ISTA's Scene Magazine - Comedic World Theatre Traditions - March 2022

comedic world theatre traditions

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Patron and Global Partner Schools Patron Professor Jonothan Neelands National Teaching Fellow, Chair of Drama and Theatre Education in the Institute of Education and Chair of Creative Education in the Warwick Business School (WBS) at the University of Warwick.

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Global partners Atlanta International School, USA Artist Residency Thailand, Prem Dulwich College, Singapore International School of Phnom Penh, Cambodia ISTA Performing Arts Academy, Hong Kong Near West, China St Julians School, Portugal

Scene Editor Helen Abbott

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Contents

Artwork

3 Editorial

Melissa Carne

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Bouffon

by Shruti Mishra © International Schools Theatre

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Commedia Dell’Arte: My journey into a forgotten world or

Association (ISTA) 2021-2022

how the heck do you teach this thing?

ISTA and its editors accept no liability for the views, opinions and advice contained in this journal. The editors reserve the right to edit any materials submitted for publication.

ISTA contact information International Schools Theatre Association (ISTA), Lakeside Offices, The Old Cattle Market, Coronation Park, Helston, Cornwall TR13 0SR United Kingdom office@ista.co.uk

by Paul Bongiovanni 10

by Fenella Kelly 13

Improv and the Happy Life

by Sterling Johnson 16

French Farce

by Emily Jane Grant 18

Beijing Opera – Chou Character

by Stephen Finegold 22

The Tragical Comedy or the Comical Tragedy of Mr Punch

by John Styles 26

Kyogen

by Ellis van Maarseeven 29

Red Nose Conundrums

by Neil Farrelly 32

Here Comes I

by Mike Pasternak 42

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The World of Rakugo

Biographies

Editorial comedy /ˈk mıdi/ noun 1. professional entertainment consisting of jokes and sketches, intended to make an audience laugh.

2. a play characterised by its humorous or satirical tone and its depiction of amusing people or incidents, in which the characters ultimately triumph over adversity. - Oxford Languages Comedy has long been used to entertain, yet it has myriad functions, depths and uses. It can help us make sense of the world or offer relief from the quotidien. It can reflect truths and experiences common to all of us or provide a space to interrogate contemporary politics or social issues. It is an enduring form of theatre.

This month’s issue is an exploration of some well known comedic world theatre traditions and some lesser known forms - Mike Pasternak’s longer read article on Mumming plays for example was of particular interest to me as I did not know much about this custom (and I also now know the Patagonian Fish Ritual activity, thanks Sherri Sutton and Alan Hayes!). It covers a wide range of traditions and travels the world, from Japan and the comic relief of Kyogen to the very English Punch and Judy.

I hope you enjoy reading these articles as much as I did. As always, thank you so much to the writers - your willingness to share your knowledge and contribute to Scene is a wonderful thing and is appreciated by us all.

If you have any questions, requests or comments please feel free to email me on helen@ista.co.uk. I would love to hear from you and any ideas for future issues will be gratefully received - Scene is created for you so just let me know what you want to see!

With thanks,

Helen Abbott

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Bouffon

By Shruti Mishra When we talk about comedic traditions, I

rhythmically repetitive and has the sense of a poetic

immediately think of people laughing everywhere

ritual. The Bouffons are a chorus/band of creatures

in the world. Then my eyes travel geographically to

that travel from place to place mocking a particular

look for who is making the people laugh and what

human situation.

they are doing to make people laugh. Is it a standup comedy act with jokes, punchlines and various

You might wonder why they are referred to as

themes running through it or is it a clown being

creatures. One of the reasons is that the Bouffons

stuck in a chair at the height of her/his stupidity?

are not attached to the like or dislike of the

Or perhaps it’s none other than Charlie Chaplin in

audience which makes them immortal in that

The Kid. Travelling all the way from Egypt in the

sense. They function as a chorus and their poetic

2400 BC where clowning found its roots, to the

world has their own rules of engagement with the

eighteen and nineteen hundreds which saw the

audience. They take great pleasure in mocking

beginning of vaudeville, slapstick and burlesque

human themes and human characters in a way

and to the more popular stand-up comedy acts

that provokes laughter from the audience that in

of today, comedy has found itself taking various

turn realises that it is laughing at itself.

shapes influenced by the different cultures all around the world.

The word bouffon entered the practising theatrical language through the work of Jacque Lecoq and

‘...to puff one's cheeks’ One such tradition is the Bouffon. The word

his pedagogical inquiry into its form and style.

‘bouffon’ comes from the Latin word ‘buffare’ which

He says in his book' - The Theatre of Movement

means to puff one's cheeks. If you take a second to

and Gesture:

take a deep breath and fill your cheeks with air, you will notice that your chest and shoulders expand

The difference between the clown and the bouffon

as well. The bouffon transposes this puffed-up

is that while the clown is alone, the bouffon is

cheek, and torso into a puffy, swollen and amplified

part of a gang; while we make fun of the clown,

body through costuming. The bouffon costume is

the bouffon makes fun of us. At the heart of the

often an exploration of dynamically enlarged body

bouffon is mockery pushed to the point of parody.

parts that look like deformities and swellings. The

Bouffons amuse themselves by reproducing the

performer's body is stuffed to achieve the distortion.

life of man in their own way, through games

Now that we can visualise the shape and form

and pranks. The parody isn’t directly offensive

of these creatures called bouffons, let's find out

with regard to the public; there is no deliberate

who they are and where they come from. Both of

intention to mock-the relation is of a different

these questions are the starting point of getting an

order. Bouffons come from elsewhere.

understanding of the tradition of the Bouffons.

Translated by David Bradbury Bouffons are creatures with swollen and deformed bodies who come from elsewhere. They travel in

In society the idea of mocking comes from a

bands appearing with mystery and mischief in their

sense of entitlement, the feeling of being superior

eyes. Usually, their entry in front of the audience is

to who we are mocking. The opposite of that is

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Photo by Timothy Rearick, taken from Claire Patton.com, 1st March 2022 also true. One can also mock from the state of having nothing to lose. The latter reminds us of the outcasts, the freaks and the marginalised. It is said that in ancient Europe, the odd ones, the ones with radical points of view, were put in exile outside the city to survive in deplorable inhuman situations. Though once a year they were invited back in during city celebrations. As much as they were looked down upon by the elite, the exiles were

The Bouffons carry both the deformities of society and its beauty within themselves. The Bouffons do not take the side of the oppressed and mock the oppressor. They investigate the behaviour of the oppressed that encourages and often perpetuates the oppression, and the entitlement of the oppressor. The Bouffons become human characters, imitate human behaviour and bring out the truth through poetic inquiry and play.

allowed to mock them back for their practising views, biases and prejudices in society.

To not upset the authorities, the outcasts found a way of pleasured mocking and parodying to provoke laughter from their superior audience.

In this way the exiled found their way of survival and became unbiased representatives of the human world.

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Commedia dell’arte: My journey into a forgotten world or how the heck do you teach this thing?

By Paul Bongiovanni Let me start off by saying, I’m not a Commedia dell’arte expert.

In fact, I’m not sure there are many experts on this topic. It’s hard to be an expert when there is hardly any documentation left as to what was performed or how Commedia dell’arte was performed. Unlike Noh, Butoh or Kabuki, who documented meticulously and handed down every miniscule movement and meaning of their plays, Commedia dell’arte just seems to have slowly faded away as its

approach this question is to give

the over the top, comedic form

popularity waned in Europe.

you a brief background as to how

really suited my acting style,

I came to know this art form.

probably because I’m a ham. We

I won’t bore you with the history

used masks, but unfortunately

of Commedia. You can easily

It began with a performance

the masks we used were made

search it up on the web and get

at University when I was just

by the actors, made from plaster

the information you need. Suffice

starting to discover my love

of Paris bandages dried and

to say, it was a very popular form

of acting. A freelance director

painted. We looked more like

of theatre that peaked around

was commissioned to create

burn victims than Commedia

the 15th century, then slowly

a performance for students to

characters and, suffice to say,

died away as audiences became

participate in for an upcoming

the play was a train wreck.

bored with the style and craved

festival. He chose to do a piece

Audiences were confused and

something else.

loosely based around Commedia

the director never worked at the

characters. It soon became

University again.

So, back to the title of this piece-

apparent to me that I had a

how the heck do you teach this

natural flair with this art form. It

But for me, it was the start of my

thing? I think the best way to

seemed to liberate me somehow:

journey into Commedia. I began

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to research it in detail and found

Acting note: if you are not

what I wanted them to achieve by

a whole world full of wonderful

totally exhausted and spent

the end of the workshop, and we

characters, funny scenarios and

after you have taken the mask

just weren’t getting there. I tried

intriguing relationships. This was

off, then you haven’t been

to analyse what was not working

mainly inspired by the book The

working hard enough

and it seemed that students

Art of Comedy. It had all the facts

were getting confused. So I tried

and history I wanted, including

After this came a few more

breaking it up. I asked myself-

pictures of characters in poses

performances, but then came

what are the main elements of

and…Imagine my delight when,

the crunch, and the theme of

Commedia that allow an actor to

in a chapter titled ‘The Troupes

this article, I was asked to teach

be able to perform it? I came up

of the Commedia’, where it listed

it to students.

with these four things:

the names of the actual actors in the troupes, there was one with my surname! It was fate I thought. I am a reincarnated version of a Commedia actor.

‘Don’t be afraid to give it a go.’

1) Status 2) Improvisation 3) Mask work

This research led me to enrol in a mask workshop which explored

As we all know, a brilliant actor

the Commedia characters via a

is not necessarily a brilliant

technique called ‘mirror work’.

teacher. A big part of my problem

I soon realised that I could only

This entails the actor putting on a

was, how do I impart all this

add the fourth if I were teaching

mask and being flashed suddenly

knowledge I had on the subject

it over a longer period, say, a term.

by the workshop leader (not

to students who knew nothing

The first three were quite enough

in that way!) They hold up the

about it? And how do I do it in

in an hour or two hour workshop.

mirror to your face, and you react

an hour? It has taken a lot of trial

to what you see. This technique

and error (mostly error) to come

I start with a brief introduction

is very hit and miss. It worked

up with a workshop and a way

about Commedia: history, roots,

for me, and I was able to lose

of teaching Commedia that I am

character origins; but not too

myself in the mask characters

somewhat happy with, and I am

much otherwise there is a risk

and it gave me a sense of what

more than happy to impart this

of losing my audience quickly.

the mask looked like and what

knowledge to you, dear reader,

One trick is to make it relevant to

movements could accompany it.

to try out, modify and improve.

them and use modern day shows

Soon after this, I got together

The first thing I quickly realised

Any modern sit-com has roots

with a couple of other actors

was that my standards were too

in Commedia.

and we decided to put on a

high. I was expecting too much

Commedia show. This is where

from students. I had a plan as to

4) Character work

as examples (Friends, Big Bang).

things took off for me. All the prep work - research, workshops, etc - had meant nothing until the moment I put on the mask and performed in front of an audience. I acted like one possessed. My character just exploded on the stage with such energy and verve that, by the end of the performance, I was exhausted.

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I then begin some basic status

The last bit, perhaps the trickiest,

work, I combine the status work,

work. Commedia is largely

but funnest: working with a

improv and a scenario, I send

centred on master/servant, I find

mask. This requires some skill

them off to work on it to then

this a fun place to begin. Students

and, depending on the student,

return to present to the class.

love being the master and having

can be a great experience or

Depending on time, I have them

power over the servants, which I

a terrifying one. For primary

do it again with feedback.

highly encourage.

students, it’s never a problem, but for teenagers, the idea of

So there you have it. A commedia

Once they get a handle on this,

being grotesque and over the

workshop. It has taken quite a lot

I turn to some improvisation,

top can be very daunting. I never

of experimentation, but generally

anything that gets them to start

push it. You don’t wanna, you

students enjoy it. No doubt,

using their improv brain. Then

don’t gotta. Although, if you have

there are things that could

I give them simple scenarios

a whole class that don’t wanna,

be improved. But if you take

to work on. A skeleton of a

then you’re out of a job. Try

anything away from this article,

master servant scenario. This

computer programming. I hear

it is this:

is achievable and with a bit

there’s a future in it.

Don’t be afraid to give it a go.

of feedback, they begin to understand what is required

For mask work I use a

It’s fun, and students enjoy

of them. At the end, I explain

combination of mirror work

it because it gives them an

that this is basically how the

and improv. It’s important the

opportunity to be over the top

Commedia troupes operated,

students see what they look like

and silly - provided you set up

no fixed script but a scenario

so they have a mental image

the right conditions.

that they could improvise from.

when they perform. Once they seem to get a handle on mask

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The World of Rakugo

By Fenella Kelly 'Comedic timing, pace, and even voice are crafts to be perfected - master them all and you can command an audience at will. In the hands of a gifted storyteller, even the dullest story can make us laugh. And no comedian is more studied, intuitive, or gifted than the one who performs rakugo… This one-man show has been described as 'a sitcom with one person playing all the parts' by linguist Noriko Watanabe' Rikumo Journal, 2016

Japanese Rakugo: History and Meaning Behind

Initially known as karukuchi, its first appearance

the Sit-Down Comedy

dates back to 1787, in reference to this kind of verbal performance. However, the term 'rakugo'' was first

Literally translating to 'fallen words,' rakugo is a form

used to replace karukuchi (meaning talkative)

of entertainment in Japan. It is the art of comedic

during the Meiji period (1868-1912). The term itself

storytelling that has been present for many years. It

became more common among the masses only

consists of a lone storyteller (rakugoka) dressed in

during the Showa era (1926-1989).

a kimono, sitting or kneeling on a cushion (koza) on the stage. With only a single paper fan (sensu) and a

Many people may be surprised by the fact that

small cloth or hand towel (tenugui) as props for his

rakugo was conceived by Buddhist monks in the

performance. The rakugoka tells a traditional story

9th and 10th century. Because their sermons can

(10 to 40 minutes long) in a comedic way. The story

be quite lengthy, the audience would sometimes

is composed of various characters, all played by the

get bored and tend to lose attention. Hence, by

voice of the rakugoka, only varying in tone, pitch,

doing this form of storytelling, it made the monks'

and a slight turn of the head.

sermons more interesting to the listeners. Original

Rakugoka using the sensu (fan), photo taken from Wordpress.org, 1st March 2022

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stories from the tradition can be found in the

must undergo apprenticeship under a rakugo

collection 'Uji Shui Monogatari.'

master for about three to four years, where he will get his stage name from the master. The

As time went by, this form of storytelling

apprenticeship can be quite strict with certain rules

transformed from narrative to monologue. This may

and regulations depending on the master. There are

be due to the daimyo and feudal lords requesting

some who are not allowed to drink, smoke, or even

and looking for skilled people who would be able

go on dates during the period of apprenticeship.

to provide entertainment through different kinds

The apprentice also does household chores for the

of storytelling. This art of storytelling was then only

master such as doing laundry, cleaning the house,

limited to the upper class that sought various kinds

folding kimonos, and cooking.

of entertainment.

Hence, with these many rules, only those who Come the Edo period (1603-1867), the rakugo

are serious about becoming a rakugoka should

proliferated to the lower classes. Because of the

apply. The apprentice learns the art of rakugo by

merchant class of the chonin being established

watching his master perform through the years

during this era, this form of entertainment was

and emulating the master’s actions during the

introduced to varying classes. It was during this

performance. Furthermore, a story can only be

time that several groups of performers in rakugo

performed by a rakugoka once permission has been

were established, and gatherings of texts were

granted by a master storyteller.

printed. The storyteller at this time, and throughout the 17th century, was called the hanashika, literally

To this day, there are still some traditional theaters

translating to the storyteller.

that hold live rakugo performances almost every single day. The rakugo culture and performance still shine despite the advancement of modern

‘The apprentice learns the art of rakugo by watching his master perform through the years’

technology. The traditional art of storytelling in Japan lives on and if you are ever in Japan one should not pass up the chance of experiencing this and understanding what a rakugo performance is all about.

Information above taken from Rakugo: The Comedic Storytelling in Japan by YABAI Writers, accessed on 23 Aug 2020.

Steps involved in Rakugo training

The Art of Telling Stories in Rakugo Theatre The training to become a hanashika (storyteller) There are many elements in performing rakugo.

now known as a rakugoka (person of the falling

The rakugoka, literally translating to the 'person of

word) involves several stages, taking from 15 years

the falling word,' must undergo years of training

up to a lifetime. Some of the stages below will be

before being allowed to perform in rakugo theatre.

covered in the workshop.

The purpose of the rakugoka is to generate hilarity among his audience by telling a comedic story with

The deshi (apprentice) works with a shisho

the use of voice and limited, but distinct gestures of

(master) and learns how to become a rakugoka by

the body. The ending of the monologue is usually

imitating the shisho. This is an oral tradition and the

accompanied by a narrative stunt, or punchline,

apprentice is not allowed to take notes or record

called ochi, which translates to 'fall,' or sage, which

their master performing. The stages are as follows:

translates to 'lowering.'

Stage 1: Minarai (apprenticeship) – live with the As for the storyteller himself, there is training to

master, do household chores, learn etiquette and

become a professional rakugo storyteller. A person

respect, watch and imitate the master, attend the

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theatre and work as his attendant (help dress, fetch drinks etc). This takes one year or more.

To find out more check out these people and websites:

Stage 2: Zenza (minor performer) – the formal training begins, but still have to do chores. At this

Diane Kichijitsu (Rakugo performer)

stage the student gets to perform first in the lineup in the yose (theatre). They are not paid, and this

Katsura Kaishi & history of Rakugo

stage can take 3-5 years. Some deshi never move beyond Stage 2.

Showko Showfukutei

Stage 3: Futatsume (second level) – no longer need

Kimie Oshima (English Rakugo Performer)

to do chores, and now receive their stage name to now start earning a living from their art. The

Rakugogaku (use of props and your imagination)

Futatsume can have their own tenugui (hand towel) printed with their stage name on, which is handed out to yose officials. For rakugokas, becoming a Futatsume is the happiest day of their lives. They can be at this stage for 10 years or more.

Stage 4: Shin’uch (star performer/headliner) – reaching this stage is decided by the Kyokai (rakugo association) and shujin (head of the yose). At this stage, the rakugoka adopts a new stage name (usually named after a previous famous rakugoka) and hands out new tenuguis and fans to prospective employees and audiences.

Information above taken from: Rakugo Professional Japanese Storytelling by Amin Sweeney

Rakugoka in the yose (theatre) seated on the koza (cushion on the stage), photo taken from Wordpress.org, 1st March 2022

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Improv and the Happy Life

By Sterling Johnson RULE#4: Say “Yes!”

Two passions of mine that have

to learn. Improv lets us simply be

been slowly colliding are drama

authentically in the moment. If

and well-being, and how the two

our lives are more playful they are

Sure, every Drama teacher knows

can co-exist and compliment each

in all likelihood more enjoyable.

there’s a place for “No” in our

other. I’ve always “felt good” when

Let’s take the time to play!

careers. Saying “No” at times can

I was doing Drama, so it’s fair to speculate (and data supports

certainly be a necessary and very RULE#2: Let Yourself Fail

this) that acting is good for our

powerful thing. However, life offers opportunities and certain doors

health. Perhaps, the healthiest

Failure can be painful. Lord knows

open and if we do not say “Yes”

form of Drama is Improv. I have

we’ve all failed in different aspects

to them, they will close. As they

been fortunate to teach a class

of our lives. But as painful as failing

say, “Never refuse an invitation”

specifically dedicated to Comedy

can be, these are also when the

as often when you do another

and Improv for the last six years

most learning and growth can

one is not so easily forthcoming.

at Cairo American College. It has

happen. If we are afraid to fail we

Take the time to receive what is

been, without a doubt, one of my

will never challenge ourselves.

given to you.

most successful and enjoyable

Those who dare greatly often

classes to teach. How can Improv

fail greatly. More and more as

teach us to be better performers

societies we are celebrating failure

and perhaps to even have a better

and mistakes, and how within

The cherry on top. Don’t only

life? I’d like to outline some ways

them lies the recipe for success.

say “Yes”, but build on it. What

whilst looking at some of the

The key with failure in Improv,

are you bringing to the party?

(albeit debatable) rules of Improv.

as in life, is to not let it beat you.

Some good food? Good wine? A

Get up, do it again and do it in

good attitude? All these will help

a different way. Persevere and

contribute to building something

believe in yourself!

great! “And” shows you are

RULE#1: Play Play is fun. Play is enjoyable.

When we “do” Drama we perform

RULE#5: Say “And!”

listening “And” shows you care, RULE#3: Listen

a play, so the activity itself should

“And” shows you’re a collaborator, a helper and that you’re ready to

certainly lend itself to having fun.

Many actors love to talk and many

Improv is about being silly, trying

people love to talk. We all know

things out, different characters,

what we think and we love to

RULE#6: Play by the Rules of

situations and activities all

share it. I’m a fan of the “pregnant

the Game

without a pesky script and lines

pause” . Take a moment, let the

‘...acting is good for our health’

build something together!

person finish, your chance will

There are ways to behave in every

come. Let’s use those eyes and

setting. Sometimes rules can be

ears and really hear what each

a real pain, but most often they

other has to say. Could this make

set us up for success and we

for a better scene and dare I say

find freedom within the barriers.

a better world? Perhaps. Take the

“Just play” can be vague, but if

time to listen.

we’re specific and for example say, “You three play and you can

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only say one word, you have to be

Bunny, Bunny” 3 times in unison.

“YES AND I made it for you.” The

on one foot all the time and you

Then they point to someone else

other player responds, “YES AND

can only speak as if you are an

and say their name. People can be

I have a thousand dollars for it.”

animal / human hybrid”. These

eliminated if they hesitate, forget

“YES AND I am going to use that

restrictions open up the mind

to say someone’s name, put up

money to make a hundred more

to take action and spur further

the wrong arm or flinch and jump

coats for you.” The players must

creative possibilities.

in when it is not their turn (when

always have the “Yes And” at the

they are not part of the group of

beginning of their sentence.

RULE#7: Relax and Have Fun

3). If you have a large group it can widdle down to 3 finalists and

And perhaps one of the greatest

Take the time to breathe and let it

sooner or later someone will make

Improv Activities of all time…

happen. Tension is a killer. Always

a mistake and then you have two

wanting to do it the “Right way”

champions. Students, generally

can lead to the “wrong way” Many

love the friendly competition

great acting and great moments

version, but it’s okay also of course

Improv activity for 4 players. 3

in life happen when we are calm,

to just keep everyone in.

guests and one party host. The

focused and truly in the moment.

Party Quirks

party host tries to guess what Yes, Let’s!

In closing, well that’s it. Some

quirks the guests have. The guests enter one at a time and

rules for Improv and perhaps for

This warm-up focuses on

show don’t tell their quirks. They

a more happy and successful life.

accepting offers and getting silly.

may give vocal and physical clues,

I believe applying these rules to

Start milling about the room

but cannot say who/what they are.

Improv and to our lives will help us

or get in a circle and take turns.

I encourage the host not to guess

feel better. I hope they are of some

Someone will loudly suggest an

until all guests have entered the

use to you. So get out there and

activity for all the group to mime.

party scene.

play, say “Yes!”, fail, and have some

Everyone simultaneously yells

fun along the way!

“Yes, let's!”, and starts to do the

Potential quirks:

activity. Once the activity has Some fun Improv Activities to get

been mimed for a while another

You think you’re royalty, you

you started:

one is yelled out and the group

sneeze jewelry, you have an

responds with “Yes, let's!” and

imaginary friend, you’re magnetic,

starts the activity. For example,

you haven’t slept in days, you’re

if someone calls out let’s all dig

always sleeping, you think you’re

Everyone into a circle. This warm-

holes. The group responds with

on fire, you have x-ray vision, you’re

up breaks the ice, gets people

“Yes, let's!” and then everyone

made of rubber, your nose grows

listening and gets the blood

starts to dig holes. Then someone

when you lie, every time someone

flowing. One person in the circle

will suggest a new activity and

says a keyword you make an

is chosen to point to one of the

the cycle continues.

animal sound, you have laser eyes,

Bunny Bunny, Bunny!

other people in the circle. They say the person’s name and the person

you can’t stop dancing, you think Yes, And!

pointed at sticks out their fingers

you’re a soccer ball, you fall asleep and wake-up constantly, you’ve

in front of their face to make the

This exercise emphasizes

swallowed a phone, in love with

semblance of bunny teeth. The

accepting and supporting other

a color, turn into furniture, think

people on either side of the “tooth

players on stage. Two people up

you’re a supermodel, you can’t

person” must make the ears of

facing each other. In “Yes And” the

stop dancing, emotional wreck,

the bunny. So the person on the

players are constantly saying, “Yes

unfrozen caveman, the head of

left side puts their left arm up

And.” It goes something like this.

a fly, octopus tentacles for arms,

and the person on the right uses

One player makes a statement to

flowers are growing out of your

their right arm to form the right

start. They may start off with, “Your

bellybutton, mean librarian,

ear. Then together they bounce

coat is so lovely.” The response

up and down and say “Bunny,

of the other player could be,

14

Tips: LEARN TO LISTEN and take in information to figure out who someone is. To not talk over the other performers in the scene. Share the stage!

Resources: TEDx Talks, Dave Morris: The Way of Improvisation Whose line is it anyway? (Excellent TV show American and British, with tons of improv activity examples.

You can find episodes on YouTube. The older episodes are the most suitable to share with students.)

Improv MS Drama, lunchtime student showcase, Cairo American College

15

French Farce

By Emily Jane Grant The term farce from the Old French term ‘farcie’

for example, a husband organises an illicit evening

meaning stuffed or filled was born in the 15th

with his friend’s wife, a family find themselves

century in France and used to describe early forms

with nowhere to stay and a maid and young guest

of clown, acrobatics, buffoonery and even burlesque

decide to plan a night away all ending up in the

interludes that would have been improvised and

same hotel. In the Second Act, the setting changes

used to lighten up more serious religious plays.

and the characters arrive ready to carry out their

This would have developed and later drawn on

deceptions. Then a succession of encounters and

influence from the improvised lazzi in Italian

confrontations begins where all characters end up

Commedia dell’Arte. The form of French farce,

meeting the last person that they wish to see. Panic

however, although continuing the aims of making

takes hold as the characters try desperately to cover

an audience laugh with physical comedy and

up their deception (in Paradise Hotel, there are 279

exaggerated characters, was to evolve into a refined,

of these exits and entrances!). In the third act, the

structured and written form initially accredited to the

chaos continues until we find ourselves often back

‘Premier farceur de France’, Moliere, then in French

in the original act one setting with situations being

Vaudeville theatre with the likes of Eugène Labiche,

somewhat resolved.

Victorien Sardou, Eugène Scribe (responsible for creating the ‘well-made play structure’) and

Manual A. Esteban in his book on Georges Feydeau.

afterwards importantly to Georges Feydeau, the

describes this plot structure as being: ‘like a coil that

master some might say, of French Farce.

is twisted and pressed until at the end it is ready to spring up of its own accord’. This rhythm and pace

I keep the cool, calm pose of the chemist measuring

are essential to the success of these pieces. Not only

out his medicine. I put into my pill a gram of

was Feydeau a writer but a rigorous director and he

imbroglio, a gram of licentiousness, a gram of

demanded precision through his elaborate stage

observation. As well as I can, I grind them all into a

directions which would often take up over a page

powder. And I can tell, almost without fail, the effect

detailing, the precise construction of decor, the time

that they will produce...

that ought to be taken to deliver dialogue, particular

Georges Feydeau

actions assigned to a particular word; sometimes, he even resorted to creating musical style notation for

Born in Paris to a middle-class, artistic and literary

his players to describe what was needed to achieve

family, Georges Feydeau wrote during La Belle

the desired rhythmic effect. These lengthy stage

Epoque, between 1881 and 1916 no less than 39

directions give a score of physical action for the

plays. His plays deal mainly with family matters,

actors to follow.

marriage breakdowns and frustrations, infidelity, relationships, and power. Female characters often

Feydeau’s characters are unaware, at the mercy

rule the roost with frustrated husbands planning

of their own destiny and almost mechanical in

guilty escapades or offering to rescue other more

their form. They often have behaviours relating to

vulnerable women. Many of his plays follow a

their past experiences or occupations that reveal

similar structure: The Deception Formula and are

themselves at moments of heightened emotion

written in three acts. In Act 1, the characters plan,

as if previous trauma or experience create different

discover or begin one or more deceptions, these are

masks for the character to wear. Pochet, Amelie’s

dramaturgically structured in such a way that the

Father who is an ex-police officer in Occupe-toi

characters will come together in the same physical

d’Amélie (Look after Lulu) transforms back into a

space. In L'Hôtel du Libre échange (Hotel Paradiso)

version of his former self and begins to order people

16

around if they gather in groups. Madame Virtuel the midwife in Léonie est en avance (Leonie is early) only talks in medical jargon whilst she precisely and some might say aggressively - prepares her various instruments in anticipation of the birth.

The passionate Hispanic Carlos Homenides de Histangua in Un puce à l'oreille (A Flea in her Ear) when he hears that his wife may be cheating, swears to kill her and proposes a duel in what might seem out of style, but very much in custom in his native land, with the man he believes to be his wife’s lover.

‘So, why explore Feydeau with your students?

It really is excellent acrobatic training in comedy, timing and ensemble play.’

In true tradition of farce, the plays contain exaggerated characters with defined physicality sometimes with physical and speech impairments.

There are people who mispronounce, foreigners (often from other francophone countries) with regional dialects and strong accents; all giving greater scope for confusion and misunderstanding.

It is certainly a feat to translate from French and any director taking on the task of putting up one of his plays is advised to read several translations or even better have a French speaker in the cast that can help to identify the most effective versions that manage to transpose some of the many plays on words that are used. Feydeau’s style has gone on to influence the likes of John Cleese, (Clockwise / Fawlty towers,) Michael Frayn, (Noises off,) Alan Bennet (Habeas Corpus) and Alan Ayckbourn, (Bedroom farce) as well as Mischief Theatre in plays such as The Play That Goes Wrong.

So, why explore Feydeau with your students? It really is excellent acrobatic training in comedy, timing and ensemble play. It’s a joy to unpack the intricate stage directions. It’s an opportunity to create and play with these exaggerated mechanical characters and their varying modes of play. His work gives us licence to indulge in the unlikely, absurd, and ridiculous but all within reason: the dread of scandal allows his characters to behave like mad people. Nothing needs to be added, it’s all in the text and once that is found, once the comic metre is followed, the company can surrender themselves to the plot and, with their partners, dive into the action that is only going to pick up pace so hold on tight! As Eugene Labiche says: A play is a little beast with a thousand legs which must always advance.

If it slows down, the audience yawns if it stops, the audience boos.

Feydeau in 1899, painted by his father-in-law, Carolus-Duran

17

18

Beijing Opera – Chou Character

By Stephen Finegold When I first came to Shanghai in 2017 I was

The Chou or comedy actor generally plays the role of

particularly interested in discovering and immersing

a rash but likeable and witty character. Sometimes

myself in Chinese theatre traditions and three

the Chou can be a mischievous scoundrel, often

months later I attended my first performance of

displaying a nasty streak, sometimes a high

Beijing Opera at the Yifu Theater, which is part of

standing buffoon. Seen this way we can divide

the Tianchan Peking Opera Centre. I was, to say

the Chou into two sub types: Wu Chou, who often

the least, stunned by the incredible physicality,

performs minor military roles such as a low ranking

the colours, the humour and the beguiling music.

soldier, the actor will be skilled in acrobatics and

This was a performance of The Journey to the West,

martial dexterities, and Wen Chou, who is usually a

based on the 16th century novel Journey to the

non-combatant, such as a bureaucrat or merchant

West by Wu Cheng'en, with the Monkey King as its

or scholar; Chou costumes are traditionally either

central character, played by the master, Yan Qinggu.

elaborate or fussy if of high social standing, or drab

I was hooked.

and simple if of a low standing. The make up for the Chou is relatively simple as compared to some of the

Yan Qinggu is a third generation student of

other hugely elaborate face painting in other role

the Zheng school of Peking Opera and a Chou

types. It consists of a small patch of white powder

master. In Peking Opera, the chou (which has

applied to the area on and around the bridge of

the literal meaning “ugly”) is a comedic stock role

the nose, and identifies the character as a clown in

and represents characters who are humorous or villainous or humorously villainous. Many purists consider the chou as a minor role used for comic relief but there is no doubt the chou has a special place in the hearts of the avid Peking Opera aficionado.

In Peking or Beijing opera, the actor's roles can be divided into four main headings, dan, sheng, jing, and chou, which roughly translates to female, male, painted face, and comic. Each role has its own performance conventions taking in gesture, physicality, and vocal technique. While the character of Monkey King is not strictly considered Chou as it has its own special role type and is particular only to Monkey King or Sun Wukong in Mandarin Chinese, it has often been measured alongside Chou characters due to the typical performance conventions of blinking eyes, bent knees and martial acrobatics.

19

much the same way as the red nose signifies the

On the opening night and with some trepidation,

western clown.

we were honoured and delighted to welcome the Chou master himself, Yan Qinggu to the audience.

It is important to note that the Chou is not

He was fascinated with what we had achieved

necessarily played as a fool but can be performed as

and our students were delighted to be able to ask

a serious, even evil character but will always provide

questions of their hero. Yan told us:

the humour for the audience. Despite a Chou performer undergoing harsh training for many

“Peking Opera is facing a shortage of experienced

years, often from childhood, the actor is uniquely at

chou performers. It is incredibly demanding work,

liberty to improvise and it is this spontaneity that is

as these roles call for skills in singing, speaking and

considered the Chou’s distinctive technique.

acrobatics which young people are less and less willing to commit to.”

Sometime after my eye-opening introduction to Peking Opera, I had the opportunity to direct the

He said he found an inner pride and satisfaction

Middle School Theatre Production at Shanghai

in what he saw at Shanghai American School and

American School and I knew immediately that I had

hoped that the performance would inspire some of

to do something based on what I had experienced

the students to devote their future to some of these

a few months earlier. I had studied western clown

ancient traditions. I couldn’t agree more.

in depth with the celebrated academic and director, John Wright and had developed a fascination with his ideas around the notion of tragic clown, boss clown and simple clown. I wanted to use this experience in the production and chose a western version of The Journey to the West called The Monkey King written by playwright, Rob Garrett in 2010. In this script the Monkey King character is far more aligned to the Chou role type and I wanted to see how far we could take this. The exceptionally talented student who took on the role performed a hilarious version of this ancient character using techniques from Chou combined with some western conventions of clown.

20

‘Sometimes the Chou can be a mischievous scoundrel, often displaying a nasty streak, sometimes a high standing buffoon.’

Yan Qinggu with student Leona Lu as Monkey King, Shanghai American School, Pudong Campus, May 2018.

Performers and Roles in Peking Opera, image taken from China Educational Tours, 14th March 2022

21

The Tragical Comedy or the Comical Tragedy of Mr Punch

By John Styles

Punchinello from a playbill of John Norris at Bartholomew Fair, 1700.

I have been a Punch & Judy

The performance is physically

30 minutes, each wearing a

performer, or 'Professor' for over

and emotionally demanding.

hefty wooden puppet. I have

70 years. It’s been an unusual

It requires: a dramatic ability,

to physically run around in full

way to earn a living, standing

a skill to improvise and to

circles several times during the

alone in a small upright tent, or

unexpectedly deviate from the

performance as one puppet

'castello', surrounded by a weird

script, a comedian’s timing, skilful

appears to chase another.For

assortment of grotesque hand-

manipulation of each puppet

most of my performing career I

puppets. The entire cast of the

and considerable stamina. This

did not have the benefit of

show even includes a crocodile

is because both hands are held

sound amplification, so rather

and a string of sausages!

above the head for approximately

than just speaking a performance

22

it had to be shouted in order to

in his image. Some travelled

changed to the predominately

be heard above traffic, barking

extensively which explains one’s

red and yellow of the medieval

dogs, aircraft and even general

eventual appearance in Covent

Fool’s dress.

human conversation.

Garden. The character also became an established tradition

Although the show became

The first official sighting of Mr

in France where he was known

anglicised many of these

Punch’s predecessor in England

as 'Polichinelle'.

characters had also appeared in

was by Samuel Pepys, the

the Italian and other European

Government Minister and Diarist,

In the following years,

versions – Wife – Baby – Officer

on the 9th May 1662 in London’s

witnessing the puppet’s obvious

of the Law – Devil – Doctor

Covent Garden. He noted that

popularity, other puppeteers

– Clown – Hangman. Mr

he’d visited Covent Garden to

began to include him in their

Punch eventually acquired a wife

look at a picture in an alehouse

performances. In his floppy

called 'Joany' who, in the 19th

and went 'thence to see an Italian

white costume, hat and hooked

century, became 'Judy', slang for

puppet play that is within the rails

nose mask, his appearances as

'tramp’s woman'.

there, which is very pretty, the

a marionette were worked by

best I ever saw, and a great resort

a rod and strings from above,

There is evidence that through

of gallants'. Two weeks later he

mainly interrupting serious

the years puppets have had very

took his wife to see it and wrote

dramas and providing comic

distinctive voices, or a squeak,

'Indeed it is very pleasant'.

relief. It was not until the late

which Mr Punch also inherited.

18th century that he appeared

This sound is achieved by placing

It was not a Punch & Judy show

on the streets as a glove puppet

a small reed-like instrument into

he witnessed. It was an Italian

in the portable 'castello', a small,

the mouth and speaking through

puppeteer, Pietro Gimonde

upright one-man theatre. He now

it. It is an Italian and French

performing with a 'Pollicinella'

had more flexibility of movement

tradition known as a 'pivetta' or

marionette – a name that the

and was able to pick up objects

'sifflet-practique', now known

English eventually pronounced

and use his stick to dispose of

here as a 'swazzle'.

‘Punchinello’ and finally just

any problems. Consequently,

‘Punch’. This puppet was no

a new storyline and characters

Punch has cousins in several other

doubt inspired by a popular

emerged, even his costume

countries: 'Jan Klaasen' in Holland,

character featured in the Italian Commedia dell’ Arte’s repertoire – Pulcinella, a member of the ‘Zanni’, being a troupe of witty, foolish and comical business actors noted for their curious costumes, grotesque masks and their regional accents. The character of 'Pulcinella' stems from Neapolitan peasantry.

Although appearing to be humble and slow-witted, he could display cunning and very gross characteristics as well as being foolish, sly, boastful and a coward who ran away at the sight of danger.

He became popular in the Naples area so it is not surprising that local puppeteers made puppets

Doings of Punch & Judy, Robert Cruikshank, 1828.

23

‘This has been the basis of comedy since we first learned to laugh at life.’

'Valicke' in Romania, 'Karagheuz'

the streets. Performers found that

appear in most shows, but

in Turkey, 'Meistr Jacel' in

they were being invited to perform

storylines barely exist. As long

Denmark, 'Kasperl' in Germany,

indoors at children’s parties and

as characters come and go, the

'Tchantche' in Belgium and still

the like, where they had to clean

audience stay and watch.

'Pulcinella' in Italy.

up their acts and omit vulgar adult

Today, performers will adjust

jokes and scenes. Their young

their performance according to

Puppet shows, like Music Hall,

audiences were encouraged

the average age and class of

had initially appealed to the

to react to Punch’s outrageous

their audience. In the United

unsophisticated, under-privileged

lies and bad behaviour. When

Kingdom there are now many

lower class. As a result, for over

he disposed of a character,

women who perform the

two hundred years Punch was

he’d declare 'That’s the way to

traditional show as well.

considered entertainment for

do it', to which the audience

adults. Performances contained

would respond, 'Oh no it isn’t'.

The Punch & Judy show is derived

situations that they could identify

These phrases are still retained

from centuries old Italian farce

with, such as domestic strife,

in today’s shows resulting

which depicts the light and shade

crying babies and parental

in amore vibrant, audience-

of life. It ends with the triumph

duties, the law and restrictions

participating performance.

of good over evil – pointing

imposed by religious doctrines.

the way to a moral conclusion

The manner in which Mr

Through the centuries Punch’s

which is both highly effective

Punch disposed of these daily

performing spaces have ranged

and entertaining. Critics do not

problems and pompous officials

from village greens, country fairs,

always give audiences credit to

endeared him enormously to his

theatres, the streets, parlours and

differentiate between fantasy and

audience – the people. He was

beaches. Along the way he has

reality. When watching a 'Tom &

now emerging as a folk hero. His

inspired artists, authors, actors,

Jerry' cartoon one instinctively

own peculiar form of humour

ballets, operas, plays, poets, films,

knows it’s surreal and only make

was 'Slapstick' from which it

a satirical magazine and even

believe. The apparent 'violence'

derives its name of the ancient

pop songs.

is defused by laughter and

theatrical prop - a slapstick. This

becomes acceptable. By laughing

is so called because it consists

Each year somebody takes

at these representations any fears

of two pieces of wood joined

exception to the show, claiming

or influences are driven away –

in the middle, which when

that it encourages violence and

the Greeks called it 'catharsis'.

hit together magnifies the

generally sets a bad example to

sound. This is where the term

children. This is invariably reported

In the current climate of violence

‘slapstick comedy' originates,

by the media resulting in national

portrayed in both children’s and

demonstrated in the traditions

negative publicity. But on each

adult entertainment, the humour

of Charlie Chaplin, Buster Keaton

occasion, Punch & Judy have

of Punch & Judy represents

and Laurel & Hardy. There was

ridden the storm, survived and

no more than an individual’s

no audience participation as we

are still very much in demand.

misfortune – a man slipping on

know it today. Now audiences are encouraged to respond.

a banana skin. This has been the Domestic violence is no joke and

basis of comedy since we first

we never set out to demonstrate

learned to laugh at life.

In the early 20th century,

that it is. The show is not about

prevailing outdoor conditions

violence, it’s about laughter. No

Charles Dickens was fascinated

and laws prevented Punch &

two shows are exactly the same,

by Mr Punch and often referred

Judy from being performed on

familiar characters will certainly

to the show in his novels.

24

When a woman wrote to him complaining about Punch’s knockabout behaviour, he responded : 'In my opinion the street Punch is one of those extravagant reliefs from the realities of life which would lose its hold upon the people if it were made moral and instructive. I regard it as quite harmless in it’s influence and as an outrageous joke which no one in existence would think of regarding as an incentive for any kind of action or as a mould for any kind of conduct. It is possible I think that one secret source of pleasure very generally derived from the performance, as from the more boisterous parts of a Christmas pantomime, is the satisfaction the spectator feels in the circumstances that the likenesses of men and women can be so knocked about without any pain or suffering’ Today’s Punch & Judy shows still contain the ingredients of an ancient form of theatre and the Italian masks of the 'Commediadell- Arte'.

It is over 250 years since Samuel Pepys first enjoyed the antics of the puppet 'Pollinicella'. I sincerely believe that his ancestor, Mr Punch, will continue to give pleasure for another 250 years.

'Professor' John Styles, MBE

Punch & Judy in the Drawing Room from Aunt Louisa's Coloured Gift Book, 1880.

25

Kyogen

By Ellis van Maarseeven

Photo taken from Traditional Kyoto.com, 1st March 2022 I am aware that I’m kicking open

This tradition is about laughing at

to an audience! As fate goes, one

a door stating that comedy is

characters who are funny because

of my first jobs after drama school

funny because it’s often so sad.

their situation is recognisable,

was in a farce. I thought ‘I can do

When I watch a comedy I can

and often sad. Like most comedy

tragedy, so comedy should be

laugh, while at the same time

elsewhere in the world.

a doddle’. You guessed it, how

feeling embarrassed to laugh at

wrong could I have been. Doing

something that can be so painful.

When I trained as an actor, I

comedy requires a whole different

I will close that open door quickly

thought doing comedy was, well…

set of skills and I had to learn those

by underlining that this is not an

below me. One should be doing

rapidly, gently coached by more

article on the science of comedy.

Tragedy to be taken seriously as a

experienced comedy actors who

Instead, I want to write about

performer, and I lapped that up.

I had ignored during my years

how we as global citizens can

Give me the characters that suffer!

training for the Higher Arts - you

be connected through comedy,

Those that show deep and difficult

know, because of all the ‘subtlety,

and here I will be focusing on

emotional patterns! Let me shine

suffering and strife’...

the Kyogen tradition from Japan.

at getting pain and agony across

26

Farce and comedy in traditional

ethic of the Samurai class and

The entertaining factor of

Japanese theatre rears its

their superiors that ‘a man must

Kyogen is immediately clear

attractive head in the form of

not laugh more than once every

to any audience, as it reflects a

Kyogen, and at times also through

three years’. The ‘father-of-Noh’,

simple story with clownesque

Kabuki and the puppetry theatre

Zeami, in the 14th century,

performances, very similar to

of Bunraku.

warned that one of the actor’s

farce or comedy performed in

artistic responsibilities was to not

many other parts of the world.

These last two have been around

cause laughter when performing

Fun is being made of the

for more than four centuries,

the entertaining Kyogen plays

relationship between the lower

while Noh and Kyogen are even

that were shown in between the

and upper classes (servant, boss),

older (14th Century). The Japanese

Noh plays.

or the weaknesses in human

upper classes - the Emperor,

thinking and behaviour, or even

Daimyo and Samurai - studied

The word ‘Noh’ means ‘pristine

the misunderstandings that arise

both the arts of fighting and

accomplishment’ or ‘perfected

between couples and the in-laws.

performing arts, and were the only

art’, and ‘Kyogen’ means ‘crazy

The stories are easy to follow,

ones allowed to watch the serious

words’. Noh derived from very

the characters are recognisable,

Noh Theatre performances. They

ancient rituals performed by

the expression of emotions are

admired the beauty in language,

priests, and is connected to the

exaggerated, you can expect

the music and movement and

Chinese Nuo performances

some vulgar jokes - but on the

they felt they were lifted upon a

and even has Persian roots,

whole Kyogen is witty, sometimes

higher level of experiencing life while watching these performances - sometimes lasting 10

sharp-witted,

‘This tradition is about laughing at characters who are funny because their situation is recognisable.’

hours for a set

and it shows tasteful humour.

Apart from the storylines and gags, there is a lot to watch

of five plays. In between the Noh

whilst Kyogen originated from

when it comes to physical theatre.

performances were the Kyogen

performances from China and

The characters can be compared

performances, which offered

Korea, using acrobatics, satire,

to stock-characters in Commedia

comedy, lightness and laughter.

song, and humour.

dell’Arte, or to the red-nose clown

The serious beginnings of Noh

next to the ‘smart’ white clown ;

theatre were based on religious

The storylines of Noh plays are

the Kyogen audiences often

rituals performed by priests, and

often quite conceptual, and laden

know most of the stories,

there were some priests who had

with deep emotions and ideas;

they recognise the characters

a talent for making fun of their

after all, at the basis of Noh lies the

immediately, and enjoy the asides,

own rituals. There’s a mention

Shinto belief and Buddhism, and

the bantering dialogue and the

from the year 1349 that two

the Samurai class was well versed

comedic repetition.

Okashi Hoshi (comical priests)

in Confucian classics. The poetry

performed a humorous depiction

of Noh is dignified and many

There are specific categories for

of a priestly sermon as a rhythmic

modern Japanese audiences

the performances: the Daimyo

dance. This could well have been

need translation-leaflets to follow

(Military Lord) plays, Servant /

the beginnings of Kyogen.

what is being said in the plays,

Master plays, Demon and

while Kyogen uses colloquial

Mountain Priest plays, Priest

Sadly, the Kyogen performances

speech of the Muromachi period

and Blind People plays and

were often ignored by the

(14th - 15th Century). This can’t

Miscellaneous, including direct

intelligentsia who studied Noh

be easy either, but humour is

parodies of Noh theatre. The

and they often spoke loudly

humour, whether in ancient -

playwrights for Kyogen were

during these Kyogen interludes.

or different- languages.

mostly anonymous until the

This was a direct result from the

1950’s, after which new plays

27

were created, gaining

his gawky master. The anticipation

both serious, historical, as well as

international acclaim.

is half of the job, as per usual.

comedic plays. At the beginning,

Comic onomatopoeic words

Kabuki was greatly influenced by

Kyogen actors are trained from a

imitate the sounds that are made

the influx of Kyogen actors who

young age, and used to be from

by physical actions, ad-libbing

most certainly passed on their

an established Kyogen-family, like

is used and double entendres

great timing and physical skills.

the Shigeyama family in Kyoto.

are just as common here as in

I did some training with these

comedies that we know so well

During the late 1800’s Japanese

formidable performers

from the western world.

society changed drastically and

and am in awe of their talents

the Samurai class disappeared.

and skills. Nowadays ‘outsiders’

Kyogen has some similarities to

Although some Samurai had

can also come up into the

Noh: they are both performed on

already sneaked into the Kabuki

profession but they might find

the same kind of stage, the Noh

performances before, now was the

themselves playing the smaller

stage (this is different from the

time when all rules disappeared;

parts. Actors that were trained in

Kabuki stage) and all the actors

however, for a while the interest

Noh theatre consider this tradition

are men - (although women are

in these traditional theatre forms

too serious to be seen in Kyogen

also trained and they do perform

also vanished. Long story short,

plays, which is ‘a prejudice against

at times). Both Noh and Kyogen

the audiences came back in the

comedy not uncommon in the

are highly stylized in their acting,

20th Century and the humour

history of world theatre’. Think of

and they have the same basic

of Kyogen and Kabuki became

that what you will, but I started

posture, walk and sliding across

popular once more, together with

out like that too, and I’m proud to

the stage. The Kyogen costumes

the Stand-up-Sit-down humour of

say I’ve learned my lesson.

reflect the more elaborate Noh

Rakugo, where one performer tells

costumes, but are often more

a funny story with a distinct punch

Kyogen shows the often

comfortable in order to permit a

line; Noh and Bunraku are also

exaggerated facial expressions

more physical form? present more

back on the scene, and specifically

of their characters as masks

physical theatre.

Noh has seen a history over the

are not widely used contrary to

last 70 years of companies and

Noh performances. In Kyogen,

Kabuki became a popular

performers striving for innovation,

‘common people’ are depicted

entertainment for the common

while traditional performances

and the form uses realism. The

people in the early 1600’s and this

still often sell out as soon as tickets

realism factor in Kyogen is also

also contains comedic storylines.

become available.

higher, as we’re mainly looking at

The Samurai class was not allowed

‘common’ people.

to attend Kabuki performances

Once COVID allows us back into

as it was deemed inappropriate

theatres, as well as into other

We can recognise the character’s

(and who wanted them there

countries, try and catch a Kyogen

thinking, and get the distinct

anyway if they were only going

performance for the skillful and

feeling things are about to go

to laugh once in a few years), but

funny performances of its actors

very wrong for this particular

the other folk finally had a way to

- we definitely need a good laugh

mischievous servant, scolded by

be entertained in the theatre by

after all this time!

28

Red Nose Conundrums

By Neil Farrelly I’ve never seen Red Nose as a World Theatre

And the first red nose show with him, of course,

tradition and I don’t pretend to understand how it

was a disaster: about a funeral which got cancelled

actually works and why people laugh. You’d need

because one of the students died so we chose

to go on one of those expensive courses in Paris

religion instead. Frantic, by the seat of your pants,

with a French master for that! For me, it’s much

do or die, improvised stuff, where we found

more about connections and how it touches both

ourselves performing slap bang right in the

performers and audiences.

middle of our audiences.

One of my favourite conundrums is that lots of

It was at that time; I saw Slava’s Snow Show where

performers and students don’t like red nose at all;

the whole stage disintegrated mid show and the

it’s much too uncomfortable, it takes away comfort

audience got covered head to toe in thick snow.

zones a bit too effectively, it exposes egos to all sorts

A Red Nose Monty Python Immersive Theatre

of uncomfortable truths.

experience. The ending was sublime: he took off his nose, sat on the front of the stage and watched us

The first time I got introduced to them was with

all play with a big floaty ball for 30 minutes before

John Wright at drama school. It was terrifying.

he simply disappeared. Just like that.

He was lovably terrifying. ‘Just run on stage!’, he’d shout. Then he’d leave you hanging in front of your

All of that got me thinking…how to use Red Nose?

audience for what seemed like a lifetime before he asked everybody, ‘Is this funny? Are we laughing? Next!’

29

Site specific work:

conundrums: people laughing with us or people laughing at us!

I met a funny German guy in India, gave him a red nose, and together we walked through a small

Letting go:

village clowning around with the kids and helping old ladies put out their laundry. Red Nose Pied

The all-female Muslim group who arrived in full,

Pipers: we had quite a crowd.

down to the floor, black abayas which they never took off. They couldn’t understand why they all laughed so much, couldn’t explain what was

‘Is this funny? Are we laughing? Next!’

so funny and why, and that when they left the rehearsal room and told others how funny they were, nobody laughed.

Another conundrum about Red Nose and comedy:

Therapy:

it’s often unexplainable, inexplicable.

My boss gave me a group of difficult Japanese

I can still picture one girl who we made come

teenagers for a few weeks telling us we could do

through the door 10 or 20 times, watching her each

any kind of show we wanted. Red Nose. Why? Lots

time, get more and more angry, and the audience

of reasons: it focuses them, it opens them up to

more hysterical.

play objects and their audience, performers don’t talk as much as usual. Once the group understood

See what I mean: not funny at all, huh?

the red nose rules and the idea of ‘play,’ I took them to a nearby park on a busy weekend and let them

Underdogs:

interact and connect with complete strangers.

They loved it: couldn’t wait to return to red nose

For me, it’s best for underdogs. Period. Gives them a

the following week and try out new things.

voice, well, a Nose.

Risk taking:

And it’s why smart students often struggle because they overthink it, they act it out, then become

For several years, a group of Asian students would

intellectually perplexed when it doesn’t work for

visit London for a week and each time, we would put

them.

on our red noses and go to Covent Garden where I’d set them various challenges: walk through the Apple Store without security noticing you: sit down at a table of strangers: get in somehow to the Royal Opera House. They rarely failed, because hey, it’s impossible for red noses to fail, right! Success, failure, what’s the difference?

Self-examination: The straight A economics student who found she couldn’t physically move out of the rehearsal room to join her friends on stage because she was so worried people would laugh at her. Even worse for her was the fact she was both beautiful and smart and couldn’t bear the idea of people thinking she might look stupid with a large red nose stuck on her face. Even worse than that was she knew her father would be watching and judging her…More Red Nose

30

If I had a biscuit for every person, including teachers,

who told me they just knew, just knew, the funniest person in the room would be a very funny red nose but then wasn’t, I’d have opened a biscuit factory by now and made a fortune.

Underdogs gravitate to comedy. They get it. They get liberated. All the bullying suddenly disappears because everyone gets levelled up, and those very same bullies find themselves laughing their heads off at the antics of the underdog in front of them.

Online: If you’d told me Red Noses Online would work online, I’d have laughed in your face. No way, Jose.

But it does. And the secret? Space. The students, many of them having been cooped up for months sitting on their lockdown bums in front of screens, want to move, so the work becomes all about discovering and playing with the space and the objects in it and showing everything to the ‘boss clown screen.’ An outpouring of pent-up creativity.

Unbridled freedom. Movement. Many of them were visibly out of breath at the end of it! John Wright would have been proud of all of them…

31

Here Comes I

By Mike Pasternak

PART 1: The Journey Begins

exaggerated characterisations, pratfalls and slapstick 2

humour); the verbal (using and misusing words and

It was winter 1967, around the period of Christmas,

sounds to illuminate, change perspective, confuse

when my friends and I ploughed through the snow

and frustrate) and the situational (playing with

to our local Kentish pub, the Royal Oak. First term

relationships, circumstances and places to produce

was coming to an end as the Yuletide festivities

unexpected outcomes). As well as experiencing

beckoned us to our cosy tavern with its oak beams,

Mumming we quickly deepened our understanding

shady corners and blazing log fire. Pints of local

and dexterity in the wonderful and farcical world

ale had just been served up and adorned our table

of comedy.

when the doors of the tavern burst open and a troupe of strangely dressed individuals gallivanted into the student crowded bar and began pushing the confused throng aside to create a circular space in the room which rapidly became the centre of theatrical anticipation.

'Here comes I, Beelzebub …!' intoned a crazy looking individual dressed in rags, whilst nudging and shoving befuddled and semi-inebriated students aside, as the rest of his motley crew formed a semicircle around him. The next half hour saw scenes of wild excitement as the players acted out their story

Artists impression of Mumming play

and the audience, watching the mob, contributed

around a Public House hearth, photo taken from Roaringwater Journal, Feb 2022

to the dramatic buffoonery with taunts, lewd suggestions and loud boffolas of amusement … So began my lifelong journey into the wonderful and arcane world of Mumming plays.

1

Mummers and 'guisers' (performers in disguise),

accessed 10 Oct 2021 Rehearsing Mumming was an open-the-door This stick consists of a central wooden rod with two

experience to the nature of comedy. Our troupe of

2

guisers , composed of dance and theatre students,

moveable pieces on the sides to amplify the ‘beating’

enthusiastically embarked on a Mumming learning

sound from Commedia dell’Arte.

1

adventure. My Beelzebub was a fusion of a physical, brawling Brighella with the verbal repartee of Billy Connolly. As we worked through our scant script, so reminiscent of a Commedia canovaccio, we were offered practical insight into the effects of the witty discourse of Restoration comedy and the potential humour in the exaggerated zany situations of the Kyogen kaja. So, as a company, we imbued the three essential components of comedy across cultures consisting of the physical (exploring funny and

32

PART 2: Approaching a Tradition

Phase 2: Contextualising the tradition

Learning about the Mumming tradition needs both

•

Each troupe is given research information on

context and praxis. There is a sublime activity called

the tradition in three different forms (see

the Patagonian Fish Ritual, created many years

sheets below).

ago by ISTA stalwarts Sherri Sutton and Alan Hayes, which effectively addresses this critical balance

•

Sheet 1: General information on the tradition

between praxis and research when first approaching

with history, content and influences (3 sets for

an unfamiliar theatre tradition. The skeleton of this

group A, B and C).

activity served as an inspiration for how I introduced Mumming theatre to my students. In a three-phase

•

Sheet 2: Snippets of information on performance

process of engaging with text, research and somatic

and production conventions to be cut up and

exploration, good old open-the-door welcomed a

hidden around the room (2 sets for groups

new generation of Mummers and responded to

B and C). This physical search for practical

their 'need to cut through the tyranny of language

performance information recreates a sense of

and rediscover the true relationship between ritual

an internet search.

and drama.' 3

• Phase 1: Engaging with a text

Sheet 3: Transcript of an imaginary interview with respected Mumming researcher and practitioner Alex Helm (1 set for group C).

•

After a general physical warm-up, split the class into three groups, A, B and C. These could

•

After the end of the activity group are given all three sheets.

consist of two students, (as multiple roles, identified with different simple disguises, can be created) or groups of six or more (by devising

•

The groups then have 30-40 minutes to sift through their research sources, identify and (with

new characters).

a felt tip) mark practical information on ways to •

authentically perform Mummers’ theatre.

Hand out copies of the script below - Good St. George and Bold Hector. As a troupe, read through the text and share understanding of

Phase 3: Celebrating a Mummers’ Play

words and phrases.

• •

A chest is made available with disguising and

Each group then creates and shares with the

prop materials (strips of different coloured

class a 'dumb show' of the script which is defined

fabric, hats, masks, coloured scarves, pieces of

by the Oxford Dictionary of English as a piece of

wood, etc.)

dramatic mime 'to summarise, supplement, or comment on the main action' 4.

•

The troupes now have 40 minutes to try to put together a mumming play as authentically as

•

The class then begins to learn the text and

possible with the information on performance/

rehearse how they think the piece should be

production conventions they have collated from

performed whilst carefully recording their step-

the research sheets.

by-step process in journals and with recordings.

• •

After the 40 minutes, each company shares

A video of Mumming is shown to tittivate the

their performance (with encouraged audience

imagination. Suggestion - selected extracts from

participation!) which is recorded by the

Mummers, Masks and Mischief.

assembly on smart phones.

•

After all the performances, mini groups of three people (one from each troupe) get together and share the information each had and reflections on the realising experience.

33

Possible reflection question:

PART 3: Some Words of Wisdom for the Journey

•

What different performance/production features

N.B. The following has been edited for workshop

did each group have?

purposes by Mick Pasternak.

How did each group explore/integrate their

Mummers’ Play text – Good St George and the

performance/production conventions?

Bold Hector 1

Were there any clear differences between each

Mummers: Open-the-Door, St George, Bold Hector,

group (review recordings?) If so, what?

Safety Sam, Doctor and Beelzebub.

What links can you discern between Mumming

(Enter, after a loud knock at the door,

and other global comedy theatre traditions?

Open-the-Door)

Troupes reform and share main topics of the

Open-the-Door:

mini-group discussion.

The first that doth step in is good old Open-the-Door

•

•

•

•

And lads, if you'll believe me well, I've opened •

Group journaling (perhaps a closed group

many a score.

Facebook page with limited access for comments, descriptions and recordings of

(With sly wink and gesture at this, he next proceeds

the process).

to clear an open space for the other actors, who have now followed him in, but leave him in the centre of

3

Source: Brody A. (1969) 'The English Mummers and

the stage).

their Plays' Routledge and Kegan Paul Ltd. London, UK. Retrieved 30th May 2014

Give room, give room in this gallant hall give us room to play, And you shall see a right merry Masque

4

Source: Stevenson A. ed. The Oxford Dictionary of

Upon this happy Christmas day.

English, Oxford University Press, 2010, retrieved 29th November 2015

(He retires, St. George takes centre of stage).

St. George: Here come I St. George approved of old, A Knight of valour and virtue, stout and bold, Many the gallant deeds that I have done, Clean victories both east and west that I have won.

(Enter to him Bold Hector).

Hector: Who's this that boasts in Hector's hearing?

Of all braves and braggarts I'll soon make a clearing.

I am Bold Hector! Bold Hector is my name, And with my trusty sword I always win the game!

The English Mummers' play (1981), Alex Helm, p. 6.

(The two principals prepare their arms. Enter, deliberately, Safety Sam) Sam: Hear one last word for peace from Safety Sam of ??????! [insert name of a local hotspot]

34

Peace is a noble thing though it may be bought

And so to prove his skill, let me sing to you a live

too dear,

man’s song!

(Enter, with roguish sidling shuffle, Beelzebub)

(Sings some popular song of the day, which has a chorus in which all can join in)

Beelzebub: Here comes I, sly old Beelzebub!

Beelzebub: Our play is played and now we've done,

Over my shoulder I carries my club,

We hope we have given you lots of simple fun,

And in my hand a frying pan -

For your fun 'twas he fought, and got himself slain,

So don't you think I'm a jolly old man?

For your money he will rise and fight his battles o'er again.

(The two champions St. George and Bold Hector,

We hope your spirits this nonsense will joyful rouse,

take the centre and the combat begins. The fencing

So we bid you Good-day and Peace be on this noble

is done with much dancing round the ring, loud

house!

clashing of swords, and the excited shouts of the actors. After many fierce lunges and rapid parries

(All join hands to dance round, to the

and cracks on head and legs with the flat of the

accompaniment of some other popular song -

swords Hector is stabbed and falls)

which at the end is changed to one which they march out to, Beelzebub collecting the largesse

Sam:

in his frying pan)

A doctor, a doctor, I’ll give ten thousand pounds If a good and learned doctor can be found.

1

Source: Raven M. 1965 ‘Folk Out of Focus’,

from 'Folklore and songs of the Black Country' (Enter slowly and sedately, the Doctor).

Wolverhampton Folk Song Club.

Doctor: Here come I the great and learned Doctor Brown, The cleverest safest doctor in all the town, I’ve travelled far in Italy, Titaly, Dudley Port and Old Spain, But right glad I am to be once more in Old ?????? [insert local place name] again.

Sam: What diseases sir, are they you cure?

Doctor: Why, all diseases known you may be sure; The gout, the scurvy and the ptysic.

So (taking Hector gravely and skilfully by the hand) you get up sir and sing that fine old song.

Of one who's not been dead for very long.

Hector: (rising erect again): Once I was dead but now I am alive, God bless the Doctor, who made me to survive!

Chapbook example, p. 42

Through his great art I was not dead for very long

35

Sheet 1: English Mummers’ Plays These plays are short dramas with rhymed texts, traditionally performed in association with certain annual festivals, Christmas, mostly, but in other regions - Halloween, All Souls' Day, New Year, Plough Monday or Easter. There are three main types of play.

The most prominent is the Hero/Combat play. It starts with an introductory prologue and is followed by challenges and a sword fight between the hero and an antagonist. As a result of this, one of them (not always the villain) is 'slain' and a quack doctor is brought in to perform a cure. This is usually achieved with a degree of comedy and may be the major scene of the play.

The second main type of play is the Recruiting Sergeant/Wooing play. It is usually associated with Plough Monday (the second Monday in January). Here Tom Fool is the introducer, but the Farmer's Man forswears his sweetheart and joins the army, so the Lady decides to marry the Fool. Dame Jane is knocked to the ground. A quack doctor is then brought in to perform an intricate comical cure. The whole thing ends up in a song.

The last type of play is the Sword Dance play. This is a linked sword dance with drama thrown in. Here the characters are the dancers, whose lines are normally spoken in single verses one character after the other. Then after a series of alibis from the dancers, someone is brought on - usually a quack doctor - to cure the victim.

It should be obvious that the common linking factor is the presence of a quack doctor.

A mumming play has three main sections - the presentation, the drama itself and a procession (these sections can be seen clearly in the mumming scripts.)

Since these performances were not presented in a theatre, but rather in private homes or open spaces, the players were in close contact with their audiences.

As the mummers entered the performance space, the presenter would clear a roughly semi-circular area for the performance. The spectators are promised a great battle and the other characters are introduced. The combat begins with a challenge by the hero, who usually boasts of great deeds. The challenge is taken up by a combatant who fights a comic duel with the hero. Either the hero or the challenger may be vanquished. In either case, the doctor is called for and performs a cure on the victim. Sometimes St. George fights only the Knight, sometimes only the dragon; other times the combat is repeated and St George fights dragon and Knight in turn. Sometimes the dragon dies and is

36

revived, sometimes the knight, and sometimes St. George. What is important in the event is the death and revival, not whom it happens to. The performance ends with a procession, which may include dancing, and the taking up of a collection The Known History of the Plays The familiar theory is that the plays originated in some pre-Christian/pagan ritual, but this is disputable and lacks empirical evidence although the struggle, death, rebirth cycle could be linked to agricultural, seasonal changes.

Influence of Pantomime English pantomime is a direct descendant of the drama of Italian Comedians who first came to the country in the Seventeenth Century. First, the lines were in rhyme, many Mummers' plays are similarly non-realistic.

The high point of Pantomime was a transformation scene which has its parallels in the doctor’s cure of our Mummer plays.

If one looks at the costumes, things are more striking. The most important feature of the Pantomime costumes is that a character wore the same outfit regardless of what the play was about, with little or no attempt at representing the role in the 'opening'. This exactly mirrors the situation with the ribbon or paper costumes of many English folk plays. With Harlequin, we could almost be describing a folk play character - say Beelzebub. Indeed, Beelzebub in at least one chapbook is illustrated wearing a Harlequin costume. Even more significant is the fact that the Quack Doctor broadsides which preceded the chapbook plays include an illustration of the doctor with an assistant (a Merry Andrew) dressed as Harlequin.

The interaction between early pantomime and folk plays is undeniable.

The fact that the rise of Pantomime was shortly before the first records of Mummers' plays suggests that Pantomime influenced the folk plays and not vice versa.

Other Influences Another neglected factor is religion. In Europe, most folk plays dramatise stories from the Bible, particularly the Christmas and Easter stories. However, apart from the obvious inclusion of Christmas carols in some plays, religion may manifest itself in some of the costumes. In some areas, the actors wore white decorated costumes, resembling many of the European Christmas story costumes, with tall caps reminiscent of crowns and mitres.

Sources: What is a mumming?, accessed Feb 2022.

Peter Millington's Web Space, accessed Jan 2017. Peter Millington, Nottingham, England American Morris Newsletter, Nov/Dec 1989, Vol.13, No.3, p. 9-16.

37

Sheet 2: English Mummers’ Plays 'Mummer's plays are often comic in tone with a formal structure but allowing for many comic asides and there is an element of community celebration and humor in the performances. However, the plays are not Pantomime in nature and taken very seriously by the performers.'

Mummers Plays, Cotswold.info, accessed Feb 2022 'One of the major distinctions between the literary play and the ritual lies in the attitude of the performers towards the words and audience. In the ritual, an action is performed as imitation or magic. The spectators watch, but the players are not communicating directly with them. If the spectator partakes of the action itself, they are no longer a spectator but a performer too. …. An audience is ultimately no necessity. The ritual would be performed whether there are spectators or not.'

The English Mummers and their Plays (1969) A. Brody, Routledge and Kegan Paul, p. 28.

'It is, rather, that the declamatory, intoning method is traditional because it is an integral part of what was originally pure ritual action in which the words (or whatever accompanying sounds they might originally have been) serve an effective, magical purpose, not an affective communicative one.'

The English Mummers and their Plays (1969) A. Brody, Routledge and Kegan Paul, p. 29.

'The improvisatory style seems, at first, to be thoroughly incompatible with the declamatory ritual style. On closer examination, however, we find they have one thing in common. Both tend to minimize the importance of the words in favour of the action. The intoning of the words sacrifices literal “sense” to efficacy; improvisation subordinates the importance of the words to the burlesque action they surround. It is not unusual to find both styles mixed in one performance, with sections directly related to the combat delivered in the formal chanting style. It is generally with the appearance of the doctor that the style changes and the improvised fun begins.'

The English Mummers and their Plays (1969) A. Brody, Routledge and Kegan Paul, p. 30.

'These, then, are the basic elements of the performance which we must keep before us as we examine the textual information on the three types of ceremonies. The performance is a purposeful visit; it is performed in a circular playing area which is newly made with each performance; originally the players were male; they are traditionally costumed to disguise their identities rather than create representational illusion; and, finally, they chant or

38

improvise the words which always play a subordinate role to the action being played out.

The English Mummers and their Plays (1969) A. Brody, Routledge and Kegan Paul, p. 32.

'The players are apparently wearing their own clothes underneath the costume. Tied around the knees is some kind of shredded material which hangs down to the ankles, covering the lower parts of the trouser legs almost completely. Whether the material is cloth or paper is unclear … A solid sleeveless tunic covers the upper portion of their bodies to just below the waist.

The headdress is ... the most elaborate and striking element … The costume is thoroughly non-representational. It is clearly serving a purpose other than differentiation or identification of any kind.”'

The English Mummers and their Plays (1969) A. Brody, Routledge and Kegan Paul, p. 23.

Photo of Alex Helm, taken from Folk Play Research, May 2010

39

Sheet 3: English Mummers’ Plays Imaginary interview with Alex Helm by Mike Pasternak based on his book The English Mummer’s Play (1981).

MJ: Alex – what provoked your interest in Mummer’s Plays AH: I was drawn to Mummers from my interest in Morris dance but these words from my son Ian perhaps help to give you a picture of my early collecting days 'Dad's interests were broad and catholic - for instance, he studied old folk traditions yet loved reading the most modern science fiction for recreation (having used up 2 rooms with other things, his collection of sci-fi took up the landing) - but a chance conversation with Margaret Dean-Smith in the 1940’s, then Librarian of the English Folk Song and Dance Society, led him to study the Folk Play.'

Folk Play Research, accessed Feb 2022 MJ: How important are the written texts in these plays?

AH: On paper, the texts read badly: they are an amalgam of misunderstood words, local allusions, etc., often with garbled passages from reputable literature. … Despite these absurdities, once the performance begins, all nonsense disappears and the performers become very different beings from the rather peculiarly dressed individuals they appear at first sight. Without effort, they establish a bond between themselves and their audience. … This atmosphere cannot be transmitted on paper, it must be experienced physically during a performance, before the sense of age, magic and mystery, all caught up together, can be felt.

MJ: Do you have any comment on how the roles were performed Alex?

AH: The performers were normally farm-workers, ploughboys, often numerous enough on one farm to make a self-contained ‘gang’. The performers took themselves very seriously both in their disguise and time of appearance.

The overall picture of the action is one of insistence on ceremony and lack of change. It was often necessary to have a large character as Presenter who could insert his foot in a closing door, and because of the traditional disguise and absence of scenery it was conventional to have some means of explaining to the uninitiated what was taking place - ‘Here comes I …’. The Combat and Cure often developed out of all proportion as a means of inducing higher financial gain. This was achieved by the champions staging an exciting display of sword or hand-to-hand fighting. The Doctor’s part shows a clear attempt at a parody of a real doctor’s work. The customary method of extraction of the

40

tooth (as a cure) was to form a line of performers each grasping the one in front around the waist and, as a ‘gang’, pull then collapse in a heap!

MJ: Alex, could you give us some idea of how theatre production elements are used in these rituals?

AH: Well, the use of space is foreign to Mummers. They need a space, nothing more. The space is kept clear by their forming a circle and round them are their audience. This could be described as early Theatre-in-the-Round, but nothing more. It is vital there is communication between themselves and their audience.

Even although the dance did not develop to a great extent, the costume or ‘disguise’ did, but on a traditional basis. The performers wore a profusion of ribbons. Hats were profusely decorated with ribbons, artificial flowers, rosettes.

Christmas trees ornaments, almost anything bright and gaudy were worn.

Sometimes the knights had false armour or red Templar crosses on white tops.

This 1823 description from Bassingham, UK give us some disguise ideas 'Fool drest in cap and trowsers. Lady drest in woman’s close. Eldest son drest in ribons. Farming man drest in cloth coat boots spirs. Old dame jain, old fashned bonet and bed gown. Old man drest in old fashned hat and long coat, grey hair. St George drest in ribbons. Doctor drest in black coat and trawsers white hanchief' Props were simple and representational – brooms, swords etc. all to add to the burlesque nature of the ritual. The Doctor usually had a case full of tools and/or farm implements to comically bring about the cure and thus restore life.

MJ: Anything else you would like to add Alex to help us appreciate this form of theatre play?

AH: The use of the word ‘Play’ is misleading. Despite an attempt at division into speeches there is little of dramatic content involved. The audience knows what is to happen; they are prepared to accept the deaths as natural, and the dead man need only drop his head to show death (or kneel lest he damage his costume!). What they are performing is neither 'play' nor 'farce'. It is the remains of what was an urgent magic necessity to ensure that life would go on. The primitive performers who originally took part were probably the medicine men of the community. For the moment, their audience becomes their community to whom they dispense ‘luck’ even although this was originally ‘fertility for the coming of the New Year’.

MJ: Alex, thank you for your time and insights.

41

Useful resources Books: 1.)

Brody A (1969), The English Mummers and their Plays, Routledge and Kegan Paul Ltd. London, UK.

2.)

Cass E. & Roud S (2002), An Introduction to the English Mummers’ Play, EFDSS, London, UK.

3.)

Chambers E.K. (1966), The English Folk Play, Haskell House, NY, USA Helm A. (1980), The English Mummers’ Play, D. S Brewer, Folklore Society, Suffolk, UK.

4.)

Tiddy R.J.E. (1923), The Mummers’ Play, OUP, London UK.

N.B. Many of these books are now out of print but can be purchased at AbeBooks. Check the postage costs though!

Websites: 1.)

Roaringwater Journal

2.)

Peter Millington's Web Space

3.)

What is a mumming?

4.)

Folk Play Research

5.)

Wikimedia Commons

6.)

Master Mummers

7.)

Carrington Moss Mumming Play

8.)

Dartington Morris Men

Video:

42

1.)

Mummers, Masks and Mischief

2.)

Ours d’Europe

3.)

What are Mummers' plays?

4.)

Кукери....Mummers (Kukeri) in Burgas, Bulgaria

Biographies Paul Bongiovanni I was an actor, director and writer for about 20 years in Australia before becoming a secondary school teacher. I have been teaching at international schools for the past four years in Manila, Bangladesh and Shanghai, and am now back in Australia teaching speech and drama.

When it comes to theatre, I have a strong interest in site specific theatre, having performed in very unusual places ranging from under oak trees to running in a pack through the streets of Aarhus, Denmark. I also have a strong background in Commedia dell'Arte. Not only is it part of my culture but I have performed it and taught it extensively in schools.

Neil Farrelly I studied at Middlesex University, London. I have lived and worked in Asia for the past 25 years, teaching, directing, writing and collaborating with students and artists. I have worked for ISTA since 2004 and love the Connect programme. My first book Damn It, Do It was published in India in 2017 and my second book Foreign Entrepreneurs in Hokkaido in 2020. I live in Hokkaido with my wife and dog.

I like collaborating, creative projects and interviewing people. I like the feeling after a workshop of having made a difference in some way. I like underdogs. I like writing about what's out there and what's in me.

I like handmade things. I'm old school in that I trust people more than machines. I think real communication is a glorious thing.

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Stephen Finegold I studied for a degree in performance arts at Bradford University achieving First Class Honours before training as an actor at the Royal Central School of Speech and Drama in London. I have performed in theatres all over the world including in the West End and Broadway as well as regular appearances on UK television and in film.

I am now living in Shanghai and work as Performing Arts Centre Director at Shanghai American School in China. My passion for theatre is driven by physical and visual storytelling using mask, clown movement and gesture. How the human body functions in space is central to my development as a theatre artist.

As artistic director with ISTA and director of over 60 productions I have been lucky enough to have worked with professional actors, opera singers and young performers from all over the world and I never tire of witnessing the imaginative development and creative potential of future generations.

Emily Jane Grant I am a bilingual facilitator, director and performer and run my own company Join the Dots Theatre as well as working freelance. I trained at Middlesex University, E.N.S.A.T.T in France and then with Moon Fool company with whom I work with as an associate artist. This collaboration has been instrumental in shaping my physical work and building on my musicality.

I have been lucky enough to work across the world touring shows and workshops. I am always amazed at how theatre opens the mind – creating spaces in which we question, dream, create, share and connect. I thrive on the magic of masks, the power of ensemble work and the rhythm and music that exists in everything we do.

Sterling Johnson Theatre and Drama have been huge parts of Sterling's adult life. He often wonders whether he found the theatre, or if the theatre found him. After a colourful journey as an actor, writer, stunt performer, puppeteer and more, Sterling found his way into education. 16 glorious years later he is still learning, exploring and having fun. Sterling has taught in China, Korea, Malaysia, Egypt and will soon be relocating to Zambia. He shares his adventures gratefully with his wife and two young sons. Sterling is passionate about well-being and play and spending time with his young family reminds him just how essential these things are to our everyday lives.

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Fenella Kelly I am an international drama specialist, teacher, teacher trainer and dancer. I co-founded the international theatre company in Istanbul, was a member of Physical Theatre company in Brazil and in contemporary dance companies in the United Kingdom, India, Brazil and Egypt. Now I am a freelance artist based in the UK. I love all the performing arts and play the flute and saxophone in bands, learn drumming and sing in choirs. I also teach and perform Latin American dances including salsa and tango. Since 2008 I have been learning Kathakali. I now teach and perform this dance-theatre tradition.

I have worked for ISTA since 1999, was on the board of trustees for 6 years and am now an Honorary Life Member. Since 1999 I have hosted festivals on four continents (introducing ISTA to South America) and taken on the roles of CD, Rep, TWL, SEL for TaPS and Artist in Residence.

Ellis van Maarseeven I worked as an actor for stage, television and film as well as being a theatre director, voice artist, casting director and a producer for television documentaries. I have a Masters Applied Theatre Studies, I teach IB DP theatre, and while working in Japan, I studied Japanese theatre and culture.

Discovering theatre making skills builds passion for scrutinizing human creativity. Exploring intercultural creativity opens up new ways of thinking about similarities and differences, which in turn open up innovative ways of creating. It’s not a short journey, but this is what interests me.

Shruti Mishra I am a theatre and movement artist from India. My training with many artists around the world specialises in movement-based theatre and other movement based art forms like modern contemporary dance, Indian classical dance and various movement sciences like WUTAO and body conditioning.

As a performing artist I am interested in telling stories about different cultures around the world in a way that brings together the artistic intent with the various skills, thereby giving the skills a poetic intent and expression.

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Mike Pasternak Mike Pasternak (a Polish father and Scottish mother!) is recently retired from the International School of Geneva, La Châtaigneraie, where he was Chairperson of the bilingual Theatre dept for 37 years.

Mike taught IB Theatre (arts) for around 30+ years and was involved in the development and integration of the IB Theatre programmes as Principal, Deputy Chief and Chief Examiner as well as Workshop leader and developer. He also teaches TOK and hold the firm belief that Theatre, is in fact, a ‘practical’ TOK experience for developing artists..

Mike was an early member, ex-President and Honorary Life Member of the ISTA and, as an active member of our community, initiated and developed approaches to international learning through and about theatre as a means of empowering young people in the arts.

Mike's dramatic passion is Physical theatre which, he says, reflects his early Laban formation and training.

After a brief sojourn as a Commedia dell'Arte character (Pantalone), he then moved on to different types of mask work which accentuated his enthusiasm for the physical aspect of theatre expression. His most most recent research and workshop developments have been in Victorian Melodrama where he was fascinated by the acting techniques of this practice and a developing link between the theatre anthropology studies of Watson, Pavis and Barba (an important aspect of IB Theatre's Theatre-in-context component) and the practicalities of an international education.

After having seen the Punchdrunk performances of 'Sleep no More' and "The Drowned Man', Mike was attracted to the conventions of immersive theatre (also influenced by Schechner's Environmental Theatre axioms) and so began to explore theatre space, environments and landscapes.

John Styles 'Professor' John Styles MBE John recently celebrated 70 years in show business. A career that has taken him from pubs to palaces, beaches to Broadway and house parties to Hollywood.

As a boy he became fascinated by the art of magic. He discovered that books borrowed from the library revealed their secrets and enabled him to create his own act. He also learned that magic has other allied arts too - ventriloquism, origami and puppetry . Therefore, it was not long before he was encouraged to add a Punch & Judy show to his repertoire. This eventually led to acquiring an international reputation for being an expert exponent of this ancient art.

Excerpts of his show have been featured in numerous films, TV programmes and commercials.

He has also had the honour to represent his country at international festivals and promotions all over the world. Including the Smithsonian Institute, Washington, DC. He is a founder member of the Punch & Judy College of Professors and the Punch & Judy Fellowship of which he is currently the President.

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Next Issue June 2022

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