No Kidding: Clown as Protagonist in Twentieth-Century Theater / Edition 1

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Overview

No Kidding! Clown as Protagonist in Twentieth-Century Theater examines the way clown was transformed into a serious character in twentieth-century theater. Modernist theater practitioners recognized that clown's approach to performance is profoundly different from other modes of theatrical representation. The paradox of clown, a traditionally marginal, comic character thrust into center stage as the focus of the agon, provided a stimulating new way to renovate tragedy. Experiments with clown by Jean Cocteau, Vsevolod Meyerhold, Bertolt Brecht, Samuel Beckett, Giorgio Strehler, Dario Fo, and Roberto Benigni are examined as a means of exploring how and why clown became, in contemporary theater and film, a character from whom audiences expect philosophizing, angst, or political criticism as much as physical comedy and fractured language.
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Product Details

  • ISBN-13: 9780874138085
  • Publisher: University of Delaware Press
  • Publication date: 7/1/2003
  • Edition description: New Edition
  • Edition number: 1
  • Pages: 192
  • Product dimensions: 6.30 (w) x 9.30 (h) x 0.80 (d)

Table of Contents

1 Introduction: Towards an Understanding of Clown 11
2 Clown as Focus of Agon in Modernism 18
3 Chasing and Gagging Clown: Early Modernism and the Development of French Mime 25
4 Meyerhold's Transformation from Pierrot to Kapellmeister: The Fairground Booth and Columbine's Scarf 38
5 Clown in Brecht's Theory of Acting: Mann ist Mann as Anti-Tragedy 53
6 Clown in Beckett's Theater: Waiting for Godot, Endgame, Act Without Words 71
7 Clown in Giorgio Strehler's Theater 90
8 Clown as Proletarian Messiah: Dario Fo 109
9 Clown as Protagonist in the Heartland of Popular Culture 127
10 Conclusion: The Return of the Film Clown 142
Notes 151
Bibliography 171
Index 185
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