In addition, one acting things out in a situation to communicate where one doesn't speak the local language might easily be described as "mimicking". Dance interpretation of music has also long been regarded by some as a form of pantomime. These are all example of using the pantomime's skill of silently communicating through body movements without actually being a mime.1
IMPROVISATION, or improv, is a form of live theatre in which the plot, characters and dialogue of a game, scene or story are made up in the moment. Often improvisers will take a suggestion from the audience, or or draw on some other source of inspiration to get started.
Improv is unique in that if you see a performance, that’s it… there will never be another show exactly like it ever done again. Improv is different every time.
Improvised shows can differ between different improv troupes, depending on their training, their goals, and their style. Sometimes improv is purely comedy-based, while other times it can be a mix of both comedy and drama, or just drama. Like scripted theatre – without the script, with the actors acting, directing themselves, writing the plot, and interacting with each other all at the same time without previous planning.
Improv is spontaneous, entertaining, and fun. But like all great things, you’ll have to see it first hand to fully experience and appreciate it.2
Sometimes in drama
lessons your group will be asked to create an improvisation from a starting
line. If you are then asked to rehearse this to show to the class, this is
called a polished improvisation.
COMMEDIA DELL’ARTE is a form of improvisational theatre
that began during the Renaissance, in the early 16th century.
Troupes of actors toured the Italian countryside performing anywhere they could
find an audience. Commedia dell’Arte (which translates as “theatre of the
professional”) began in Italy in the early 16th Century and quickly spread
throughout Europe, creating a lasting influence on Shakespeare, Molière, opera,
vaudeville, contemporary musical theatre, sit-coms, and improv comedy. The
legacy of Commedia includes the first incorporated (i.e. professional) theatre
company, the first European actresses, and many of the themes and storylines
still enjoyed by audiences today.
Each troup had a set of stock characters, familiar
characters, who appeared in most plays. The style of Commedia is characterized by its use of masks,
improvisation, physical comedy, and recognizable character types. According to
the Maestro Antonio Fava, the famous character types can be divided into four
main categories:
(1) The Servants or Zanni such
as Arlecchino (Harlequin), Pulcinella (Punch), Colombina (Columbine), Scapino
(Scapín), Brighella, Pedrolino, Pierrot, and the like;
(2) The Old Men or Vecchi such as the greedy Magnifico
(Pantalone), the know-it-all professor (il Dottore), or the stuttering
Tartaglia;
(3) The young Lovers or Innamorati with names such as Isabella, Flaminia, or Ortensia (for
women) and Flavio, Orazio, Ortensio, or Leandro (for men).
(4) The boasting Captains or Capitani and their female equivalent, the vivacious and oftentimes
violent La Signora.
Hundreds
of character names exist, each the invention of a particular actor, but all of
them can be viewed as a derivative or hybrid of these four major character
types.
The plot for the stories was usually based around the lives
of the young hero and heroine, who were very much in love. Problems occurred when the heroine’s
grumpy father tried to hamper their romance. The zanni and the Fontessa create
comedy by helping the old man to
hinder the couple’s courtship. Performers in commedia
dell’arte memorized a basic outline for the action; however, dialogue was
improvised, created on the spot without a script. Audiences in the 1500s enjoyed this style of theatre and
were always eager to watch.3
lazzo, ( Italian: “joke”: ) plural Lazzi, improvised comic dialogue or action in the commedia dell’arte. The word may have derived from lacci (Italian: “connecting link”), comic interludes performed by the character Arlecchino (Harlequin) between scenes, but is more likely a derivation of le azioni (“actions”). Lazzi were one of the prime resources of the commedia actors, consisting of verbal asides on current political and literary topics, manifestations of terror, pratfalls and other acrobatics, and similar actions. Arlecchino, a character particularly congenial to lazzi, might throw cherry stones in another servant’s face or mime the catching and eating of a fly. The ability to improvise ingenious and engaging lazzi contributed to the reputations of many actors; many lazzi were frequently performed with slight variations and became part of the commedia repertoire. Lazzi were implicit in many of the comedies of Molière and those of William Shakespeare, in which they came to be called jigs, 4
TYPES OF CLOWNS
When discussing clowns, there are three major types to know and understand. These are the Whiteface Clown, the Auguste Clown, and the Character Clown, most often seen as the Hobo or Bag Lady.
WHITEFACE CLOWN
The whiteface is a pleasant-looking clown. He has decent manners, and is generally artistic in his performance. He usually appears to be in command of any situation he is in and often bosses the other clowns around. True to the name,this clown has a face that is completely covered in white, with facial features (eyebrows, nose, mouth) painted in black and red. The features can be either neat or grotesque. Other decorations may be added using other colors. The Whiteface costume may be one piece or any variation of a suit and is the only clown type that may make use of sequins, rhinestones, or other flashy material.
All variations of the Whiteface Clown type should have the skin completely covered from the neckline up with white make-up and different shades of colors for accenting facial features including the ears. When you see a group of clowns in a performance, you will notice the Whiteface usually seems to be in charge. He tends to appear smarter than the other clown types and is most often the clown who directs traffic in skits or sets up pranks: tripping another clown or throwing a pie in another's face. This doesn't always work and, in fact, the gag often backfires! While the Whiteface may appear to be the boss clown and smarter than the others, he is, after all, still a clown!
A Little Whiteface History
The Whiteface Clown type has it's roots as far back as the 1700's but it is necessary to go into the 1600's to understand how the character came into existence. It probably started with the Commedia dell'Arte performances, where Pedrolino was the young, simple-minded character whose mask was simply a powdered face. This character was adapted to French theater and became Pierrot.During the 18th century circus the Whiteface clown was placed with the ringmaster who was the authority figure. As is normal with the evolution of clowning, by the early 19th century the Whiteface clown had evolved into more of a leadership role who began to replace the Harlequin character.
Fast forward to the end of the 19th century with the introduction of the Auguste and a new naive character is born. This is not the end of the story however as the evolution of clowning happens, the Auguste Clown is becoming more intelligent especially with the introduction of the Tramp/Hobo clown at the turn of the 20th century, and the Whiteface seems to be evolving continualy and is becoming less popular.5
The European Whiteface Clown,
also called the 'Classic Whiteface,' is the most 'beautiful' of clowns.
He wears costumes that sparkle and shine, and makeup that delicately
enhances his facial features.
Make-up The classic European Whiteface is the grandfather of modern-day clowns. While other actors wore masks, the 'clown' had a floured or powdered face. The character of the clown interacted with the audience as much, if not more, than he interacted with other characters in the performance and it was important for the audience to see the varied expressions on his face as he performed. The white of the flour or powder made that possible.
Today's European Whiteface clown type will often have the ears painted red. Facial features are delicate. The mouth is usually bright red but the shape is not exaggerated as in the Grotesque Whiteface. Eyebrows are painted with an artistic flair and, most often, two different sizes; sometimes only one eyebrow is painted. The nose is often slightly accented with red around the nostrils.A white, conical hat continues the look of the make-up. With most or all of the hair tucked inside there is the impression of baldness, also adding height and, therefore, stature to the whiteface character.
Costumes
The European Whiteface costume has also remained similar to those of the first famous European clowns. Joseph Grimaldi (1779-1837), considered the "Father of Modern-Day Clowning" wore costumes popular in the late 1600's with silk hose that had decorations, netherhose (those puffy pants), a shirt, colorful vest and slippers.
The white "Pierrot-style" costume was popular, although the black trim quickly gave way to other colored buttons or pompons on the front, along with colorful piping and ruffles for clowns who were not portraying the Pierrot character.
The 21st Century Whiteface costume differs in that the length of the outfit is just below the knees, with light, nearly skin-toned stockings and shoes. Both one- and two-piece suits are worn, adorned with sequins, rhinestones or other decorations, making the costume quite elaborate and very elegant. Whiteface clowns should have no skin showing. White gloves are worn to fully cover hands and wrists and, while colored gloves are becoming popular, white is required for all competitions. Shoes should be simple and not draw attention away from the costume - ballet or dancing slippers are commonly worn.Famous European Whiteface Clowns
- Joseph Grimaldi(1778-1837)
- Harry Payne "Clown"(?-1895)
- Francois Fratellini (1879-1951)
- Francesco Caroli (1922-present)
- Arthur "Vercoe" Pedlar (1932-present)
Joseph Grimaldi
as "Clown" | 
Harry Payne
as "Clown" | 
Francois
Fratellini | 
Francesco
Caroli | 
Arthur
"Arturo" Pedlar |
The Neat Whiteface Clown, also called the Standard Whiteface wears a make-up and costume style that is exactly what it is called: neat.
Make-up
The Neat Whiteface Clown is similar to the European Whiteface Clown in that facial features are only slightly exaggerated or not at all. That, however, is where the similarities end.
The lower lip may be painted down just a little farther than the natural lip line with the upper lip painted white like the rest of the face and neck. If there is a nose accent it is painted red; a small heart or flower shaped nose tip that is glued on is becoming more and more common. The eyebrows are usually thin to accent but not to detract and may be shaped simply or artistically, although not to the extent of the European Whiteface. White, red, and black are the only make-up colors a Neat Whiteface may use.
Costumes
Traditionally, the Whiteface costume was either a one-piece jumpsuit or a loose-fitting two-piece costume. The sleeves and pants could be straight, ruffled or pantalooned or fully gathered at the wrists and ankles. Often he wore a large ruffle at the neck. This is often referred to as the "Pierrot-style costume." As clowning in the United States grew, the Pierrot-style costume became more popular than the traditional European styling. From this came the flowing one and two-piece clown suits (usually white with colored trim) common from the late 18th through the mid-20th centuries. The one-piece clown suit is still popular but is now found in very colorful fabrics and patterns.The Whiteface Clown is the only clown type that may wear glitter or fabric/accents that sparkle and the Neat Whiteface often takes advantage of this! As the name states, everything in the costume and make-up is very neat and matches perfectly. Fabrics such as satins and silks (shiny and theatrical) adorned with sequins, rhinestones etc. can be used. The whole appearance should be very well coordinated. Shoes can be normal or over-sized but simple and not outrageous. Gloves are to cover the whole hand and exposed wrists, in a color that matches the outfit (white for competitions).
The Neat Whiteface may be seen with a bald cap with a hat or, just as often, a brightly colored wig and hat that coordinates with his costuming.
Circus clowns started as fill-in entertainment between acts and slowly became the stars of the show! As clown acts evolved and became longer and more detailed, clown costumes and make-up began changing, also. The Neat Whiteface can now be seen in just about any type of costume and every color of the rainbow - but always coordinated and, well, neat!
Find out more about the 'evolution of the Whiteface Clown here.
Dan
Rice | 
George L. Fox
Broadway's Clown | 
Bobby
Kaye |
'Prince Paul'
Alpert | 
Glen
'Frosty' Little |
Famous Neat (Standard) Whiteface Clowns
- Dan Rice (1823-1901)
- George Fox (1825-1877)
- Bobby Kaye (1908-1983)
- "Prince Paul" Alpert(1913-1987)
- Glenn "Frosty" Little (1925-2010)
The Grotesque Whiteface Clown, also called the Comedy Whiteface, has features that are out of proportion or accented with vivid colors. This includes facial features - and other body parts!
Make-upAlthough white make-up covers all exposed skin, the similarites to European and Neat Whiteface clowns ends there. The mouth and eyebrows are usually over-sized, although some clowns emphasize their features with color rather than shape. In that case, the features are created with various colors beyond the customary red and black of the Neat Whiteface Clown.
While some people relate the word 'grotesque' with 'ugly,' Grotesque clowns are often quite beautiful, as you can see on this page. The word 'grotesque' simply describes the exaggerated or unnatural features of this clown (as well as the features of the Auguste clown). For some odd reason, most clowns of this type prefer the description 'Comedy' over 'Grotesque.' Hmmm...
Costumes
The (Comedy) Grotesque Whiteface Clown wears a costume that exaggerates any part of the body, sometimes several parts! He may have an over sized rump or belly or both. His shoes will probably be much larger than normal. He can wear the traditional jumpsuit but it would be just as acceptable to wear brightly colored pants and shirt often adorned with a complimenting vest. The pants may be twice as big around as the clown, held up by suspenders, and either hang loose or be extended from the waist by a hoop. The 'tuxedo look' costume (often very colorful) is popular with the Grotesque Whiteface Clown, as he is often the spokesperson in a group of clowns. He can wear formal attire to symbolize his status yet satisfy the desire to be a colorful clown!A dress with a full skirt and lots of petticoats are often worn by the female Comedy Whiteface, although she may also be seen in the same type costume as male clowns. The entire costume usually goes together nicely in the tradition of coordination that is typical of a Whiteface clown. It can be accessorized with sequins, glitter, ruffles and ribbons. Finer fabrics like silks and satins are in character - this is a Whiteface after all!
As with all Whiteface clowns, gloves would be worn to cover the whole hand and exposed wrists. Traditionally white gloves have been worn (and are required for competition) but colored gloves that coordinate with the outfit are becoming more popular. Wild hair, in any color of the rainbow, may be fully or partially covering the skull and a costume hat, bow or some other type of decoration in the hair is common.
Famous (Comedy) Grotesque Whiteface Clowns
- Pinto Colvig, Sr.(1892-1967)
- Frank "Felix" Adler (1895-1960)
- Paul Jung(1901-1965)
- Ernie "Blinko" Burch(1929-1997)
- Bozo the Clown(1946-present)
- Ronald McDonald (1963-present)
Pinto Colvig
the 1st Bozo |
Frank
"Felix" Adler |
Paul
Jung |
Ernie
"Blinko" Burch |
Bozo
the Clown |
Ronald
McDonald |
THE AUGUSTE CLOWN is the most comedic of all clowns; his actions wilder, broader than the other clowns. He is often a troublemaker, using slapstick comedy to get away with more and bigger pranks. The Auguste face base makeup color is a variation of pink, red, or tan rather than white. Features are exaggerated in size and are typically red and black in color. The mouth is thickly outlined with white (called the muzzle) as are the eyes. The Auguste Clown is appropriately dressed in either well-fitted garb or in a costume that does not fit - either oversize or too small is appropriate. Bold colors, large prints or patterns, and suspenders often characterize Auguste costumes.6
The August Clown Type will entertain you with exaggerated expressions, slapstick comedy, and pranks of all sorts. The
number one skill of the Auguste clown is clumsiness. “Auguste” comes
from Berlin slang for “idiot”, and that early circus audience had no
idea, when they called out “Auguste” to that first clumsy performer, of
the legacy their insults would leave.
In the pecking order of clowns, the Auguste Clown type follows the whiteface at number two - no longer low man on the list. As the art of clowning evolves and changes, the character roles also evolve. (See more on this below in Auguste Clown Type History.
The Auguste Clown type is over-the-top with exaggerations: his actions and body language, his wardrobe (extra-large shoes, for example) and, of course, the bulbous red nose! Often an over-sized tie - extra long, extra wide or both! - and large, baggy clothes all work together to complete the wonderful appearance of the character we call the Auguste Clown.
The Auguste Clown type can be either a joker or a fool. It is common for the Whiteface to boss the Auguste around and the Auguste often has difficulty performing tasks. This difficulty can be achieved with success because the Auguste takes everything literally. He is eager to please and is more innocent than unintelligent. It is normal for everything that the Auguste tries to accomplish to backfire, either by purposeful mischief or by being naive and clumsy in character. The antics of the Auguste clown create hysterical situations and great joy for the audience. When the Whiteface clown is not around the Auguste can be the quasi-leader.7
THE CHARACTER CLOWN depicts a specific character or occupation. A character clown can be anything: a baseball player, doctor, dentist, policeman (Keystone Kop), sailor, pirate - you name it, the choices are endless! An important clown in this category is the Rodeo Clown, who not only makes people laugh, he helps protect rodeo participants in dangerous situations. Make-up for a character clown can be any of the three above-mentioned clown types. The make-up should compliment the specific character being portrayed and can be subtle or bold, as long as it doesn't detract from the overall effect. 8
The First Character Clowns:
YeeHaw the Cowboy Clown
Unlimited Character Possibilities
Kupcake the Clown
as Keystone Kop
The Keystone Kops became popular in the very early years of the 20th Century. A film series was created around these totally incompetent characters who made America laugh with slapstick comedy. This character has remained popular with clowns throughout the years.
The Character Clown:
Hippie Clown
The Hobo Clown type is often called the Tramp Clown but there are subtle differences between the two. The
Hobo/Tramp Clown type is considered a single category, although each is
a unique character in his own right. The main differences between the
Hobo and Tramp variations of this clown are in the areas of attitude
(Happy Hobo vs. Sad Tramp) and the slight variations of their costumes.
The Hobo Clown
type is living the lifestyle of his choosing. He is a vagabond with a
"devil-may-care" attitude, content with his carefree life on the road
and satisfied with whatever personal possessions he may have. The Hobo
may be down but he certainly is not out. The Hobo Clown type has a
happy look about him. In exchange for assistance he is willing to work -
but don't expect him to seek full-time employment because he is always
on the move, looking for the next town and the next adventure.The Tramp Clown type believes himself to be a victim of circumstances and that the world owes him a living. This character is truly down and out and often feels that his condition is caused by others. His expression is a sad one, the attitude is 'woe is me,' and he likes nothing better than for folks to feel sorry for him. He will do just about anything to avoid work and actually expects others to take care of him. Wherever he goes, his luck is always bad, nothing seems to goes right, and his misery causes folks to avoid him, making him pretty much a loner. He is not the clown character you will see running around acting zany and cracking jokes!
[From thesaurus.com: a hobo is a migratory worker who likes to travel, a tramp travels without working, and a bum does not travel or work.]
Tramp/Hobo History
(Jim Howle)
The inspiration for this character came from the homeless and migratory workers, (Tramps and Hobos!) who rode the freight trains across the country looking for either a handout or for a temporary job and a new adventure.
The Sad Tramp/Happy Hobo look was inspired by the appearance of these travelers: faces covered with soot caused by riding coal driven freight trains and a stubble of beard. After wiping the soot away from their mouth and eyes, those features would appear white against the rest of their sooty faces.
Once the United States entered World War I there was a great insurgence of Tramp and Hobo clown type characters for entertainment. They could be seen in various routines and performances: singing, musicians, magicians, monologists - you name it - many entertainers were using this character type.
Make-Up
Hobos and Tramps have similar make-up - the main difference is that the Tramp's facial expression is a definite frown and his face might be a bit more dirty than the Hobo. Both have the appearance of not having shaved for a few days and the beard and mustache 'stubble' is quite dark from the soot of the trains on which they travel.
Happy Hobo
John 'Gone-Zo' Gonzalez
John 'Gone-Zo' Gonzalez
Both the Hobo clown and the Tramp have a reddish tint to the cheeks to give the appearance of being slightly sunburned. The Hobo's happier countenance, accentuated by larger, more awake eyes, is accomplished by painting the eybrows higher on the forehead. The Tramp having a sadder look by painting lower, 'frowny' eyebrows giving a more tired look to him. A Hobo will have more of a smile about the mouth area, in contrast to the definite downturn to the muzzle area on the Tramp.
Costume
Tramps and Hobos wear similar costumes - the main difference is that the Tramp's clothing will appear more dirty and tattered than the Hobo's. The Hobo, after all, has a bit more pride and wants to make as good an impression as possible in order to acquire the next temporary job. The Tramp isn't trying to make an impression on anyone!The common dress for men at the time this character came into being was a suit or pants & jacket with a tie. It would not be unusual for this character to use a string for suspenders and a clothes pin or a mouse trap for a tie clasp. Colors are usually dark and these fellows wore their clothing until there was just about nothing left; sewing torn seams and patching holes with whatever fabric could be obtained.
A hat of some sort is common. The Hobo, being a much more jovial and dapper character, often wears a derby with a bright hat band and, perhaps, a flower stuck in the band. The Tramp may wear the same type of hat, without the bright colors. Any style of hat is permissible, as long as it is complimentary to the appearance of the character as a whole. Both the Tramp or Hobo clown type are the only ones in which the use of any kind of color gloves, with or without holes, with or without the fingers cut off ,or even the complete absence of gloves is permitted. If gloves are used, they should be clean but appear dirty, stained and well used.
Mannerisms
The Tramp or Hobo clown type has a great role in the art of clowning. Considered low man on the totem pole, he is usually the fellow who cleans up after the others.When working alone, things usually go wrong for him (A chair may collapse under him), resulting in great hilarity. Often times you will see this character as a magician but extreme clumsiness is worked into his routine and he becomes more perplexed than the audience!
The Auguste Clown can be in for a bad time when a Hobo character works with him. The Hobo often gets the best of his fellow clown and, occasionally, the Whiteface Clown, as well. The Hobo/Tramp is the one who accidentally spills something on the Auguste. The naive and innocence of this character makes it easy for him to duck the pie aimed at him just in time for it to fly past him and hit the Auguste!
Famous Hobo & Tramp Clowns
Nat
Wills | 
W.C.
Fields | 
Charlie
Chaplin |
Otto
Griebling | 
Emmett
Kelly, Sr. | 
Happy
Kellems |
Red
Skelton | 
Arthur
Pedlar | 
Don
Burda |
- Nat Wills "The Happy Tramp" (1873-1917)
- Vitaly Lazarenko (-)
- W.C. Fields “Great Tramp Juggler” (1880-1946)
- "Little Tramp" Charlie Chaplain (1889-1977)
- Otto Griebling (1896-1972)
- Emmett "Weary Willie" Kelly, Sr.(1898-1979)
- "Happy" Harold Kellems (1905-1987)
- Red "Freddie the Freeloader" Skelton (1913-1997)
- Mark "Mark Anthony" Galkowski (1915-1990)
- Irvin "Ricky the Clown" Romig (1920-2010)
- Emmett "Weary Willie" Kelly, Jr.(1923-2006)
- "Homer" Don Burda (1935-2008)
- Arthur "Vercoe" Pedlar (1932-present)
- Jim Howle (1939-present)
- W.D. "Curly" Robbins
- "Charlie the Juggling Clown" Bruce Johnson
- Kevin "Sneakers McSilly" Andrews (1964-present)
10
SOURCES:
1: http://www.pantomimes-mimes.com/pantomime-history.html
2: https://www.hideouttheatre.com/about/what-is-improv
3: http://italian.about.com/library/weekly/aa110800b.htm
4: http://www.britannica.com/EBchecked/topic/333240/lazzo
5: http://www.allaboutclowns.com/whiteface-clown-type.html
6: http://www.allaboutclowns.com/types.html
7: http://www.allaboutclowns.com/auguste-clown-type.html
8: http://www.allaboutclowns.com/types.html
9: http://www.allaboutclowns.com/character-clown.html
10: http://www.allaboutclowns.com/hobo-clown-type.html
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