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This rich collection of readings offers a wide-ranging and authoritative survey of clown practices, history and theory, from the origins of the word clown through to contemporary clowning. Covering clowns in theatre, circus, cinema, TV, street and elsewhere, the author's stimulating narrative challenges assumptions and turns orthodoxy on its head.
"The tradition of Russian tragifarce can be characterized by its strong links to Russian political and cultural history and by its significant role in the development of Russian dramatic literature and theater practice. The book argues that the dualistic character of Russian tragifarce, which is close in spirit and philosophy to Bakhtin's understanding of the medieval carnival, embodies the ambivalent spirit of Russian culture and politics. The book further argues that the tragifarcical perception of the world can be seen as a national characteristic of the self-doubting and ironic Russian sensibility under the influence of a repressive political regime."--BOOK JACKET.
Clown: The Physical Comedian is a detailed and comprehensive workbook for those interested in the art of clowning and physical theatre, including actors, directors, improvisers, stand-up comedians, circus artists, mask performers and devisers of new work. Offering an extensive and hugely diverse compilation of tried-and-tested exercises and games, the book is for students, teachers and practitioners to aid ensemble-building, character development, devising theatre, physicalising text and vocalising movement, plus creating cabaret acts, clown routines and adding physical play to scripted scenes. It offers advice on subjects such as developing presence onstage; increasing strength, flexibility and physical expression; developing partner and trio relationships; understanding the power of the mask; and working with an audience - in particular, turning a performance into a conversation with the audience and increasing the actor's ability to connect with a crowd. The exercises and teachings have been developed in classrooms, workshops and theatres all over the world and the book is packed with insights from the author, who has worked for over 35 years in a wide variety of venues, from intimate performance spaces to large-scale sports stadiums.
Clowns: In Conversation with Modern Masters is a groundbreaking collection of conversations with 20 of the greatest clowns on earth. In discussion with clown aficionados Ezra LeBank and David Bridel, these legends of comedy reveal the origins, inspirations, techniques, and philosophies that underpin their remarkable odysseys. Featuring incomparable artists, including Slava Polunin, Bill Irwin, David Shiner, Oleg Popov, Dimitri, Nola Rae, and many more, Clowns is a unique and definitive study on the art of clowning. In Clowns, these 20 master artists speak candidly about their first encounters with clowning and circus, the crucial decisions that carved out the foundations of their style, and the role of teachers and mentors who shaped their development. Follow the twists and turns that changed the direction of their art and careers, explore the role of failure and originality in their lives and performances, and examine the development and evolution of the signature routines that became each clown’s trademark. The discussions culminate in meditations on the role of clowning in the modern world, as these great practitioners share their perspectives on the mysterious, elusive art of the clown.
Seven Russian Archetypes is a description of seven seminal Russian figures: the Victim (zhertva), the Fool (iurodivyi), the Rebel or the Bandit (buntar’ ili razboinik), the Wanderer (strannik), the Mother (mat’), the Peasant (muzhik), and the Intellectual (intelligent). Drawing from Russian history, folklore, literature, visual arts, and religion, these seven profiles are analyzed and presented in vivid and evocative detail. The seven portraits help to explain the Russian character and especially the groundedness of Russian culture in Orthodox Christianity. Many experts on Russian politics, business and culture, as well as admirers of Russian spirituality are aware of different features, both favorable and condescending, which display Russian mentality and temperament such as paternalism, messianism, collectivism, poor ability for self-organization, dogmatism, tendency toward asceticism and the penchant to bear suffering, radicalism, and inclination to extremes. From an external point of view, this is all accurate to a certain extent; nevertheless, these features explain neither the origin nor motivation behind the most evident behavioral manifestations. The more profound characteristics can be found only on the level of internal representations, which can best be revealed in symbols and archetypal characters. Seven Russian Archetypes explains these fundamental Russian symbols.
Shalimar the Clown is a masterpiece from one of our greatest writers, a dazzling novel that brings together the fiercest passions of the heart and the gravest conflicts of our time into an astonishingly powerful, all-encompassing story. Max Ophuls’ memorable life ends violently in Los Angeles in 1993 when he is murdered by his Muslim driver Noman Sher Noman, also known as Shalimar the Clown. At first the crime seems to be politically motivated—Ophuls was previously ambassador to India, and later US counterterrorism chief—but it is much more. Ophuls is a giant, an architect of the modern world: a Resistance hero and best-selling author, brilliant economist and clandestine US intelligence official. But it is as Ambassador to India that the seeds of his demise are planted, thanks to another of his great roles—irresistible lover. Visiting the Kashmiri village of Pachigam, Ophuls lures an impossibly beautiful dancer, the ambitious (and willing) Boonyi Kaul, away from her husband, and installs her as his mistress in Delhi. But their affair cannot be kept secret, and when Boonyi returns home, disgraced and obese, it seems that all she has waiting for her is the inevitable revenge of her husband: Noman Sher Noman, Shalimar the Clown. He was an acrobat and tightrope walker in their village’s traditional theatrical troupe; but soon Shalimar is trained as a militant in Kashmir’s increasingly brutal insurrection, and eventually becomes a terrorist with a global remit and a deeply personal mission of vengeance. In this stunningly rich book everything is connected, and everyone is a part of everyone else. A powerful love story, intensely political and historically informed, Shalimar the Clown is also profoundly human, an involving story of people’s lives, desires and crises, as well as—in typical Rushdie fashion—a magical tale where the dead speak and the future can be foreseen.
A Foreign Affairs Best Book of the Year Winner of the AATSEEL Prize for Best Book in Cultural Studies Winner of the Laura Shannon Prize in Contemporary European Studies Winner of the Marshall D. Shulman Book Prize Winner of the Wayne S. Vucinich Book Prize The Soviet Union was a notoriously closed society until Stalin’s death in 1953. Then, in the mid-1950s, a torrent of Western novels, films, and paintings invaded Soviet streets and homes, acquiring heightened emotional significance. To See Paris and Die is a history of this momentous opening to the West. At the heart of this history is a process of translation, in which Western figures took on Soviet roles: Pablo Picasso as a political rabble-rouser; Rockwell Kent as a quintessential American painter; Erich Maria Remarque and Ernest Hemingway as teachers of love and courage under fire; J. D. Salinger and Giuseppe De Santis as saviors from Soviet clichés. Imported novels challenged fundamental tenets of Soviet ethics, while modernist paintings tested deep-seated notions of culture. Western films were eroticized even before viewers took their seats. The drama of cultural exchange and translation encompassed discovery as well as loss. Eleonory Gilburd explores the pleasure, longing, humiliation, and anger that Soviet citizens felt as they found themselves in the midst of this cross-cultural encounter. The main protagonists of To See Paris and Die are small-town teachers daydreaming of faraway places, college students vicariously discovering a wider world, and factory engineers striving for self-improvement. They invested Western imports with political and personal significance, transforming foreign texts into intimate belongings. With the end of the Soviet Union, the Soviet West disappeared from the cultural map. Gilburd’s history reveals how domesticated Western imports defined the last three decades of the Soviet Union, as well as its death and afterlife.
There's nothing Maddie loves more than fabulous vintage clothes, but the visions she gets while touching them are starting to wear her down. Even so, when a beautifully dressed girl comes to Vintage Magic in search of her past, Maddie isn't about to turn her away, especially since she bears a striking resemblance to her good friend Dolly Sweet. When Maddie touches Paisley Skye's exquisitely crafted child's cloak, the vision she receives is of the ugliest sort: a decades-old case of kidnapping and murder. To give herself more time to investigate, Maddie enlists the help of her FBI Agent boyfriend Nick and takes Paisley into her home. But when Dolly suddenly skips town, Maddie realizes that uncovering the folds of Paisley's past will reveal more than one vintage crime...