Thing is, I fucking love cinnamon rolls. And while it did get old eating them at that capacity, I also loved it.
As I leaf through my notes, I realize that trying to digest and synthesize clown is difficult to do. Instead, I will share an inexhaustible non-comprehensive list of lessons learned: create theater that is ruthlessly rehearsed and still surprising, your guts have to scream you, see a place in space before moving to it or it's gratuitous movement, it's all about how you enjoy what you are doing, release tension but work with total abandon, listen to where the comedy pours from, theater is political period. there's no such thing as political theater but there is such a thing as shitty theater, the chin grabbers --at some point fuck 'em, POV is the mind pointing funny at things, generate delight from within and keep it rolling, clown means nothing is taken for granted, a series of repetitious gestures causes us to revel in understanding, RISK BEING TOO MUCH, moving out of your comfort zone -spills out -moves forward and -disturbs emotionally, life is 51% comedy, don't be sad --be full of weeping-- but don't be sad, do not defer to know the relationship you are in --let it develop, this is YOUR WORK, listen and find when the "damned thing" comes into your sphere of occupation and god damnit be ready, always have an eye for the pay off, tension as an actor is a signal for the character to release and find delight, vital --it must be vital, the amount of forces you give is equal to the amount of forces you're able to discover, work to create a tone that would otherwise remain inaudible, ANYTIME you have a line -remember you are a poet, in stillness I move -in movement I am still, trust more in character coming out of the eye than antics, open open OPEN your EYES, open your face, when you listen to the mind of the ensemble its genius, watch for interruptions, constrasto -look for it -love it -use it, articulate your moves.