Play is a term commonly used in relation to theatre making and elsewhere, but its exact definition and area of use cover a vast spectrum. Play in regard to unlocking creative potential is an idea used in a wide array of theatrical forms and is championed by Jacques Lecoq, Simon McBurney and the Theatre de Complicite, Ariane Mnouchkine and the Théâtre du Soleil, Robert Lepage, Improbable , amongst others. Play is conceived and practiced as a tool to enable performers to reach areas and planes of performance that were thought impossible. In this essay, I will discuss the ways in which play is conceived and employed with specific reference to Jacques Lecoq and more specifically to the teachings of Philippe Gaulier. Le Jeu is Gaulier’s base for performers to build from, and play and pleasure are the key emphasis points for all of his training/work, be it the performance of a clown, Bouffon or in performing Greek tragedy. I will explore the ways in which play helps the performer unlock the potential they have within them to execute these performances ‘beautifully’ (in Gaulier’s term), and how that makes them more ‘alive’ and ‘pleasurable’ for an audience to watch. Because I have had direct first hand experience of Philippe Gaulier and his teaching he will feature more prominently in my writings. It’s important to note that he studied under Jacques Lecoq and then was a tutor at the Lecoq School so his teaching and ideology of theatre comes strongly from Lecoq’s influence.

PHILIPPE GAULIER

I love theatre whose origins are found in the realms of pleasure. I love theatre which gives space to the vibrations of the joy of performance. Where does it start? In the impulse: a passionate, vital and sometimes brutal movement towards performance. Off we go! Where? Towards unknowns which the performance will help to uncover. If it all goes smoothly, the imagination will burst into joyous life and lead the actor towards inaccessible heights and eternal snows. The pleasure of going towards the inaccessible does not tolerate academicisms. (Gaulier. 2007: 212)

Gaulier’s teaching mainly focuses on improving the actor as an individual; even though he focuses strongly on always maintaining good ‘complicite’ with other performers, it is through the actor finding their play that enables them to have successful complicite. That is not to say that play is a purely selfish vice, it is a tool that unlocks the freedom to successfully collaborate. This is a concept embraced by numerous people and companies but is not something that is taught by many. Gaulier is arguably the most foremost teacher (since Lecoq’s death in 1999) and it is Gaulier and his contemporaries, the likes of John Wright, who seem to be able to teach the idea of play as a tool to use in performance and creation of theatre. This concept of play, and indeed pleasure is emphasised by both Gaulier and Lecoq within their writings as well as their teachings. Play (le jeu) and pleasure, along with ‘the game’, are primarily what Gaulier tries to instil within his pupils, and once this is found then theatre can exist. More specifically, Gaulier sees play as a medium to enable the actor to perform using play to help partially free them, free them from the constraints that have been placed on them from growing up, free them from the ideas of what is socially acceptable, free them from the imposed limitations of their ‘mature’ adult status. Many teachers think of children as immature adults. It might lead to a better and more ‘respectful’ teaching, if we thought of adults as atrophied children. Many ‘well adjusted’ adults are bitter, uncreative, frightened, unimaginative, and rather hostile people. Instead of assuming they where born that way, or that that’s what being an adult entails, we might consider them as people damaged by their education and upbringing. (Johnstone. 1981: 78)

Gaulier seeks to reverse what Keith Johnstone speaks of, and seems to ask for a regression of self to a more child-like personality, embracing play and enabling the actor to be free to explore their full potential, and to enable the audience to engage with the

performance more than they would with an actor using “…shitty Stanislavski emotion memory” (Gaulier. 2008). Once the actor has accessed the play and pleasure within them, according to Gaulier, their performance becomes a success and the audience becomes enthralled. ‘Philippe Gaulier always used to say that when he sees a piece of theatre he would like to feel a complicity between the actors on the stage – not only between the actors on stage but between the actors and the audience.’ (McBurney. 1994: 15). McBurney describes what Gaulier wants to see with the discovery and implementation of play and complicite. If the actor can remove the constraints that have been put on them from being an ‘adult’ and find the ‘play’ they had when they were a child, this along with complicite will arguably draw not only the other performers but also the audience into the act of theatre being performed, the audience is engaged and complicit in their imaginations.

Returning to the idea of the ‘atrophied children’ in viewing play in its simplest form it would be arguably seen as the feeling of being a child again, of having no inhibitions enabling one to open up to the full possibility of play. ‘To come back to the principle of pleasure, what Philippe tried to elicit from us was something like a sparkle a child has when they are inventing a new game or just playing tag or even when they are simply aware that they are being watched.’ (Worsley. 2002: 86). The idea of free creative expression, when a child plays they are free and are following avenues of creativity that adults often can’t grasp, it is these creative and expressive possibilities that Gaulier and Lecoq try to unlock within the performer, but with the positive attributes of being an adult: child-like, not childish. These are accessed via helping the performers discover ‘the game’. The game is introduced to set the parameters, within which play can move, it encourages play in a fixed structure, through the generative friction of parameters and limitations. An example is as follows: during one session for ‘Le Jeu’ Philippe gradually introduced a game and showed how it should be used within performance. Firstly he had one person holding a ball in between two performers; when he hit his drum they had to grab the ball and run to the wall behind them. If the person reached the wall with the ball they got one point, if the person without the ball tagged them before they reached the wall then they got one point. That was the game; the parameters given, the game ran for a while. Gaulier developed the game by asking one performer to be in major (the character/performer who should be holding the audience’s central focus) and one in minor (primary job to support the performer in major). The person in major had to improvise a text about what they did at the weekend holding play and pleasure in their voice, and then when Philippe hit his drum the performers had to grab the ball. Again, a new rule introduced new parameters in the game. The last development of the exercise using the game was to get rid of the person holding the ball, and asking the two performers to enter the stage and deliver a text about how much they love someone in the audience, he asked that they remembered the game throughout. If the performers listened to these instructions, they did indeed manage to remember the game, they held the complicite and lightness with one another that was evident during the play and pleasure they showed when playing the game earlier. In remembering the game the performers also seemingly invite the audience into their world and they experience pleasure in watching the performers ‘playing’ with one another. If they do not remember the game during the moment of performance, Gaulier re-introduces the ball holder and they play the game while delivering their text. The aim of this particular exercise is seemingly to show his pupils how important ‘the game’ is in theatre. When I talk about the game, I am talking about an immense desire for life, the same desire which makes us breathe. The game of hide and seek: hiding behind a door, or under a mask or disguise. Enjoy disappearing. When the joy of the game wavers, the character in the play appears heavy, true, too true to be honest: theatre dies. Theatre equals the pleasure of the game plus play. When the play is beautiful, the game of hide and seek unfolds, simply and freely.

(Gaulier. 2007: 193) Through the game the actor is able to find a path to accessing play and pleasure and become, as Gaulier describes, ‘beautiful’. Gaulier wants to show how simple theatre making can be, but finding the game and pleasure requires intelligence, not an intellectual intelligence but a special bodily intelligence, spatial intelligence, an ability to feel in the moment what the game requires, a present-ness. A discovery through the game and play is how this awareness can be achieved, a theatrical intelligence. In another lesson with Philippe Gaulier he showed how use of play, pleasure and the game leads to strong complicite within the creation and devising of theatre, opening up a theatrical intelligence within the performers. During a Neutral Mask session , Gaulier was questioned as to how an actor can successfully play the part of Orestes or Clytemnestra, without using a form of Stanislavskian emotional memory or psychology upon which to build a character and their thinking, (Aeschylus’s Oresteia was used throughout the 6-week workshop as a core text). Gaulier’s response was to ask for two volunteers to act out the scene in which Orestes’s mother, Clytemnestra, is pleading with him for her life before he does go on to kill her; clearly this scene of a son killing his mother in a matricidal fury is very difficult to enact. Gaulier simply invited the actors to find pleasure via playing around with different elements during the acting of the scene. Under Gaulier’s direction, the actor playing Orestes was invited to move seamlessly from fire to steel to freezing air, while the actress playing Clytemnestra moved between the elements, colours and associated images of fire (red), warm air, and vulture (blue). Gaulier worked on the scene for 30 minutes, and by the end the questioning voices were silenced as many were in tears at the power that the scene had evoked; everyone present declared that the performance was a success. Gaulier’s response to the students was to say: “Ah bon, see, no psychology used, just elements” (Gaulier. 2008), and the doubters were silenced. The simple act of getting the students to play with various elements had helped them find the game in performance, enabling within them a theatrical intelligence through the discovery of play. Through play meaning can come, Gaulier and Lecoq encourage using play to find meaning within performance rather than following a psychological approach or indeed a method acting approach: Even though it might seem contradictory, sometimes freeing the meaning can also involve constraining the actors with very precise instructions. This paradoxical relationship between freedom and constraint is a fascinating aspect of artistic creation. (Lepage. 1998: 132) Robert Lepage explains how by giving meaning it can constrain performers, by having meaning in a scene or performance you feel constrained to follow what is given to you, but by freeing the meaning, and opening up the scene play can occur and the actors feel free in performance.

PLAY

Returning more directly to the idea of ‘play’, it is, as an idea itself, difficult to describe without using metaphors, as it is a non-physical concept that is only usually seen in the virtuosic moment of a performance. Nonetheless, it can still seemingly be taught. However It is almost paradoxical to say that play can be taught, one might assume that play is an innate quality; but it is important to differentiate between the play and pleasure that Lecoq and Gaulier propose, and the play and pleasure in which a child is engaged. In the training of these two teachers, play becomes a more structured entity that the performer has to harness. The goal is to not let it overtake them as a performer, but instead to know what it involves and to a certain extent to limit the play, or the ‘play within the play’ (playing within the game). If the performer is just playing freely and not conscious of what they are doing then the ‘play’ they experience runs away with them and it is not engaging for the audience to watch as it is selfish. What is needed is the play within the play, for the performer to notice they are having fun and playing but to not let it consume them, and instead harness it and use what is effective. This enables the audience to enjoy watching the performer

who is having open and engaging play with both the other performers (this being complicite) and the audience.

Play is not a selfish thing; both Lecoq and Gaulier emphasise the idea of ‘complicite’ within performance, and one performer’s play with another. As Lecoq says: ‘true play can only be founded on one’s reaction to another’ (Lecoq 2002: 30). Needless to say, play can happen on an individual basis, but it is more successful when used in conjunction with another performer and when the two of them are able to find complicite with one another: Complicite doesn’t just take the form of performers working well together, it is a term used to describe when performers seem to inhabit a world with one another, a form of un-spoken unity where performers are completely receptive to one another and what the situation they are in requires. They don’t need to fight for the power onstage, who is in major and who is in minor, instead it is exchanged in a smooth transition from one to the other, opening up the performers’ rhythmic agility . True complicite requires a particular kind of intelligence, it requires performers to be completely immersed in their onstage relationship, holding rhythm with one another, and it works like a well composed musical score, with all the notes falling into place perfectly. Similarly with good complicite it seems as if a performance has been rehearsed countless times, almost as if the performers know what one another are going to do before they do themselves. Complicite is also extended to the audience, it can’t work as a selfish act, like play, it is a living entity that draws the audience in to the performers’ world and invites then to play with them, enabling the audience’s imagination to flow and to be immersed in the world that the performers are creating before them. Complicite is a term championed by many, even though it might not be spoken of with the same vocabulary the principle is there. Jerzy Grotowski speaks of an outcome of complicite: ‘An actor must always be ready to join the creative act at the exact moment determined by the group.’ (Grotowski. 1968: 216) The actor knowing the exact moment to join comes from the receptiveness and attuned-ness of the performer coming from finding true play and complicite with others.

Play is thought to be happy and joyous concept, but with both Lecoq and Gaulier the finding of this component is not always so joyous: It is possible to be playing but not be in a play mood; to be playful but not playing; to be playing and neither know nor be in a play mood […] to study play without playing or feeling playful, etc. Furthermore, play acts often serve multiple, contradictory purposes simultaneously. (Schechner. 1993: 26)

As Schechner suggests in his essay about ‘serious play’, finding play can often seem to be a paradox. As Gaulier’s teaching is often fairly brutal it is difficult to see how the performer can find their ‘play’ whilst insults are being shouted at them. However Gaulier uses this teaching method to ‘help’ the performer find their play or jolt them into realising they have no place on stage. “If you have no pleasure you should leave the stage” (Gaulier speaking in ‘Le Jeu’ 14/10/08). Even though play is often based on the artifice of theatre and suggestion, one cannot pretend to have play and pleasure, it cannot be acted. What is needed is an authentic emotion and feeling, such that the performer is fully aware of when they have achieved or arrived at it. The word, ‘play’ itself, sets up a false image of what exactly it is Lecoq and Gaulier are helping performers access. The grammar is seemingly not there to describe the term. ‘When speaking of play as something known to all, and when trying to analyse or define the idea expressed in that word, we must always bear in mind that the idea as we know it is defined and perhaps limited by the word we use for it.’

(Huizinga. 1949: 28). This begins to show the problems in terms of vocabulary when trying to describe play, and perhaps begins to explain why some people’s perception of Lecoq and Gaulier’s teaching is very different from the reality of it. Play as a form is not always ‘fun’ incidentally, and perhaps inevitably, the same applies when performing in conjunction with another; complicite cannot be simulated, it is either there or it is not. This opens questions; as Gaulier says “Time for the truth is not theatre, theatre is not the truth” . However, if complicite can only be found with a real emotion (via play and pleasure) this means you can only be successful with what you are doing onstage, via finding true play, and then surely the truth is occurring on stage, thus opening a paradox in Gaulier’s teaching. If you can only be successful with true play, and find complicite with others with true play and pleasure then surely an act of truth is occurring, so theatre is the truth, and not the opposite as Gaulier seems to want to express. It could also be debated that it is through play that the joy of the lie is found and that you are then manufacturing truth on stage via play. So an act of true play is used to perform the lie of theatre; whether it’s using play to perform tragedy or to perform a character, truth is being used to perform a lie, therefore the theatre and the character is not the truth, but the performer is the truth. The truth Gaulier is resisting is the psychological behaviourism inherent in most naturalistic theatre ; this is a different truth, paradoxical yes, but out of a genuine playing of the fiction (‘lie’), through this (the joy of playing the lie) the performance can be engaged with and believed in. - All the words in the theatre that define truth are of course expressing a central paradox: we are watching something that is not true at all, and we know it (Hall. 2000: 17) - The theatre’s the most wonderful artifice, it is fantastically artificial and that’s what it’s about. It’s a celebration of that artifice. (McBurney. 1994: 24) Both Peter Hall and Simon McBurney confirm the notion of theatre as lie. Paradoxically, truth is sought out, but a lie is used to present it. Gaulier seeks out play to perform a ‘beautiful’ lie.

JACQUES LECOQ

Lecoq defines play like this: ‘When, aware of the theatrical dimension, the actor can shape an improvisation for the spectators, using rhythm, tempo, space, form’ (Lecoq 2000: 29). Unpicking this definition, we can highlight three concepts in particular: theatricality, improvisation and spectators. Being ‘aware of the theatrical dimension’ removes play or playfulness from mere pleasurable self-indulgence and provides it with context and purpose. To ‘shape an improvisation’ suggests territory where the actor has a degree of physical, vocal and spatial freedom to be inventive, rather than being merely a conduit for the director or playwright. Invoking the presence of spectators in this definition reminds the actor that finding this elusive quality of play is a crucial – perhaps the most crucial – element in making the transaction between performers and audience effective and engaging. (Murray. 2003: 65)

Murray’s explanations show how much of a component play is, and how the one word can span a vast array of components. In essence it is the spine in which theatre is created; it provides the support and guidance through the creation process, a framework in which theatre moves and comes alive and the link to mould the spectator and performer to help the act of theatre to be engaged to its full potential. This supports the idea that ‘play’ as a word is in essence not enough to explain what it entails, as a concept the describing of it remains difficult, Murray’s description offers a slightly more clear explanation of what play in basic is. However it could be argued that Lecoq’s ‘Le Jeu’ is very different to any play description given before, so it could be seen that Lecoq has created his own concept and terminology to go along with it.

Lecoq was a key figure in inspiring and, in a sense, leading a new breed of theatre makers into the world; his school has spawned many a famous actor, company and practitioner. His teaching method guided primarily through play (le Jeu) encouraged the unlocking of creative potential within individuals. He did this through a unique teaching method, later adopted by Gaulier, which was arguably a ‘via negativa’ approach ‘…which sought to eliminate inappropriate solutions and choices simply by saying ‘no’ to what the individual student or group had presented. In the via negativa prescriptions are not offered and it is up to the student to continue proposing possibilities until the most effective receives some kind of acceptance or affirmation.’ (Murray. 2003: 49). It is through teaching such as this that students are encouraged to find play, for only through finding true play will the work be acceptable. If play is not discovered in the act of performing it is almost certain that the work that the individual or group has presented will simply not be accepted and affirmed. Lecoq was not being a dominating tutor demanding perfection; he was a tutor who sought to provoke in order to bring out the best from his students: ‘Lecoq is not a ‘method’; it’s an observation, a way of being. It’s not a gospel. If you put it in a box, you might not be able to get it out! What you need is the minimum of set-up, then just let people play. Lecoq is dead, but the work lives on and grows – in the body, in the space.’ (Edwards: 2009: 8). Simon Edwards describes the importance of awareness, not only in mind and body but in space. Lecoq sought to push students to find the answers themselves; he encouraged independent discovery, saying that people learn better when they have found the answers for themselves rather than being pushed into them. In using ‘via negativa’ he motivated the students, pushing them to find something better, to find the play in their work. As Simon Murray describes whilst in conversation with Thomas Prattki (former student of Lecoq) ‘the essential justification of via negativa is that profound and substantial learning only takes place when students have discovered the most important things for themselves’ (Murray. 2003: 51). Similarly in the instances when Philippe Gaulier is insulting (this tactic of ‘insult’ is a kind of ‘play game’) a student after a presentation of work he is seeking a response, if the student takes the insults and returns to their seat then they are not open to play/work so Philippe will not work with them. But if you respond in that moment of receiving an insult as the student you become more open and show you are ready to work, and in these moments Philippe will work with you on your performance, he sees you are open to play and will try to help you find the play and pleasure in your work.

Tim Etchells describes play as ‘a state in which meaning is flux, in which possibility thrives, in which versions multiply, in which confines of what is real are blurred, buckled, broken. Play as endless transformation, transformation without end and never stillness. Would that be pure play?’ (Etchells 1999: 53) It is this explanation of play that begins to describe the feeling of accessing true play, and how through true play and pleasure performances arguably hold more power, belief, conviction, emotion, and so on. Lecoq talked of play (le Jeu) in his work, his pedagogy saw play at the heart of acting. His Autocour sessions put into place the foundations of play to occur via giving the actor freedom to explore and play - not only without tutor supervision, but also during the presentation of the work formed during Autocour, and from the ‘via negativa’ approach to the work to enable the actor to learn through doing and ultimately finding success only when playing, and finding the game. Play comes with its challenges; all actors and performers are not at the same openness with others and it takes work, but the play will come as Lecoq describes: Occasionally a student will come to me and say: ‘They won’t play with me!’, to which I reply: ‘Well, play with them!’ By placing oneself at the service of others, one discovers an important dimension of theatre work. Through these tensions and crises, they begin to experience life as part of a company (Lecoq. 2002: 99)

Lecoq goes on to describe how play highlights the importance of being receptive to others, and also serves to help produce a conducive creative environment. By realising the tensions of working with others, and being prepared to work around or through them via the medium of play, a good working environment is engineered, and ultimately the complicite is improved. A key part of Lecoq’s pedagogy, and in turn emphasising the importance of play, was Anti-intellectualism, which was an apparent rejection of books and scholarly discourse as a source of learning and a scepticism towards the accepted authority figures, Lecoq pushed his students to find answers for themselves. He moved away from the typical teacher lecturing student relationship, instead pushing his students to ‘learn through doing rather than talking and discussion’ (Murray. 2003: 55). Enabling the students to find the answers, both physically and mentally, for themselves which arguably promoted a more beneficial approach to learning and a more successful learning outcome, and ultimately helped them find ‘true play’ within their creation and performance during and post studying at Ecolé Jacques Lecoq.

CONCLUSION

The work of Lecoq cannot be ignored, and his former pupils have highlighted Lecoq’s massive impact on the work of theatre. Such luminaries as Steven Berkoff brought him into the British public eye in the 1970’s with his work introducing the audience to a new form of movement and text; Simon Mcburney’s ‘Complicite’ moving from acclaimed production to acclaimed production; Lloyd Newson’s DV8; Ariane Mnouchkine director of Théâtre du Soleil; and the teaching of Philippe Gaulier in Paris and London. It has shown not only British audiences but world audiences how important Lecoq has been to the development of theatre, and with play (Le Jeu) being at the heart of his pedagogy it shows the importance of this concept and proves it can’t be ignored. Philippe Gaulier has taken his lessons learnt from Lecoq and stamped his own brand on how concepts such as complicite, the game and ultimately play should be taught and received. His teachings are highly influential, again with a strong list of former students including Simon McBurney, Emma Thompson and Sacha Baron Cohen supporting the idea and notion of play, and indeed what comes with it or through the discovery of it. However, all of this doesn’t mean play as a form and a concept has become any easier to describe. It is something that needs to be experienced. The discovery of it and the journey it entails is a valuable one, but what it brings you when you find it is what every performer strives for. The ability to hold a performance, to seemingly be able to feel exactly what the moment you are in requires, as well as it leading to greater complicite with other performers, feeling what they need within the theatrical space, and knowing when the micro or macro switches in the game or the move from major and minor need to occur, as well as drawing the audience into the action occurring, and making them experience the play that the performer is feeling, and the play of imagination. ‘Without play – in its richest and most nuanced form – spectators will never be properly engaged in the theatrical event’ (Murray. 2003: 65) Play as a component is not only vital in the composition of work and in drawing out complicite but also for performer spectator relationship. If play can be harnessed and used to its full effect then the performance will hold the engagement of the audience. To play needs much work. But when we experience the work as play, then it is not work any more. A play is play. (Brook. 1990: 157) On first impression play as a word is light, fun and easy. But when the discovery of it begins the search shows it is far from easy, much work has to be done; smiles seem to disappear and are replaced with faces of strain and all seems very difficult. But through finding the game, accessing play, pleasure and complicite with others freedom

comes, a moment of realisation occurs and the pieces of the jigsaw of play begin to fall into place, the performer becomes receptive to all around them, audience and other performers as well as the space they are inhabiting; and then the performance becomes light, fun and easy, and full of play.

This tThis thesis examines traces of the teaching of Philippe Gaulier in the genre of clown theatre. I investigate the ways two contemporary productions, NIE’s My Life With The Dogs, and Spymonkey’s Moby Dick, respond to aspects of Gaulier’s teaching. Using Gaulier’s writing and my own experience as a Gaulier student, I identify his main theatre principles and explore the ways these principles are taught, and how this pedagogy might influence clown theatre. I investigate the intermedial nature of clown theatre, which uses the spaces between differing layers of presence, and different theatre conventions, to find conflicts that can be exploited for comedy. I relate this to the multi-generic course structure of Ecole Philippe Gaulier, and the performative teaching methods employed there. I propose that Gaulier teaches in a role similar to a whiteface clown, forming a performative partnership with the student, which facilitates an embodied understanding of clowning. I argue that clown theatre interprets this partnership by framing storytelling as a kind of whiteface clown, which works in partnership with the objective to create comedy. For my parents, Tim and Sarah and for Guy. I would like to thank Dr Caroline Radcliffe, who has been a dedicated and invaluable supervisor, providing me with guidance, questioning and kind reassurance. With the help of Professor Kate Newey, I was able to gain a scholarship from The College of Arts and Law Graduate School, without which this research could not have been undertaken – thank you. I am also thankful to Roger Emery for his financial support this year. I am grateful to Aitor Basauri and Spymonkey for allowing me to attend Your Funny, and the De Perthuis family for their hospitality and kindness in Paris. Finally, I would like to thank Philippe Gaulier, who is wise, hilarious and fascinating. TABLE OF CONTENTS INTRODUCTION 1 CHAPTER ONE CLOWNS AND CLOWN THEATRE 4

CHAPTER TWO CONTEXT 13 CHAPTER THREE LE JEU: GAULIER’S THEATRE PRINCIPLES 28 CHAPTER FOUR PRESENCE AND INTERMEDIALITY 43 CHAPTER FIVE PARTNERSHIPS IN CLOWN THEATRE 59 CONCLUSION 67 LIST OF WORKS CITED 70 LIST OF COURSES AND PRODUCTIONS ATTENDED 77 APPENDIX A SAMPLE OF GAULIER’S INSULTS 78 LIST OF ILLUSTRATIONS FIGURE 1 Students at the summer clown course at Ecole Philippe Gaulier, 2009 36 FIGURE 2 The author taking part in an exercise during the summer clown course at Ecole Philippe Gaulier, 2009 36

INTRODUCTION Philippe Gaulier is an internationally renowned theatre teacher, having been a clown performer and a teacher at Ecole Jacques Lecoq before opening his own school in 1980. Gaulier is a relatively little known practitioner and pedagogue, closely associated with his own influential teacher. While not underestimating Lecoq’s influence on Gaulier, this thesis aims to establish the influence of Gaulier’s courses on clowning, particularly on a style of performance I identify as clown theatre. I investigate two theatrical case studies to explore the common themes, devices and approaches to creating performance that link clown theatre to Ecole Philippe Gaulier. This investigation aims to posit clown theatre in relation to Gaulier and to suggest that

contemporary productions of clown theatre demonstrate visible traces of Gaulier’s training. I believe that the theatre principles manifest in clown theatre can, in return, facilitate an understanding of Gaulier’s school. This methodology has proved useful in the study of Jacques Lecoq’s work, as Simon Murray explains …any attempt to describe the actual consequences of his pedagogy has to be conducted at the remove of unravelling his influence through the process and product of those theatre practitioners who trained with him (Murray in Chamberlain and Yarrow, 2002, p.17-18). Similarly, I use clown theatre as a way of investigating certain areas of Gaulier’s teaching as they are manifested in a theatrical context. I am not claiming that the school sets out to teach a fixed genre of clown theatre, or that all Gaulier graduates make clown theatre, but I argue that in clown theatre there are visible traces of Gaulier’s teaching and that an examination of these traces can contribute to an understanding of the school. #" " In Chapter One, I briefly explore definitions and expectations of the role of a clown, before examining clown theatre through the two case studies that I have chosen as examples of the genre, New International Encounter (NIE)’s My Life With the Dogs and Spymonkey’s Moby Dick. In Chapter Two, I explore Gaulier’s presence in academic discourse, contextualise and describe the school according to the traditions into which it fits, using information from Gaulier’s own publications, my experience of the school and other published material. I examine Gaulier’s relationship to his theatrical lineage and his apparent approach to this relationship. In this section, I begin to explore a common duality in Gaulier’s speech and writing, between fantasy and imagination on one hand and the corporeal or grotesque on the other. In Chapter Three, I examine Gaulier’s theatre principles, through an analysis of the short course Le Jeu and an examination of Gaulier’s use of via negativa as a pedagogical tool. I explore how insults are used to create performative partnerships that contribute to heuristic learning. I examine this pedagogy to see how Gaulier’s teaching style contributes to and demonstrates his own principles and go on to identify aspects of this teaching visible in the case studies. In Chapter Four I propose that the comedy found in clown theatre is reliant on intermediality of theatre, and examine how this intermedial comedy is connected to Gaulier’s teaching. Using examples from the case studies and my own experience at Ecole Philippe Gaulier, I suggest the ways in which students could have drawn on $" " Gaulier’s teaching when creating clown theatre. While it is interesting to note a connection to contemporary trends in post-modern theatre, I remain focussed on the particular contemporary strand of clown theatre and its comic intermediality. In Chapter Five I investigate comedy partnerships in clown theatre. Having noted Gaulier’s partnerships in the classroom, I examine the relationship of clown theatre to the story it tells, and of the performers to the audience. %"

" CHAPTER ONE CLOWNS AND CLOWN THEATRE Gaulier describes the birth of clowning with a poetic anecdote, set in the nineteenth century circus, in which two stagehands accidentally make the audience laugh with ridiculous costume, physical antics and stupid behaviour (2007, p. 275-277). The ‘big top’ environment is one that is familiar to a contemporary reader, so the allegory is accessible, but the anecdote demands some imaginative engagement from the reader, as the setting is not the present day. Costume, physicality and unusual behaviour, the ingredients of this allegorical ‘first’ clown routine, can be recognised in clowning across history, as can the need for some imaginative engagement on the part of the audience or reader of clown history. Art theorist, Wolfgang Zucker (1954) describes the popular image of the clown as a person who does not belong in society but is given license to be ‘other’. The clown, through the use of comedy, is permitted to have “an appearance and behaviour that elsewhere in society are repudiated, abhorred and despised” (1954, p. 310). Zucker links the clown’s unusual appearance and behaviour, as though the former gives licence to the latter. For clown historian Swortzell (1978, p. 3), an unusual appearance can provide the audience with “readily identifiable” symbols of the clown’s status as somebody who is ‘other’ to the audience and society. Eli Simon’s, The Art of Clowning, a guide to practical exercises for clown students, claims that “you don’t need to dress up in whacky costumes to prove you are goofy enough to be a clown” (2009, p. 4), but acknowledges that many clowns do choose to add costume as they develop their routines. Even Simon’s rejection of costume as an essential element of clowning demonstrates that there is a widely held understanding that unusual &" " appearance as an important part of clowning. Part of the clown’s identity as an outsider is the unconventional, comic use of the body. For humour theorist Henri Bergson (1915, p. 9-20), an example of the comic is a person who is inflexible to adaptation, so that their body and character becomes automated and inappropriate to its surroundings. For Bergson (1915, p. 134), when a person laughs at another tripping over, it is partly to reprove the faller, reminding them to pay more attention. He applies similar reasoning to laughter at a person with an unusual and comic physicality and appearance. Jos Houben, director of Spmonkey’s Moby Dick, describes a similar function of the corporeal in his lecture, The Art of Laughter (13/11/2009). Houben claims that physical comedy based on malfunctions of the body, such as falling over, can generate laughter from audiences around the world because the body is the one universal human trait, thus everybody can understand the malfunctions as deviations from a recognisable norm. Circus theorist Stoddart (2000, p. 99-100) suggests that circuses included clowns to emphasise the work of the acrobats, providing a stubborn, heavy and unpredictable body to counterpoint the flexible, controlled bodies of the aerialists. Another suggested reason for the clown’s physicality is the tradition of travelling performers, such as the popular sixteenth century commedia dell’arte, where Italian performers entertained audiences across Europe and thus developed physical routines not dependant on language. It seems widely recognised that unusual and clumsy physicality is associated with clowning, and that the clown’s costume and body within it is a significant part of the popular definition of ‘clown’.

Medieval clowning also relied on the body of the performer, according to the Carnival theory of Mikhail Bakhtin in Rabelais and his World (originally published Moscow '" " 1936). Bakhtin explores medieval carnival traditions and carnival humour in the literature of Rabelais, where clowns entertained by disrupting formal events and rituals. At times of carnival, clowns behaved in a manner that contradicted formal environments and roles, subverting the conventions of traditional rituals. The medieval clowns made use of the universality of the corporeal (1936, p. 19), transferring the behaviours of high ceremony to the body, rendering the ceremonies more accessible to the audience. He indicates that bringing ritual behaviour to the material, or bodily, level had the ambivalent powers of the grotesque. The grotesque is a way of using images in a way that creates an ambivalent reaction in the audience, at once horrible and strangely funny (Thomson 1972). Particularly in its medieval context, this ambivalence is based on functions of the body: sex and childbirth, eating and defecating. According to Bakhtin, this presents a “contradictory and double-faced fullness of life. Negation and destruction…are included as an essential phase for the birth of something new and better” (Bahktin 1936, p. 62). According to carnival humour theory, watching a performer causing physical destruction of the surroundings, breaking the rules of society, being physically other in appearance, falling over and being rude gives a renewing laughter to the medieval society who watches it. Swortzell suggests that ambivalence is a feature of clowning to the present day – commedia dell’arte, Elizabethan fools and circus clowns all had an inherent conflict or balance between two seemingly incompatible aspects. In circus clowning, this ambivalence was personified by two partners - the whiteface and auguste, whose relationship of balance is explored in Chapter Three. Jon Davison, clown performer and teacher, understands clown logic as existing “to contradict the environment in which the clown appears” (2003, p.17). Davison uses this central theme of (" " contradiction to attempt a discussion of clown in its own terms, identifying contradictions in examples of clown performance and teaching, and exploring the relationship of mutual contradiction between the whiteface and auguste. Leslie Danzig, in her practice-as-research PhD analysis of her Chicago-based company, 500 Clown, also isolates disruption as an essential aspect of clowning, as she identifies the root of comedy in novelty and absurdity to be found when expectations are challenged. In a list of actions that define clowning, Danzig includes ‘to play with conventions’ (2007, p.85) and suggests that in doing so, clowns find humour in the disruption of expectation. John Towsen emphasises in his book, Clowns (1976, p.xi), that the art of clowning is variegated, so a precise definition of clowning may be hard to achieve. However, there are traits which allow writers such as Towsen to group performers together as ‘clowns’. Clowns can be identified, for the majority of theorists studied above, from behaviour that is comic due to being unusual in society, corporeal and disruptive of its context. Since the start of the twentieth century, theatre teachers and practitioners have explored the usefulness of clown as a tool for actor training. Jacques Copeau began this exploration in the 1920s, but it is Lecoq who, since the early 1960s, is credited with “the renaissance of interest in…clown as a theatrical type not confined to the circus” (Leabhart 1989, p. 99). Lecoq saw this teaching as responding to a demand from the students of his school

Many young people want to be clowns. It is…a taking up of a position with regard to society, to be this character that is outside and recognised by everyone…to explore those points where he is the weakest…he accepts himself and shows himself as he is (Lecoq 2006 p. 115 trans. Bradby). )" " This vocabulary suggests a therapeutic process of self-acceptance, and it has been interpreted as such by several clown teachers, including Peacock and Simon, who agree that the clown originates from the ‘self’, and as a result “The clown clowns not simply to amuse his audience but because he has observations about the world, about life, to communicate to them…” (Peacock 2009, p.14). Simon goes even further, claiming that “Clowns do not have to make people laugh…The point is to be truthful” (Simon 2009, p.31). This seems to contradict the historical definition of clown, and almost to be describing a different performance style altogether. Lecoq notes the significance of the individual and the outsider role, but emphasises the central function of a clown is for the audience, as he discovered in exploratory workshops, “clowns make you laugh” (2006, p.114). This deceptively simple and gnomic definition is concurred by Gaulier, “The work of a clown is to make the audience burst out laughing” (2007, p. 289). Lecoq and Gaulier’s approach still contains the ambivalence, corporeality and contradictory behaviour that has historically been understood as part of clowning, as they encourage students to find a strategy for making people laugh, not ruling out the use of outsider status, disruption of convention, the corporeal, costume, or friendly mocking. For John Wright, clown director, teacher and theorist, the late twentieth century renaissance in clown has transformed it into a new genre “Copeau, Lecoq and Gaulier opened up the notion of the theatre clown…to confront us with a radical level of play that’s capable of subverting everything we hold dear in established theatre practice” (2006, p. 183). By bringing clown into theatre spaces and theatre conventions, Wright sees these practitioners as changing the role of the clown to something that stands as ‘other’ to *" " the theatre, instead of to society, ceremonies or acrobatic bodies. Wright calls this role the ‘theatre clown’, but it may be useful to separate the clown taught by Lecoq and Gaulier from scripted clown characters written by playwrights. Samuel Beckett, (1986) who emerged at the same time as Lecoq, has been seen as a modern clown author, writing plays including the grotesque, ambivalence and comedy that subverts theatre conventions. The socio-historical significance of this interest in clowns is ripe for investigation, but for reasons of space I have decided to limit my research to the performance of devised or improvised clown performance, that can be compared more directly to Gaulier’s teaching, which does not include the performance of scripted clown material. In order to explore the manifestations of Gaulier’s clown teaching in actual theatre settings, I have chosen two pieces by Gaulier-trained companies that share techniques to generate comedy; Moby Dick by Spymonkey and My Life With The Dogs by NIE. Both shows feature a group of performers who are ostensibly trying to perform a story to the audience, while comedy is created by the interruptions and difficulties presented by the storytelling process. Moby Dick is based on the Herman Melville

novel (2007, originally published 1851), in which a group of sailors hunt a whale, driven by their captain’s vengeful obsession; and My Life With The Dogs is devised around the story of a young boy who became feral, living with stray dogs in the underground and streets of Moscow. I saw both productions in 2009, and refer to them first-hand as an audience member. !+" " Danzig’s 500 Clown Macbeth and 500 Clown Frankenstein have structural similarities to my two case studies. Danzig wrestles with the term ‘clown’, which she says holds popular connotations such as the iconography of fast food chain, McDonalds (2007, p.65). Instead, she strives to define 500 Clown’s shows as belonging to a genre she calls clown theatre. For Danzig, clown theatre is a hybrid form that plays with liveness and disruption, distinct from clowning because it “…moves beyond the predicament of the individual clown to a narrative discourse shaped by the chaos of clowning, a narrative structure built out of the accumulation of disruptions…” (Danzig 2007, p.159). Danzig’s exploration is based on the tensions and overlaps between narrative theatre and the contradictory and disruptive playfulness of clown. In particular, Danzig explores how these tensions and overlaps can create comedy and a secondary narrative, so that clown theatre is a comedy created by the collision of two objectives - of storytelling and of continuous playful attention to the present. The term clown theatre is also used by Peacock who takes the long-running Slava’s Snowshow as her main example of clown theatre, and defines it thus Clown theatre is theatre where all the performers are clowns and where the visual aesthetic is surreal or has elements of fantasy about it. The performance is not based on a script but will have been devised by the company in keeping with the skills and strengths of the performers. It may or may not involve the spoken word… These shows tend to have a narrative thrust in which plot or character motivation or both are explored… (Peacock 2009, p.30) While Peacock identifies the presence of clowns and a narrative thrust as being important components of clown theatre, she does not specifically define a genre, relying on vague elements that “may or may not” be included. She uses a stylistic description of aesthetics that suggests the presence of imaginative activity on the part !!" " of the audience. However, her exclusion of comedy in this definition appears to contradict Gaulier’s definition of clowning. If I am to explore traces of Gaulier’s teaching in clown theatre I believe it is important to include laughter or comedy in my understanding of the genre. Peacock’s definition seems to be based specifically on one production, and is not the main focus of her study, although she does introduce some useful concepts, such as the levels of performance in clown theatre that I explore in Chapter Four. Peacock and Danzig’s definitions share the following elements: a noticeable story that is being told, the presence of clowns who are aware of the audience and want to make them laugh and a sense of originality or being devised by the individuals performing. The case studies I have chosen both contain an attempt at storytelling, interrupted by

actors who visibly exploit the potential for play and the potential to make the audience laugh by deviating from the storytelling objective. Similarly to the conclusions of Danzig and Peacock, I use the term “clown actor” to refer to the performers playing clown theatre. The term clown actor suggests a performer with a split or dual identity as both clown and actor, who serves both to make the audience laugh, and to act a story. The two contrasting objectives provide a dramatic tension that can be used to create comic juxtapositions and contrasts, as the two objectives are continually re-negotiated during the performance, increasing the potential for comedy. The objective of storytelling can complement the objective of comedy by providing something that is ‘supposed’ to be happening, which can be disrupted. Danzig points out that the audience “can only perceive a disruption if they !#" " perceive a normal course. There is no disruption without something in place to be disrupted” (Danzig 2007, p. 150). This resonates with Davison and McManus’ understanding of contradiction in clowning, and McManus’ definition could be expanded to suggest that the storytelling objective contributes to clown theatre by providing an environment for the clown to contradict. 500 Clown cast as an authority figure the popular understanding of theatre; and then challenge, contradict and disrupt this authority to create comedy (Danzig 2009, p. 21). I examine theories of presence and declaration of fiction in Chapter Four in order to develop a vocabulary to examine this important aspect of clown theatre. The definition of clown theatre cannot be concrete – the definition of clowning is long debated, as is the definition of theatre itself. As a result, I use these common elements as a way to group my examples together. Gaulier encourages his actors to use the playfulness and lightness of clowning at all times on stage, and thus perhaps clown theatre is a sliding scale rather than a clear category. Peacock suggests that clown theatre is a useful term to position performance that is between the conventions of circus and theatre (2009, p. 29), but perhaps it is a spectrum in itself. Indeed the two shows use the dualities of clown and theatre, laughter and storytelling in slightly different ways, which I explore in Chapter Five. !$" " CHAPTER TWO CONTEXT There is relatively little academic discourse on Gaulier’s pedagogy, despite his role as an independent pedagogue for the last thirty years. In the 2010 edition of Alison Hodge’s, Actor Training, Simon Murray provides a chapter entitled “Jacques Lecoq, Monika Pagneux and Philippe Gaulier: Training for Play, Lightness and Disobedience” (pp. 215-235), giving a valuable context, history and insight into the teaching of these three closely associated pedagogues. In the opening of this chapter, Murray suggests a straightforward reason for the scarcity of academic research in this area, explaining that each of the three practitioners …would strenuously deny that their teaching practice represents a ‘method’…one might also note a shared scepticism about the ability of academic writing to capture and communicate any lived sense of their pedagogy: its aims, strategies, inflections and underlying dynamics (in Hodge 2010, p. 215).

These twin problems of a practice that rejects the use of any fixed acting ‘method’ and rejects the usefulness of academic writing can be seen as sufficient deterrents to research in this area. However, Murray goes on to use the writing of Gaulier and Lecoq, and personal experiences of studying under Gaulier and Pagneux, to ‘capture and communicate’ a useful sense of the respective schools. An important conclusion of Murray’s chapter concerns the social and historical placing of the three practitioners, who are identified as being “positioned emotionally, culturally and politically” in post-war Europe (2010, p. 217). This, he notes, is manifested in the internationalism encouraged in the schools, and in metaphors of fascists, journeys and farewells that permeate the teaching. Murray concludes that the three pedagogies are radical and alternative approaches to actor training, which celebrate the importance !%" " and tension between the individual and the ensemble in the creation of theatre. While the work of Lecoq, Gaulier and Pagneux fits in to a paradigm of actor training, Murray distinguishes nuances of emphasis in the various pedagogies. Complicite founder Annabel Arden differentiates according to the primary relationship in their work; Lecoq’s to the “universe (of the theatre and the world of which it is part)”, Pagneux’s to the actor as creative artist and Gaulier’s to the “dynamic between performer and audience” (In Murray 2010a, p.217). This dynamic relationship is thoroughly explored through clown partnerships, which I explore in Chapter Three. The curricula offered by Lecoq and Gaulier cover many of the same theatrical genres and training tools, including neutral and character masks, Melodrama, Tragedy, Clown and Bouffon (social outcasts who parody those who have power over them). The structure of the schools can be identified as a significant difference in the two pedagogies. Lecoq’s pedagogy followed a “precise order of progression” (2002, p. 12 trans. Bradby), whereas Gaulier offers month-long classes that can be taken in or out of sequence. The more advanced courses in Clown, ‘Character and Writing about…’ and Bouffon can also be taken out of sequence, though Gaulier warns that these are designed for more experienced performers (2010, online). As a result of the structure, Gaulier students do not have to commit the time and money that a full year-long course entails, and have the freedom to structure their own training. It is significant that while Lecoq begins his books and curriculum with observation and mimicry of humans, animals and materials, Gaulier opens his book and his academic year with an exploration of an important theatre principle; Le Jeu, or play. Gaulier’s course, a month of games and improvisation that explore theatre principles along with the !&" " student’s pleasure to play is explored in Chapter Three. Murray suggests that there is a difference in the invocation of play by Gaulier, Pagneux and Lecoq. In French, the verbs to act and to play are translated by the same word, jouer. Gaulier, teaching in English, continues to use the name Le Jeu to describe the first workshop of his school, emphasising the proximity of acting and play. He differentiates his school from Lecoq’s on his web page, “beginnings” The theories on the theatre of J. Lecoq focussed on the idea of movement, the thoughts of the young rebel P. Gaulier were based around Le Jeu: the games which nature, animals and humans organise (2011, online). The difference is not this sharply defined, as Lecoq frequently invoked playfulness as a quality to be reached through the development of the “physical imagination”

(Bradby 2006 p. xv) and a freedom found through training. Gaulier, however, does identify play as the centre around which his ideas are based. This difference in emphasis is visible in the structure of the two schools, which suggests that the elusive and significant condition of play takes a more primary position in the training process for Gaulier than it does for his mentor, Lecoq. In the British press there has been some acknowledgement of Gaulier’s independent work, particularly during the ten years from 1991 in which his school was operating in London. In the year the school opened, Kenneth Rea interviewed Gaulier in The Times, noting that The name will mean nothing to theatre-goers, yet more than 20,000 British actors, teachers and directors have subjected themselves to his workshops and count him, according to their experience, a guru, a clown or a monster (Rea 1991, p.13). This article is favourable, yet still points out the little-known nature of the school, and the enigmatic, fearsome presence of the pedagogue. At the height of popularity of the !'" " television character, “Ali G”, created by the Gaulier-trained Sacha Baron Cohen, Gaulier was interviewed in The Telegraph by Dominic Cavendish. Cavendish suggests that Gaulier’s relative anonymity as a theatre practitioner is intentional, as his behaviour is, “Deadpan in a manner that is as intimidating as it is comical, he does not court approval or recognition” (Cavendish, 2001, online). This describes intimidation and comedy in Gaulier’s personal demeanour, a significant aspect of his teaching, the functions of which are explored in Chapter Three. It also suggests the deadpan delivery functions to dissuade wider public knowledge of the school. While Gaulier ‘does not court approval’, ex-students have provided written material, often describing personal experience or giving a practical application of Gaulier’s work rather than a theoretical one. This is symptomatic of the scepticism to academia described by Murray – researchers have not yet been able to study Gaulier from a purely theoretical basis and it is a personal, ‘lived sense’ and embodied understanding of the school that all these writers strive to communicate. I include myself in this group of ex-students and draw on my own experiences at the school for illustrations and case studies. A further reason that Ecole Philippe Gaulier is relatively inaccessible for those who have not participated in its workshops is its privacy – at the end of each second year term there are semi-public performances, which are not advertised by the school or presented as showcases but advertised by the students only, for friends of the students or the school. Moreover, the school does not keep archival records of these presentations because, I was told by Michiko Miyazaki, administrator and co-director of the school, when the terms are over, “…we try to forget everything” (Private !(" " correspondence “Re: Studies” 14th December 2009). Miyazaki was reluctant to give me further information or archive material, preferring that students learn for themselves what the school can provide them with. Cavendish identifies a pride in Gaulier’s ability to encourage the students to discover their own strengths and abilities, rather than to learn a ‘Gaulierian’ method, saying his teaching is designed to leave only the subtlest traces of his involvement. There are certain principles involved, but no method. "I hate the idea of lots of little

Gauliers going out into the world," he declares… (Cavendish, 2001) Perhaps the attempt to forget the work of previous students is rooted in a desire for individual, heuristic learning rather than a school style of performance. In a journal published by the school in 2005, Gaulier rhetorically asks himself, Are your students like your school or are they like themselves when the warm winds of fantasy burst out at enormous speed in all four corners of their imaginary worlds? (2005, p. 3) Gaulier’s portrayal of his relationship to his students is on a personal level, which suggests that the reason for not documenting end-of-term material lies in an attempt to prevent future students aiming to emulate the work of others. With this description, the product of the school is described in an entertaining and poetic style, which demands imagination on the part of the reader. Cavendish compares Gaulier’s students who are not ‘like’ the school to a perceived recognisable style in the work of Lecoq graduates. Read in this light, Gaulier appears to be jibing at the visual approach in his mentor’s teaching. Bradby denies the existence of a specific, recognisable Lecoq style, “in so far as they share a family resemblance, it is because they share a way of working” (2002, p. 92). The ‘resemblance’ that Bradby acknowledges can be recognised further back into the lineage of French mime teachers. Evans (2006, p.34) points out that although Copeau was revolutionary in his emphasis on spontaneity and !)" " creativity in acting, a group of dedicated students formed a separate company called “Les Copieaux” – literally ‘the little Copeaus’. Copeau was supportive yet critical of this group, who identified themselves as belonging to his ‘family’. Possibly, notwithstanding Gaulier’s intentions of students being entirely ‘like themselves’, there remain visible traces of his training – certainly I hope to find traces of Gaulier in my case studies, although I do not suggest the features of clown theatre are visible in the acting of all Gaulier students. Despite his resistance to academic analysis, Gaulier has published his own material on the school; available in English are the school’s website, www.ecolephilippegaulier.com and two books about his teaching, The Tormentor (2007) and, Lettre ou pas lettre (2008). These are not analytical, academic texts but consist of metaphors, aphorisms, allegories and anecdotes. At times, his words require a generous scepticism to be usefully understood, as the linguistic tools used are deliberately ambiguous, imaginative and mysterious. Though statements are often gnomic, the reader frequently has to unravel the meaning behind stories, or even seemingly straightforward sentences, drawing personal conclusions. The former book discusses his approach to teaching, using allegories and descriptions of exercises from the various workshops. The latter book, through whole-page calligraphic plates, creates an analogy of the theatre to handwriting, theatrically mourning the imaginative, pleasurable calligraphy of a fountain pen and its replacement with the charmless ball-point pen. The written style of these books create a deliberate rejection of theoretical writing, as Gaulier maintains “The pleasure of going towards the inaccessible does not tolerate academicisms” (Gaulier: 2007, p.212). This is almost a !*" " warning to those trying to ‘academicise’ his work, or describe it in academic terms, framing The Tormentor as a separate entity. Gaulier makes a further reference to academic writing in Lettre ou pas lettre, warning that imaginative use of writing may

“die fossilised, turned to stone, stupid, academic” (2008, p. 7). Given this performance of aggression toward academic analysis of actor training, it is important to consider how to read these sources for academic research, and I believe it may be useful to think of these publications as autobiographical descriptions of Gaulier’s school. Theatre historiographer Jackie Bratton addresses the issue of using autobiographical material in research in, “Anecdote and Mimicry as History” (2003, p. 95-132). In this chapter she proposes an alternative use of autobiographical material, which she says is often disregarded, or “trawled for ‘factual information’” (2003, p.95). Bratton proposes that this is a reductive use of autobiographical text, which could instead be useful for creating an understanding of what people chose to say about themselves and why. She recommends that historians can use anecdotes as examples of myth making: The anecdote is not the same as a story because it claims to be true, about real people; it occupies the same functional space as fiction, in that it is intended to entertain, but its instructive dimension is more overt. It purports to reveal the truths of the society, but not necessarily directly: its inner truth, its truth to some ineffable ‘essence’, rather than to proven facts, is what matters most – hence its mythmaking dimension (Bratton 2003, p. 103). Bratton suggests that if historians are prepared to investigate anecdotal evidence in its own terms, they will be able to see what ‘essence’ the writers were aiming to communicate and why. This approach is relevant to the writing of Gaulier, which uses anecdotes and allegories almost interchangeably. The work is more substantial than a #+" " single anecdote but is written in a style so different from academic analysis that in order for it to be a useful resource, it is important to understand the way in which it is written and what the functions of this writing could be. The website exists primarily to convey information, including a timetable, prices, contact information, and frequently asked questions (‘FAQs’) for prospective students as well as a brief history of the school and some videos of Gaulier describing his philosophies of teaching. The videos, history and ‘FAQs’ could all be described as performative, giving the prospective student an insight into the school with a sample of the language, imagery, and metaphor used at the school. The book, available to buy either at the school or online, is framed as an interview with an interrogator, who is frequently berated for asking stupid questions or making assumptions. As a result, the book is dramatic; there is a dialogue between the two voices. A partnership is formed in both cases and, within the partnership, the voice with which Gaulier speaks is authoritative and revered, while the partner asks questions complementing the performative voice of Gaulier, in an entertaining and dramatic dialogue. On the ‘FAQ’ page is the following exchange: If I was at the school from the first workshop until the end of the second year, what would happen? The school will change you totally. This change will not come from the knowledge accumulated during the different workshops. Rather, it is a result of subterranean forces which the teaching unleashes. These undermine and explode received ideas, certainties and inhibitions. At the end of the journey you are lighter and free (Gaulier 2010, online).

The section is framed as a dialogue with a student, placing the potential student in a role and creating a dialogue with entertaining dramatic conflict. This is not dissimilar to the semi-fictional classroom environment described by Stanislavski (1988), and has #!" " historical precedent as a style of writing about actor training. This writing style highlights the importance of the students in the teaching environment, rather than the absolute authority of the pedagogue. The text uses several metaphors for the learning process, dismissing the usefulness of “knowledge” and claiming the goal of the school is to make the student “lighter and free”. The terms ‘undermine’ and ‘explode’ suggest a brutal process, which allows this freedom to be found. This use of vocabulary is suggestive of the surreal, magical metaphors and the violent, corporeal language used frequently by Gaulier in his writing and teaching. As a publicity document, this page of the website provides a performative glimpse of the teaching. If the concepts of ‘subterranean forces’, having ideas ‘exploded’ and the goals of ‘lightness’ and ‘freedom’ appeal to the student, it is because they are already engaging with the school in its own terms and are enjoying the use of both the surreal and the corporeal imagery, of which Gaulier makes frequent use. The inclusion of video footage of Gaulier on the website allows prospective students to preview Gaulier’s teaching, listening to his voice and the way he speaks to students. The students can sample Gaulier’s metaphorical explanations of the school, “I teach theatre in the imagination of the student, so, I teach theatre and the dream of theatre, the ghost around the dream of theatre” (Gaulier 2010, online). This metaphorical image cannot be understood literally, so it demands that the reader engages their imagination in their interpretation. If the reader of this website is not intrigued or inspired by this language, then they are unlikely to find the school to their tastes, so by being performative, the website begins the process of finding students who will benefit from the school by engaging imaginatively with the concept of theatre. Wilson, Lecoq graduate and director of The Clod Ensemble, describes Lecoq’s ##" " teaching as a ‘web of meticulously thought-through metaphors” (in Bradby and Delgado 2002, p. 98) that seem impenetrable in language, but make more sense in the context of corporeal experience. With his metaphorical description, Gaulier is continuing Lecoq’s technique, employing metaphor to demand the use of imaginative engagement with the study of acting. Gaulier’s theatrical lineage can be fairly directly traced, as Murray notes, the interconnectedness of French mime has been described by several writers, and the connections between Lecoq and Copeau are many (2003, p.8). However, to some extent, Gaulier creates his own mythology about the lineage to which he belongs. If we regard this book as autobiographical, we could suggest that Gaulier’s writing techniques of metaphor and allegory allow him to create his own version of his theatrical lineage, and place himself in relation to other theatre practitioners of the French mime tradition. During both the workshops I attended, Gaulier told the class an anecdote about his time training with Lecoq. To paraphrase, he told us that he was not regarded as a good student and was often told to sit down before he could attempt an exercise. While the students were waiting to hear if they could progress into the second year, Gaulier had spent days at the zoo watching a bear in order to imitate it in class. After his performance, Gaulier was called to Lecoq’s office and told that he had a place in the second year and, “…by the way, that was a wonderful rabbit.” So,

Gaulier progressed into the second year, never letting on that his ‘wonderful rabbit’ was in fact a bear. In this anecdote, Gaulier depicts himself as a bad student, who is reprimanded and only gains praise by accident. This reassured the class, especially those who could identify with Gaulier’s struggle to be a ‘good student’. It aligns the #$" " student not only with Gaulier, but with Lecoq as well; we become part of this line of masters, and can see ourselves as having the same relationship with Gaulier as he once had with Lecoq. Gaulier creates an impression of Lecoq by impersonating him, tall, with a serious, strict manner, further increasing the apparent authenticity of the students’ connection to Lecoq through Gaulier. They may also feel that they have gained a better understanding of Gaulier himself, who rarely talks autobiographically in the classes. However, the extent to which they better know Gaulier is debateable. We can imagine that, since Gaulier went on to the second and third years of Lecoq’s school, and taught there subsequently, he must not have been a completely ‘bad’ student. We have not seen the bear impersonation, and we can only engage imaginatively with the idea of Gaulier as student at all. Gaulier contributed to Lecoq’s obituary in The Guardian, Did you ever meet a tall, strong, strapping teacher, moving through the corridors of his school without greeting his students? What is he doing? Pursuing his idea. What idea? The one his students will need. …Jacques Lecoq was an exceptional, great master, who spent 40 years sniffing out the desires of his students. We needed him so much. Bravo Jacques, and thank you. (1999, p. 17, translated by Heather Robb) In this tribute, Gaulier offers a visual impression of Lecoq and his school, displaying an authenticity of memory and an affectionate, grateful relationship to his master. The middle paragraph, however, is less conventional for an obituary, and more characteristic of Gaulier, who mentions that Lecoq had “a sensational conk of a nose”, used for, “sniffing out the desires of his students” (1999, p. 17). The picture of Lecoq that accompanies the obituary contradicts this statement, providing evidence that Lecoq did not have the “sensational conk” Gaulier suggests. This comic image is an exaggerated corporeal detail, which seems to be included to praise the observational #%" " skills of his master, so that Gaulier’s veneration of Lecoq is mixed with fond, grotesque mocking. Gaulier proves that he understands and has great respect for his master but enjoys adding the grotesque, the extended metaphor, and even in an obituary, something of a joke. This is a recurrent aspect of Gaulier’s teaching and writing, where the fantastical, or the beautiful and imaginative, is undercut and disrupted by the inclusion of corporeal detail. It is succinctly described by Cavendish, who entitles an article on Gaulier’s teaching, “From the sublime to the ridicule” (2001). The title of the article is a deviation from the phrase, “there is but one step from the sublime to the ridiculous”, (attributed to Tom Paine, in Evans, 1981, p. 948) and it neatly describes the sense of bathos in Gaulier’s teaching and writing (Murray and Keefe, 2007, p. 150). Poetic, fantastic language is used to describe ideal performance, with elusive words such as “beauty” being common. This could be described as an invocation of the ‘sublime’, and is very often met by invocation of the ‘ridiculous’ in descriptions of the grotesque and corporeal. In Gaulier’s classroom and writing, there is often very little separating the two, and this step creates comic anti- climaxes such as the joke in Lecoq’s obituary. The changing of “ridiculous” to

“ridicule” describes a pedagogic method of Gaulier’s, to be explored in Chapter Three, where he ridicules and insults students who perform badly. The bathetic step from the sublime to the ridiculous is another example of performativity in Gaulier’s writing, which entertains the student audience. Gaulier’s allegories have both instructional and entertainment functions – and there is sometimes ambivalence as to which is intended, leaving the reader some space to generate her own understanding of the story. The fantastic and the corporeal are never far away from each other in Gaulier’s writing, which is reflective of a carnival outlook. Embedded in the carnival #&" " suspension of hierarchy is a raised awareness of the grotesque elements of life. Bakhtin calls this “degradation…the lowering of all that is high, spiritual, ideal, abstract; it is a transfer to the material level, to the sphere of earth and body…” (1984, p. 20). This ‘material level’, in carnival theory, is a site for rebirth, regeneration, future possibility and comedy: we can see this detail in Lecoq’s obituary as containing this ambivalence between sadness at the death of Lecoq and celebration of what he was able to give his students – and the potential for regeneration that this gave. By lowering the praise of Lecoq to a material level, Gaulier also renders his tribute accessible the reader, which is a further function of the grotesque. Bakhtin (1984) suggests that by lowering ceremonies to a material level, medieval clowns enabled the people to access the meaning of the ritual behaviour. An obituary is part of modern ritual behaviour, so here Gaulier is taking the formality from a ritual, and allowing readers another way to approach the situation. Jacques Copeau is also mentioned in The Tormentor, in a semi-fictitious allegory in which he invents the neutral mask after his wife suggests he smother his students with pillows (2007, p171 – 175). Gaulier describes Copeau as “…an important director, a serious thinker and writer…” (2007, p.171) but later on the same page adds, “Jacques Copeau, like many other French people, dunks croissants in his coffee. Racoons have taught them this custom” (2007, p.171). The second detail debunks the first, humanizing Copeau and bringing him into the grotesque ‘material sphere’. Comedy theorist Henri Bergson describes the same process, suggesting comedy is created when “our attention is suddenly recalled from the soul to the body” (Bergson 1980, p.93). In recalling the body of Copeau, Gaulier ignores any biographical and factual #'" " details about Copeau’s research into the neutral mask, preferring to tell an allegorical story containing comic gory images, violence and sex. Rather than contextualizing his own principles with historical details, he slightly subverts a historical understanding of his lineage. The reverence you would expect him to pay such an influential figure in his ancestry is subverted into a story that Gaulier can use to explain the neutral mask in his own terms, with the seriousness and potential for imaginative freedom provided by the neutral mask debunked by the corporeal, grotesque images in Gaulier’s story. Allegories and anecdotes told in class are often dense, punning digressions that can leave students perplexed. They can become performed illustrations of acting principles or an approach to theatre, as Gaulier claims, “My method? Pretending through play, never really being. My motto: a well-orchestrated lie is more of a turn- on than the naked truth” (2007, p. 312). Gaulier’s stories, in his books and in his classroom, demonstrate this ideal acting technique, performing this method to the continued amusement of the other class members. It could be seen that the anecdotes

about Copeau and Lecoq are ‘well-orchestrated lies’, told to entertain and inspire the imaginations of the students and thus demonstrate the principles that they explain. At the end of one allegory, in the book, The Tormentor, the interrogator asks “What a beautiful story. Did it really happen? For real? For pretend?” (Gaulier 2007, p. 286) This question performs the duality between the functions of entertainment and instruction that the allegories and anecdotes fulfil and the confusion that they can cause in students. The question is at the end of a chapter, left unanswered, retaining the ambivalence and space for the reader to find their own meaning or ‘essence’ #(" " communicated by the story. Metaphor and allegory is used extensively in the work of others in the French mime tradition, particularly Lecoq (2003) and Decroux (2008), and despite Gaulier’s apparent irreverence and independence from this lineage, he does draw on the way these predecessors discuss theatre with metaphors, ambiguity and reliance on the imagination. When describing his own lineage and those practitioners that have influenced him, Gaulier takes an irreverent approach, debunking praise with corporeal details and preferring entertaining anecdotes to factual information. This demonstrates and performs his idea of a ‘well-orchestrated lie’, leaving the reader or student to imagine for herself the meaning or meanings available in the story, while often the meanings are performed in the telling of the anecdote itself. This approach also performs a principle of carnival comedy, degrading the authority of factual analytical writing, and the reverence usually paid to theatrical ancestors; Jacques Lecoq and Jacques Copeau are described with corporeal, grotesque details that bring the admiration he has for them into the ‘material sphere’, where it has potential for renewal. In doing so, Gaulier assimilates his historical background into his own practice, by making it serve a comic, ambivalent function in his teaching. #)" " CHAPTER THREE LE JEU: GAULIER’S THEATRE PRINCIPLES Gaulier’s opening course Le Jeu is an introduction to the theatrical principles of the school, where students study in isolation and almost in an abstract sense the performance skills that Gaulier demands. Murray explains that the course …engages with the core of Gaulier’s philosophy which will underpin and permeate everything which follows. Le Jeu offers students the opportunity to acquaint themselves with the vocabulary or scaffolding of acting (Murray in Hodge 2010, p. 224) This vocabulary includes an embodied understanding of: complicité, with the audience, the self and playing partners; fixed point; major and minor; rhythm; pleasure of play. Appropriately, the students learn to embody these principles through a wide variety of games, before an audience of the rest of the class. I will illustrate and explain some of these principles through a particular game, described in The Tormentor, that I played during the Le Jeu course in Autumn 2008. The game is based on a relay race, where the students are split into two teams and each team member must run two lengths of the room then pass an imaginary baton to the next runner. The runners start at either end of the room so that their paths will cross, and the race finishes when all team members have run. The race is periodically

interrupted by a drumbeat: at the sound of the drum, the runners stop and look at each other. Gaulier gnomically explains that in this moment, theatre is created: When the teacher stops the race, the students stop delicately, holding their impulse, and look into the eyes of their classmates. Do they show the pleasures of the game or the boredom of a boiled haddock? Enjoying oneself + looking for the fellow-feeling of playing = theatre (almost) (Gaulier 2007, p. 199) #*" " The game is explained as though it can be used independently to teach “theatre” in its entirety. Although it is unlikely that the use of one game could be a full actor training, the game is used in class to illustrate some of his essential principles of theatre and it can be used in this study to help us to define the above terms. The principles explored in this game are terms that Gaulier employs in common with Lecoq. The first is a term used frequently by his master, complicité, which roughly translates as “shared understanding” (Bradby 2002, p. 174). At the moment of stopping, the student experiences complicité with the external stimulus of the drumbeat, understanding that she must stop on hearing it. In order to stop delicately, she must have an awareness of her own body, and be sensitive to her own weight. This can be seen as a complicité with the self. Looking into the eyes of the classmate demonstrates and requires complicité with the partner, as the two runners share an understanding and enjoyment of the race. The other team members, while not running, share a competitive pleasure in the game and cheer the runners, increasing the enjoyment to be found in the game or the ‘pleasure of play’. This also encourages friendship between the students and supportive teamwork in the class, a common function for team games. ‘Holding the impulse’, means that the student sustains the energy and intention of running in an active stillness that Gaulier calls fixed point. He describes this state as when “They freeze, but their eyes sparkle with playfulness, movement, jokes, pleasure. The freeze has not broken the impulse” (Gaulier 2007, p. 204). The frozen player has the potential to move, which can be seen in the energy of the face and body. Another principle explored in this game is the use of major and minor, when the first runner to stop is given permission to speak. These relative roles $+" " are passed between a pair or group during a scene, where the person who plays “in major” takes the focus, and finds pleasure in using this focus to play with their voice and movement. The person playing “in minor” enjoys listening to and watching their partner, not taking the focus until it is given. Gaulier looks for these principles in all genres of theatre, and they are to be found in dramatic situations as well as in games. For example, having learnt to use fixed point through the game of a relay race, an actor can use this technique when playing a person receiving tragic news. The games in Le Jeu are not intended to be used in a literal sense only, but in both case studies, there were several examples of recognisable children’s games. In My Life With The Dogs, the moment where the young Ivan befriends the dogs is shown in a ball game of ‘fetch’. The scene becomes comic when the boy tricks them repeatedly by not actually throwing the ball. In Moby Dick, when Queequeg, the cannibal harpooner, is signing up as a sailor, he signs and hands the quill back to the official but snatches it back at the last minute, repeating this offer and snatch several times. These two games are similar in their simplicity, and both subvert a simple transaction in the story, debunking the action with a repeated physical game, to find a playful comedy

between the performers. These ensembles choose to literally play children’s games on stage, to comic effect. This is a manifestation of Gaulier’s principles in theatre, as the clown actors interpret Le Jeu at its most basic level, openly declaring their play. Gaulier illustrates these principles with a variety of children’s games1 rather than explaining them in words, so that students “learn to embody the basic teaching terms” """""""""""""""""""""""""""""""""""""""""""""""""""""""" 1 Some examples of these games are “Grandmother’s footsteps”, where players chase an individual, but freeze if she turns around; “Musical chairs”, where players compete to sit down on a chair each when there is one chair too few, and “I’ve got you; you’ve got me by the goatee”, where, in pairs, each player takes the other's chin in their left hand, and tries to make the other laugh. If one player laughs, the opponent scores a point, and is allowed to slap the first player in the face. For more detail on these games, see Gaulier’s The Tormentor pp. 199-214. $!" " (Murray in Hodge 2010, p. 224) and thus develop a physical understanding and memory of what these concepts feel and look like, to make them accessible later. An embodied understanding of the pleasure of play is remembered and rediscovered through games the actors may have played as children. Murray points out that “play suffuses the moment-by-moment reality” of Gaulier’s teaching (in Hodge 2010, p. 224), which applies to all workshops as much as the first. By spending a whole month teaching in more abstract ways the essential tools that underpin his whole approach to theatre, Gaulier introduces his students to an essential vocabulary of skills so that they are ready to attempt the courses that follow. The games themselves do not quite ‘= theatre’ – he qualifies this idea with ‘(almost)’. Gaulier does not commit to the concept that one game can teach ‘theatre’, instead alluding to a mysterious extra ingredient to be discovered elsewhere. For the student, however, there is the sense that, in tiny moments of game play, the actor can learn huge lessons for playing in theatre. The use of game play in actor training, now absorbed into mainstream practice, is traced by Evans (2006) to the school of Copeau, who predated practitioners known for popularising the use of games, such as Augusto Boal (1992) and Clive Barker (1977). For Copeau, and those that have followed him, games are a useful learning tool because the “experience is unselfconscious and yet at the same time developmental – the pedagogy is unforced and the motivation to learn is inherent and not imposed” (Evans 2006, p. 66). The game, then, is the simplest heuristic technique, where the students can make their own discoveries if they observe their own play. $#" " It is important to note that Gaulier gives two options for judgement in his description of the game – players show either “the pleasures of the game” or the “boredom of a boiled haddock”. If a student does not play appropriately in performance, they are judged and, as suggested by Cavendish (2001), ridiculed with precise and total value judgements such as this, with “boiled haddock” being one of the gentler insults. The student’s attempt at ‘sublime’ acting is interrupted by the grotesque or corporeal insult, which creates an anti-climax to the ‘pleasures of the game’, and provokes

laughter at the expense of the students. The grotesque criticism of students is a pedagogical method for which Gaulier is renowned. Murray and Keefe suggest that Gaulier uses such dismissals as part of a technique similar to that which Grotowski calls via negativa, which they describe as “an approach which rejects prescription and illustration by example in favour of a search for the “answer” through negation” (2007, p. 151). Murray describes Lecoq’s teaching as using negation in order to generate urgency and creative energy, to foster heuristic learning and self-discovery, and to make Lecoq’s praise more meaningful when it was eventually gained (2003, p. 49-50). Murray and Keefe describe this additional feature of Gaulier’s teaching that I have identified in the example of the “boiled haddock”. They align Gaulier’s technique with Grotowski’s because Although there can be few teachers of contemporary theatre who are more direct, fearless, and less equivocating that Gaulier in terms of comment, feedback and dismissal…he never tells students how to do it” (2007, p. 151). In my experience it was these unequivocal, direct comments and grotesque insults that were the most striking aspect of Gaulier’s pedagogical style. Murray and Keefe (2007, p.151) suggest that Lecoq’s via negativa simply refused what the student had proposed. Lecoq described the technique as “pedagogy of the constraint” (2006, p. 76 $$" " trans. Bradby). He likens the learning process to that of a high jumper, “who can only improve if the bar is at the right height to be a ‘positive provocation’” (2006, p. 76 trans. Bradby). This suggests that Lecoq altered the point at which he refused the offer, dependant on what he perceived as the needs of the student. According to Gaulier’s classroom anecdote, this could include being told ‘no’ as soon as the student stood to attempt an exercise. Gaulier’s insults add a further layer of provocation to Lecoq’s via negativa technique. Gaulier controls the timing of his classes and exercises with a large drum. If a student does not make use of the correct principles, she is stopped with a beat of the drum, following which the whole class waits for Gaulier’s feedback. The responses are delivered with “ruthless candour…made bearable for the recipient only by virtue of its wit and hilarity” (Murray and Keefe 2007, p. 151). They predominantly take the form of ruthless and entertaining insults, including bad-taste, violent descriptions of a way he wants to kill the student, comparisons to bodily functions, national stereotypes and frequently, a simple ‘Thank you for this horrible moment’, accompanied by a wave of the drumstick2. As well as the function of negation, these insults often contain highly personal feedback, tailored precisely to what the student has offered - albeit in an unequivocally negative way. The student must be prepared to unravel the insult and find meaning in what Gaulier tells her. In the classes I attended he gave the students aphorisms such as, “Don’t move your arms!”, “You talk too much”, or “You move from side to side like a penguin with bowel problems”. These are memorable and clear ways to get a message across, and can strip away specific problems that are """""""""""""""""""""""""""""""""""""""""""""""""""""""" #" See Appendix One for specific examples of Gaulier’s insults. "$%" " preventing the performance from reaching the high standard demanded, in the same way as Grotowski intended his technique to facilitate an “eradication of blocks”

(1975, p. 17). An understanding of medieval insults and grotesque language can be used to illuminate Gaulier’s use of insults. For Bakhtin (1984, p. 16), jokes and insults featuring bodily functions in Rabelaisian literature related to a universal cycle of life, death and birth, containing an inherent notion of renewal. Insults, in medieval culture, were “ambivalent: while humiliating and mortifying they at the same time revived and renewed”. Gaulier’s insults fulfil this carnival function, using descriptions of violence and corporeality to both humiliate the student and give her another chance. This chance is created by giving a voice to what the audience is thinking, or could think, teaching the students to respond to audience feedback and begin to develop a relationship with the spectators. When the student is next in front of an audience, she is still able to bear in mind that the audience can see imperfections or superfluous activity in performance and is thus able to correct herself by remembering the insult. In addition to this, the workshop participants find these insults very funny; many after-school conversations revolve around the funniest insults of the day, and there is a group for ex-students on the social networking site, facebook, entitled “Philippe Gaulier hit me with a stick” (Stamp 2007, online). On this web page, students proudly share the insults that they received at the school. The insults have the same dual functions of instruction (to the student) and entertainment (of the audience) that Bratton ascribes to anecdotes, and that Gaulier uses in his allegorical and anecdotal writing. The performative writing style in Gaulier’s book and website is connected to a highly performative style in the classroom. $&" " Though he does not directly illustrate by example the exercises he wishes the students to follow, when Gaulier doles out these insults, he performs all of the principles he advocates, using fixed point, rhythm, complicité with his audience and above all pleasure of the game. Here we can see Gaulier’s performativity at work in the classroom, where “the game of playfulness – the pleasure of play – is embodied and taught by Gaulier through employing the very same quality” (Murray in Hodge 2010, p. 225). The insults are delivered with such relish, and Gaulier embodies the game of the insult so completely that on many occasions they became the comic highlight of the session. I believe that this performativity is fundamental in the way it helps the student access some complex aspects of clowning. Davison draws a connection between via negativa and the traditional circus clown types, saying that the clown teacher using via negativa is the “one place that the white face does appear in contemporary European clowning” (2008, p. 6). Davison does not elaborate on this observation but it is one that can be extremely beneficial in looking at Gaulier’s use of via negativa. The whiteface was a circus clown, described by Towsen as authoritative and elegant, bullying, with a “cunning wisdom” (1976, p. 207). The whiteface was often part of a double act, with his partner being the auguste. The traditional auguste was “clumsy, incompetent, and eager to do well, but, ultimately, incapable and provided a butt for the tricks and jokes of the white face” (Peacock 2009, p. 21). These partners worked together to create comic scenarios and dialogue, where the apparent differences and conflict of interest between them provided the comedy of the circus act. The idea of Gaulier’s appearance as whiteface clown in the classroom environment is explored in the images overleaf. $'" " Figure 1. (above)

Gaulier with students of the summer clown course at Ecole Philippe Gaulier, 2009 Figure 2. (left) The author taking part in an exercise during the summer clown course at Ecole Philippe Gaulier, 2009 $(" " Figure one, with Gaulier in the white hat and red glasses, supports Davison’s viewpoint of Gaulier as the authoritative, cunning whiteface, and the students he insults every day as the eager, clumsy augustes, surrounding him and grinning inanely. This relationship is visible in the photograph but is most clearly seen during the workshop in the moments when a student does not perform an exercise well or, in Gaulier’s terms, “flops”. After a flop, Gaulier stops the game, and it seems that the student’s performance opportunity is over. However, this is not necessarily the case - often the student remains on stage, in her red nose, still keen to impress, but now in minor while Gaulier takes the role of major. The student, in minor, listens and responds to Gaulier’s tirade, and in this role, the student is given further opportunities to be funny. I believe it is the partnership between Gaulier and the student that makes these exchanges comic, and by creating this partnership Gaulier teaches complicité between partners. The student becomes an auguste when she takes the insults as a provocation to be funnier, and is able to respond comically. Murray points out that Gaulier forms relationships with his students based on “playful provocation, constantly teasing, often elliptical…” (Murray in Hodge 2010, p. 225), which demands an active involvement in the workshop performances from both the student and Gaulier himself. To illustrate this point from my own experience, I refer to Figure 2, a picture of myself during the same course. I had just finished an exercise when I started to cough because my snorkel was filling with saliva. Gaulier shouted at me, “Don’t cough! You are not allowed to cough!”. I tried to explain why I was coughing, but because I still had the snorkel in my mouth, nobody understood what I said and the class laughed. Following this laugh, Gaulier continued to chastise me, and the laugh increased in volume as I struggled to retort but was incomprehensible. In this $)" " moment I did not feel victimised, as I was aware of what the audience were laughing at, able to recognise the partnership that we had created and knew what my role needed to be in that partnership in order to make the audience laugh. This enabled me to realise that the audience enjoyed the fact I was arguing despite being incomprehensible and Gaulier facilitated this realisation by joining in the performance and giving me a partner in the argument. Thus the teaching became performative and Gaulier took on the major role of whiteface clown. Writers who have experienced Gaulier’s workshops suggest this performative style in their descriptions of the classes, creating a visual and comical image of the teacher. In 2009, Purcell Gates described him as a “grizzled man sat slumping in a chair…cradling his frame drum on his lap” (2009, p.1). This recent description suggests an older man but it is surprisingly similar to older descriptions; Victoria Worseley remembers “Philippe’s weary eyes on the afternoons when it seemed that his lumbago was particularly bad as he sat hunched over his drum” (2002, p. 85).

Cavendish also suggests the weariness of age as, “Two sleepy, unimpressed brown eyes gaze out from a pair of heavily rimmed round spectacles” (2001, online). Ten years previously, Rea describes him as having a similar, if more lively disposition, with, “comic glasses, an unlikely moustache and a tendency to slap people” (1991, p.13). The image created by these various descriptions is of an irritable, tired and violent man, which contrasts with the way all of these writers speak fondly of Gaulier’s sense of humour and focus on pleasure and fun. The fact that these descriptions correlate, up to twenty years apart, suggests that the grumpy, miserable figure is a whiteface role performed by Gaulier. Clown director and teacher John $*" " Wright refers to Gaulier as “a clown who has taken to teaching theatre” (1990, p. 25) and the descriptions provide an example of Gaulier acting as both clown and teacher simultaneously, teaching through clown performance. It is important to note that Gaulier does occasionally give compliments, and does laugh if he finds a student funny, but does not make these easy to come by. The persona described here is a performed, whiteface role, which is used to provoke students into giving their best performances, whilst demonstrating many of his performance principles. This performative method cannot work unless the student is prepared to accept the partnership, and trust that Gaulier is partnering rather than attacking them. The statement previously quoted from the ‘FAQ’ page of the website, contains within it an inherent idea of investment, “The school will change you totally… At the end of the journey you are lighter and free” (Gaulier 2010). An actor brings with her to any school a certain level of training, her own understanding of theatre, and perhaps a certain level of confidence in her own ability as a performer. At Gaulier’s school, anything the student brings that does not match Gaulier’s expectations is “undermined and exploded” (Gaulier 2010). These words hint at a potentially brutal and painful process for the student, who risks something of her own in the belief that the reward will be great. If the student does not accept the partnership, there is no complicité between the partners, which causes students to get very upset and nervous during classes. Victoria Worsley describes the experience “I’ll never forget the terror that I might be the wretched performer…at whom despair forced him to shout “Amusez- vous, merde!”” (in Chamberlain and Yarrow 2002, p. 85). We can see from Worsley’s experience that it is easy for students to take the insults personally rather than as part %+" " of a teaching performance, meaning that each time they begin an exercise, the student has to risk being personally insulted, making emotional risk integral to the training. Worsley concludes that this sentiment was “crucially important advice” (in Chamberlain and Yarrow 2002, p. 85) that she has used throughout her career, but suggests that the fear involved in the classes was a difficult experience. Danzig remembers how at Gaulier’s school as well as at Lecoq’s, “the bathrooms are often full of distraught students pulling out their hair, trying to get a handle on how clowning works” (2007, p. 16). That students become ‘distraught’ demonstrates the level of personal risk that students take. In fact, students can risk having their faith in their acting career completely taken from them. In an interview with Gaulier, Cavendish finds that Gaulier is honest if he feels the student is incapable of learning: Gaulier presses students to look for that magic something: if they keep coming back empty-handed, there is no point carrying on. “I have to tell them they shouldn't be actors.” (Cavendish, 2001)

Performers are risking not just ridicule for a moment, but a destruction of their self- confidence and even ability to continue performing. Murray (2007) concludes that Lecoq’s style celebrates the unfixed and ambiguous in theatre training. By allowing for the possibility of actual failure for the student, Gaulier and Lecoq maintain a real instability, pushing the student to a real risk of failure that has to be accepted as part of actor and clown training. Lecoq admits to creating crisis points artificially when students do not experience them, as they are a necessary process for students to undergo (Leabhart 1989, p. 94). Many students view these crises as creating a positive change, even a strengthened character. In Alan Clay’s practical and allegorical clown guide, Angels Can Fly, Susan Broadway remembers, %!" " Training in clown with P.G. was…painful, dragging, distressing and exhausting, but afterwards! The next time I went in front of an audience I was fearless. I had suffered P.G. and survived! (2005, p.77) Broadway remembers her time as a Gaulier student as a period of emotional risk, of danger and negativity that was necessary in order to receive the benefit of the school. The insults of a whiteface clown can be dangerous for students who are not always able to join the play of the insult, which can result in a highly painful personal experience. Throughout the school each student will receive her share of Gaulier’s lengthy insults, while her classmates roll around with laughter. This repeated presence of the whiteface clown delivering insults that both inform the student and entertain the rest of the class has a larger impact on the school. With the insult, Gaulier continues the performance, turning the failure into an opportunity for laughter, encouraging students to enjoy moments of failure, even to associate fun and laughter with the disappointment of being unable to complete a task. Lecoq refers to using the “teaching method…of the flop” from his early clown workshops, but does not go into detail about how this method worked. Performer and researcher Barry Laing (2002, p. 180) clarifies how this association can help the student to learn clown, by including Gaulier in a list of practitioners who “all conceive of fragility and the fall as bound up with a place of lightness which can defy weightiness”. If ‘weightiness’ represents too forceful an approach, or one that lacks play, the flop (or fall) helps the clown to be free of this weight, and reach a better level of imagination and fun. Murray explores this invocation of lightness in Gaulier’s teaching, particularly in contrast to the weightiness caused by “trying too hard” (2010b, p. 1). Lightness is described as an %#" " elusive quality that cannot be taught, “although the multiple conditions of its invention and attainment can be imagined, encouraged, constructed and enabled” (Murray 2010b, p. 1). While Gaulier’s encouragement and invocation of lightness enables the student to heuristically “find an engaged distance” (2010b, p. 2) when playing a character, perhaps the use of insults in via negativa enables the clown student to find a lightness in her approach to failure. Laing describes this process using an allegorical character of Gaulier’s, “Mr. Flop”, who visits the clown when the audience does not laugh, warning the performer to “to do something fast” (Gaulier 2007, p. 283-286). With this story, Gaulier encourages his students to befriend Mr. Flop and recognise his appearance as something to respond to in performance. For Laing, Mr. Flop is the personification of the performer’s own fragility, so to befriend Mr. Flop is to “accept to be ridiculous” (2002, p. 181). In learning to metaphorically

befriend Mr. Flop, playfully accept her own ridiculousness and use it to make people laugh, the student is introduced to self-reflexive comedy. An awareness of the potential of flop, or failure, is essential to Gaulier’s principles of theatre and especially clown, where fragility and danger must be enjoyed in performance. The principles of Le Jeu pervade the whole school programme, creating actors who are playful, understanding and aware. Also present throughout the year is Gaulier’s unequivocal, performative feedback, delivered through the insults of a whiteface clown. These aspects of the school create an environment in which the student learns to be self-reflexive, while taking themselves and their flops lightly. This important aspect of Gaulier’s teaching is evident in the self-reflexivity of clown theatre, which I explore in the following chapter. %$" " CHAPTER FOUR PRESENCE AND INTERMEDIALITY I have discussed two of the objectives visible in clown theatre, which are to tell a story and to make the audience laugh. In order to explore the influence of Gaulier’s teaching on clown theatre, I will concentrate on these two aspects. In the two case studies, the combination of storytelling and making the audience laugh leads to a narrative drama with playful, comic interruptions and diversions, or what appears to be a double-layered narrative, in which a group of clown actors try to tell a story and often fail. The performer-audience relationship taught by Gaulier and the disruptions in the layering of these narratives can be explored more fully according to theories of presence in the theatre. Cormac Power (2008, p.1) points out that this concept has “formed one of the twentieth century’s key battlegrounds” in theatre studies. In his book, Presence in Play, Power makes a critical analysis of twentieth-century theories of presence, attempting to demystify this complex concept and seeking to understand the way that theatre works with many modes of presence as a distinctive feature of the art form. He divides “presence” into three modes in which it has been theorised, the first being the process by which theatre creates fiction, “Making-Present: The Fictional Mode” (Power, 2008 p. 15). Power questions the ability of theatre to make fiction completely present, instead suggesting that theatre makes illusions present with a collusive, imaginative act on the part of the actors and audience. He concludes, “Theatre is a form of representation that works by infusing a present context (a stage, or actor-audience relationship) with pretence” (2008, p.45). The process of making- present is overtly shown in my case studies, and is a process often discussed by Gaulier. Power’s use of the word ‘pretence’ can be directly connected to Gaulier’s vocabulary, with its emphasis on “pretending through play,” (2007, p. 312) over any %%" " psychological transformation of the actor. Gaulier maintains, “It is better to enjoy pretending, rather than to “be” water. So many patients are locked up in mental hospitals because they think they are Napoleon…” (2007, p. 184). In Clown Theatre, the process of making-present, or pretending, is declared to the audience, making the fictional mode of presence especially significant when the audience are asked to be complicit in the making-present process. The audience must also be prepared for the pretence to be removed during moments where the narrative is disrupted. Daniel Bye, in his recent PhD thesis, Clowning in the Brechtian Tradition, investigates similarities between clown performance and Brecht’s Verfremdungseffekt, which indicates a disjunction between what is presented and the means of its presentation… the Verfremdungseffekt seeks to emphasise their separateness, to

emphasise the process by which the performance represents and signifies reality without ever allowing the illusion to be fostered that the performance is reality (2008, p.25-26). For Bye, who trained with Gaulier and Wright, the clearest example of this process in clown theatre is the “debunking of character through game play that manifestly belongs to the performer” (2008, p. 204). Where Spymonkey and NIE include literal play of children’s games, transposed directly from Gaulier’s classroom, they emphasise the separateness of the performer and the character, and remind the audience of the process of making-present. Bye also describes the Brechtian tool of opening the play by introducing the actors, as seen in My Life With The Dogs, which opens with a welcome speech made by the clown actors. Alex Byrne, dressed as a Russian policeman, imitates a Russian accent, addressing the audience through a loudhailer, “Imagine if you will that this man is not a forty year old actor from Manchester, but a small boy in Moscow…” (Tobacco Factory Theatre, Bristol, 9/10/2009) With this statement, the framework of the storytelling is set up and the %&" " ensemble asks the audience to recognise the process by which NIE make their pretence present. The fictional mode of clown theatre highlights the fact that the ‘forty year old actor’ does not become the ‘small boy in Moscow’ but merely pretends. It is a game that demands the audience’s complicité, which echoes Gaulier’s use of the grotesque by making a joke with a degrading reminder of the corporeal – the actor is forty, so his physical body prevents him from doing anything more than pretending to be a small boy – and this casting is made comical. Bye concludes that the techniques used to make the audience aware of pretence do not become Verfremdung unless they are politically motivated. While the clown has historically been seen as a social commentator, it would be difficult to define the motivation of the company as wholly political, as they also have clear intentions of comedy and storytelling. In order to find other effects of declaring the process of creating fictional presence, I will examine Power’s other modes of presence. The second mode is ascribed primarily to actors, as it is either constructed through fame and reputation or the way an actor engages with the space and audience. “Having Presence: The Auratic Mode” (Power 2008, p. 47) is sometimes seen as mystical, the name deriving from the idea of a performer having a spiritual ‘aura’. As a result it is “perhaps most difficult to define, but which an audience member may easily recognise and experience” (2008, p. 47). Power points out that a pre-expressive or neutral presence has been at the centre of the actor training of Barba and Lecoq, which seeks to help a student “develop her capacity to exhibit this quality of presence” (Power 2008, p. 77). Gaulier’s performance qualities of fixed point, play and complicité can also be seen as tools for generating auratic presence. %'" " Power points out that fictional and auratic presence can be used simultaneously and advocates a way of looking at theatre that recognises the “ambiguities between the reality of the pretending and the unreality of that which is pretended” (2008, p. 83- 84). The verb to pretend is resonant of children’s games, simpler than the verb to act and does not suggest any negation of reality, and is especially useful in this context as it is a term frequently employed in Gaulier’s terminology. Clown theatre embraces exactly this ambiguity in its own pretence, providing a way of seeing theatre in the way Power suggests.

The third mode of presence, “Being-Present: The Literal Mode” (Power, 2008, p. 87), rests on the fact that theatre is contingent on the actors and the audience being in the same place at the same time. Performance art and post-modern criticism has focused on this mode of presence and Power finds problems with discussing this mode of presence centred on poststructural problems with the concept of ‘real’. He points to several examples when performers are framed as being “themselves” but because of the staging process, they are perceived by the audience as signifiers of something else. Because of this semiotic deferral, he finds that the auratic and literal modes of presence – envisaged as being beyond signification – actually overlap with the fictional mode of presence; theatre constructs and represents an idea of the present (Power 2008, p.114) We can see evidence of this overlapping in the structure of clown theatre, in the moments where the narrative is interrupted and the clowns try to make the audience laugh. At first, it seems that these are moments of literal presence, where the performers stop pretending to be the characters. However, despite the apparent spontaneity in the actions, these moments are often carefully planned and rehearsed, %(" " so that the companies can be sure of the quality of their shows. Basauri told the participants of Spymonkey’s clown workshop “Your Funny” (sic) that every element in Spymonkey’s shows is repeatable: while the clown actors do play games on stage, and are aware of external events such as the arrival of latecomers, there are no moments left entirely open for improvisation because the company want to ensure their material will make the audience laugh (May 2010). Nevertheless, the workshop’s title refers to the comedy of the clown emerging directly from the individual performer. An ambiguity surrounding literal presence is very important in clown theatre, making the discussion of declaring pretence even more complex and interesting. If clown theatre embraces its own pretence, then it is worth noting that occasionally it also conceals it with moments that appear spontaneous but are in fact rehearsed. This complicated ambivalence is also experienced in the classroom, where students struggle to accept the authenticity of the clowns as a version of themselves rather than as assumed characters. In 2009, one student of the clowning course often became vocally frustrated with herself when she flopped. Gaulier repeatedly provoked her to this point of frustration as she made the class laugh with her physical spasms and shouting. Recognising this laugh, but unable to recognise the signs of anger as a funny trait of her personality, she asked, “Is this me?”. When the student attempted to replicate the actions and sounds unprovoked, it was less funny to the group, who could see that it was rehearsed and artificial. In order to use this moment in a piece of clown theatre, she would have to find a way to repeat it, maintaining the sense of ‘authenticity’ felt in the classroom. Clown theatre’s endeavour to both embrace and conceal its own pretence of presence can be seen as developing from struggles such as %)" " this in Gaulier’s classroom. Here I turn to media reception theories to consider how this ambivalence may operate. Clown theatre is a comic form, specifically in these moments where the story is interrupted, although the stories told are not intrinsically comic. In the case studies used here and by Danzig, all the shows tell stories which are either tragic or epic. The stories become comic because of the disruptions, meaning that the story and the

clown players become partners in the creation of clown theatre. These moments of disruption create a double presence, where on one hand we have the performance of a story (or the fictional presence) and on the other we have the clown actors’ interactions with the audience, which demands auratic presence and appears to enable the literal presence of the individuals in the ensemble. By looking at various approaches in reception theory, I hope to identify useful terms and a framework for discussing this doubling of presence, how it is taught by Gaulier and how it can be used to transform tragic or epic stories into comedy. Daphna Ben Chaim, in a historical survey, Distance in the Theatre, investigates techniques used to highlight distance between the actors and the fictional presence, with a prominent example being direct address. She suggests that “Distancing techniques are… reminders of our original contract with the object: that its existence as an aesthetic object rests on our complicity” (Ben Chaim 1984, p. 24). The moments of disruption, then, facilitate complicité with the audience, by reminding them of the act of making-present. Steve Tillis, writing about folk drama, describes concisely the %*" " agreement in Ben Chaim’s “original contract”, refuting Samuel Taylor Coleridge’s commonly accepted concept of suspension of disbelief Logically, if one suspends ones disbelief, then one is left in a state of belief. But…the audience of a drama… chooses to make believe, for a limited time and in a given space, along with the performers. (Tillis 1999, p. 86) Tillis calls this a “conditional belief” (1999, p. 86), but there is something more playful and active in the term ‘to make believe’ which resonates with Gaulier’s language and so seems more descriptive of clown theatre. If the distancing techniques are reminders of our complicité, then we can also see them as reminders of our choice to make believe, and prompts to enjoy this choice. As a result, although interruptions to the story disrupt the presence of the fiction, they simultaneously remind the audience that there is a communal and enjoyable act of making believe taking place. “We take pleasure because we know, on some level of our consciousness, that the event is not real, and because we experience the freedom of our imaginations” (Ben Chaim 1984, p. 76). Ben Chaim’s references to pleasure and imagination leave some room for interpretation by the reader, and use surprisingly similar terms to Gaulier, “Pretence helps the pleasure of imagining, stimulates it, leads it on to delights: the unimaginable” (2007, p. 211). This similarity in vocabulary suggests that the terms of Power and Ben Chaim can be used to discuss the disruptions in clown theatre, which remind the audience of the act of making-present and the pleasure to be found in this imaginative act. These terms can also be used to demystify the way Gaulier describes his concepts of pretence, pleasure and the imagination in acting, allowing a more theoretical understanding of Gaulier’s approach. &+" " Media reception theorists Bolter and Grusin use the term hypermediacy to describe a use of media that asks the viewer to delight in its construction In the logic of hypermediacy, the artist…strives to make the viewer acknowledge the medium as a medium and delight in that acknowledgement. She does so by multiplying spaces and media and by repeatedly redefining the visual and conceptual relationships among mediated spaces – relationships that may range from simple juxtaposition to complete absorption (2001, p. 41-

42). Bolter and Grusin’s argument applies specifically to digital media, but this ‘logic’ can be applied to clown theatre if we use the term ‘media’ to describe different performance genres. Spymonkey and NIE combine the use of melodrama, tragedy and dance with clown and reminders of complicité, presenting these genres according to the logic of hypermediacy, allowing the audience to recognise the different genres as different genres and “delight” in the acknowledgment of the medium of theatre. Chapple and Kattenbelt apply Bolter and Grusin’s study to theatre, arguing that theatre is hypermedial for its use of various arts and media, and the way that it encourages its audience to create meaning from the various interactions of media. For Chapple and Kattenbelt, contemporary theatre “provides a space where art forms of theatre, opera, and dance meet, interact and integrate with the media of cinema, television, video and new technologies; creating profusions of texts, inter-texts, inter-media and spaces in between.” (2006, p. 24) The ‘space’ provided by theatre and the ‘spaces in between’ the art forms are given the term intermedial, a term which can be applied to the disruptions in clown theatre. When a clown actor disrupts the storytelling objective in order to make the audience laugh, there is an intermedial space between the way the story is told and the way it is interrupted. There are also intermedial spaces between the clown actors and the audience, between the objectives of laughter and storytelling and between the various &!" " clown actors. These ideas originate in media reception studies and their audience theories do not start from a point that deals with comedy. However, Bolter and Grusin claim that hypermediacy can adopt a “playful or subversive attitude” (2001, p. 34) and Peter Boenisch (in Chapple and Kattenbelt, 2006, p. 115) claims “intermedial theatrical performances aim to foster intermediality playfully”. The use of the term ‘play’, which is so significant to Gaulier, suggests but does not explore the potential for comedy in these intermedial moments. While Gaulier would not use the term ‘intermediality’, he demands a playful approach to theatre and the case studies use the attitudes and techniques taught by Gaulier to create intermedial spaces in their shows. Their clown theatre exploits these spaces in-between for comedy purposes, creating comic juxtapositions or subversions, exploiting intermediality to highlight contrasts and provoke laughter. This can highlight comic elements of theatre and its conventions, so that it is with these intermedial spaces that the makers of clown theatre draw attention to theatre as a process of creating fiction and thus develop a self-reflexive comedy that laughs at and with performance as performance. By pointing out this process, clown theatre reminds its audience that the clown actors are in fact playing, which is the ‘method’ advocated by Gaulier, “pretending through play, never really being” (2007, p. 312). This declaration means that the storytelling aspect of the show is openly shared as a game, and enjoyed as such. A self-reflexive comedy is created by allowing audiences to acknowledge the medium of theatre, delight in their acknowledgment and then, seeing theatre as theatre, laugh at the juxtapositions, contrasts and contradictions it entails. In this way, the intermediality found in the structure of clown theatre can be seen as a literal, declared manifestation of Gaulier’s “pretending through play”. &#" " Earlier in their book, Chapple and Kattenbelt point out that

…intermediality is associated with the blurring of generic boundaries… and a self-conscious reflexivity that displays the devices of performance in performance (Chapple and Kattenbelt, 2006, p. 11) They recognise the self-reflexivity that is created when a medium seeks to be acknowledged but clown theatre, rather than blurring generic boundaries, makes the boundaries and spaces between genres explicit and plays with them, creating collisions and conflicts that allow for comedy. By drawing attention to the boundaries, clown theatre finds the ridiculous elements of these “devices of performance in performance”. The performers create a collage of genres in order to tell the story, thus the stories of Moby Dick and My Life With The Dogs are told using melodrama, music, popular songs, dance, puppetry, horror, mime, acrobatics and tragedy. These combinations do not always blur smoothly into one another but are often comically irreconcilable. In addition, the genres are occasionally dropped completely in favour of children’s games, slapstick or any other available means of making the audience laugh. As a result, clown theatre posits live performance as live performance, with the logic of hypermediacy; it also demonstrates spaces not just between media but also between genres of the medium of live theatre, finding self- reflexive comedy in these spaces. The audience is thus aware of the ridiculous nature of performance, with theatre conventions being subverted, parodied and destroyed, while giving the audience the opportunity to take pleasure in their awareness of theatre as an enjoyable, ridiculous pastime. I propose calling this comic intermediality, whereby theatre becomes so recognisable as theatre through exploitation of spaces in-between that it becomes comic. &$" " In order to construct comic intermediality, the company must make the audience aware of different levels of the performance between which comedy is to be found. These levels can be likened to Power’s three modes of presence but can also be separated into levels of play, or pretending, that is taking place at any time. Boenisch describes the intermediality of theatre working on three semiotic levels; “presence, presentation and representation” (2006, p. 114). Boenisch’s ‘presence’ is similar to Power’s “literal presence”, and refers to the individual being in the room with the spectators. ‘Presentation’ is an aspect of the individual that is being declared to the audience and ‘representation’ is the playing of a character. These three layers are explicitly explored in clown theatre and the jumps, clashes and spaces between the three are a rich source of conflict that can generate comedy. Peacock, in the context of clown theatre, applies slightly different terms than Boenisch, “the performer, the persona (the clown found within the performer) and the personage (the part played by the performer whilst in the clown state)” (2009, p. 31). These different terms appear to refer to the same apparent levels of presence: The (literal) person - Presence - Performer The clown - Presentation - Persona The (fictional) character - Representation - Personage During a clown theatre production, the audience sees constant movement between the performer, the persona and the personage; or, the presence, the presentation and the representation. Peacock’s terms suggest a complete transformation between the performer and the persona – the vocabulary of a “clown state” and “the clown found within” suggests a focus on the psychology of the performer, which mystifies the process of performing clown. While some clown teachers take a spiritual route into

clowning, Gaulier does not, saying instead that “a good clown loves selling &%" " themselves as a ridiculous being…Students who present themselves as ‘little ones’ should get an earful from the teacher.” (2007, p. 295) Thus, for Gaulier, the clown is something that is sold, a presentation of the ridiculous elements of the performer, rather than a persona or alter ego. Though Peacock describes the persona as being ‘found within’, I believe the term persona can be misleading and suggest the assumed ‘little character’, of which Gaulier is disdainful. When writing in French, Gaulier does use the term personage, but translates this as character (2008, p. 26). Because of the way they resonate with Gaulier’s language, I prefer to use Boenisch’s terms: presentation, as it indicates a process of showing and sharing, or ‘selling’ aspects of the performer with the audience; and representation, as it indicates a suggestion of character, but not a transformation. The spaces between the clowning presentation and character representation are ripe for intermedial play, especially when there is a jolt or sudden leap between the two. This oscillation is taught in Gaulier’s clown exercises that are based on the idea that the clown believes in the quality of her acting. In one exercise, the clown believes she can convince the audience she is a doctor, by instructing the audience, “Take off your clothes”. According to Gaulier, this enables the audience to see the clown finding pleasure in her own ridiculous idea (July 2009). The performer can generate laughter in two places, firstly with presentation, sharing their ridiculousness with the audience, and secondly by alternating presentation and representation, breaking the representation of the character and showing the practice of representation to be ridiculous. Basauri’s performance in Moby Dick is useful in clarifying these concepts. He enters the stage towards the beginning of the show wearing a false beard and a small sailor’s &&" " outfit, saying the famous opening line, “Call me Ishmael” (Mellville 1946, p. 11). He explains that he has been chosen as the narrator because his “English is a bit special, so you have to pay more attention” (Warwick Arts Centre, 27th October 2009). As in the novel, Ishmael is the narrator, telling the story in the past tense. However I believe that this Ishmael is not a character but a presentation of Basauri, with his own accent exaggerated, his baldness highlighted by a false beard, his belly highlighted with badly fitting costumes and his enjoyment of authority shared with the audience. In presenting these aspects of himself to the audience Basauri invites the audience to laugh at him as a ridiculous person. During Le Jeu in 2008, Gaulier jibed that a man with no hair looked “like he had the skin of his arse stretched over his head” and it is likely Gaulier drew attention to Basauri’s appearance in a similar way. These personal, corporeal details of Basauri’s appearance are used to create comic moments in the show as part of his clown presentation. The presentation level thus contains elements of the corporeal and even the grotesque, bringing disruptions to the story that follow the same pattern as the corporeal insults used by Gaulier in his classroom and writing, interrupting the dramatic action to create bathetic and grotesque comedy. As well as narrating, Basauri represents characters in the story, both the young Ishmael and Moby Dick the whale. There are many comedy moments in the piece where Basauri stops playing these parts and addresses the audience as Ishmael the narrator, which cause jolts between the levels of representation and presentation. It is interesting to note that Basauri explains the three levels of presence at the start of the show with a joke. Wearing a false beard he tells the audience, “This is me when I

tell the story” (presentation). He takes the beard off and says, “This is me, the actor” &'" " (presence) then puts it back on, upside down like a toupee, saying, “This is me when the story takes place” (representation). This is a corporeal, presentational joke, which points out Basauri’s baldness. It also subverts and parodies the conventions of costume while playing several parts, as it is ridiculous to imagine that an upside-down beard is a good disguise. Being at the start of the play, this joke also prepares the audience for the fact that during the show, Basauri will be visible on three semiotic levels, as a real person, narrator and character. The comic intermediality of clown theatre is self-reflexive, often referring to what we imagine may happen in rehearsal processes and theatre companies as well as stage conventions. At one point in My Life With The Dogs, the dogs chase a policeman (David Pagan) away from the little boy. As he reaches the side of the stage the dogs continue to chase and bark but Pagan stops and points off stage, saying, “I’m not here any more, I’ve gone off up a corridor”. The audience laughed as the drama of the chase was instantly debunked by the declaration of the fiction. We were suddenly made aware of the ridiculous idea that the fictional world extends beyond the stage but that Pagan cannot go off the stage and into it. He is restricted from representing the character by the real world and is instead forced to defend the fiction, so he has to abandon the representation of the policeman and remind everybody about the conventions he has tried to follow. In trying to preserve stage conventions, he has drawn attention to them and therefore debunked them and made them comical. The company take Gaulier’s lesson of self-reflexivity and laugh at themselves for being a theatre company, exposing and parodying conventions of the stage. &(" " The fact that the representational level is frequently subverted for comic purposes in clown theatre does not mean that it is neglected or that the characters are represented badly. The actors need the skills to represent character and the story well so that there is comedy when it is debunked. These skills can be traced back to Ecole Philippe Gaulier where the teacher strives, “through various poetic theatrical genres, to discover the students’ spirit and to hand it them back” (Gaulier 2005, p. 5). These genres include Neutral Mask, Mask Play, Characters, Melodrama, ‘Shakespeare – Tchékhov’, Bouffon, and ‘Writing and Directing’. The students who follow the whole course discover which of these genres they most enjoy and in which they have the most skill and use this discovery to make the best work they can. In the making of these two shows, the actors make use of their knowledge and enjoyment of several genres, and that different members have different strengths, as multiple genres are combined and exploited for their comedy potential. Both case studies use a mixture of dramatic modes, or genres, which can include melodrama, physical theatre, mime, puppetry, music and dance. These genres are subverted, deconstructed or parodied by clowning, to create comic intermediality. This can be traced to the performative insults in Gaulier’s pedagogy - moments of grotesque and personal comedy are present throughout all of the courses that Gaulier teaches, meaning that the school is permeated by comedy that comments on theatre. In the context of the classroom this comedy helps the student identify skills to improve, but in the context of clown theatre, self-reflexive comments allow the audience to see the ridiculous nature of performance itself, and the corporeal nature of the performers. The comic intermediality of clown theatre could be traced to a continuous pervasion of reflexive

comedy throughout Gaulier’s workshops. The structure of the school with its study of &)" " varied genres and Gaulier’s own performative skill enables the students to understand not only a variety of theatre genres but also the intermedial spaces between them and an embodied sense of the pleasurable and ridiculous in each. Clown theatre creates comic intermediality, finding comedy in the intermedial spaces between semiotic levels of presence and between theatrical conventions. The two case studies tell stories with tragic and melodramatic content but by drawing attention to and subverting these genres, create a comedy that is as much about delighting in the ridiculousness of theatre itself as it is about the stories told. The comic intermediality of clown theatre demonstrates three traces of the Ecole Philippe Gaulier. Firstly, the oscillation between two levels of presence allows the company to declare the process of “pretending though play, never really being”, demonstrating this fundamental theatre tool taught by Gaulier. By asking the audience to recognise this play, but also be complicit in the make-believe process, clown theatre asks its audience to delight in this pretence and to find the comic spaces therein. Secondly, clown theatre assimilates the many genres and styles taught by Gaulier, combining tragedy, melodrama, acrobatics and clown to create comedy. Thirdly, these many genres are frequently interrupted by grotesque and performative comedy that reflects on the nature of theatre, as are the lessons at Ecole Philippe Gaulier. &*" " CHAPTER FIVE PARTNERSHIPS IN CLOWN THEATRE In Gaulier’s teaching there is a focus on the partnership between the performer and the audience. In his clown teaching the opinions of the audience are explored through partnership between the auguste student and whiteface teacher. Clown theatre creates a similar partnership, replacing Gaulier’s whiteface with another authority figure, the story. Spymonkey re-tell a canonical text, the American Moby Dick, whereas NIE tell a story about a young child at the bottom of Russian society, living in the underground with dogs. These stories are integral to the formation and structure of the shows, being represented and then subverted with comic intermediality. Danzig explains that stories can provide a necessary authority in clown theatre Clown exists in relation to authority…500 Clown, which creates productions to be seen in theaters, has found that theater itself provides a rich and multi- dimensional authority for the clown. Or perhaps it is more accurate to say that popular cultural knowledge of theater provides that authority. (Danzig 2007, p. 21) Danzig casts the popular knowledge of theatre as the authority against which the clowns must rebel, referring to the ability of clowns to contradict and disrupt their environment. However, the specific nature of this authority differs in my two case studies. 500 Clown and Spymonkey both choose western canonical texts to be subverted and deconstructed. The use of a little-known story of an ‘underdog’ character is a choice which sets NIE apart from the other two examples: the story, while still the authority which is deviated from, has a different role for this company,

'+" " which can be seen when examining the level of (re)presentation on which the audience are addressed. Both Spymonkey and NIE prefix the play with an introduction to themselves as theatre companies. This serves as an introduction to the multiple levels of presence that the show would operate on, “shifting focus when the shows begin to that which is normally hidden or simply ignored” (Danzig 2007, p.128). However, the differences between these shows are also apparent from the outset. While the audience were arriving, the members of Spymonkey appeared onstage to present themselves as “Compagnie Tony Parks”. Tony Parks is a representation of the performer, Toby Park, and the opening establishes a relationship between the clowns. Here, the contrasting objectives are assigned to particular players whereby Parks has aspirations to tell the story of Moby Dick faithfully and theatrically, while the others are happy to be onstage entertaining the audience. From this point on, it is in this mode of presentation that the actors address the audience. Parks is the defender of serious theatre, looking down on his fellow actors and often foiled by their games and deviations from the plot. Represented characters do not address the audience but the performers abandon the representations of character frequently with distracted and amusing presentations. At the Tobacco Factory Theatre, Bristol, two members of NIE came into the bar area with an accordion and a bottle of vodka, giving drinks to the waiting audience members and welcoming them to the show. The opening introduced the main protagonist of the story, Ivan, as described in Chapter Four. Following his '!" " introduction as ‘not a forty year old actor from Manchester, but a small boy in Moscow…’, Orr did not break the character of Ivan, maintaining the body language and voice of the young boy character so that it was on this semiotic level that he spoke to the audience. In contrast, all the other characters were abandoned as the actors played various roles including the Russian policeman, Ivan’s disinterested mother and a paedophile in the streets, as well as the pack of wild dogs. The representation of these characters was broken by games, music and presentational jokes. While the supporting performers came out of role, looking at the audience, speaking to each other and playing games, the majority of direct audience address was from Ivan. The representation of Ivan was not subverted or parodied, allowing the fictional presence of Ivan to be undisturbed, allowing empathy to be built with the character. In contrast, the subverted characters were those with power over Ivan’s life, or the authority figures. Thus, the fiction of the authority figures was subverted more than the fiction of the protagonist, leaving an interesting power balance in the eyes of the spectator. In these openings both pieces use levels of (re)presentation to cast an authority figure, but these figures are different – Spymonkey challenge the authority of the conventions of theatre and NIE challenge the authority of oppressive adults in the life of an impoverished small boy. As a result, the audience of Moby Dick are complicit with the clowns who do not understand theatre, whereas the audience of My Life With The Dogs are complicit with Ivan and with the actors who laugh at authority figures. This difference, noticeable particularly in the mode of address can be traced to the stated intentions of the respective companies as described in publicity material such as websites. On their homepage, NIE state that NIE uses all theatrical means available - music, light, animation, design,

words, dancing, sounds, clown, buffoon, tragedy, puppets, singing - to create '#" " theatre that is alive and by turns comic, tragic, ridiculous and disturbing. (NIE 2010, online) For this company, clown is one of many in a list of genres used. While this use of multiple genres with an objective of comedy will create a comic intermediality, it is also important to note that NIE intend to create theatre that is ‘tragic’ and ‘disturbing’ as well as ‘comic’ and ‘ridiculous’. Despite the fact that Spymonkey do not use the word clown on their website, instead describing their work as “dark, edgy physical comedy” (Spymonkey 2010), I would argue that Spymonkey’s stated intentions are closer to clowning than are NIE’s. In response to Lyn Gardner’s online review criticising the show for being over-reliant on comedy, Petra Massey, co-founder of the company, explained, “Spymonkey is a clown company. Our job is to make people laugh” (Massey 2010, online). In addition to this prerogative, Massey describes this show as having “weight and gravitas in a clown style” (2010, online). This suggests that the application of the term ‘clown theatre’ is in line with the intentions of Spymonkey to a greater extent than it is to those of NIE. If clown theatre is more like a sliding scale than an absolute definition, Spymonkey are leaning further towards clown than NIE, by placing more importance on the impulse to make the audience laugh. The relationship of clown to authority is one that has existed throughout the history of comedy, from Bahktin’s clowns disrupting official and ritual ceremonies, through having licence to disrupt formal occasions, have been seen as having subversive power over traditional authority. The question of authority and power is raised in analysis of the partnership between auguste and whiteface. Towsen describes this '$" " partnership as being part of the historical development of the clown partners, or the “two zanies, the first a scheming rogue and the second his less clever butt – the stooge…” (1976, p. 206) Towsen describes the mutually complementary relationship of this pair, working together to create comedy. This partnership relates to the partnership between storytelling and clown in the two shows: the story is set up as the authority, and the clown actors become clumsy augustes by trying (and failing) to play serious scenes, oscillating between levels of presence, distracted by games and the audience and thus failing at their task to play the story. The partnership is sometimes transposed to two clown actors, one of whom wants to perform the play and the other wants to do something unrelated but entertaining. Davison notices a trend in clown teaching to focus on auguste clowns but that, away from the classroom, “The white clown’s contemporary absence has left the auguste alone and inexplicable without her partner” (2008, p. 6). Davison laments this loss, blaming a misunderstanding of the balance between the two partners. He cites Bernard de Fallois’ introduction to Tristan Rémy’s, Les Clowns (1945) (translated by Davison 2008, p. 6), The beautiful dialogue between the white face and the auguste does not set at each others throats the superior and the inferior, the executioner and the victim, the exploiter and the exploited. The two partners are at the same level. They are two equal forces, two principles one as positive as the other.

This balance of equal forces is important to the understanding of the story as whiteface. The balance of major and minor between these partners moves throughout the performance, so that themes and emotions available in the story are explored as well as the comic play of the clowns and the comic intermediality of the disruptions to the story. As a result there is ‘beautiful dialogue’ rather than competition between the '%" " objectives of comedy and storytelling, which provide each other with an equal, opposite force, creating space for comedy. In My Life With The Dogs, the objective to tell the story is stronger than the objective to get laughs, so the forces are not equal and there is less space for comedy. The dialogue created between the story and clown actors of clown theatre can be related to the dialogues and partnerships created at Ecole Philippe Gaulier between the whiteface pedagogue and the students. The presence of both whiteface partners allows the clown actors to work with a partner, building laughter and comedy through the balance of authority and rebellion, expectations and disruptions, fantasy and corporeal reality. There is one further partnership to be considered in clown theatre – that with the audience. Throughout training with Gaulier, students are taught to seek complicité with the audience and in clown theatre a large proportion of the show is dedicated to making the audience laugh. To have an objective that is concentrated on the audience increases awareness of the literal presence of the spectators and a complicité is created so that the audience’s presence is valuable to the clown actors. Danzig describes the methods used to create this environment, “expanding play to include the audience or, to put it another way, inviting the audience to play…500 Clown’s invitation begins with eye contact…”(2007, p. 127-129). Noting the influence of Gaulier, Danzig employs eye contact to invite “involvement, communication and cooperation” (2007, p. 130) from the audience, by the performers offering these same qualities. In Moby Dick, Basauri asks the audience to cooperate with him in preserving his role as narrator, encouraging the audience to imitate a storm if Parks tries to usurp the role. This moment takes a device commonly used in contemporary '&" " pantomime and children’s theatre but transforms it into an interaction relevant to clown theatre. In asking the audience to imitate a storm, he invites them to literally play along with the narrative objective, creating a soundscape that is in keeping with the fictional presence of the story. However, at the moment when Parks does attempt narration, the narrative demands that the ship is becalmed. When the audience, encouraged by Basauri, begins their imitation they are contradicting the narrative and interrupting it for the purpose of playing a game. In this moment the audience rebel against Parks, who tries to maintain the fiction of the becalmed ship, and against the narrative objective of the production, becoming accomplices to the disruption. In addition to sympathising with particular characters or presentations and imaginatively joining the make-believe process, the audience are invited to actively join the play. By including the audience in this scene, Spymonkey creates a shared experience of play, allowing the audience to understand more clearly the approach to theatre advocated by Gaulier. Danzig points out that asking the audience to join in an experience of play “often involves risk-taking, thereby transferring the site of risk from stage to audience…” (2007, p. 131). The experience of risk being an important part of clown teaching, it is possible that by experiencing some discomfort or embarrassment at being asked to play, clown theatre audiences are further sharing in the experience of play in a clown context. As part of the imitation of a storm, Basauri chooses an

individual to make the sound of a seagull. The individuals chosen on the two performances I attended both seemed to enjoy this task, despite showing signs of embarrassment, and the rest of the audience laughed loudly. The individuals are likely to have experienced similar emotions to the students of Gaulier’s clown courses. In an article on contemporary performance events, Lancaster describes methods of ''" " facilitating audience participation. He notes that interactive events such as karaoke nights encourage audience participation with the creation of an environment where “it’s okay to be an amateur” (1997, p. 80). In clown theatre, conflict between two performance elements can result in failures to meet either objective, increasing the potential of flops. The audience members have seen these failures, which are associated throughout with laughter and fun; thus when the audience members are given small performance tasks, the participant is aware that the result of failure will be no worse than a moment of laughter. The audience is provided with a relatively safe environment to participate in the disruptive play of the clown actor and one audience member is given the opportunity to make the rest of the audience laugh. This heightens the experience of play in clown theatre and enables the clown actors to develop complicité with the audience. The partnerships created in clown theatre originate in clowning, as the narrative objective of the story is framed as a type of whiteface partner, that sets the clown actors a challenge doomed to failure and provides an authority to be deviated from. The partnership between the clown actors and the audience is one of complicité, in the sense of shared understanding and in the sense of being complicit in each other’s actions, as the audience are given an environment in which to experience clown play for themselves. '(" " CONCLUSION I have identified three ways in which Spymonkey and NIE’s clown theatre productions demonstrate the training and theatrical principles of Ecole Philippe Gaulier, allowing us to trace the influence of the school. In doing so, I have been able to explain principles of Gaulier’s teaching through their manifestation in a theatrical context. Firstly, clown theatre directly places games on stage, which can be traced to Gaulier’s introductory course Le Jeu and the principle of pleasure of play. This principle of the school, taught through children’s games, is directly included in the shows and used to disrupt the storytelling objective and provide comic and entertaining performance. Clown theatre communicates to its audience Gaulier’s principle of pretending through play. Clown actors repeatedly remind the audience of the act of play inherent in theatre, by interrupting the act of storytelling to present to the audience comical aspects of themselves, children’s games or tensions in the narrative. They also provide the audience with an opportunity to experience play for themselves, by participating in the make-believe process and joining in games played. Secondly, clown theatre finds comedy in the intermedial spaces of theatre, when genres, objectives and conventions collide. Clown actors oscillate between levels of presentation and representation, finding intermedial spaces between the fictional presence of the story and the auratic presence of the playing clown actors. In doing so,

clown theatre presents an irreverent self-reflexive attitude to theatre and storytelling. We can trace the structure of clown theatre and the many theatrical techniques it ')" " combines to the multi-generic teaching of Gaulier. The contrast between these genres and the disruption of performance that this intermedial comedy causes can be traced to two elements of Gaulier’s teaching, his irreverent attitude to his own theatrical lineage and the pedagogical use of the corporeal and the grotesque that infuses his teaching with a carnival spirit. Throughout the school, Gaulier performs in a role comparable to the whiteface clown, where he delivers corporeal, personal and grotesque insults, which contrast with the fantastic, metaphorical language used to describe theatre. These insults both instruct and entertain the participants of the workshop and we can trace the physical, grotesque and presentational disruptions of clown theatre to the school. The third manifestation of Gaulier’s teaching in clown theatre is the performance partnerships - complicit partnership with the audience and balanced partnership between story telling and comedy. I have likened this latter partnership to a clown double act between the whiteface and the auguste, being mutually complementary, performative and balanced in their opposition, creating spaces and conflicts in order to create comedy. The two case studies offer slightly different authority figures to perform the role of whiteface but both exploit the conventions and expectations of performance by deviating from them and creating intermedial spaces between the expectations and the reality of the productions. There are partnerships throughout Gaulier’s school, from the performative conversations in his writing, to the performative role of whiteface in the classroom that allows the students to learn clown while simultaneously being entertained. Partnership, with its opportunities for conflict and complicité, is regarded as necessary throughout Gaulier’s work. Gaulier teaches '*" these partnerships through performance, either inventing fictional partners in his writing or joining the performance of the students through his insults and criticisms. Clown theatre thus inherits Gaulier’s use of twin functions of information and entertainment, telling the story and simultaneously creating as much comedy as possible. By its use of Le Jeu, intermediality and partnerships to create theatre that both communicates a narrative and entertains, clown theatre demonstrates an actual theatrical influence of Ecole Philippe Gaulier.

Two months of training at L’ecole Philippe Gaulier to learn how not to be boring and achieve a beautiful freedom on stage when you have 10000 spotlights on you. An investigation of a unique teacher with a profound philosophy.

I would recommend acting schools teach a component based on Neutral mask and place more emphasis on Physical discipline and technique Create a new class room culture in acting schools which emphasize play, experiential learning, the importance of failure in the process of change More opportunities and funding for new companies to take time to develop physical skills,

chorus work and complicte in order to devise and develop original productions of real quality and depth. Create opportunities by which information can be exchanged with professionals abroad and for bringing to Australia the experience of more international practitioners so the development of new skills is possible

Le Jeu Workshop with Philippe Gaulier

Movement classes focus on coordination, complicite, balance and lightness Improvisation and games introduction to Le Jeu Major, minor, complicite and pleasure on stage Fixed point Movement flexibility, yoga, strength upper body Difference between actor and character The impulse for theatre/ improvisations Working in Chorus basic introduction Movement Feldonkrais, basic balances, cartwheels, back flips, stamina Rythms of theatre, Burlesque and the absurd

Movement - games, developing acrobatic skills, fixed point, analysis of movement Explanation of Jaques Copeau, origins of Neutral Mask simple exercises exploring moving neutral mask and simple text Exploration of water, fire, earth, air using Greek text Exploration of Greek Chorus, axis exercise and choreographer Exploration of elements of wood, cream, oil, color, silk, glass and metal, light, acid. Movement core strength, endurance more complex acrobatics, improvisations using skills Work on Death of Hektor using elements already explored Study of animals, dog, snake, lion, bird, mouse, fly, lizard Scene from Orestes, Electra and Antigone using elements of color, seasons and Greek Chorus Movement further analysis of Neutral mask and individual physicality Last week presentations

L’ ECOLE PHILIPPE GAULIER L’ecole Philippe Gaulier is located at the top of an abandoned French Telecom building. On the first day I arrive early with another student Phil from New York. Confused we search the street for signs the theatre school we imagined. A young man with a shaved head is smoking in front of the steps. Eventually I pluck up courage and say brightly L’ecole Philippe Gaulier? My French is still limited to one or two phrases at this stage. He grunts and points at a tiny sticker above a small intercom. An anonymous click indicates we have gained entry. We proceed up 6 flights until we reach a small door on the top floor. Inside the temperature is sweltering. A scrap of paper on the wall tells us the radiator is broken and can never be turned off…There are two studios one small one

which serves as a movement space and the other is where Philippe takes his classes. The main studio is very basic but spacious. There are full length windows along one wall and the first thing you notice about this space is the unusually beautiful afternoon light which streams in. The plaster is white and the ceiling is stripped back and pockmarked. There are some basic floodlights rigged and two flats at one end behind which a curtain hangs full length from floor to ceiling. This will be our stage. Otherwise the space is empty but for a chair for Philippe and some wooden benches. This very sparse work area is an innovation of Jacques Copeau, the man who, I will come to know developed Neutral mask as a pedagogical technique and created the system of actor training we are familiar with today. In a radical move Copeau disposed of the proscenium arch and made the performing area an open empty space with the qualities typical of Greek theatre, Elizabethan theatre and Commedia dell’arte. It is clear in a stripped back theatre space such as this the primacy of the actor. It fills me with a deep sense of terror. There is nowhere to hide. Gaulier looks a little like an alcoholic version of Santa Clause. He is jowly, bearded with a fop of mad white tufts poking out from beneath a beret. He has beady eyes which sparkle with humor though we rarely see him smile. Instead he adopts a pan face. Though occasionally he reminds us he was an actor by adopting ridiculous expressions, making up words and stuttering or feigning rage and pretending to assault a student with his little drum stick when they have not answered him correctly. A pair of round red spectacles are perched on the end of his nose. He is dressed in his uniform of cardigan and waistcoat, a silk polka dot handkerchief is tied gracefully around his neck. He wears a pair or fading mauve slippers in the class room. The whole outfit is put together with the utmost care. I’m sure he is aware he looks entirely ridiculous…I have never met a person who takes themselves less seriously.

LE JEU Theatre is as serious as a child’s game Watch a child in a sand pit or playing dragons and witches or hide and seek. They make for truly fascinating watching…It is this state of being Philippe Gaulier seeks to elicit from all his students. He peels away the unnecessary layers of seriousness, bad make up and characters which we buffer between us and the frightening world. In his class room the game is all important and in the process of having a romp and a joke with our play mates we forget we are in front of an audience. It’s at that moment completely enamored with our game, that the audience seeing us restored to the 7 year old we once were, leans forward entranced. At the moment we have forgotten, Gaulier gently reminds us we are in the theatre. He shows us the difference between what is interesting to watch and what is not. Le Jeu literally translates as play and so naturally the workshop begins with a game. The game is called Balthazar Says and is a version of Simon Says. Philippe holds a drum on which he beats to punctuate his class. BANG! "You shut up now! He begins to shout his orders. BANG. “Balthazrr says Run!” "BANG. Stop running now! Nooooo, there was no Balthazarr says - who stopped? Put your hands up if you stopped! Ah. What do you want?" This is the part of the game where the running around stops and punishment must be dealt out to those who disobeyed Balthazrr. Philippe asks what you want and you have the following options as reply: 1. Nothing 2. A Kiss 3. Two nothings and a kiss

4. A kiss and four nothings 5. Four nothings and two kisses The explanations of these are as follows: 1. Nothing - you want nothing, Philippe says 'bon': it is over 2. A kiss - you have to ask someone in the room if they will let you kiss them. If they say yes - then voila! you get to peck them on the cheek. However, if they say no, you must go to Gaulier. Gaulier puts down his drum, wrenches your arm up behind your back and bends you double, so that you wince with pain, then carries out a sequence of torture on you: shampoo (ruffles your skull) guillotine (chops the back of your neck) acupuncture (pinches the flesh on your shoulders) and then Guantanamo (grabs your little finger and bends it backwards) Sometimes you get a Chinese burn, then you're done. Philippe encourages us to denounce each other if we see someone making a mistake. We play this simple absurd game everyday for 2 months. Rather than tiring of it, the repetition is a delight. We delight in pretending we don’t know what is coming next, we feign shock when someone is denounced, we tense with anticipation when someone asks for a kiss, we squirm and screw our faces while someone is tortured…The atmosphere is electric but always light hearted. The delight of everyone feeds the game and so it never gets boring. And this is a key to the whole philosophy of Le Jeu.

“Without the game the actor is lost”. The game gives the actor an immediate focus. It is impossible for instance not to be present when your partner threatens to snatch your cloth tail from behind you in the Game of the Scarf. You take this game into an improvisation and all self consciousness disappears, the attention is placed firmly on your partner where it should be. Whilst this is a relatively simple concept in theory, on stage it’s another story. Philippe’s exercises get more complex under seemingly simple guises. An actor may get up and BANG the drum sounds before they have opened their mouths. Like Lecoq, Gaulier teaches that theatre is born out of silence first. The game, the impulse, the story busts into existence the moment the actor appears on stage. This is quite a different experience of theatre making than at drama school in Australia where the emphasis was on the textual story telling. Its not that play is a completely new idea for me in the world of theatre. During my three years of professional theatre training at NIDA we played many warm up games, however that exactly how we saw them, a warm up to the real stuff, the serious acting we were about to do rather than the essence of what we were about to do. I felt I had to work hard on stage, to apply myself, to concentrate on conjuring up an imagined past or a feeling about a fellow character…to be another person. Inevitably a week into performance of a show, our frustrated and bemused director would say to my cast “just have fun” but by that stage, in performance, we’d forgotten how. In an effort to be perfect, to act well, we had begun to take ourselves seriously. Thus we were boring. If you forget the game in an improvisation in Philippe’s class, if you fall back into the old pattern of trying to act well, BANG. The drum will sound….”Was she boring?” Philippe asks someone from the audience. At first it’s difficult to say out loud what we have all observed to be true..That when any actor looses this pleasure of the game they become painfully boring to watch. “Yes, she was boring” someone ventures tentatively..“top level boring” Philippe agrees.

YOU CAN BE ACADEMIC WHEN YOU ARE 90 “The game opens your imagination, then you become interesting. Without fantasy you are a pain in the arse.” There is no theory component to Philippe’s classes. Its not that theory is not important, just that it’s irrelevant. One could theorize for months about what happens in Philippe’s classes. Finally it’s the experience which is invaluable as a teaching tool. Whilst the concepts of Le Jeu seem relatively simple, in practice, pleasure on stage is extraordinarily difficult to achieve. What is interesting to watch, we learn, is the impulse and freedom of a moment. Philippe is trying to draw from us moments of life on stage. “Life is poetry” he tells us “something artistic is horrible”. The game creates living moments of pleasure and excitement the energy generated from people who are focused and completely present. The game will generate an energy which is palpable. A person enjoying themselves on stage is beautiful to watch. Philippe can sometimes be frustratingly oblique in his explanation of an exercise. He rarely tells you what to do differently in order to achieve pleasure or stay in the moment. He never tells you how to be funny or indeed how to act…He simply lets you discover what works by trial and failure. In class you have flop after flop. While this is incredibly frustrating it becomes a much more effective way of discovering what works. Generally on stage you know you have flopped because you are not having fun…. So how do you build a discipline of fun in the classroom? A place which traditionally teaches children to stifle the natural urge to play and dream and and disciplines us to ‘act our age’. Indeed how do we bring this fun to the workplace when the pressure is on to present a product to a critical public? Our instinct is to impress, with our talent, with all the tricks we have up our sleeve. We leave the theatre self satisfied, we are safe; our vulnerability has not been found out. The audience leaves impressed by our acting but essentially untouched. Together we have shared nothing. At L’ecole Philippe Gaulier the first thing you notice is that nothing is taken seriously. “Acting is as serious as a child’s game”. That shameful secret out in the open we are free to enjoy ourselves being silly. Philippe constantly reminds us we are engaged in the game. The game of learning. The game of life. After you have had your inevitable flop he will stand you in front of the class and begin to insult what you have done in the most hilarious and outrageous ways. “Do you say, Bah oui,…this piece of theatre changed my life! Or it was boring like the pharmacist in Sceaux?..Two possibilities!” Philippe leaves no room for hypocrisy. The tension is broken as we all laugh uproariously. Failure is made ok. We are learning what works and what doesn’t. To ‘fail’ is an important part of the process and openly acknowledged as such. Philippe maintains the actor must have a ‘crisis’ born out of frustration on stage from which something unexpected and original springs. Remembering back to my professional theatre training the focus was always result oriented. The environment was super competitive. The threat of being kicked out always loomed. The standard had to be high. The crisis was to be had in the privacy of your bedroom but not on stage...Most teachers have good intentions concerning their students growth. In the class room students were supported and encouraged. Constructive criticism was the order of the day…given you performed to standard. With directors there was always a little more pressure on them to produce a good performance from the students in particular when we performed to the public. It is here Philippe is able to deviate from the teaching styles of most drama schools. The school is entirely process oriented. He invites anyone to attend his classes and has absolutely no vested interest in you other that helping you to be a beautiful actor. If you want to change then you need to flop, that’s all there is to it.

According to Philippe if a performance is going to be good on stage (given you are working with a wonderful play) it needs the following elements. The ‘fantasy’ or the imagination of someone needs to be activated by the game (which we have dealt with). Other essential elements are complicite, fixed point, the role of major and minor, impulse and rhythm. Each element is explored through an exercise. As it’s the game which sparks the imagination and gives pleasure naturally each exercise is framed in terms of a game which is played in its simplest form first in front of an audience and then gradually develops into the skeleton of a performance.

Complicite is defined in the Robert Dictionary as a profound understanding between people which is spontaneous and often unexpressed. Philippe describes it as when two actors discover in each other ‘fellow feeling’ and become caught up in the game between each other and the audience. The complicite becomes stronger as they feed off the joy of being ‘true accomplices’. Complicite requires the development of sensitivity and awareness on stage. Physical complicite is also a focus of our movement classes and is developed using exercises which require the class the act as a whole organism, for instance in chorus movement or in partnered work. One very good physical exercise we used was with a wooden pole which was balanced between two people using only one index finger each. In order to keep the pole from falling the partners have to move harmoniously, instinctively guessing the next movement of his partner and discovering a mutual rhythm. Fixed point provides a focus which serves as the punctuation of an actor’s performance. A moment of pause. The body is poised and energized ready for the next impulse, the eyes are sparkling with the game. A perfect exercise for fixed point is a well known called Grandmothers Footsteps GF. All the students line up along the back wall, except for one student, Grandma who is near the opposite wall and has their back to the other students in the game. Between Grandma and the other players chairs are scattered through the space. The players must sneak up and touch Grandma on the back. The task of Grandma is to catch her fellows out by spinning around. If she sees someone move she can send them to the back wall. Bodies which are dead in performance come alive in this game…Actors become energized and the intense focus creates a point of interest. In the juxtaposition between movement and fixed point the audience observes the actors enjoying their game and the developing story is made clear by this punctuation. Much humor is born from the fixed point. If the punctuation takes the actor by surprise in GF and catches them in an awkward position it surprises and delights the audience to watch how the actor maintains his fixed point during these moments. The fixed point becomes a physical reference point for the actor to work around. If everything moves around a fixed point the physicality of an actor becomes clear. Exploring different physical fixed points in movement allows us the explore different physicalities. “When I move my forearms, without moving my head and scarcely moving my legs, the audience thinks I am imitating an idiot rippling his pectorals on the beach. If I shake only my legs, I look like a nervous person who fidgets and is excitable, uncoordinated and hyperactive. What does a philosopher do when wracked with profound thoughts? He shakes his head without moving anything else at all” Philippe Gaulier The Tormentor.

Whilst these are simple observations and possibly even caricatured the physical discipline of using a fixed point is not at all common to those actors with a typical drama school background. Though fixed point works becomes far more important during Neutral Mask a

weak physical life and a general unconsciousness of my body makes for unclear communication on stage and the humor of situations is lost. Philippe maintains the body can communicate a story so much more effectively…The audience is given a clear message which is followed by the text. Major and Minor are the opposing roles ever present in theatre. Major is the character who enters first, the star, they are larger than life, they fill the stage with pleasure of being loved, their voice is dynamic, confident happy to be the centre of attention, happy to gently mock their partner Minor. Minor is waiting ever watchful for the moment they take their partners cue and leap into the role of Major. Until then minor is content to be quiet, let their partner shine. Minor will often look to play they opposing rhythm of Major. The nature of the opposing roles make it certain one will hate the other says Philippe yet the major minor game must always be pleasurable. A wonderful example of a major minor exercise, which also incorporates a strong fixed point, is The Game of the Scarf. Two students have long strips of fabric hanging out of their pants and the game consists of trying to take the other persons scarf by moving here and there and dodging about. One person is nominated to set the rhythm..The other student follows this rhythm. Both students can set the rhythm by taking the other ones scarf. When the teacher shouts stop. Both actors must stop look at each other and show a “fixed point”. The winning student (the one who has successfully stolen the others scarf) shows the joy of being in Major. They tease their looser friend in minor, playing about with their friends scarf until minor manages to get hold of it, when there is a new fixed point. The new winner is in Major. Watching this exercise is quite amazing. Different stories emerge with different groups of partners, according to the rhythm set. Watching Alex and Christina in this exercise one was reminded of Katherine and Petrucio in Taming of the Shrew. The scarf game is then added to an improvisation in which actors must create a scene that is underscored by the game. Impulse in theatre is likened to the impulse which governs all life. The impulse is for play. When Philippe talks about play he talks of a universal desire for life which can be observed in all living things. The movements of Nature which explode at springtime for example, wild horses galloping, copulating, whinnying. The play of dogs, cats monkeys and so on. “Everyone plays” Philippe says “so as to discover life, nature, sex and light.” Play is as vital function as breathing or laughter. Impulse is also tied very firmly to the concepts of complicite and major and minor. When we ask about our impulse to begin performance Philippe tells us it must begin off stage. In order to experience the impulse we play a simple game which we then take into performance in increments. Initially two students sit on chairs opposite each other. They each have two guards who stand behind them. The opposite guard to the student on the chair gives the signal for movement by winking and the student must leap out of their chair without being touched by their guard. Each time you get out of your chair without being caught you run to the front of the stage and say how many points you have. We observe the pleasure of the student who wins…The energy of the impulse to leap out of the chair and the complicite between partners. Once the students have mastered this the two students in the chairs must improvise a simple conversation about breakfast or the weather whilst playing the game. We see how the game gives another life to the dialogue and takes the pressure of performance from the players. The final stage of the game is when the four students go behind the flats of the stage so we hear the conversation from behind the wings and then suddenly we see an actor burst onto stage with the joy and pleasure of someone who has won (the pleasure of Major). The actor is to stay on stage for as long as the pleasure lasts. At first this may be only for a few seconds. Learning to sustain the pleasure

and the impulse is difficult but experiencing this exercise is so much more helpful than understanding the exercise intellectually. Rhythm is another lesson of Le jeu. The opposing Rhythms’ of Major and Minor are explored first. When two people work with the same rhythm they are boring. As the workshop moves into the last few weeks we explore different rhythms with the voice. We look at the rhythm of familiar characters, radio announcers and politicians. We see what happens when we impose the rhythm of the sports commentator on a love story. We can take different rhythms from nature animals the seasons, we learn from Philippe everything has an intrinsic rhythm we can learn to mimic.. Finally we begin to use opposing rhythms to explore character in improvisations where actors use a fast rhythm for their movements and a slow rhythm with their voice. OPEN SURGURY ON THE SOUL One of the most important lessons of Le Jeu was the difference between the actor and character. This is a distinction that most actors have trouble with. The acting training I received in Australia draws primarily from a psychological approach to character development, primarily from Stanislavski and to a lesser degree the American teachers Sanford Meisner and Lee Strasburg. This relied heavily upon research into the background of the period the play, a thorough investigation of the actions, motivations and objectives of the character and exploration of emotional states using emotional memory exercises in order to create an interesting and multifaceted character. The character became a kind of rubix cube of thought, action and word the actor must puzzle out. If the colors aligned, poof, the actor would transform. It was a trick of self deception. A kind of alchemy which allowed you to ‘be’ someone else. In a way the nature of the technique necessitates a self centered focus. Philippe’s proposition is a simple one; the actor is not the character. The audience comes to see the actor playing the character. If you play the character the audience is cut off from the essence of what is living and beautiful inside of you…It is the life in you which brings the character to life. “An actor wakes the character who is sleeping in the book. She says wake up I am going to have fun with you”. The actor is having a beautiful game with the audience. It’s a game of pretend. It’s the first game we play as children. I do not have to be anyone else but I have pleasure to pretend I am. The pressure to ‘be truthful’ is relieved. “Theatre equals the false” says Galier, its all lies, spiel, invention and deceit. “The Kingdom of the apocryphal” is a more joyful place than that of the authentic, the true and the sincere. It is the game of our childhood which allows this bewitchment. Our job is to stimulate the audience’s imagination by creating a beautiful fantasy around ourselves. Once we have triggered their imagination the audience dreams the character for us. We invite the audience to be complicit in the creation. Acting with Philippe is an exercise in revealing not concealing who you really are. “The actor must never hide their soul beneath the personality traits of the character” Philippe says. Rather the actor must “allow the outline of the actors face when they were seven to shine through.” Gaulier teaches us not to play the character too much otherwise we will become one dimensional on stage. We will be boring. It is Philippe’s Special gift to be able to see precisely what a student needs to release their unique spirit. Oliver plays the fool; he waddles on stage, feigns idiocy and lets out big embarrassed guffaws of laughter when confronted. This character clearly gets in the way

of Oliver discovering anything else. Philippe tells him this “little character” is suffocating his beauty. He asks Oliver to sit on a chair and whisper a children’s lullaby he remembers. Oliver starts too loudly but as he softens we hear a voice we haven’t heard from him. Clear, courageous and quite lovely. His face softens, the little character falls away. Gaulier continues to work with him until Oliver can move about and maintain a tall open posture while singing. Pedro is having trouble with his pleasure on stage. He asks Pedro which girl he fancies and then asks the girl to come and kiss Pedro gently behind his neck as he delivers his text. He giggles and his delivery becomes more vibrant, alive. Kakee has a “made in Hong Kong” smile which she hides behind whenever she feels confronted or embarrassed. It sneaks into all her characters. Gaulier tells her not to show her teeth, he asks her to slick her hair back with water. When delivering text she is not allowed to smile. She morphs into a stronger more extraordinary version of herself. The character she plays comes alive. There are numerous example such as this. Startling transformations occur in students and the result is mesmerizing. Without pushing students become more powerful, interesting and beautiful. A LESSON IN ACTING Excerpt From Diary We begin an improvisation in which you use the impulse of catching a ball from your partner to step into the major role and then talk and move as the major character. At first I panic, what am I going to say, they can all see I don’t know what to say, and now I’ve missed the few seconds of complicite I should be having with my partner, I’ve failed already and I haven’t even begun. I have the ball in my hands and for a moment I am paralyzed with all these thoughts, literarily all of them filling my mind in a few seconds of real time. I stumble forward and begin a few words in a loud voice about how nice it is to be in Sceaux, when he tells me to shut up. I am shocked to silence. “Two words then silence” he says…I say two words….it feels strange, unnatural. “Three words then silence…You have to calculate how many words you say then shut up, 14 leave them wanting more”. “Walk forward, taller” he commands. “…..Body electric.... Energy in eyes”. I begin walking. “BE CAREFULL don’t destroy your movement with the text”. “Walk forwards, backwards….taller” he says more quietly. I feel a strange new sensation. My body begins to radiate something powerful, magnetic. I have nothing in my head, just empty lightness no heaviness no memory, just the sensation of being here and now…fully present. What ever I say now is secondary to the movement which is always precise and the centre of my focus. The words have no weight. There is a sense of detachment and clarity. As the improvisation progressed I was told to walk to the window and quietly whisper a song I knew…Before long I was glancing at the audience, laughing freely, moving with ease and confidence. I spoke about my imaginary grandmother dying. Although I am crying I have an inner buoyancy and detachment. Each gesture has a feeling of vitality about it. Without thinking about it I have taken on the life of a strange Chekhovian character. I am in command of my fellow actors and between us all is an electric feeling of knowledge that we are creating something. Complicite! The whole sensation is of joy…and the joy stems from being free to be beautiful. I allow myself to shine through. I am no longer ashamed.

When an actor tackles a role in major, they aren’t carried by their character or by their own will or by the theatre but rather by the impulse. Their great desire it be loved does the rest. The pleasure of acting is what makes the difference between a good and a bad actor. The bad actor is troubled by their character. With a good actor, their pleasure (thus their casual ease) guides them. It illuminates their face, like a child who is playing. The face of the child who is playing is smooth, mysterious and transparent. Philippe Gaulier The Tormentor

NEUTRAL MASK The Neutral Mask has no problems, no past, no future, no suffering. He sleeps peacefully. The light comes on, he wakes, and he follows the impulse of the sun or the impulse of nature, the impulse of a peaceful fire, the impulse of the ocean On the first day of Neutral Mask Gaulier asks us if we know who developed Neutral mask. There is some vague muttering. Commedia dell’arte and Greek theatre are volunteered. It is a surprise to learn Neutral Mask as a pedagogical tool for actor training was not developed until the 20th Century. The technique sprung out of the theatrical revolution happening at the time driven primarily by Constantin Stanislavski, Vsevolod Meyerhold, Edward Gordon Craig and a Frenchman named Jaques Copeau (1879-1949). Copeau, Like his contemporaries was frustrated by what he saw as indulgent acting and lifeless theatre. He saw the need for a “new style of actor”. This actor needed to be a creator and a communicator, a skilled technician capable of developing their emotional imaginative and physical instrument. Copeau established his own theatre school, L’ecole du Vieux Colombier, where he began to use masks as a teaching tool. He also experimented with mime, though his classes has nothing to do with the silent mime common to the Parisian Boulevarde Theatres of the 18th and 19th century. Copeau was also responsible for reviving improvisation, which had no living tradition in France at this time. The school was the genesis of the careers of the two major mask pedagogists of the

century Michel St Denis and Jacques Lecoq. Philippe Gaulier studied with then taught alongside Lecoq at L'École Internationale de Théâtre Jacques Lecoq. The neutral mask according to Gaulier is a neutral point of reference through which we can rediscover movement. We use the mask as a tool through which we discover and learn to assume a neutral state that exists before action, a state of balance from which it will be easier to understand and express imbalances and conflicts. When wearing the mask, we attempt to enter a state of openness, a forward moving, physically engaged curiosity with the world around us. Philippe likens this state to one of innocence. The mask has no past or future he tells us, it is a blank canvas. By learning how to respond to the imagined through the observation of the elements, materials and animals, students are given the opportunity to find radical new ways of working on stage. The mask also serves to shield the initial timidity we might experience while we are finding new ways of moving and expressing ourselves. We begin our mask work by ‘moving’ the essential elements of Earth, Fire, Air and Water. Seven students begin on stage wearing a white mask which is symmetrically aligned and ‘neutral’. Philippe will give us an element for example water. He usually begins by giving us a few images, gentle flowing water, a stream which develops into more turbulent rushing water and then later a raging ocean. Each element has an intrinsic rhythm and energy however as in the case of water, any one element may have many different forms and rhythms. Students naturally take to one or two elements very easily. The key is to find pleasure in moving that particular element. You need to be moved by the images of the particular element you are working with not the sound of the word or how you think it looks. If the images give you pleasure your imagination is then ignited, which gives you an internal impulse for movement which is pleasurable. In some ways the element or material ‘moves you’ rather than the other way round. The speech must come through this movement but can never destroy the beauty or flow of the movement. The material is not only there to help you find a physical expression for a character or a text but also to help you find emotional expression for a text. An actor can play all of Greek Tragedy using the essential elements, Philippe tells us. It is an extraordinarily surprising and effective way of working. The Neutral Mask gives you a wonderful freedom. The actor enjoys strong images without feeling. Gaulier talks about the rhythm of fire and its burning being close to the anger of Achilles or Hecuba: “When the body imitates volcanic eruptions, the anger reaches unprecedented heights. If the actor enjoys placing the words of the text on the impulses of movement, without destroying the movement then the audience says that never before has such almighty anger exploded in the theatre.” Philippe Gaulier The tormentor Once we are comfortable moving elements the mask is removed and we begin to experiment overlaying some text from Homer’s The Illiad on top the new movement we have found. It is remarkable that the same piece of text can change so radically. The rhythm, dynamic, color and emotional life of the actor changes utterly with each new element. I was privileged to see some truly spectacular moments of theatre happen during these experiments. After the main four elements we begin exploration of other elements and objects such as wood, glass, steel, cream, oil, acid, chewing gum, rubber. Some of these new elements lend themselves very well to comedy. We begin a week of animals. We are asked to go to the zoo to study one animal to present

to class. We are all taken through a physical exploration of a variety of other animals as a way in to character. Gaulier then uses the movement we find to begin improvisations. Hilarious and unexpected characters emerge. We also get the opportunity to work with the dynamic of color and the seasons. During this time each of us is assigned a scene from Euripides Orestes, Antigone to prepare for the end of term. It is entirely new for me to explore such weighty text without any psychological analysis whatsoever. It is revelatory for me to play a scene from Euripides Orestes as Clytemnestra without once having to wonder what it would be like to be a woman who kills the father of her children. Instead I allowed myself to ‘be moved’ by the elements of a storm, the color red and ice. An extraordinary textured emotionally complex scene emerges. The sensation was of effortless and pleasurable movement. The physical strain I normally associate with performance is gone. Movement class also provides us with an opportunity to explore the neutral mask and develop our fixed point which has become crucial this term. Movement class is taken by Len and Tinu. These two practitioners also studied at Lecoq (1981-1983). They have attended workshops with Ariane Mnouchkine, Dario Fo, Georgio Strehler and Augusto Boal. They have also worked as actors and directors on 4 continents and 25 countries in such companies as The Gothenburg Opera, Théâtre de la Ville (of Gothenburg), Swedish nationwide theatre and many different universities and theater companies in Sweden and France. Len and Tinu are also keenly interested in the analysis of body language and communication so a great deal of our work with them is analysis of our own physicality and the exploration of the Neutral mask as a point of reference. Obviously, with the mask on, a student’s physical peculiarities become more pronounced. It is interesting to discover that a person’s body can communicate in ways they are utterly unconscious of. Observation we soon learn is critical in learning how to achieve true neutrality. Your vision is limited in the mask, you are unable to see your body and have limited view of the space you work in. Your movements need to become precise and succinct. The mask also necessitates an enormous amount of concentration, the actor must remain ‘in the moment’. No opportunity is provided to switch off. Nor does it allow for an actor to become emotionally indulgent or else run the risk of loosing contact with their body and destroying their movement. The work must always be executed with lightness and detachment. Michel St Denis, one of the great mask pedagogists says Neutral mask permits the acting student: “ ..to experience, in its most startling form, the chemistry of acting. At the very moment when the actor’s feelings beneath the mask are at their height, the urgent necessity to control his physical actions compels him to detachment and lucidity.” Eugine Gwilliam ‘Elemental Theatre’ We spend a great deal of time on chorus work with Philippe. We learn the dynamics of a chorus, how the chorus forms in The Axis Exercise and the principles of stage balance. We also do exercises with a chorus leader “the coryphaeus” which Philippe describes as the “lynch pin of the chorus whom everyone else revolves around”. We each have a chance to experience this role. This chorus work requires the group have complicite. It is incredibly challenging but entirely useful. Chorus work is often a weak point in many professional productions. Every day is a highlight for me over this workshop. It is an entirely new way of creating theatre. It is extraordinary to watch some students who have little to no background in acting work with some of the most difficult text imaginable. This kind of theatre is usually reserved for the theatrical elites. Greek theatre transcends the normal…An actor cannot show a hint of his domestic world. They are playing in the kingdom of the gods which require the actor to show a heightened state of reality.

18 CONCLUSIONS It is invaluable for a student to study with a master of their particular craft. It has been a profound experience to ‘be worked’ by someone who has a gift for bringing out the genius in his students. Studying with Philippe Gaulier is a once in a life time opportunity and I feel I have a wealth of tools to bring back to Australia along with fresh ideas about theatre making and teaching. Both workshops I attended, Le Jeu and Neutral mask have shown me the importance of rigorous physical training. All of the techniques not only require lightness and dexterity in the body but also an awareness of physical expression. Physically, I am more connected and conscious of my body and have a new strength and confidence having developed new acrobatic skills. Through use of the fixed point, complicite and rhythm exercises I have seen my potential repertoire open up. As an actor I feel my capacity to find pleasure in performance has also been awakened. Students produce more lively and interesting work when the emphasis is taken off their character and placed instead on the game and complicite with their partner. I am inspired by the possibilities for my performance to become more vital, energized and more interesting to watch. In terms of teaching, I have learnt a great deal from an exceptional teacher. I feel that the exercises from Le Jeu and in particular Neutral mask will make for a more well rounded and vastly more effective pedagogy than the one I have been using. I am now clearer as to how to provide my students not only with an effective technique but guided by the philosophy of Le Jeu, I can help them not to hide their unique beauty behind unconscious defensive mechanisms. Given permission to show their vulnerable self, rather than the one dimensional character, the actor’s performance opens up to subtle nuances and hidden power. I have a firm belief in the values of experiential learning now and what is interesting to watch and what is not. In the classroom it is important students learn to see for themselves rather than being told what to do. Both teacher and student can lighten up and use the principle of le jeu to take the process less seriously. This not only promotes more experimentation but the atmosphere of play will become the guiding principle for students to judge their work. It is clear to me that play is in fact as vital to life as breathing and should be the foundation on which all lessons and performance rest upon. Neutral Mask has been a profound experience for me and has led me to reassess my technique on stage. Though I am aware this is the beginning of my own journey in this work, I feel I now have access to a range of movement and expression I never thought possible. The chorus work has shown me new dimensions and possibilities not only for performance but for creating theatre. For the first time I begin to feel confident about the prospect of directing my own work.

As a teaching tool it is clear to me that Neutral Mask is invaluable. The benefits for new students to acting are numerous. By shielding timidity, it can help with concentration, diminish a students self consciousness, strengthen inner feelings and lead the student to develop physical powers of outward expression. So often students graduate from drama school still lacking a strong consciousness of their body. Neutral Mask helps students and professionals alike to find a way into Epic texts that are sometimes so difficult to represent on stage. It has also given me clear guide lines for useful improvisations for students to find characters.

Drawing from the work of inspirational companies Theatre Du Soleil, Complicite, Handspring Puppet Company, Compagnie du Philippe Gente, Royal de Luxe and Knee High Theatre I would like to create a company of actors to explore new possibilities of devising and performing using techniques I have learned in Neutral Mask and Le Jeu and develop to original theatre productions. I would also like to work with mask and puppet in performance. Maintain connections with the group of international students and teachers I have met in order to keep updated with new innovations in theatre making and training. In order for students and professionals alike to not only have a creative freedom and exceptional beauty on stage but to create theatre which is vital, moving and inspirational; I would recommend acting schools teach a component based on the European tradition of actor centered theatre training in particular on the principles of Neutral mask which strengthen physical awareness, discipline of technique and promote a more expansive range of emotional, vocal and physical expression. Create a new class room culture in acting schools which emphasize play experiential learning, the importance of failure in the process of change and generally encourage a sense of the ridiculous. I would also try to encourage a non competitive atmosphere as an actor who is competing to be noticed, not to fail or to avoid humiliation is by nature boring. Allow more opportunities and funding for new companies to take time to develop physical skills chorus work and complicte in order to devise and develop original productions of real quality and depth. By involving writers, directors and designers in this creative process we can also open up opportunities for more integrated and effective productions. Freeing up new spaces for the development of these companies and productions and most importantly alternative spaces for performance. For example more spaces like the Carriage Works Theatre which cleared space in old train sheds for rehearsal and alternative performance spaces. Create opportunities by which information can be exchanged with professionals abroad and for bringing to Australia the experience of more international practitioners so the development of new skills is made possible. Inviting more international performances into Australia in order to inspire local industry and promoting Australian theatre by involving ourselves more in the international Theatre Festival Circuit.

The dynamics of words The word is a gesture that modulates within organised sounds, in words propelled by verbs: I throw, I lift, I twist; I throw myself, I lift myself, I twist myself; I am thrown, I am lifted, I am twisted .. . Action is inscribed into words. Articulated language has made use of analogical images. From a movement, each language recognises one part, privileges one moment. Let us take the example of throwing a ball: French privileges the beginning, and lets the ball get away: je lance; Italian privileges the ball’s arrival at its target: io lancio; in Japanese, it is neither the departure nor the arrival but the trajectory that is brought out. Words contain (inner space) in their sound the dynamic of materials, images and action which they more or less remember. Other words circulate around (outer space), in black and white rather than in colour,

and look, explain, define. At the centre of these spaces verbs animate, words born of the earth stay faithful to it in their dialects. Each country preserves physical adherences in its words, and sees them differently. For example, for the French, the word beurre participates in the sensuality of the slight melting of the named material; for the English, the word

‘butter’ is dry, firmer, in the fridge. There are words, like confiture in French and ‘marmalade’ in English, that manage to meet in a neigh- bouring dynamic; more trickling in French, more upheld, gelatinous and trembling in English. I mime, the art of movement 93