CLOWN Summer School

Clow1 Workshop:

The actor as raw material of the clown

Physical exercise: resistance, elasticity, balance, strength, breathing, coordination, rhythm, voice.

Awakening of attention

Study of emotions

Development of the ability to play

Appropriation of the ridiculous itself

Virtual

Lines, zones and spatial levels

Displacements

External actor-world relationship

The encounter with the clown

Group and individual improvisations

Contact with the nose

The body and the mask

Public-clown relationship

Hierarchies

Lazzis

First particular strokes of the clown

Home

Live clown rhythm

Workshop Clown2

 Recognition of the clowns

         First meeting of the clowns together

Individual and collective improvisations with nose

General check of the physical, emotional and intellectual state of the clowns

biographies

Writing biographies based on improvisations in duo

Explanation and development of biographies

Writing biographical summary of each clown

Body and sound sequence

Search or rediscovery of own movements and sounds

Creation of body parts or choreography with sound

Presentation and explanation

Improvisations in solo, duets and group

Clowns in various dramatic situations

Application of biographical, movement and sound material in improvisations

Search for the mysteries of each clown

Personal music

        Search for suitable music for each clown based on information found

Conjugation of music, movement and sound

Internal presentation

Routines with objects

Own objects of the clown based on biographies

Handling the object

Conjugation of music, movement, sound and manipulation of objects

Locker

Individual costume proposals

Clownesca explanation

        Conjugation of music, movement, sound, manipulation of objects and clothing

Internal presentation

The house of the clowns

Creation of common space clownesco

Development of different joint and individual activities

A day at the house of the clowns

         Workshop Clown3

 Recognition of the clowns

First meeting of the clowns together

Individual and collective improvisations with nose

General check of the physical, emotional and intellectual state of the clowns

Individual and group improvisations

Various situations

High caliber emotions

Relationship clown-choir

Improvisations in duo

Master and slave

Development of hierarchies

Authority exercises

Movement and sound

Body and sound sequences in duos

Presentations

Detailed sequence explanation

Skills

Presentation of individual and duo skills

Fictional castings

Development of impossible skills

Songs, stories or poems

Presentation prepared by the duo

Justification of staging

Breakdown of the story, the song or the poem

Workouts

Sound sequence, movement and manipulation in duo

Cleaning routines

Internal presentation

Proposal of numbers

Writing numbers based on information collected in the workshop

Dramaturgical correction

Tests

Presentations of numbers in duo

Workshop Clown4

Recognition of the clowns

First meeting of the clowns together

Individual and collective improvisations with nose

General check of the physical, emotional and intellectual state of the clowns

Structuring

First encounter with the numbers in embryonic state

Definition of the theme

Definition of argument, fable, plot and moral

Improvisations

Creation of movement and sound sequences based on the theme

Magisterial support of the plot, fable (with moral) or plot in clown

Group interpretation of each lift

Rewrite

Definition of sequences of actions

Definition of emotional chain

Definition of lazzis and gags

Final writing

Puesta in escena

General and sequence tests

Development of the number on stage

Coupling light, music, props, sets and costumes

Cleaning of movement and text (or gesture)

Final assembly

Presentations in season

Presentation:

Workshop Clown1:

The Clown is a clowning technique in which the relationship with the viewer is deepened through improvisation and direct contact of the look and action. Approximate to the investigation of the energy and attitude of the actor. What is a clown? That character who always arrives late or too early. That little man, or little woman, to whom everything is big or small. The one that stumbles two and even three times with the same stone. Specialist in being in the wrong place at the most inopportune moment. That musician who brings the piano to the chair. The nobody who wanted to be someone. That marginalized person who tries to be part of society and who, in doing so, breaks it up and reveals it. Unconscious critic of human relationships.

Workshop Clown2:

Each clown has a unique way of life, his own behavior, his favorite bakery, daily routines, habits, activities, schedules (which usually does not comply), meals that suit him, pets, objects of his predilection, dates to remember , costumes, morning songs, evening and evening, newspapers, shoes, hats, safety pins, lost, toothpicks, toothbrushes, medicines, underwear, dreams, musical instruments, plants in your care, nightmares, neighbors, dwelling, telephones, e-mail, superstitions, ideology (clown, but ideology after all), favorite hours, non-transferable stature, trouser size, particular concerns ... In short, a universe of its own that can give rise to thousands of stories (clownescas , of course).

Workshop Clown3:

To be the reason or the pure emotion ?, the one who knows and teaches or the one who learns and ruins it? The clown is always on or under someone and that position defines him as a "white" or an "august". Famous couples of clowns (the Fat and the Skinny, Abbott and Costello, Pinky and Brain, Squidward and SpongeBob, etc.,) support their game thanks to this relationship. The workshop seeks to make us ridiculously intelligent or ridiculously innocent. To place ourselves in the position of master and slave and from there to discover unexpected facets of our own and untransferable clown.

Workshop Clown4:

The writing of a number tends to become an indecipherable path. The desire to play and improvise can usually be more than the desire to sit down and write. In the workshop we will make the most of the occurrences of the clowns to put them at the service of a simple (but solid) dramaturgy that allows the actor or actress to build their own number, develop it and present it. The themes can be varied: juggling, music, theater, magic, poetry, quantum physics, cooking, languages, dance, agriculture, ergonomics, otorhinolaryngology, dance therapy, etc. We will look at everything with clown eyes.

Methodology:

The present workshop consists of an academic and sequenced training of the Clown technique, in which it is divided into four stages: Initiation, Construction of character, Whites and Augustos and Creation of numbers.

It will be promoted that those who start the 1 Workshop, can finish up to the 4 Workshop with numbers to present to the public.

It is essential that the participants cover the hours of all the workshops so that they can have a solid and adequate training to the best of their abilities.

The professor will promote the constant participation of the students through a collaborative learning in which the methodology of the workshop will be applied, helping them to fix and deepen the knowledge they acquire.

In the development of the course, the student will be motivated by generating expectations based on the learning objective.

The concepts will be put into practice, presenting the use and basic applications in an ongoing search for the active participation of the students in each class.

Finally, the student is required to deepen the topics discussed with home practices, which will be reviewed and socialized in class.

Evaluation criteria:

Responsiveness to indicated stimuli, organicity, creativity and level of effort will be evaluated. The ability to work in a team and achieve common goals.

Approval requirements: 

Evaluation equal to or greater than 70%.

Minimum attendance of 80% of face-to-face classes.

Former students of the School of Theater Arts, teachers, performing artists, amateurs.

certification:

To the participants who pass the course the University of Azuay, will issue a Certificate of Approval by 40 hours, for each workshop.

Professor:         Carlos Gallegos.

Cost:

 Workshop Clown1: External: $ 70,00

                       Teachers and students UDA: $ 40,00

Workshop Clown2: External: $ 100,00

                       Teachers and students UDA: $ 70,00

Workshop Clown3: External: $ 100,00

                       Teachers and students UDA: $ 70,00

Workshop Clown4: External: $ 100,00

                       Teachers and students UDA: $ 70,00

Ing. Jaime Eduardo Garrido Chauvín. Mgt: jgarrido@uazuay.edu.ec

Theater Art School Coordinator