Analysis of information sources in references of the Wikipedia article "Clown" in English language version.
Your face was your fortune, and to copy another man's face without his permission was theft, punishable by ostracism. Every man had some kind of special trick which made his makeup look perfect...The old clowns feel that the quickest and easiest way for a person to distinguish between a clown and a person in makeup is the clown's ability to make his face move...The old clowns say that anyone can apply greasepaint to his face but very few practitioners of the art of clowning ever acquire the skill to make their faces move.
{{cite journal}}: CS1 maint: DOI inactive as of December 2024 (link)Italian clown pedagogue Giovanni Fusetti proposes...conceiving of clown as a state of being...'a state of playing where everyone has access to the key question: what is so funny about myself?' Lecoq describes entering into 'the clown dimension,' which requires 'a state of openness, entirely without defense...a state of reaction and surprise' (146). John Wright...[says] 'the state of bafflement that we see in clown...as a common state of humanity...Clown reminds us that, deep down, we're all in exactly the same bemused state' (218). John Flax (2009)...says that, for Lecoq, 'theatrical clown was just about finding that basic state of vulnerability and allowing the audience to exist in that state with you...A clown state is a state of innocence and poetry and naivety that allows the audience to draw their own conclusions. That's the state that you bring them to, and they'll make the connections or not, but they love to be in that state because we don't go there very often. It's a state of anti-intellectualism, a kind of pure emotion.'
{{cite journal}}: CS1 maint: bot: original URL status unknown (link)Reversals, broadly defined as switching to the opposite of what is considered 'the normal order' ... Reversals are an important aspect of the performance of many ritual clown figures (Keisalo-Galvan 2011; Steward 1991 [1929]) as well as more everyday instances of clowning and humor (e.g., Basso 1979).
Italian clown pedagogue Giovanni Fusetti proposes...conceiving of clown as a state of being...'a state of playing where everyone has access to the key question: what is so funny about myself?' Lecoq describes entering into 'the clown dimension,' which requires 'a state of openness, entirely without defense...a state of reaction and surprise' (146). John Wright...[says] 'the state of bafflement that we see in clown...as a common state of humanity...Clown reminds us that, deep down, we're all in exactly the same bemused state' (218). John Flax (2009)...says that, for Lecoq, 'theatrical clown was just about finding that basic state of vulnerability and allowing the audience to exist in that state with you...A clown state is a state of innocence and poetry and naivety that allows the audience to draw their own conclusions. That's the state that you bring them to, and they'll make the connections or not, but they love to be in that state because we don't go there very often. It's a state of anti-intellectualism, a kind of pure emotion.'
{{cite journal}}: CS1 maint: bot: original URL status unknown (link)Your face was your fortune, and to copy another man's face without his permission was theft, punishable by ostracism. Every man had some kind of special trick which made his makeup look perfect...The old clowns feel that the quickest and easiest way for a person to distinguish between a clown and a person in makeup is the clown's ability to make his face move...The old clowns say that anyone can apply greasepaint to his face but very few practitioners of the art of clowning ever acquire the skill to make their faces move.
{{cite journal}}: CS1 maint: DOI inactive as of December 2024 (link)Italian clown pedagogue Giovanni Fusetti proposes...conceiving of clown as a state of being...'a state of playing where everyone has access to the key question: what is so funny about myself?' Lecoq describes entering into 'the clown dimension,' which requires 'a state of openness, entirely without defense...a state of reaction and surprise' (146). John Wright...[says] 'the state of bafflement that we see in clown...as a common state of humanity...Clown reminds us that, deep down, we're all in exactly the same bemused state' (218). John Flax (2009)...says that, for Lecoq, 'theatrical clown was just about finding that basic state of vulnerability and allowing the audience to exist in that state with you...A clown state is a state of innocence and poetry and naivety that allows the audience to draw their own conclusions. That's the state that you bring them to, and they'll make the connections or not, but they love to be in that state because we don't go there very often. It's a state of anti-intellectualism, a kind of pure emotion.'
{{cite journal}}: CS1 maint: bot: original URL status unknown (link)Your face was your fortune, and to copy another man's face without his permission was theft, punishable by ostracism. Every man had some kind of special trick which made his makeup look perfect...The old clowns feel that the quickest and easiest way for a person to distinguish between a clown and a person in makeup is the clown's ability to make his face move...The old clowns say that anyone can apply greasepaint to his face but very few practitioners of the art of clowning ever acquire the skill to make their faces move.
{{cite journal}}: CS1 maint: DOI inactive as of December 2024 (link)