Day 3: Angela de Castro

Clowning Discussion

This talk was peppered with anecdote and stories, jokes and revelations. The following are only notes of main topics covered:

• Experience of coming to Australia for the first time. Anecdote about jet lag which she heard as 'jet legs'.
• Helping a friend by going with them to an audition, joined in to make up numbers and ended up getting the job on a children's show for a year.
• Likes to communicate with audiences, prefers small parts (the maid, the best friend, the sister etc.) no main/big parts, parts that haven't been written.
• Went from good director to good director.
• Performed in a show about Brazilian identity one (1) year rehearsal and four (4) years performing.
• As a performer you can make others feel good about themselves.
• The ocean is not the only thing between Brazil and Europe.
• Passing On not Teaching.
• Been conducting 'How to be Stupid' workshops for ten (10) years.
• Clown mid-wife.

What is clown for me?

• Happiness of finding myself.
• Touring all over the world (haven't been to Africa).
• Amazing acceptance of clowns all over.
• Started with small audiences, one on one.
• Clown in each of us is healing.
• Everyone has a clown inside, just have to choose to train our souls.
• Clown is an obsession, we need to be obsessive for performers, lets be PRO-LIFE.
• Clowning information is limited.
• Angela has started getting biographies of clowns.
• Reading about and researching angels: are like clowns.
• Clowns live in the land of Why Not.
• Imagination is the most profound reality.

Einstein:

• Imagination is more important than knowledge.
• Likened to an artist more than a scientist.
• To be able to be a clown we need to love ourselves unconditionally.
• Don' t fight against it, just accept it.
• Lack of directors who understand clowning.
• Angela runs a course for young directors.
• Include clown directors in the NCPTA plans.
• Obtained Two (2) grants when someone on the panel understood clowning.
• Sick of explaining herself to arts funding bodies.

Clown injuries:

• Clowns must make themselves exposed and vulnerable and are sometimes 'injured' - No physical sign of illness. Leeroy Hart and Angela came up with the idea of a clown nose with a bandage on it to signal to others that a clown was 'not well'.

Dreaming:

• Has created a Clowning School - the 'Why Not' Institute in UK.
• Safe place for their clowns.
• Land of Why Not.
• Don't be scared, live 100%.

Q. (Ross Vegas - Bizircus)

• About the process of creating 'The Gift' (de Castro's solo show).

A. (de Castro)

• Came out of not being able to express romance with lovers in English.
• Works with video, to watch back performances.
• Don't be precious about work.

Projects in process:

• Shakespearean fools all in one place.
• Clown Opera.
• My life is like a Yoyo.
• It takes a life time.

Q. (Reg Bolton)

• Have you spotted the National Clown in a class?

A. (de Castro)

• Rumplestiltskin is a wonderful clown, someone needs to look after him.
• Clown consultant.

Q. (Mike Finch)

• Any suggestions for looking after clowns within a large company? (eg. Leeroy Hart in Circus Oz).

A. (de Castro)

• Directors should perform every now and then.

Q. (Thor Blomfield)

• What makes a good director?

A. (de Castro)

• Understanding - performer has the idea.
• Trust - performer feels trusted.
• Talk outside the rehearsal space.
• Updating, constantly.
• Know everything about the performers.

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This project has been assisted by the Federal Government through the Australia Council, its arts funding and advisory body.