Just like people, there are many different personalities for clowns. Whether one chooses to follow the makeup and costume practices of clown archetypes (such as white face, Auguste, etc.), every clown has a unique personality that is discovered by the performer. As Gene Kelly and Judy Garland sing in The Pirate, regardless of the way you do it, “Be a clown, be a clown, be a clown!”
Happy Clown
Bozo the Clown could be considered a Happy Clown (though in the twenty-first century many people think he crosses the line into creepy). Bozo is best known for his television variety show for children. While he dons the traditional white makeup and red nose, Bozo does speak. Bozo inspired The Simpsons’ Krusty the Clown. The happy clown likes to bring joy and laughter to people.
Sad Clowns and Hobo Clowns
Famous Western sad clowns trace back to the commedia clown Pierrot, who pines for Columbine, who is in love with Harlequin. You can watch a fictionalized interpretation of Jean-Gaspard Deburau’s development of the sad clown character in the film Les Enfants du Paradis.
Charlie Chaplin’s “Little Tramp” character is the quintessential example of the sad hobo clown archetype, with ill-fitting ragged clothes, oversized shoes, and a bowler hat. Little Tramp is featured in several silent films including Modern Times, City Lights, and The Gold Rush. Little Tramp is often lonely, sometimes starving, but always has a bit of optimism.
Clown Emmett Kelly, created the hobo clown character “Weary Willie,” based on people down on their luck during the Great Depression. John C. Reilly took on the persona of a hobo clown for his performance of “Mister Cellophane,” in the 2002 musical Chicago. Hobo clowns are perpetually hopeful that things will get better despite life’s challenges.
Scary Clown
Pennywise, the Joker, and Pogo the Clown (aka serial killer John Wayne Gacy) likely top the list of examples for why many people are afraid of clowns with their uncanny permanent smiles and murderous intent. The line between a happy clown and a scary clown is a fine one, but we recognize a scary clown when we see one. Scary clowns enjoy making people uncomfortable.
Modern Clown
Anything goes with the modern clown. While some traditions of clowning require you to adhere to rituals such as not speaking while in clown makeup/costume, wearing a red nose, or painting your face, modern clowning can be a lot more flexible.
An example of a modern clown troupe are the Ongals, a Korean group that performs using both traditional and nontraditional techniques. Some traditional clown skills they use include juggling, animal balloons, and physical comedy. The Ongals may be seen performing with or without makeup, but they do not wear red noses. The most nontraditional part about the Ongals is their incorporation of beatboxing and sound effects into their routines. See a performance HERE
Another example of modern clowning is New York-based Circus Amok, founded by juggler, clown, and bearded lady Jennifer Miller in 1989. Circus Amok uses clowning as a social justice tool, performing routines on police brutality, high healthcare costs, gentrification, anti-LGBTQ policies, and other issues. They cite Charles Ludlam’s Theater of the Ridiculous, Bread and Puppet, and modern dance as influences on their performances.
At its core, clowning is about entertaining audiences. While clowning may not be as popular as other types of theatre, clowning can be a great way for any performer to expand their storytelling, character development, physical theatre, and improvisation skills.
Join us next month as we explore theatre improvisation!
Photo Credit: StockSnap, “Smile, Clown,” 2017