01/04/2002

Smiling on the Inside

by B. L. Walker

How do you feel when you see a clown? Happy and smiling, I’ll wager. Through the centuries, clowns have not only tickled our funny bones, they have also helped shape history. They’ve lightened our loads and made us laugh despite ourselves.

Clowning was first noted in history about 5,000 years ago in China where clowns served various dynasties. Then around 2,000 years ago, in Greek and Italian vineyards when harvests were abundant, overjoyed peasants splashed grape juice on their faces to form a simple but amusing kind of mask for dancing and performing skits of gratitude. Today’s clown costumes can be traced to two-piece, loose-fitting peasant garb worn in the vineyards.

Few people could read in the 10th century, so the church began to employ actors who used exaggerated gestures to dramatize Bible stories. These plays were popular, but lacked one important ingredient—humor. Not for long. Next came the annual "Feast of Fools," a festival held after Christmas by lower clergy and congregations. They mocked the high clergy in song, dance and pranks. Of course, their mischief-making became outlawed.

During the European Middle Ages (476-1453), when a child was born with a deformity, its care would be difficult. Therefore, many of these children were sold to royalty, trained as performers and called "jesters." Some had brilliant minds. Using humor and wit, they would diplomatically direct their masters in social and military matters while generously allowing the ruler the delusion of being in control.

In 17th century France, revenue collectors realized that street performers did not pay taxes. Naturally, a law was enacted to prohibit all spoken performances except those of the National Theater. But foxy street actors continued to entertain using only gestures, and the art of pantomime was born. French artist, Marcel Marceau, the world’s most famous mime, traveled the globe, thrilling audiences with flawless performances.

Medieval Italian comedy, "Commedia dell’arte," allowed actors to improvise around a loose script. Twelve stock characters each represented a different Italian region. Plots encouraged fickle relationships to develop much like today’s "soaps." Harlequin (always costumed in diamond patterns), Figaro, Pantaloon and Columbine are the most famous of these characters.

The first modern clown was Italian Joseph Grimaldi who died in 1837. Out of respect for him, today’s clowns greet each other as "Joey." He was the first to use "Whiteface" and his father was a commedia dell’arte player.

The circus (which means circle) was born when more and more actors found themselves forbidden to perform in church services, since they had become the social radicals of the day. Several enterprising English showmen brought small troupes of these cast-outs to the United States. One group performed in the Greenwich Theater, near the Battery in New York City, in l795.

In young America, circus owners hired clowns as "advance men" sent ahead with colorful banners and posters. They also diverted the audience’s attention during scene changes, or supplied comic relief between dangerous acts. Circus clowns today serve additionally as skilled mechanics, technicians, medics, and expert riggers. Dan Rice was the most famous early American clown, playing a kind of Uncle Sam character during the Civil War period and running boat shows on the Mississippi River in the 1870s.

There are three general types of clowns, the oldest and highest in the pecking order being the Whiteface, who is by far the most elegant. Makeup is a white base with traditional red and black coloring exaggerating the clown’s own expression lines. (Red, black and white show up best from a distance or under harsh stage lights.)

Then comes the Auguste (pronounced O-goost), German slang for "fool." This is the character who gets the pie in the face from the Whiteface. Their costumes are baggier, the makeup a flesh-tone with white eyes, red cheeks, and a bulb-red nose. Lou Jacobs, who died in 1992, made the Auguste famous.

Last, but certainly not least, is the lovable Tramp, dressed in dark, shabby clothes with a painted beard and white accents around sad eyes. The Tramp reminds us that although we may stumble and fall, we remain creatures of dignity. Tramp stars Emmett Kelly, Charlie Chaplin and Red Skelton allowed us to see ourselves in all our goofiness, falling flat on our faces, then picking ourselves up and moving ahead.

Clowns show great respect for each other. It’s unheard of to steal another’s costume design or face pattern. Clowns hang out in clubs called "alleys," swapping stories, while always looking to improve their special gift of humor and lightness. So the next time you see a clown, check your reaction. I’ll bet that warm glow you feel is because you’re smiling on the inside as well as the outside.

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Editor's Note: B. L. Walker, a Connecticut freelance writer and playwright, supported herself as a clown for several years clowning as three different characters: Bliss, Clover and Upper Crust. As Bliss (happiness in yellow) she was among the first clowns to perform and minister in hospitals. Next, she was invited to teach the value of humor in an upstate New York prison and later taught the importance of playfulness and humor to medical and corporate executives during weekend seminars. Clover (a 19th Century French maid) played the piano and performed at children's parties. Upper Crust (complete with tux) worked the charity circuit. It was grand.

Have a bent for clowning around? Maybe you can put your talents to work, for both fun and profit!

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Please send questions or comments to bbruno@snet.net.