The Three Keatons Vaudeville act circa 1900 about the time of Buster’s official stage premiere age 5
CLOWN CODE© AND ITS PRACTICAL PRINCIPLES an I.S.A.A.C. concept (Part 1)
Here is the great gateway into the inner world of Clown, Clowns, clowning. THE 11 CLOWN CODE PRINCIPLES copyright©Ira Seidenstein, have direct application to classical acting for stage or screen. THE 11 CLOWN CODE PRINCIPLES© are relevant to teaching and directing. The specific methodology can work with and enhance any other performance method. In this method there is a specific use of The Body in Space and Time via The Principles embedded in The Four Articulations for Performance.
Harry Langdon in the film Three’s A Crowd
INTRODUCTION
The exercises and method – The Four Articulations for Performance – is chapter 2 of CLOWN SECRET. The book is available in 2 minutes via Kindle. Every exercise is explained in clear step-by-step instructions in chapter 2 of CLOWN SECRET.
After you have worked on some of the exercises you can then write to me directly for assistance.
One can also train with me directly via the I.S.A.A.C. Creative Mentorship that can be used to learn The Four Articulations online. See www.iraseid.com/creativementorship
The step-by-step instructions demand that a person goes slowly.
Reading and TRYING one step at a time.
Repeat one step several times.
Then read and TRY the next step – SEVERAL TIMES.
Then combine step 1 into step 2. SEVERAL TIMES.
That is a training of: How to Train. Take your time. Ideally repeat the basic process several days in a row. If you can do so with one exercise then you have developed a method of – How to Train.
Naturally, most people have to battle to achieve discipline, persistence, consistency, to learn ANYTHING.
The method itself – The Four Articulations – WILL allow you to learn and develop patience, persistence, discipline, consistency – ideally via the joy of learning.
If you are unwilling to take your Time, there is no reason to expect any method to work.
Your Time may only be 5 minutes a day. But if you slowly learn step-by-step ONE exercise – persistently 5 days in a row… then there is a good chance you are on a victory lap. Stick with it. Do another victory lap of 5 (or more) minutes a – for another 5 days in a row.
As the British say/said: “Keep Calm and Carry On”.
PRACTICAL PRINCIPLES of CLOWN CODE©
The focus of CLOWN CODE© Part 1 is on Principles in beginning exercises of The Four Articulations.
That is the foundation to the whole training for veteran performers, teachers, directors, and writers as well as novice performers.
My approach in teaching has always been that my method, ideas, and exercises can be used with any other performance method and will enhance any performance method.
As a Teacher, and Director, I have always taken time for the things that ‘there is never time for’ in most courses.
Additionally I have always paid attention to the things that so many teachers and directors either: don’t care about; or overlook; or don’t ‘have time for’; or haven’t noticed. I do not necessarily blame them at all. Often though the blame is upon their own teachers and sometimes the lineage they dogmatically and for economic reason adhere to. I understand. C’est la vie as the French say, ‘such is life’.
Sometime around 2014 or so, I noticed that I was more excited than ever about “a split second in Clowning or in Theatre”.
Such a split second of information is part of what I call “The Quantum Point”. That is the moment when anything is possible.
For example in a split second a performer can lose focus on the creative thread of the performance. Yet, in a split second a performer can grapple and grasp the practical and spiritual creative control of a whole show and performance.
Many of my exercises train and assist any performer to excel via grasping the creative thread. Such a split second is a level of heightened awareness. That is like ‘Applied Yoga’ so to speak. I have written about that in my books.
This essay refers to chapter 2 in CLOWN SECRET, one of a pair of books available in the few minutes it takes to order via Kindle.
Guilietta Masina and husband Federico Fellini 1954 on the set of the film La Strada
Although the 11 CLOWN CODE PRINCIPLES© – presented here can ‘stand on their own merit’, it is the exercises in Chapter 2 which provide a method of making the 11 CLOWN CODE PRINCIPLES© embodied throughout a performance and throughout a career.
The template of exercises has direct benefits for any performer, or teacher of performance, or director/choreographer.
All exercises are described step-by-step in the book CLOWN SECRET.
artist and title unknown
11 CLOWN CODE PRINCIPLES© ARE EMBEDDED IN THE PRELIMINARY EXERCISES OF THE FOUR ARTICULATIONS
The Four Articulations begins with two sets of physical exercises.
Set #1 – The Three Loosenings.
Set #2 – 10 movements called Core Mechanics.
The first Loosening is a commonly known exercise – an ancient fitness technique that I named The Indian Club Swing. Unlike the original fitness technique however, in The Four Articulations, wooden clubs are not used.
Importantly:
A) in The Four Articulations, the exercise is broken down into a specific set of counts; (in CLOWN CODE© – The Counts count!!); and,
B) there are two “hidden mechanics” within the Indian Club Swing as taught in The Four Articulations.
On youtube, here is a short demonstration video of me explaining The Indian Club Swing (briefly!!).
As mentioned previously, The Four Articulations for Performance, are explained in step-by-step instructions in CLOWN SECRET’s Chapter 2.
THE 11 CLOWN CODE PRINCIPLES
Principle #1 – THE COUNTS COUNT – the variety of types of counts guides the performer to pay attention to details, variations, and nuance. This becomes the beginning of awareness and the organic development of stage presence.
Principle #2 – USE THE WHOLE BODY – In many art forms, even in Clown, excellence is rare. In Clown however, excellence is relative depending on the audience reactions, and, the individual audience member’s aesthetic preference.
Nonetheless, I believe if these Principles were practiced within The Four Articulations exercises then each clown-artist would readily learn to create their own opportunity to continually excel in new and surprising ways.
That depends on knowing HOW to use the WHOLE BODY in training and performance in the SPECIFIC WAYS provided in The Four Articulations.
Principle #2 WHOLE BODY – is used in a variety of ways from the first Looseing (The Indian Club Swing) and throughout the physical-Creative exercises in The Four Articulations.
Principle #3 THE FINGERS COUNT – that is a PUN. You want to be an EXCELLENT Clown – did you miss that simple yet meaningful PUN? Throughout The Four Articulations, THE FINGERS COUNT in a variety of ways. Significantly there are THREE key ways in The Four Articulations that the fingers are focused.
A) passive
B) engaged
C) active and gestural.
The performer is challenged throughout The Four Articulations to be AWARE and CONSCIOUS of using one’s fingers either as: passive, engaged, or active-gestural. The exercises challenge Principle #3 – THE FINGERS COUNT – in a large variety of ways within each of the different exercises.
Principle #4 CONCENTRATION DEVELOPS BY PAYING ATTENTION TO THE DETAILS – Concentration throughout Core Mechanics provides many lessons for clown, acting, performing; as well as teaching, directing, and choreographing.
Within The Four Articulations the section that is a 10 minutes choreography comprised of ten physical exercises is Core Mechanics.
Each exercise is broken down in to a few components. There is a different type of counts for each exercise.
The choreography is of mechanical exercises rather than artistic per se. On the other hand the mechanical approach illustrates that creativity is surprisingly mechanical. The training shows that what appears to be only physical is also foundational training for one’s creativity.
The series of 10 movements – Core Mechanics – I created when I was 24 years old. First I created this set of 10 as a tool to enhance my own study and learning of movement, theatre, and to acquire performance skills of general stage craft. That is, to really know what I was actually/physically doing on stage.
Core Mechanics Movement #1 combines counts of 6 and of 3. The first part is done 3 times, and, in 2 versions. Thus 6, 3, 3, 2. The combination of 6, 3, 3, 2 is 6 x 3 x 3 x 2. That means that Movement #1 has dozens of counts. Whereas the final Movement #10 of Core Mechanics has only 5 counts!
However, in Movement #10 i.e. in the 5th final part uses 6 counts. Those 6 counts replicate in reverse the very first part of Movement #1.
Core Mechanics begins with the rolling down of Movement #1 has 6 counts.
Core Mechanics finishes with the rolling up of Movement #10 has 6 counts
Core Mechanics has 100’s of counts within the 10 minutes choreography. The concentration required replicates what is required in a Clown act which may last, for example, 10 minutes; or, a scene in a play that may last 10 minutes.
Principle #5 – IT IS YOUR BODY. YOUR EXERCISE. TAKE YOUR TIME
Movement #2 in Core Mechanics focuses ones attention into one’s legs. There are four points of focus: the legs are straight; or, bent; the feet are pointed; or, flexed. This exercise challenges one’s balance.
One learns to concentrate either on bending the legs or straightening the legs. Additionally in this exercise one is either pointing or flexing the feet.
During the bending, straightening, pointing, flexing there are counts. In this case the counts are “a-b-c-d-e”
Principle #6 – OWNERSHIP. I’M NOT THE CLOWN, YOU ARE – This is one of the keys hidden in Clown. It doesn’t matter who the teacher or director is…. They are NOT the Clown!
Only the Actor doing the exercise or doing the choreography or direction is the one who IS THE CLOWN.
You have autonomy. It is your body. Enjoy it. Concentrate. Experience the awareness of being in your body, in space, and in Time. This refers also to Principle #5 – IT IS YOUR BODY. YOUR EXERCISE. TAKE YOUR TIME
Thus when one is bending one’s knees as instructed or directed or choreographed… it is your body. You are the one doing the action. It is your experience. Get in to it. Then the same applies to ANY Clown exercise. Any Clown exercise is basically an excuse for YOU to clown i.e. to clown as a verb / action.
Principle #7 – ON STAGE EVERYTHING COUNTS – During Movement #1 of Core Mechanics the arms and hands and fingers are used three ways as per Principle #3 THE FINGERS COUNT; a) passive b) engaged c) active – gestural.
Whereas during Movement #2 (bending, straightening the legs) the arms/hands/fingers are passive the whole time. The next Movements of Core Mechanics combine the Principles found in the Movements #1 and #2.
Principle #8 – THE CLOWN MUST INTERPRET INSTRUCTIONS, DIRECTIONS, SUGGESTIONS AND ADAPT WHAT IS GIVEN OR ASSUMED – Movements #3 through #10 use the WHOLE BODY in a variety of concentrated ways.
Principle #9 – KNOW WHERE YOU STAND. STAND YOUR GROUND – In Core Mechanics there are 7 standing Movements which use 4 standing positions. There are then 3 Movements on the floor..
Principle #10 – TEMPO – In the template of The Four Articulations, the Core Mechanics are preceded by The Three Loosenings exercises. The first Loosening is the previously mentioned Indian Club Swing exercise.
In Indian Club Swing we learn and practice TEMPO via three tempo changes of: Normal – Fast – Slow. TEMPO change is one of MANY secrets of great clowning hidden and embedded within The Four Articulations.
Principle #11 – PAY ATTENTION TO WHAT YOU ARE DOING. THEN YOU DO NOT HAVE TO COME UP WITH IDEAS – Let’s say that you are doing an improvisation of a Clown going from Point A to Point B.
How and Why is your character going from A? How and Why is your character going to Point B?
Before or without a Why, you start with How. Are you walking or skipping or running? If you are walking, then at what pace are you walking? Normal – fast – slow??? If you can FEEL your TEMPO your imagination will automatically be nourished. All you have to do is nurture that.
The Three Loosenings, and Core Mechanics seem to be purely physical. They are physical!! But they are so much more if you consider these –
11 PRELIMINARY PRINCIPLES HIDDEN AND EMBEDDED THROUGHOUT ALL OF THE FOUR ARTICULATIONS FOR PERFORMANCE.
These are the 11 FOUNDATION PRINCIPLES OF CLOWN CODE© – are a clear, real, solid, practical, physical and intellectual direct conduit to the secret inner world of Clown, Clowns, and clowning. By Ira Seidenstein of I.S.A.A.C. November 11, 2024 – Brisbane, Queensland, Australia.