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So here I go again, launching yet another blog feature that I think will repeat on a regular basis. This is reserved for stuff that’s technically not what I would call physical comedy (and I have a pretty broad definition), but that I think would be of interest to the readers of this blog for one reason or another.
I’m sure if they had included Arlecchino the numbers would have skyrocketed. —jt
As many of you know better than I, street theatre and circus are flourishing in Europe, thanks in no small part to government funding of the arts. The happy result is that it seems like every town has its street theatre festival, where you can spend the day or even a long weekend catching a wide variety of international performers and consuming a whole lot of calories. I think museums are okay in moderation, but hanging out at a performance festival, especially one outdoors, gives me a much better feel for a place and its people. The fact that it’s free doesn’t hurt either.
The first movie comedy I saw starred Danny Kaye. I might have been 6 or 7 and I laughed so hard that I still remember thinking, gee, I didn’t know anything could make you laugh that hard. My first Jacques Tati movie was Playtime. I was 19 and in Europe for the first time and, despite a show biz childhood, I had seen little if any silent film comedy. I was amazed. I remember thinking, zut alors, I didn’t know you could do that! It was as if I had discovered a new art form.
Georges Feydeau’s 1897 farce masterpiece, La Dame de chez Maxim’s (The Lady from Maxim’s), at the Odéon National Theatre here in Paris was sold out this week, but that didn’t stop your intrepid reporter from splurging a whole 3 euros on a rush ticket for a partial view seat in the 2nd balcony. I’m not qualified to write a full-fledged review here, not having read the play in over 30 years and often finding the three and a half hours of French dialogue, as heard from my seat on the fire escape, going too fast for my ears. (Je le lis mieux que je l’écris; je l’écris mieux que je le parle; je le parle mieux que je l’entends.) However, even I could tell the production kicked ass, with especially strong performances from Nicolas Bouchaud as the husband and Norah Krief as a dancer from the Moulin Rouge.
Had lunch today in Paris with Caroline Simonds, who is doing wonderful things with clown care in the city’s hospitals (and as far away as Brazil) through her work with Le Rire Médecin. Caroline turned me on to this Dick Van Dyke clip about slapstick comedy, which I somehow never saw before. Not sure of the original context, but I think you’ll like…..
I already threw a lot of stuff at you in post 008 about the comic uses of human pyramids (On the Shoulders of Giants: From the 2-High to the 1200-High). Since then I discovered these two short but very cool clips of the Julians Acrobats from 1902-3. It’s not comedy, but the series of rapid-fire two-high, risley (foot juggling of people), and tumbling moves is fantastic. The clips are similar and very likely shot at the same time, but with some different tricks in each one. You gotta love the group choreography.
Quote of the Week
“In the end, everything is a gag.” — Charlie Chaplin
I don’t necessarily think that performance — or any other art form — has to be avant-garde to be valid, but still I would like to showcase work that pushes boundaries. Thus this series, Physical Comedy in the 21st Century. I’m looking for all kinds of innovative work, and I’m hoping that at least half of the millions of you reading this blog will turn me on to some cool stuff. Our first piece by the Belgian comic duo Circoripopolo involves some neat digital tricks, but please don’t think that means that I’m only interested in work that involves technology. In fact, I’ve been especially excited by the nouveau cirque work I’ve seen, which has a strong emphasis on live performance. So… let a hundred flowers blossom and a hundred schools of thought contend.
I’m no expert on Frankie Manning or the lindy hop, but both are worth knowing about regardless of any indirect connection with physical comedy. Manning made it to just short of his 95th birthday, active almost to the end, and left behind a lifetime of achievement in developing and popularizing the lindy hop. The NY Times obituary is a good starting point, but also check out the Frankie Manning web site and the Wikipedia entry.
Jim Moore, colleague of and paparazzo to a generation or two of street performers and new wave vaudevillians, has a new photography exhibition in New York running through next week. You’ve probably seen Jim’s work even if you don’t know it, and many of you also saw him in the Academy-Award winning documentary, Man on Wire, where he swivels his head with the best of them. (BTW, this movie is available on Netflix instant play.)
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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