"And now few words about clowning.
In a way clowning is similar to and at the same time the complete contrast
of tragedy.
A really great and talented clown, like a tragedian, is never alone, while
performing.
He also experiences a kind of “possession” by certain fantastic beings.
But they are of a different variety.
If we called the “doubbleganger” of tragedian a superhuman being, let us
consider the humorous retinue of the clown as consisting of subhuman beings.
To them he gives access to his body and psychology.
Together with his spectors he enjoys this whimsical eccentric and odd appearances
through himself.
He is their instruments for the amusement of himself and others.
There can be one or many of these pixies, gnomes, elves,
brownies, trolls, nymphs or other “good folk” of that species who take possession
of the clown, who make us feel that is not quite a human being.
But all of them have to be nice, sympathic, lovable, mischevious, funny (and
risible themselves) otherwise the clowning might become repulsive.
They must enjoy their temporary right use the clown’s human body and psychology
for their games and tricks.
You will find incalculably rich material for creating such “good folk” in
genuine folk-fairy-tale litterature.
They will stir you in giration.
Also bear in mind the important difference that exists
between a comedian and a clown.
While comedy charactere always reacts naturally, so to speak, no matter how
peculiar the character and the situation might be, he is afraid of things
when they are frightening, indignant, when the situation requires such a
emotion and always obedient to the motivation.
His transitions from one psychological state to the other are always justifiable.
But it is quite different with the psychology of a good clown.
His reactions to a surrounding circumstance are completely injustified by
things which do not give the slightest cause for fear, he might cry when
we would expect him to laugh, or he might utterly disregard a danger that
not require any psychological justification-sorrow and happiness, extreme
agitation and complete poise, laughter and tears-all might follow one another
spontaneously and change lighting- like without any visible reason.
By no means, however, is to be inferred that the clown
is permitted to be inwardly untrue and unsincere!
Quite the opposite.
He has to believe in what he feels and does.
He has to trust the sincerity of all “good folk” working within and through
him and he has to love their peculiar games and whimsies with all his heart!
Clowning, extreme though it is, can be an indispensable
adjunct to the actor in perfecting all the other types of performances.
The more you practice it, the more courage you muster as an actor.
Your self-confidence will grow with it and a new gratifing sensation will
slowly emerge from within you. “Oh, how easy it is” you will say, to play
drama and comedy after exercices and experiences in clowning!
Also your so called sense of truth on the stage will grow immensely.
If you will learn to be true and sincere (as distinguished from natural in
this instance) while performing clownish tricks, you will soon find our wether
or not your performances have occasionnaly sinned against this sense of truth.
Clowning will awaken within you that child wich bespeaks the trust and utter
simplicity of all great artists."
Michael Chekhov
Sacred clowns/Tony Hillerman