If what really matters is the relation between body and space, that is 'the game' or jeu -according to Fusetti, then I need to get back to the basics. Strip it off clever ideological jokes and play the space, the audience, the moment. Nothing simpler to say, nothing harder to do. Only one way to solve this equation: trying out.
OK, so some ideas. As John Wright says in the world of clowning everything is a game so, probably, instead of doing all the preparation in the somewhat ceremonial way I fashioned last time, next time I shall play:
'the game of setting the space'
'the game of undressing'
'the game of dressing up'
'the game of making the audience wait while I put on make up'
'the game of seeing the audience and saying hello (the game of breaking the ice)': this I hope to do by reflecting the attitude of whomever I say hello to.
This probably should bridge the gap I fell in last time: from ceremonial making up to silly fooling which I think scared some people -who let the dog out?!
Also, in retrospect it seems to me that last time I was too desperate to fill in the silences. Next time I shall try to practice the 'doing less' and work on the potential of silence.
Now, something important here. It also seems to me that I'm often not giving enough attention to the people who are ready to laugh, play and engage in silliness, and instead I tend to focus on those people who show a harder face and sell their smiles more expensive. Next time I shall capitalize on whoever is happy to play and try to create an appealing atmosphere for the more distant ones.
Another remarkable advice, this time by Chogyam Trungpa Rimpoche “We can't start perfectly and beautifully. Don't be afraid of being a fool; start as a fool.”
Now, the language issue. I'm playing in Germany, speaking in English. Nothing I can do about my German in the next 4 days so, how about speaking slower and clearer?
And finally the more substantial stuff to include in the show:
Question A) Red nose or not red nose, that is the question.
I think I will try a more Commedia type of approach. The figure of the Innamorato, the Lover is a Commedia dell'Arte stock character, an archetype who represents the one who loves to be in Love and more than anything loves to love himself. That, with a variation towards a Rosauro, which is a more buffonesque take on the same issue: sentimentality.
Technical stuff to try out: creating a very solid mask and then taking it off -speaking in a figurative way- that is dropping the character. And the so called 'aside' that is making side comments to the audience about what's happening on stage, another way to create a sort of more intimate dialogue with them.
In short: relax, don't be afraid, loosen up, seduce them, bond with them.
