Category: Guest posts
I recently had an important experience in Minneapolis, which was working on a play called Nobody No Time, written by Carlyle Brown, a good friend from way back. The play is about Bert Williams and the title is in reference to the song Nobody, which he made popular and co-wrote with Alex Rogers. Since Carlyle knows of my background in mime and African-American performance history, he brought me out to Minneapolis to be the choreographer and dramaturge for the play, which he also directed. But who was Bert Williams, and why was this an important experience for me?
“Memoirs of Mime for all Time –The Emergence of Physical Theatre in the 21st Century” by Louis H. Campbell
It is a pleasure and honor to have Mike Funt, artistic director of Four Clowns, join us as a guest contributor. Mike is well-known internationally for his workshops in clown, mask, and circus arts, and for the many physical theatre shows he has directed, including Servant of Two Masters, a stage adaptation of the 1971 film, Cold Turkey, and his own translation and adaptation of Molière’s The Imaginary Invalid. Clown training includes work with Philippe Gaulier, Aitor Basauri, Stefan Haves and John Gilkey of Cirque du Soleil, Avner the Eccentric, Aziz Gual, and instructors from Ringling Brothers. He has also studied with play expert Dr. Stuart Brown and trained extensively in Laughter Yoga with Dr. Madan Kataria. Here he shares his longtime interest in the sacred clown, which has led to him teaching a workshop on it this weekend (Dec. 3 & 4) in Los Angeles. Check it out here!
Billy Schultz is an actor and director working in physical comedy for stage and screen. He has performed in your friend’s garage, at the Guggenheim museum and at loads of variety shows. His focus is on creating comedy from character and movement. Major sources of inspiration: Amy Schumer as Leslie Knope and ridiculous Vine dance compilations.
The Return of Marcel Perez!
The DVD and Companion book
Ben Model / Steve Massa
reviewed by Ben Robinson
THE MISHAPS OF MUSTY SUFFER
Starring Harry Watson Jr.
Viterbo College, La Crosse, Wisconsin
A History by Jef Lambdin
I am pleased to be able to introduce a new contributor to this blog who, like my other guest writers, knows a lot of stuff that I don’t. Ashley Griffin is a writer, actor, singer, and dancer whose expertise is in the area of musical theatre, the history of which she has taught at New York University. She has performed on- and off-Broadway as well as in Los Angeles, Chicago, and London. Her plays have been produced off-Broadway, in L.A, and Chicago, and she is most well known as the creator of the pop-culture phenomenon Twilight: The Unauthorized Musical Parody. Ashley has a long-time interest in circus, clowning, and physical comedy, and one of her current projects is a collaboration with Joel Jeske on a physical comedy version of Alice in Wonderland. — jt
It’s almost Thanksgiving. Much to lament, much that needs fixing, much that can’t be fixed, but as always ever so much to be thankful for. Somewhere on that list be sure to include all the talented physical comedians who have left us such a wonderful legacy. And to that list I’m adding guest blogger Betsy Baytos, who once again is favoring us with some more insights and fantastic footage on the subject of eccentric dance. —jt
We continue our series of popular guest posts on eccentric dance by Betsy Baytos with a piece on the multi-talented Red Skelton. I was actually on his show (in a skit with Jackie Gleason!) a few days after my seventh birthday, and 28 years later he consented to be honorary chairperson of the first NY International Clown-Theatre Festival, but (unlike Betsy) this time around I did not get to meet him. Click here for all of Betsy’s posts on eccentric dance. —jt
Pop quiz: What do King Kong and eccentric dance have in common? I had no idea, but it turns out the missing link is Andy Serkis, known to millions as Gollum in Lord of the Rings and The Hobbit, as the giant ape in King Kong, as the chimpanzee Caesar in Rise of the Planet of the Apes, and as Captain Haddock in The Adventures of Tintin. Millions except for me, that is, but now thanks to our resident eccentric dance expert, Funny Feet director, and guest poster Betsy Baytos, I am being properly schooled. In addition to voicing these characters, Serkis’ body language and facial expressions were digitized by means of motion capture technology and formed the basis for animating each one of them. Not surprisingly, this leading motion capture actor with the circus name is also a student of eccentric dance. Take it away, Betsy! —jt
I am excited to be continuing with our series of guest posts by eccentric dancer Betsy Baytos, whose Kickstarter campaign to complete a fabulous documentary film, Funny Feet: the Art of Eccentric I hope you will join me in supporting.
As you can see from the article below, Betsy truly knows her stuff. In fact, I doubt there’s anyone else out there who comes close to matching her personal work experience in eccentric dance and in animation, combined with years of thorough historical research and tireless dedication to the project. In this installment, you will read how the comic moves of eccentric dancers were directly translated into famous animation characters. Amazing stuff! —jt
I have the honor of turning my 300th post (!) over to eccentric dancer Betsy Baytos, whose documentary film project, Funny Feet: The Art of Eccentric Dance (see two posts ago) draws upon this dance background and her work as an animator with Disney Studios. A twin threat! Betsy has graciously agreed to favor us with a few guest posts on eccentric dance. For starters, she’ll share some of her own work with us and explain how she came to straddle the worlds of animation and eccentric dance. (And by “straddle” I mean a full split!)
I am honored to have Leonard Pitt contribute his voice to this blog. Leonard Pitt is a world-renown performer and teacher, not to mention being the author of several books on historical Paris. Please allow me to quote from his bio at length: “Leonard Pitt was born in Detroit in 1941. He attended The Art Center School in Los Angeles and at age twenty got a lucrative job in an advertising agency as a graphic designer. Staring into a creative dead end he quit his job and traveled to Europe. He landed in Paris in 1963 and took a few mime classes with Etienne Decroux. After a few days he was hooked. He spent four years with Decroux and seven years in Paris. He returned to the United States in 1970 and settled in Berkeley, California where he opened a school of physical theatre, attracting students from around the world. Leonard’s one-man shows have received critical acclaim. He has performed and taught at theatres and festivals throughout the United States, in Europe, Brazil, New Zealand, and Australia. In 1973 he attended a concert of Balinese dance and music. Turning to his friend before the curtain went up, he whispered, “If this is boring, let’s leave in the middle.” Stunned by what he saw, he closed his school and traveled to Bali to study mask theatre. While there he performed with the Balinese in their village and temple festivals. He returned to Bali in 1978 to study mask carving. In 1986 he co-founded Life On The Water, a contemporary theatre in San Francisco presenting new work.
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Workshops & Other Events
My first book (1976)
My book Clowns has long been out of print, but you can borrow it for two weeks at a time from the Internet Archive. More information is available here.
My second book (2015)
Visual and verbal humor for the cognitively and artistically curious! Available here.
“A book to treasure!”
—Bill Irwin