GOINGOUTLAUGHING:WhyClownsWillAlwaysBePartoftheHumanNarrative

By:ChelseaBoulrisse

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GOINGOUTLAUGHINGBy:ChelseaBoulrissePlayingwithFearBRISTOL,R.I.__WhitefacedMumpissobbingoverthelifelessbodyofafellowclownfriend.AugustefacedSmootiswrestlingwiththedeceasedcolleaguesdismemberedarm.Beforelong,aflusteredMumpunintentionallybeheadstheirgingerhairedfriend.Astheylookoutattheaudienceholdingtheextremitiesoftherecentlypassed,jawsdropandgaspinglaughterpoursoutfromtheaudience.Theytrytoassuagethemselvesbysayingthatmaybe,thissituationisntsobadafterall.Mumphasanewbowlingball,whichheflingsintotheflinchingfrontrowbeforeitsnapsbacktohishandlikeayoyo.Smoothasanewbackscratcher,onethatevidentlyreachesthespothehasbeentryingtogetatallday.Maybethedeathofafriendisntthatbadsolongasyoucanreaptherewardsofhisbodypostmortem.Webothlovedhorror,thefilmgenreandliteraryhorroraswellandIwasnotinterestedinbeingaclown,saidJohnTurner,otherwiseknownasSmoot.Iwantedtodestroytheartformthatwasourideatotakeittotownanddohorrorandseeifwecandeconstructthewholething.Foryears,theMumpandSmootduohavebumbledacrossthestagewhimperinginfearfromthesenightmaresrangingfromtherealistictotheirrational.MumpandSmootalwaysfindthemselvesinscarysituations.Theyvelostlegsinplanecrashes,beensubjecttotortureincages,andevensatinacafewheretheyhadtoactproperlyamongstotherpatrons.Theypraytotheirgod,Ummo,forguidance.AndsometimeswhenUmmosresponseislessthantimelyforthem,theyoutsourcetotheaudienceforsuggestions.Oftentimestheaudienceendsuplaughing,despitethehorriblesituationbeingplayedoutinfrontofthem,makingthemconsiderwhytheyrelaughingifitsreallythathorrific.Thesceneendswiththem,likealways,fleeingthesituationthistimeduetoacreepycreatureeruptingfromtheirdeceasedpalsstomachsendingthepairrunning,throwingthedismemberedextremitiesintotheairandlandingwithathumponthenowabandonedstage.Apotentialplotforahorrorfilmisflippedintoacomedysketchthatcollectsgigglesandacclamationfromacrowdwhoiswillingtoforgivetwobuffoonsinmakeupfordestroyingacorpse.Thehorrorpartactuallycamefromfear,whichwasoneofthethingswewantedtoexplore,saidMichaelKennard,otherwiseknownasMump.Andhencewhenyouexplorefear,youcanexpecthorror.MakeMineMacabre

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WhileMumpandSmootaretheonlycurrentclownsstampedasHorrorClownsbycriticsandthemedia,theartofclowninghasnevershiedawayfromthethemesofdeathandthemacabre.InPaulBouissacsbook,TheSemioticsofClownsandtheArtofClowning,manyclownshowsplayedupontheideaofhumanmortalityandtheinevitabilityofdeath.Aconceptconsideredsacredinmanyculturesandreligionsprovefodderforashow,despiteitsunderstoodtaboointherealworld.Clownssymbolicallystraddlethelinebetweenthepermittedandtheforbidden,Bouissacwritesinhisbook.Themoralandtheimmoral,thelegalandtheillegal,andtheprofaneandthesacred.Thebasisofmanysketchesperformedonstagesandincircusringsrevolvearoundviolenceanddangeroussituations.Thedifferencebetweenthoseincostumeandthoseinthestandsisthatthemeninthemasksalwaysbouncedback.Theywereinvincibletoeventhecrudestexamplesofselfmasochism.Despitealloftheireffortstopulltheaudienceintothetragicomedy,theresstillabufferzoneofdisconnection.Theaudiencestillknowsitsnotreal.Clownsarentsoscarywhentheyareforcedintofacingfearsoftheirown,andmakingjokesandpullingprankswhiledoingso.WealwayswantedtofindawaytoputMumpandSmootinsituationswheretheywerefacingtheirfears,Kennardsaid.Whatwouldhappenifwewentintoarestaurantandwehadtoheartobehaveproperlyoriftherewaswakescenewithadeadbody?Howwoulddealtheywiththatfearoflosingsomebody?Wealwaystriedtoweaveitintoourwork.Inaworldwheretheclownhasbecomeaninsultandaniconofchildhoodnightmares,thebeingofaclownisinflatedtothatofterrifyingheights.MumpandSmootaretwoofthemanyintrepidperformersintheworldwhohavevolunteeredtoplaythefooltheclownthatallowsitselftobevulnerable,andsilly,andeverynowandthenfalldown(literallyorfiguratively)andgetbackupagainforthegleeandbenefitoftheiraudience.Manyforgetthatthoseclownsaremenandwomeninmasksandcostumesthattakeofftheirmakeupeachnightandarejustlikethosewhopaidtoseethemthatevening.Thiscraftisnotwithoutrigorandprecisionequaltothatofaballetdanceroraclassicallytrainedpianoplayer.Eachjokemusthitthemarkexactlyrighttoelicitthedesiredlaugh,giggle,orguffawthatrollsintojoyandapplausefromthefrontrowtotheback.Andtheirhumanityiswhatfuelstheircraft,pluckingpiecesoftheirlivesandobservationsthenframingtheminawaythatbringstheaudiencein.Believeitornot,almosteverypersonwhocomestoseeourshowarentscaredofclownsaftertheyveseenit,Kennardsaid.Theyfeelalotbetteraboutclowns.

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Reallifeistooheavyforthecommonmantobearwithoutsomethingtocutthroughthebitterness.Theomnipresenceoftheclownfigureinthehumannarrativesymbolizestheworldsneedforlevityamidsttimesofdespairandhopelessness.Thereisnopersonoutthere,beatendownbythetroublesoftheday,whohasntfoundabitofhumorhelpfulincopingwiththosetroubles.Laughteristhepanaceaofallsocietalills,andclownsarethedoctorsmanagingthedosages.TheClownStaysTheclownthejesterthefoolnomatterwhatnamewasgiventothiscomediccreature,itspresencehasbeennotonlynoticed,butcelebratedinfolkloreandliterature.Theroleofthecourtjesterwastoentertainthekingandhisroyalsubjectsuponrequest.Manyhadadditionaltalentsofjugglingordancingormakingupsongsaboutrecenteventsandtheguestswhohappenedtobelisteningtohissketch.Eveninthemodernday,theclownspectrumiswidereaching,andthatversatilityallowstheclowntomorpheasilyintowhattheworldasksofitatanygiventimeinhistory.Itsimportanceevenstretchesintotheworldofcasinosandgambling.Thinkaboutit,whatselfrespectingdeckofcardsdoesnthaveaJokerortwothrownintothemix?TalesToldByIdiotsThestructureforWilliamShakespearesplays,whileartistic,isalsoquiteformulaic.Shakespeareknewthatifallhesharedwastragedyandsadness,hisaudiencewouldleavehim.TheGlobeTheaterwouldntteemoverwithmagistratesanddrunkenpeasantsandalltheatergoersinbetweenbecausethereisonlysomuchsadnessapersoncantakeinonesitting.TheMerchantofVenicewithitstalksofpoundsoffleshanddebtsowedwouldweighheavily,hangingoverthecrowdifnotforLauncelotGobbo,thestorysfoolwhosetrivialconcernslightenthethoughtsofbloodshed.Thus,thespectatorsbecomerefreshedandreadytotakeontherealconflictathandbetweenShylockandAntonio.Hisconclusionwastobalanceoutthewoesofdeathandbetrayalwithinconsequential,yetlightandairy,scenescontainingaclownormaybetwotakinganemptystageandfumblingovertheirunderstandingoftheeventspreviouslyunraveled.Manytimes,Shakespearewouldrepeatlinesthathadonlyjustrecentlybeensaidwithaheavytone,andlighteneditbylettingtheFoolsayitaswell.Sometimestwoclownswouldbanterinagameofsemantics,wordplayofsuggestivenaturestoelicitlaughterfromthemouthsthatmomentsagohadhungagapeindespair.Throughthisbalance,Shakespearewasabletopinpointtheuniversaltruthofwords.Sometimesallyouneedisadifferenttoneormouthpiecetoturnalineofsobrietyintooneofsillinessitsallaboutperspective.

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BilledasTheFoolinmostofShakespearesplays,clownsnowfoundthemselvesstandingalongsidekingsandloversrecitingpoeticlinesofiambicpentameteruponthestageduringtheElizabethaneraofartandtheater.Hamletevenmournsthepassingofthebelovedjesterofhisyouth:AlaspoorYorrick,Iknewhimwell,Horatio.WhileHamletandMacbethappealedtotheroyalattendeeswiththeirfeudsandidealsofhonor,theFoolconnectedwiththegroundlings.Thevillagepoor,givenadmittanceintothedirtpitbetweentheseatsandthestageformerepennies,wouldcheerforthemaninrattyclothesthatresembledtheirstheonewhostruttedhishouruponthestagewiththoseinmoreresplendentgarments.PagliacciOperaAclowndressedincostume,yetmissinghismask,standsonanemptystageandlooksoutattheaudiencewithsadeyes.HisnameisTonio.Heisanactor,aclown,someonewhosepainhasalwaysbeenignoredforthebenefitofhisonlookers.Tonighttheaudiencewillsitinsilence,toaccepttheagonyandpainpoisedtouncurlbeforethemthisevening.Therewillbenocomicrelieffoundinthisfolly,butaweightycatharsisforthemtolugoutoftheauditoriumwhenthehouselightsgoup.Comedyandrealitywillrepellikeoilandwater.Onecanonlyguesswhichwillfloattothetop.Youwillhearthepangsofgrief,criesoffury,andironiclaughter,ToniosingsinItalian.Andyou:ratherthanourpoorcostumesasactors,consideroursoulssincewearemenoffleshandbloodandthatwebreathetheairofthisorphanworldjustlikeyou.TonioisjustoneofthemanytragicallycomediccharactersinthisItalianopera,Pagliacci.Writtenintheearly1890sbyRuggeroLeoncavallo,theoperahasproventobeoneofthefewpiecesfromthattimethatcontinuestobestagedtoday.Thestoryisoneofagroupofclownswhofaceabreakfromtheirusualcomedyandareforcedtohandletheharshnessofrealityallinfrontofanexpectantaudience.Ashissomberwordsclingtotheairlikethesmellofdeathandgloomanonaccidentalforeshadowingthecurtainrisesandtheentirevillageisaglowwiththethrillofthesenewperformers.Musicisbrightandtinnywhilechildrengiggleandsingtunesincelebrationfortheirtalentedguests.TheclownsandactorscomeinannouncingtheirpresenceandadvertisetheshowtobeheldthateveningonethatwillreflectthetroublesofPagliaccio,themainclownintheshow.Thetownspeoplelaugh:howcouldaclownhavetroubles?Hislifeisbuiltentirelyofhumorandplay.Aclowncantcryorbleed,itsjustnotintheirscript.Inthetimebetweentheirarrivalandtheirproduction,humorhides.Rumorsflythatactor,Silvio,isentangledinanaffairwithactress,Nedda,whoismarriedtothestaroftheshow,Canio.Tonio,ourfirsthostinthisoperaofhysteria,presentshisheartandaffectiontoanunexpecting

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Nedda.Heissentaway,letdowngentlybykindNedda,yetheartbreakstillwiltsTonio,thefirstcasualtyofthecomedyofrealities.Meanwhile,anangryCaniosnaps,vowingtoeradicatethisinfidelitybyremovingtheloverfromtheequation.Ifonlyheknewwhoitwas.NeddarefusestorevealhersecretoutofprotectionforherSilvio,theoneshevowswillalwaysbehers.Jealousyandfearblindalloftheplayersastheystumbleandgrumbletheirwaytoshowtime.Comedystillappearstoberunninglatetocalltime.Still,theplayersaretooenvelopedintheirtruthsandwoundstonoticeitsabsence.Thetownfolkhaveturnedouttoenjoythecomedyandhijinkspromisedtothem.Buttoday,thetroublesofPagliacciaresteepedtoomuchintherealitiesofthedayasopposedtobeingdippedinthevibrantcolorsoftheoutrageous.Thereisnoroomleftforhumortoupliftthedismality.Thepassagetothestagehasbeenbarricadedbyapileofreallifetroublesandcomedyisleftoutside,timidlyknockingandaskingfortheiradmissionintotheshow.Afightbreaksoutandhostilityfillsthestage,chokingtheplayerswiththeirmasksandlines.Theaudienceatfirstgigglesattheanticsoftheclowns,assumingitisanelaboratesketchtoawakentheirsenses.Themusicisstilllight,airyinanticipationfortheahamoment,thepunchline.Canio,dressedasPagliaccishoutstoNedda:No!Pagliacciononson!Pagliacciisnotpresent,onlyCanio,andtherewillbenojokestoldbyhimthisevening.Violencethenreplacesfarceandthemusiccrescendoesintofrenziedbowsbeatinguponstrings.RealcrimsonbloodstainsthewhitemakeuponthehandsandfaceofCanio.SilvioandNeddaaresprawleduponthestage,marredbythedarksinsbrandingeachofthem.Thereisnoreboundbytheaffectedparties,notriumphantflourishingofarmsinagestureofresiliency.Theaudienceisnolongerlaughing.Infact,theyrebarelybreathing.Theclownsaredead.Alltheyarenowaremeninmasks.Perhapswhatresonatesmostaboutthetragictaleistheundeniabletruththatwhilethesefoolsscamperandfrolicuponthestageforthemerrimentofothers,theytooacheandsufferfromtheharshrealitiesoflife.Theywritheinpainatthehandsofdesire,passion,andeventuallyablindingenvythatbringsthecomedycrumblingtoitsdenouement.Whileaclownshowismeanttobejoyfulanddistracttheaudiencefromtheirstrife,reallifealwayscreepsbackinandontothestage.Andthus,Lacommediafinita!Thecomedyisfinished.HoboClownsDuringtheGreatDepression,circusesandclownspectacleswerecheaprespitesfromthepovertyandstrifethatdwelledontheveryoutskirtsofthebigtoptents.TheHoboClownbecameacommoncharacterclowninthering.Theywereoftencharacterizedasdownandoutfoolswithoutabrainintheirheadsandnobreadintheirstomachs.Itwasduringthisperiodthat

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clownsbecamelessthepompousandpoisedfiguresoftheRenaissancedays.EntertainerslikeEmmettKellymirroredthepeoplesittinginthewoodenstandsbeforehimgrandeurwasreplacedbygrittytruth.Kelly,orWearyWillietohisaudience,worepatchedandthreadbareclothes.Williehadfewpossessionsandhismakeupturnedthecornersofhismouthsouthuncommonintheworldofunshakeablegrinsmostotherclownspreferredtowear.Hewasabletoimmediatelybondwithhisaudiencebyshowingthathetoowasdownandout.Andyet,hestillfoundwaystocreateglimpsesofamusementandjocularityamongsttherubbleofthehumanspirit.OneofWearyWilliessignaturesketchesplayedonthesadbutalltoorealtruthabouthungerduringtheGreatDepression.ThesketchstartswithWilliefindingapeanuttoeat,buttheshellisimpenetrable.Hepantomimesbangingitontheground,clawingatitwithglovedhands,andbitingittonoavail.Hishungryimpatiencesuddenlytakesover,andaWillielugsajackhammersintothesituation.Goodnews:theshelliscracked.Badnews:thenutinsidehasbeenpulverized.Moregoodnews:thecrowdisdoubledoverlaughingatthedramaticoverreaction,bringingawholenewmeaningtotheclicheatoughnuttocrack.Whilethelaughtercontinues,Williegetsonhishandsandkneestopickupthenowittybittypeanutpiecesandhenibblesonthem.Itshumorousbecauseitsnothappeningtothem,butformanyofthosewatching,thatroutineisalmosttoorealbecausetheywillsoonreturntohomeswithemptycupboards,baretables,andhungrybellies.Alaughcostsnothingtogiveorreceive.Intimeswhenpennieshadscarsfrombeingpinchedtootightandevictionnoticesweredistributedlikethedailynewspaper,humorwasrightwithinthefamilybudget.Today,amuseumstandsinthesleepytownofSedan,KentuckywhereEmmettKellygrewup.Inside,visitorscanfollowthechronologyofthisperformerslifefromhisdaysasacartoonistdrawinghoboclownsfornewspaperfunniestobecomingthephysicalrepresentationofthatcartooncharacter,thebelovedWearyWillieatributetoamanwhomadetheburdenofhavingnothingalittlebitlighterbyputtingatouchofentertainmentintothepocketsofhisaudienceforthemtojingleonthewalkhome.RodeoClownsFlintRasmussencomesfromarodeofamily.Hegrewuparoundangrybullsandcowboysoozingwithbravadowhoweresoonchuckedintowallsamerethreesecondsaftermountingtheirbroncos.Whilehisothersiblingsmovedtowardsthecowboywayoflife,ridinghorsesandbullsthemselves,Rasmussenhoppedovertotheotherside.Heworethesameboots,thesamehat,thesameflannelshirtsastherestofthecowboys,buthealsohadsomethingalittleextra.

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Hisfaceiscoveredinwhitecirclesaroundhiseyesandmouthwithredaccentsonthelipsandcheeks.Thegrim,focusedlooksofthecowboysabouttocompetearefoilstothewidegoofygrinthatRasmussenwearsforthecrowd.Hisjobistorunaround,tripandfall,makethecrowdlaugh,andaboveallgettheattentionoftheilltemperedbull.Thatlastobjectiveiswhatmakestherodeoclownindispensableinthecompetitiveridingworld.Whilethecowboysgripthereinsandfloparoundonthebackofabuckingandagitatedbull,therodeoclownliesinwaitfortheunimaginable.Andsometimes,theunimaginablehappens.Thecowboygetsthrownoffofthebullandlayssprawledonthepackeddirtfloorofthearena.Thebull,bynature,isnotthefriendliestnorthemostaccommodatinganimal,andtheyusuallyarentallthatthrilledaboutwearingasaddleandreinsforhumanentertainment.Withsharphornsandaheavystature,anangrybullcaneasilybecomethelastthinganejectedcowboyseesbeforehefaceshisdemise.Instepstherodeoclown.Withagoofyshoutandlopeygait,performerslikeRasmussencatchtheearandeyeoftheangrybull.Attractedtothebrightredofhismakeupandcostumeplushisloudandobtrusivemannerisms,thebullignorestheboardstiffcowboyonthegroundandgoesforthemovingmeat.Ofcourse,unlikehisbuckedcowboyfriend,theclownisreadyforthischarge.Whiletheclownjumpsandrunsthiswayandthatwayaroundtheringwiththebullintow,thecowboyisabletoscrambleoutoftheringintosafety.Inthewaysthatliteraryandtheatricalclownspreventedtheblowsofuniversaltruthstopummelthetheatergoers,therodeoclownmakessurethebulldoesntdestroythecowboy.Themainobjectiveoftherodeoclowndivergesslightlyfromthepracticesofhismoresophisticated,theatricalcounterparts.Theysatirizeandspinthispotentiallydangerousworldofcowboysandbroncosinawaythatmakestheaudiencerelaxbefore,during,andaftertherider'sdeathdefyingstunts.Butmoreimportantly,therodeoclownspresenceandproficiencycanbringtheeventteeteringintoalifeanddeathsituation.Insteadofsquaringupagainstbetrayalsandheartbreakingdeaths,rodeoclownsgotoetotoewithangrybulls,manywithvaliantridersatopthem.Withouttheseintrepidfools,thosebullriderscouldbethrottledintothemetalbarsofthestadiumorworse:trampledandcrushedbytheangrybeast.TheClownConnectionThestagelookslikeayardsale.Aredfloorlampwithasiennalampshadeexudestheonlyilluminationonstage,castinglightandshadowsoverthedeliberatelyclutteredspace.BethNixon,dressedinablueshirtandablackbuttonedvest,emergesfromtheshadowsbehindthehodgepodgeofartifactsofalifefilledwithstories.Nixonunzipsthegreenfabricsuitcase

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perchedontopofasmalltableandtheaudienceissurprisedtoseealightboxinsideandthestageinfrontofNixonisfloodedwiththeglow.Thatswhenshebeginstoshareherstories.TheaudiencehowlsinidentificationatthestoriesandfeelingsthatNixonisplayingaroundwith.EvenNixonissmiling,breakingthedeadpan,recognizingthehumorineverydayfauxpas.Furtherintotheshow,thespectatorshavesoberedabit.Thestoriesnowarentnecessarilyfunny,buttheyrebuoyant.Shereadspiecesofwrittenwordandeventouchesuponthetopicofherfather.Forthemostpart,theaudienceissilent.Oftentimespeoplearentlaughing,Nixonsaid.Ithinkgoingafterthelaughiswhatmakesaterribleclownitputsalotofweirdpressureandexpectationonboththeperformerandtheaudience.Butnonethelesswhenshefinishesthesetandtakesherbows,theaudiencesresponseisimmense.Theythankherwithwhistlesandclappedhandsandshethanksthemjustthesame.ToNixon,aclownisajourneyman.Itspurposeistocoaxawillingaudienceintoaworldsomewhatdifferentfromtheonetheyliveinfromdaytoday.Theyencouragethosewatchingtostepintothisnewterritoryandfindtheconnectionsbetweenthemselvesandthissillytourguidethroughthetruthsandfeelingseveryoneusuallykeepsclosetotheirchests.Andthehopeisthatwhenthosepeopleintheaudiencereturntotherealworld,theycomebackwithaninvaluableexperiencethatsweetenstherealityaroundthem.Youvecreatedaspaceinwhichwereallagreeingtoengagethisclownlogictogetherforthismomentandthatrequiressomeamountofinvestmentandresponsibilityoftheaudiencetobringthemselvestoit,Nixonsaid.Thatsmatchedandencouragedbytheperformerbringingtheirclownselftothefrontandsharingit.BethNixondoesnotlooklikethetypeofclownthattelevisionandtheRinglingBrothershavetrainedustoexpect.Shedoesntwearacostumeorwildmakeup,nordoessheputonarednoseforperformances.Sheevenrefrainsfromlabellingherselfasaclownbecauseofallofthepreconceivednotionsthatsullythetruemeaningofbeingaclown.ThegeneralizedAmericanconceptionofwhatclowningissodivorcedfromwhatIminterestedindoingthatIhesitateingeneralforumstodefinemyselfasaclown,Nixonsaid.Imnotinterestedinbeingfunnyallthetime.Idontwearbigshoes.Ioftentimesdontusearednose.GrowingupGoofyNixonfoundherpassionforthecraftattheageofsevenwhenshesigneduptoperforminherhometownsFourthofJulycircus.Shefoundherselffeelingathomewearingsillycostumesandrunningaroundinfrontofherneighbors,friends,andfamily.

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Whilethemainactswithstuntsandglitzierelementstothemleftthosewatchinginawe,Nixonandherclowncolleagueshadthepleasureofcomingoutbetweenactstodelightthecrowdandbringeveryoneinthetentclosertogether.Shehadfoundawaytolassoacrowdandbringthemintoherlittleclownworldandplaywithheruntiltheringleadercalledforthenextacttoperform.Ireallylikeddressingupinridiculousoutfitsandfeelingasthoughourroleintheshowwastocomeoutinbetweenandconnectwithaudienceandunifypeopleinthatway,Nixonsaid.Asshegrewup,Nixonimmersedherselfintheworldofperformanceartwithaspecialfocusonallthingsclowning.SheperformedinchildrenstheatersandeventuallyworkedherwaytospotsintheBreadandPuppettheaterinVermontandthePigIronTheaterproject.Shehassincestudiedandtaughtinconservatories,includingtheManitoulinConservatory,whereNixonmetKennardandTurner.Itwasthroughherstudiesofthecraftthatshebuiltanunderstandingofwhatittrulymeanttobeaclown.Sheadoptedtheidealsoftheclownspirit,whilerefrainingfromdonningthecosmeticsideoftheclownart.Nixoninsteadchoosestofocusmoreonconveyingherstoriesthroughpropsandwords,eitherwrittenbyherorbyotherpeople,andbuildingaworldthatcanbeseenthroughthelensshechooses.Forher,wearingarednoseputstheaudienceinaplacelitteredwithpreconceivednotions,aneversoslightmovementthatcouldpotentiallyclosetheportalbetweenaclownandheraudience.OneofthereasonsIdontweartherednoseisbecauseitshutspeopledownandtheythinkOhthisisgoingtobefunny,ohthisiscreepy,...asopposedtocomingintoitopentoseewhatitmightbe,Nixonsaid.Andthenosenarrowswhatpeopleperceivesometimes.ClownsonTVTherednosed,wigwearinggoofballiswelcomedintothehomesoffamilieseveryday.BozotheClownmadehisdebutonthetubein1949.Hewasthequintessentialcircusclown.Whiteface,rednoseandmouth,andafrizzywigoforangehairthatalwayslookedlikeBozohadjuststuckaforkintoanelectricaloutlet.HislikenesswasdispersedtomajorcitiesandeachTVnetworkseemedtohavetheirownvariationofBozoprogramming.Bozowasfranchised.WillardScottwasoneofthemorepopularperformerstoweartheBozocostume.Hewasnottrainedasaclown,notevenasaperformer,havinggottenhisdegreeinphilosophyandreligiousstudies.Scottfavoredgoofygagsandpiestothefacesuperficialsketchesthatpleasedhisyoungstudioaudienceandthethousandsofkidswatchingfromtheirlivingrooms.YethisimageandlevelofchildishcomedybecamethetouchstoneforhowanAmericanclownwasexpectedtodressandact.Clownswerenolongerliteraryfiguresmeanttosoftentheblow

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oftragedy,theyweremeanttobeonedimensionalbuffoonsthatwereeternallyjolly.ClownswerejustkidstuffintheAmericannarrative.Ithinkclownsandpuppeteersbotharerelegatedtothissortofkiddieentertainmentthrowawaysortofthing,saidBethNixon.Itfeelsfake,itfeelsforced,itfeelslikethisrelentlessjolliness.Scottsmostfamous,perhapsinfamous,clownfigure,though,cametofruitionin1963:RonaldMcDonald.Ronaldwasoncenotedasbeingthemostidentifiablefigureintheworld,beatingoutthefacesofMickeyMouseandJesusChrist.HepopsuponthescreenbetweenchildrensprogrammingpeddlingkiddiecheeseburgersandfrenchfriespackagedupnicelyinaredHappyMealBox.Heisdressedheadtotoeinred,white,andyellowwithanobnoxiouslyloopyredlippedsmileandawigtomatch.Helookslikeaclownthatcouldbemakingballoonanimalsatabirthdayparty.ButbythestandardsthatNixonandotherclownsusetodeterminetheircraft,theyarenotapttolumpBozoorRonaldMcDonaldintowhattheypersonallydointhesphereofclowning.RonaldMcDonaldisadvertising,Nixonsaid.ImnotallinterestedinthatideaofaclownbutthatdoesntmakethemnotaclownIdontthink.Thatjustmakesthematropeofaclowntheoutsideofaclown.Whiletheymaylookthepart,thetrainingputintobecomingagoodclownismostclearlyabsent.Nixonbelievesthatitseasytobeabadclown,andagoodclownperformancerequiresmuchtrainingandunderstandingofoneselfinsideandoutofthematerial.Ithinktheyreclownsinthesamewaythattheressandwiches.Youcanhaveasandwichandthatsandwichcanbemadeofgeneticallymodifiedfoodandfilledwithfaketurkey,Nixonsaid.Oryoucanhaveasandwichwithafreshmadepieceofbreadwithlocalfoodonitthatisactuallynourishingandrelevanttowhatyourbodyneeds.Theyrebothsandwichesbutwhichareyouinterestedin?BecomingYourBouffonThemisconceptionoftheclownisthatanypersonwithaccesstoarednoseandafunnywigcanbecomeone.Thetraining,thephilosophies,eventhemakeup,costumes,andgagsholdanintricacythatcomeswithanyartisticcraft.Everyarticleofclothing,everyaccentuponthefacecontributestotheoverallimpressionandstoryoftheclown.Thetransformationfrommantocaricatureisfarfromnegligibletothosedonningthemasks.

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Keepinmind,thatdrasticallyandpermanentlyalteringthenaturalsemioticsofthefaceisnotatrivialexercise,saidPaulBouissac,anexpertintheareaofCircusStudiesinhisbookTheSemioticsofClownsandClowning.ForMump(MichaelKennard),themetamorphosisisaritualonethatpullshimintotheMumpmindsetasitprogresses.ButforKennard,whileheissteepinghimselfintoMump,heisstillawareofhimselfasMichaeltoo.KennardstressesthathistransitionintoMumpisnotlikethatofatrancewhereheisunawareofwhoheisinreality,butmoreofacreativeoutletthatallowshimtoconnectMichaelwithMump.Theusualreasonforthisisthatthereareusuallythingsthathavetobedealtwithinrelationshiptotheshowaswearegettingready,Kennardsaid.JohnandIorKaren(ourdirector)willsometimesbetalkingaboutthingsthatwearegoingtoworkonintheshowthatnight.Preshowritualsconsistingofclownwarmupsandputtingonthefinaltouch,therednose,arewhatsealthetransformation.ItisinthatmomentthatKennardsayshebecome[s]MumpandonlyMump.Andoncethecurtainrisesandtheanticsensue,MichaelandJohnareundoubtedlyMumpandSmootandwillremainsountiltheshowendsandtherednosesareremoved,atleastuntilthenextperformance.WhenIlookinthemirrorIjustseeMumpandautomaticallyshiftintoMumpmode,Kennardsaid.Againitdoesn'tmeanIcan'tdealwithanythingasMike,butthefocusisnowonbeingandlivingasMump.MakeUpAsclownsgrowanddevelopwithintheartform,theyarealsocraftingtheirownbrandandstyletobewornupontheirvisageandframetoconveytheexactmotiveshehassetoutfortheact.Whenaclowndescribestheirstyletoothers,thefirstaspectoftheirmakeupthattheyestablishconcernsthebaseonwhichthefacialfeaturesaresketched.Aclowncanwalkawayandsaynothingelseabouthisact,butotherplayersinthecraftwouldnowholdafullunderstandingofhisstagedynamicwiththeaudienceandhispartners.WhilethereismuchthoughtanalgorithmasBouissacputsitthatgoesintothefaceofaclown,healsostressesthattherepresentationsofaclownfacearemeanttoconveyasenseofinformality,freedom,andmerriment.Clownsputinalotoftimetocreateafacethatalienateshimselfwhileatthesametimewelcominghisspectatorsandencouragingthemtojoinhimonthisadventurethroughanticsandplay.Whiteface

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Whitefaceclownsarethetypemostoftenrecognizedinmoviesandpopculture.They,asexpected,startwithafacecoveredentirelyinwhitefacialmakeupfromforeheadtotheshirtcollar.Redoutlinesthelipsandnostrils,vibrantlinesliketrailsonamapmeanttoleadtheonlookersdirectlytowherethedialogueandexpressionswillbeprimarilycomingfrom.Theeyesarelinedindarkercolors,oftenblack,toaccentuatethestorybeingtoldwithinthem.Whiletheformulaforawhitefaceclownoftenproducesrepeatsofthesamesequencesoflinesandcircles,thedistinguishingfeaturesarethoseperchedjustabovethecharcoaledeyes:theeyebrows.Theeyebrowsaretheprincipalfacialaspectthatclownsusetodifferentiatethemselvesfromtheendlessarrayofwhitefacesinthebusiness.Asymmetricalanddisproportionatelysizedbrowsarefavoredtotopoffthecomical,inquisitivelookofaclownwonderingwhattroublehecouldpossiblygetinto.Inabrightspotlight,awhitefacevisageshouldbesimplythecanvasonwhichtheprominentlypaintedfeaturescanplayandsharetheinwardstoryandconnecttotheoutwardplot.Forclownsinthetheater,thewhitefacedoneisthemorerationalofthetwotypes.Hehasgoodmanners,andtrieshisbesttofollowdecorum.AccordingtoPaulBouissac,thewhitefaceshypercorrecteloquence[which]expressesitslawfulcompetence.Ofcourse,mishapsandmistakescontributetothedeteriorationofexpectedetiquetteandfarcesupercedesformality.Thewhitefaceisoftenthefigureinthestorywhoposesastheseriouscanvasfortheaugusteclowntopaintonandrattleaboutuntiltheprofessionalismfadesandthewhitefaceallowshimselftoenterthecomedy.AugustesTheAugustespurposeistobethedramaticfoilofthewhiteface.PaulBouissacidentifiestheaugusterootsinanoldinsultthatusedtobethrownatpeoplewhowereoftentimesslowwitted,clumsy,andpossiblyinebriated.Thustheaugusteclowningstylewasborn.Hismakeupisnotasstarkasthatofthewhiteface.TheAugustemakeupfavorsmoreneutraltonesasabasewithbrightercolorssuchasyellowsandredstohighlightfeaturesliketheeyesandcheekbones,allowingtheeyebrowsworshippedbythewhitefacestomeldintothecanvasoftheAugustesface.Intheclowningworld,theAugusteisoftenthejoeyclown,meaningheisusuallytheyoungerclowninthesketch.TheAugusteisusuallythetroublemaker.Heiscurious,mostlyinnocent,andactsonimpulse,whereasawhitefacefavorsactingupondecorumandtheclearcutexpectationsinregardstorespondingtothesituation.Ofcourse,simplywearingthecostumeofaclownismerelythefirststepinembodyingthecomediccaricatureonstage.Nixon,whoregularlychoosestoperformsansexaggeratedmasksandcostumes,manifestsherclownspiritviaherconnectionswithpropsandwithheraudience.Sherespectsandapplaudsthosewhohavefoundtheirvoicethroughwhattheywear,but

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insiststhatevenifyoulooklikeaclown,therestillhastobeagreatamountofskillandselfawarenesstobackupthatimage.Idontthinkthewigmakestheclownorthenosemakestheclownitsmuchmorewhatitfeelslikeinthepresenceoftheperformerandwhetheritfeelslikeclowningoritdoesnt,Nixonsaid.Ithinkitsmorelikeaperformancestatethatinvolveshonestyandhumilityandnottakingoneselftooseriouslyandtheabilitytobepresentwithwhoandwhatisintheroom.Richard,Mump,andSmootRichardPochinkohadexperienceperforminghisownstyleofclowning,buthissuccessasakeyteacherintheartofclowningduringthe1980ssoonsurpassedthatofhisperformances.HisfusionofAmericanCircusClowningandNativeAmericanmaskworkwiththeprinciplesofEuropeantheatricalclowningwascalledthePochinkotechnique.HisclassespiquedtheinterestofaspiringclownsalloverNorthAmerica.Withasetofidealsandmotivationscollectedfromhisstudiesofclownsindifferentcultures,PochinkoinventedtheClownThroughMasktechnique.Whilehiswisdomofthecraftsurpassedthatofhispeers,Pochinkostillpreferredtoholdofffromtherigidlessonsofotherclowningstylesforasofterapproachthatgavestudentsaplatformtobuildtheirownclownidentitiesupfrom.Forhim,thegreatestsuccesswasseeingstudentsveerofffromhisphilosophiesanddeveloptheirownmethodsandthensendingthemofftocementtheminanactforthepublic.InthetrainingwhatIthinkwasamazingwasthatitwascompletelyuptotheindividual,saidformerstudent,JohnTurner.Hecamewiththestyleandthetechnique:sixmasksandsevencolorsandwewoulddotheseexercisesbutwasalwayslefttoyoutofindyourselfwithinthework.TwoofhisstudentsfoundthatthematerialsostronglyresonatedwiththemthattheytookPochinkosideals,hisrules,andhisencouragementtobringtheirtalentstothepublic.Thesetwomen,MichaelKennardandJohnTurner,havesinceraisedthebarwiththeirperformances,becomingthemostpopularclownduoinCanada.TheygobyMumpandSmoot.Mumpistheleader,thestraightmanplayedbyKennardwhoisalwaystryingtokeephisbuffoonofasidekick,Smoot(Turner)fromcompletelywreckingeverythingtheyencounter.Onstage,theyspeakinbrokenEnglishsmushedtogetherwithnonsensevowelsoundsandthehighpitchedgigglesofSmoot,theirnativetongueofUmmonian.Mumpscomplexioniswhiteface,contributingtohisoverallimageofthereasonablefigureintheduo.SmootfavorsanaugustemakeupstylewithbrightredandyellowaccentsfurtherexpressingthezanypracticesofthegoofierfoilforMump.

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Kennardwasfamiliarwiththetheaterworldwhenhetookhisfirstclowningclassincollege.Withinthatdomainofperformance,asenseofplaysurgedthroughhim.ThefreedomofamaskandgagroutineassuredKennardthatwithinhimwasanastoundingtalentfortheart.Toignorethissignforamoreconventionalspotlightintherealmofdramawouldhavemarkedthelossofagreatclown.Hispassionfortheartsproutedfromthereandbyhissenioryearhehadconcoctedathreemanclownshowtobeperformedforcredit.Itwaskindofaccidental,Kennardsaid.IknewIwantedtoendupinsomeareaofthetheaterworld.Ineverthoughtitwouldbeclowning,butitendedupbeingclowning.ItwasduringthisproductionthatKennardmetTurner,animprovcomedianwhohadneverconsideredbeingaclown.HewasdubiousofbecomingaprofessionalclowndespiteKennardsconstantprodding.TurnerwasstilldubiouswhenKennarddraggedhimtoPochinkosBabyClownworkshop,believingthatthiswouldnotbecomehiscareerandhewouldsoonmovepastitintomoreappealingprospects,hopefullyoneswithlessmakeupinvolved.Iwasreallydownonthewholething.IthoughtitwasthestupidestthingandIthoughtmaybeIneededabetterpartner,Turnersaid.IfinallycavedinanddecidedtotaketheclasswithMikeandwehadablast.HewasstillreluctantwhenPochinkosentthemtocementtheirapplicationofhislearningbyperformingforarealaudience.ForPochinko,thefinallessonwasonethattheaudiencetaught:whatsfunnyandwhatisnt.OnlytwomonthsaftertheirfirstPochinkoworkshop,TurnerandKennardperformedtheirfirstshowentitledJumptheGun,attheFromtheGroundUpFestivalonaFridaythe13th.Thehumorofthetitleanddatewasnotlostonthepair.Havinggoneintothisfirstperformancealmostimmediatelyaftertheworkshop,KennardandTurnerknewthatthesuperstitiousdaycouldhavespelledluckordisasterforthemboth.Fortunately,onthisday,luckwonout.Theaudiencerespondedtotheirsetwithaweandgleeatwhattheyhaddone.MumpandSmootthenstartedgrowingintomorethanjustaonenightsideshowactatcomedyclubsandartsfestivals.Theirliveshasbeenplayedoutonstageeversince.Theirgoalwastotakeeverythingtheyhadlearnedandultimatelydissectitdowntoitsatomicpartsanddemolishthosepiecesintoafinedust.Fromthere,theywouldbuildanactthatwassodifferentfromwhatoneexpectedfromaclownshow.Andthatwaswheretheirsenseofplaythrivedspinningthroughtheunknownterritorywherenoclownhadgonebeforeandtakingtheaudienceintothewhirlwindwiththem.Fiveyearslater,theywereperformingtofullhousesinTorontoandotherCanadiancities,andwerelabeledasthepremiumclownduoofCanada.TheirinfluenceeventuallyspreadintotheUnitedStatesandtheyperformedtosoldoutcrowdsonBroadwayandattheYaleRepertoryTheater.Theseperformerswhohadstartedoutbyjumpingthegunanddoingonenight

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sketchesatbarsandcomedyclubshadfumbledandboundedtheirwayintotheupperechelonsofthetheaterworld.Americansweregivenatasteoftheothersideofclowns,onesthatdidnthangoutinredandwhitetentsoratchildrensbirthdayparties.Theyhadbecomeauthoritiesinthecraftandweretrumpetedassuch.Insteadofcelebratingthisrecognition,theysawitasanewchallengeforthem.Theyhadbuiltupanexpectationofhowclownsshouldperformandtheysawitastheirjobtointurnteardownallofthoseconceptsandinferredrulesoftheartandshowthatclowningcannotbeitemizedwithaconcretechecklistabouthowtobefunny.Wediscoveredthatbasicallyeverythingwehadbeendoingwasactuallyalignedwithwithtrueclownphilosophy,assoonasyouconstructsomethingyoudeconstructit,Turnersaid.WerealizedwewerenowtheestablishmentoftheatricalclowninginCanadaandthatmeantwehadtodestroyourselvesnow,butthatsbasicallyhowitstarted.Tenyearslater,Turnerfinallycametotermswithhiscareer,onewithmakeupandslapstickandsoldoutshowsalloverCanada.Andasitstands,Turnerhasnoplanstoleavethecraftforadifferentmediumofperformance.Aslongashemaylive,Turnerexpectstokeeponclowning,eveniftheworldaroundhimhasgonetoshambles.Whentheworlddoescometoanend,Turnersaid.Illstillhaveajobgoingfromtowntotownplayingforbeerandbeans.LiketheShakespeareanfoolsandrodeoclowns,manyclownperformershavefoundtheirpurposeinleaveningtheweightythoughtofourownmortality,ashighlightedintheMumpandSmoothorrorclownphilosophy.Itsokaytolaughwhenyouknowitsfiction,butwhenthemaskisoffandthesettingshiftstoonewithoutspotlightsandredvelvetcurtains,thatswhenthefearprofligates.Thefearofclownsstillstandsinsignificanttothefearofthecommonmandoingtheunspeakable.AfterlearningsomuchfromPochinko,KennardandTurnerneverhadthepleasureofperformingonstagefortheirmentorbeforehisdeathin1989fromtheAIDSvirus.TheonlyperformancePochinkohadeverbeenwellenoughtoattendwasunfortunatelycancelledduetotechnicaldifficulties.Today,KennardandTurneralternatebetweentheworldofperformanceandtheworldoftheatricalacademica.BotharecurrentlyprofessorsinCanadianuniversitiesteachingclassesonphysicalcomedyandtheatricalmaskwork.Intermsofpedagogy,muchofitisstillrootedinthetechniquesandlessonstaughtbyPochinko,withtheirownpersonalphilosophiesandemphasesfoldedin.TheyhonorPochinkobyteachingtheirstudentswiththesamecompassionhehadforthem.

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He[Pochinko]justbelievedweallhadthisabilitytoexploreourclownandtoexploreourcreativesideswithoutitbeingrestricting,Kennardsaid.Kennardsaysheprimarilyteachesstudentswhoareinperformancearts,butfew,ifanyofthemwillenterhisclassroomwiththesolepurposeofbecomingaclowninthetheater.Infact,itisacommonnotionintheclowningworldthatgoodclownsdontcomeinpacks,rathertheyarriveintothecraftsoloorincouplets.Andrarelydomorethantwoorthreeclownsriseabovethemediocrityofeverymaninamasktobecomeoneofthegreatsfortheirgeneration.Inthetheaterworldoneofthethingsthathappenedisclowningisareallyhardartform,Kennardsaid.Therearentalotofgreatclownsontheplanetatanyonetime.Whilethesearchforthenextgreatclownoftenresultsinmisplacedhopethatfizzlesout,Turner,themanwhooriginallysnubbedanythoughtofbeingintheclownbusinessmaintainsthatclownswillalwaysbebornintothisworld.Specialpeoplewhohavethenaturalabilitytonotjustbefunny,butbringjoyintoanauditorium,unselfishandmagnanimousjoy,willalwaysbepartofthefabricofhumanity.Wehaveitwithinus,Turnersaid.Andtherewillalwaysbepeoplewhocantsuppressit,whowithoutknowingorintendingitsgoingtofinditswayout.TheRulesofClowningRunningwildonstageandmakingpeoplelaughwhilewearinggaudymasksandoutrageouscostumesdoesnotcomewithoutrules.Theybecomepartofthetechnique,Kennardsaid.Ifyoureuponstageanditsnotworking,yougothroughthatlistofclownrulesanditletsyoufigureoutwhatyouredoingandwhatyouremissing.Aclownmustnotbeselfishnorperformforjusthimself.Aclownneedstoallowthejoyhefeelstoradiatethroughhimsoitmaybeabsorbedbyhisaudience.Astheebullientmouthpiece,hemustbreakthewallbetweenperformerandspectator,andgiveeveryoneapartinthefolly.Aclownhasnothingtohide,hestandsopentohisaudiencewithhiseyesupandout.HeishonestandtellshimselfIbelieve.Whenhebelievesthatheistrueandreal,hiswatcherswillfollow.Doubtsofwhatcouldbepossiblewillbeleftoutsideinthecoatroomwiththeirhandbagsandjackets.Believingissomethingeveryonewantstodo,andtheclownmustmakeiteasyfortheaudiencetoputanarmaroundtheshoulderofthosebeliefsandletthemenjoytheshowtogether.

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Thesolidbaseuponwhichtheaudiencemustbuildtheirtrustforthesebumblingcharactersisthetrustaperformerhasinhimself,andhiscraft.Thecommitmenttothecauserolledoutonthestagemusttranscendsimplythewordsandinferredacceptanceofwhatisabouttohappen.Youwanttofeelthattheyhavesomestakeinwhatsonstageandwhattheyaremaking,saidBethNixon.Thatitissomehowrelevanttowhattheyrethinkingaboutintheworld.Fearorhappiness,angerorgriefmustpossesseveryfiberoftheclownwhostrutsuponthestage.Itmusttakeovertheentirebody,changingitsshapeandbreathingpatternsuntilithasreacheditsendgoal:thefinalformthatdovetailsperfectlyintotherolethestorylinecallsfor.Itisthroughthisopendoor,thatcharactersandfeelingsareabletocomeandgothroughfreely,thataclowncanbecomeallofthepeopleheseekstoembodysanscostumechangesorformalannouncementsdeclaringtheclownhaschangedface.Aclowncandoanythingandyouretheonethatdecideswhataclowndoes,Turnersaid.Ridingthewavealwaysbringsaman,oraclown,toshore.Clownsreadwhattheiraudienceneedsandwantsfromthem,andtheyallowthatpullofhumorousgravitytoguidetheshowsdirection.Aclownmustneverswimagainstthecurrentforfearofdrowningintheact,withoutapitylaughorclaptotossoutforrescue.Givethemmore,more,moreuntilthelaughhasbeengrantedthreetimes,thenchangethehandandescalatethestakes.Prodthemalongthestoryspathwhilestillallowingthemtoselectwhichpagesareskimmedandothersdelvedintowithgusto.Dramaticscriptsspoiltheending.Theygiveeverythingaway.Theunknownisexpungedfromthescenariothereforesanitizingitofallofrealitysinconsistencies.Forclowns,theunknownlurksinthewingsofthestageanddecidestopounceoutintofocuswhenitisgoodandreadytodoso.Allthatclownscandoisembraceit,andintegrateitintothedialogueathandtomakesureitfeelsathomewithinthescene.Impulsesflareup,wordsjumble,andlinesdivergetowardsanotherstorylineentirely.Anightmareforthoseindramaticplayswithspotsandcuesandangryproducershissinglinesbackstage.Inthecraftofclowning,thisisablessing.Infact,thelateRichardPochinkocalledthemgiftsfromGod,becausetheyallowedtheperformerstoscamperawayfromthesetlistandbeatplaywiththeimperfectworldthatsurroundsthem.Aclownhonorstheimpulses,andclownsthroughit.Hestitchesthenewvariationintothenaturalnarrativewithwitandatouchofzany.Atearinthescriptmorphsintoanembellishmenttosweetenthegarmentanddisplayitanewasaoneofakindpieceinacollectionofmany.Offstage,perhapstheclownwillshakehisheadatthewackyunexpectedthatcroppedupmidscenebuttheaudiencedoesntknowanybetter.Tothem,itsagoodshowthatkeptthem

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engagedwaitingfortheunknowntorunamuckagainandstirupmayhemnotaccountedforinrehearsals.Thegloryoftherulesisthatonstage,allisforgiven.Allrulesdissolveatthefirstsoundofbubblinglaughter,thefirstglintofchildlikejubilationintheglossywatchingeyesofeveryman,woman,andchildintheirseats.Whilearoutineissafe,andguaranteesalaughateachpunchline,droppingthescriptandtuggingtheaudiencecloserallowssentimentalitytobloom.Itextendstheshelflifeoftheshowsmemoryinthemindsofthosewatchingthatoutlaststhecurtaincallsandstandingovationsgivenattheend.TherewasafreedomIfeltwhenIwasaclown,Kennardsaid.IcoulddoanythingIwantedtoandIlikedthatIcouldtakeitouttotheaudienceandplaywiththeaudience.Grantingthoseontheoutskirtsoftheperformancethepermissiontomaketherulesforaminuteortwomakesittheirshow.Theclownswillhavemanyshowsandperformancestolookbackonwhentheirlastjokehasbeenplayedandretirementhasturnedtheirredhairtogray.Butfortheaudiencetheymaybeaffordedjustthisoneshow,andaclownhasnotdonetheirjobunlessthatproductionisembeddedintothemindsoftheirspectatorsandislookeduponbythemastheepitomeofjoyandcomedyatplay.Iminterestedinconnectionanexchangeandfeelingasthoughthepeopleintheroomarecreatingsomethingtogetherthatwillneverbethesameagain,Nixonsaid.EverybodyisbringingsomethingtothatandastheclownorperformerIamfacilitatingtheexperienceofthat.TerrorWearsARedNosePennywiseholdsaclusterofprimarycoloredballoons,enticinganotheryoung,naivevictimintohisclutchesforhissupper.Hischerryredpaintedongringiveswaytocuspidatedteethcurledinagrinsimilartothatofsomeslitheringreptilepoisedtostrikeanddevourthenextvulnerablethingwithinreach.Thismonsterisoneofthecreationscontrivedinthemindofprolifichorrornovelist,StephenKing.AscreativeandbrilliantofawriterKingis,Pennywise,withhissillycostumeandpenchantforlittleboys,holdsthestringthatconnectstotheblackballoonoftruththatcomeswiththestoryoftheoriginalKillerClown.NoLaughingMatterThekillerclownarchetypehasslitheredintohorrormoviefame.Butthosecinematicnightmaresarealsointertwinedwithinthehistoryofserialkillers,infactmanyarguethatitisinthisshadycornerofhumannaturethatthekillerclownsoriginstakeroot.JohnWayneGacyhasshakenhandswithformerFirstLady,RosalynnCarter.HehadathrivingconstructionbusinessandperformedatlocalbirthdaypartiesasthebelovedPogotheClown.Inhishouse,hehadanewwife,CaroleHoff,twonewstepdaughters,andthebodiesof29

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youngmalesinhiscrawlspace.FouradditionalbodieswererecoveredfromanearbyriverafterGacysconfessionandarrestinDecember1978,threedaysbeforeChristmas.Oneoftheearliestarticles,donebyPeterMoonofTheGlobeandMailoutofToronto,describedthemorbidtourofGacyshouseconductedbythesuspecthimself.Gacypointedoutspotsonthefloor,someofwhichweremarkedbyspraypaint,Xmarkingthespot.Thecasesmedicalexaminer,Dr.RobertStein,toldMoonthathehadbeenaskedtoclimbintoan18inchspaceinthefloorwherethebodieshadbeenallegedlyburiedontopofoneanother.Inaccountsbytheofficerswhoarrestedhimoriginallyasasuspectintothedisappearanceof15yearoldboy,Gacywasdescribedasbragging.Heboastedoftheboysandteenagershehadluredintohishometosatisfyhislustfortheirbodyaswellastheirsuffering.HehadproudlywalkedabouthishouseonthedaybeforeChristmasEvepointingoutwhereeachvictimwashidden,promptingthemtohirecontractorstocomeinandripupthefloorstoexhumeasmanyofthe33bodiesaspossiblefromthismanshouse.WhenGacywasofficiallyarraigned,themediadiscoveredhisalternativepersonaasPogo,anddeemedhimtheKillerClown.Hisantitheticaltitlewasplasteredonheadlinesabovethemugshotofamiddleagedmanwhohadsexuallyassaultedandkilled33youngmalesmadefolkssquirm.Theythoughttwiceabouthiringagoofycharactertoentertainattheirchildrensnextbirthdayparty.TheKillerClownmotifextendedthroughGacysresidenceonDeathRowinChester,Illinois.Itwasthere,thatGacybegantopaint.Hepaintedselfportraitsofhimselfindarkhuesandheavyshadows,amask.Inotherworks,hepaidhomagetoPogo,theclownonceloved,nowfeared,byhiscommunity.Gacyhadcraftedanentireseriessurroundinghisformerrole.Inmany,Pogowasaccompaniedbyaskullwithhollowedouteyes,andchillinglyfestiveredandbluehat.Onethatcouldhavebeenfoundatanycircus,anyplaceofleisurewherecomedicbuffoonsstumbledandbumbledforthepleasure,notthepain,ofmany.ThehandsofPogointhesepicturesarebareofthedelightsoneexpectsfromaclown.Insteadtheyarepresentedlilywhiteinaslightlyclawedposition.Balloons,fragileandatriskofbeingrupturedsurroundhim.Themonsterwantstoplay.EvenafterGacywasputtodeathbylethalinjectiononMay11,1994,hislegacystilltingestheclownprofessioninshadesofjetblackandbloodred.Sincehisarrest,therehavebeenanumberofcopycatswhohavedonnedthewhitefaceandtackyclothingwiththemotiveofbeinghorrifyingtocitizensasopposedtohumorous.Themostrecentincident,asreportedbythePublicBroadcastingServiceinOctoberof2014,citedasuddensurgeofclownslurkingonstreetcornersandsuburbanneighborhoodsintheSanJoaquinValleyinCaliforniascaringchildrenandparentsandresultinginthearrestsofalmost20maskedmaniacsonchargesofdisturbingthepeace.Throughfurtherinvestigation,it

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wasuncoveredthatanotherclown,knownastheWascoClown,whosewifewascreatingaphotoprojectaboutthecreepyclownmotifwastherealinspirationforthesedisturbances.TheWascoClownsaidinananonymousinterviewwiththeKernGoldenEmpire,anewspublicationbasedinBakersfield,Calif.,thatwhilehehadtakencuesfromthelateGacyandhiskillerclownimagery,itwasmeantasart,notacallforcopycatstocrawloutandcauseproblems.PeoplelikeGacyhavehelpedtoconstructmuchofthefearbehindtheusuallygoofycaricature.Theyhavehelpedtobrewupthemistrustthatcomesfromamaninmakeup,mufflingthemerrimentthatclownssetouttogivetheiraudiences.WhenBeingScaredBecomesCoolIntodaysmedia,thekillerclownarchetypehasbecomeahackneyedgimmicktopadboxofficesalesandtelevisionratings.PennywisetheClownbrokeopenthehysteriain1986whenhebegantoterrorizechildreninasmalltownbetweenthepagesoftheStephenKingnovel,It.TelevisionshowslikeAmericanHorrorStory,haveconcoctedtheirowncreepyclowntorunamuckanddisturbthesuburbanroutine.Imafraidofclowns,becameacommonlyutteredstatementatcircusesandparadeswheremaskedfoolshavebeenknowntorunrampantandvivaciously.EvenJerrySeinfeldsresidenteccentric,Kramer,expressedhisdreadforthecomicalcreaturesonSeinfeld,makingthefearhipandevenfunny.Coulrophobia,(thetechnicalnameforanirrationalfearofclowns)adarkfearthatpeopleoftenkeptsecretforanynumberofreasons,wasnowplacedontheatermarqueesandontelevisionscreens.Itshouldereditswayintotheconversationoffearalongsidespiders,snakes,andthingsthatgobumpinthenight.TheInextinguishableClownSpiritWhensadnesstakesover,sendintheclowns.ThatsthesentimentofStephenSondheimssongintheBroadwayshow,ALittleNightMusic.GlynisJohnscharacterreflectsbackonthefailuresandmisfortunesherlifehaswroughtandnowshesjustwaitingfortheclownstocomeinliketheyalwaysdointhewakeofstrife.Butwherearetheclowns?Johnssings.Sendintheclowns.SondheimandJohnsarenottheonlyonesawareofthepresenceandpoweroftheclown.AsseenwithEmmettKelly,evenwhenpocketsareemptyandprideisscarce,anyonecanspareasmileortwoforthesakeofforgetting.Theycanbeasrelatableasoldfriendskindredspiritswhostillmanagetokeeptheflickeringlightofoptimismaglowdespitethedarkcloudoftherealityhoveringaboveitall.

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[Theclown]isprovidingthatroleofhonestportalintogettingfarenoughawayfromregulareverydayhumansthatyoulaughatthemorseeyourselvesinthem,Nixonsaid.Andyetnotgettingsofarawaythatitseemslikesomefalsefantasy.InthecaseofMumpandSmoot,inaworldwhereclownshavebecomeasymbolofterror,theyhavesteppedinandfacilitatedthecatharsis,thereforeeradicatingtheideaofclownsasanythingbutfriendsinthemindsoftheirspectators.Whentheworldgetsintrouble,theclownscomeout,saidprofessionalclown,JohnTurner.Clownsarenotonlysalvesforthepainsofthesocietyisaswhole.Theycanalsohelptoassuagetheachingoftheindividual.Throughouthercareer,BethNixonhastakenherknowledgeoftheclowningintorehabcentersandnursinghomestobuildtheirownclownspectacles.Thegoalistoallowthoseinthesefacilitiestoexploreandcopewiththethingsthattheyholdontointernallyandtoprojectthemforward.Itisinthissafespaceofcomedyandclowningthatvulnerabilityisnotscary,butalmostjoyful.Whenthecelebrationofbeingopentotheworldoverridesthefearofdoingso,thenconnectionsandempatheticunderstandingwillfollowandhealingandcopingcanprosper.Humanityhasmanycopingmechanismstodealwithhorrorandviolenceandfearandthosehavetodowithhumorandconnectionandimagination,Nixonsaid.Themorebrutaltheworldcontinuestogetthemorecopingmechanismsweregoingtoneedinordertodeal.Perhapsthatsthemostbeautifulthingaboutclowns.Intheiromnipresencetheyhaveachievedtheabilitytotransform.Theyhaveabsorbedalloftheemotions,thehopesandfearsofthecommonmanandputthemondisplay.Theyinternalizethepainandtroublesoftheeverydaylifeforthesakeofthosewatchingwhoneedtherelieffromthoseproblemsmorethantheclownsdo.Theytakethatadversityandmagnifyintoafunnycaricatureoftheliveswelive.Theydosoinawaythatisalmostunrecognizable,andtherefore,palatable.Theclownsbeartheburdenofthesocietyspainandyettheirredwaxsmilesneverdroop.ForTurner,theclownfigureisimmortal.Hebelievesthattherewillalwaysbepeoplebornintothisworldthathavetheinnateabilitytoclownwithinthem.Evenincountrieswherethecraftisoutlawed,orfrownedupon,Turnerreckonstheywillstillthrive,simplybecausetohim,aworldwithoutclownsisonethathasnotmuchtimelefttolive.Humanityneedstheoutlet,iftheydonthavetheoutletitsover.Its[clowning]alwaysbeenthere,itllalwaysbethere,Turnersaid.Idontsuggestforaminutethathumanitywillalwaysbethere.Imightaswellgooutlaughing.

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