Thoughts since interim sharing
In our piece, we are using the carrot to move through the dramaturgical structure of the ten stages of genocide (as formulated by Gregory Stanton).
In our Interim sharing, we showed the first three stages: classification, symbolisation and discrimination. But how do we get to stage nine - extermination - in our piece?
We have since come to the idea that to kill a clown is to eradicate their ability to perform/appear/laugh/fail/speak. Do we gradually turn into our naturalistic human selves as more and more restrictions get put onto our clowns, making it impossible for them to be impulsive and authentic?
What are the mechanisms of speech within our piece? Is the official language of politicians and performers English, whilst our clowns speak in gibberish in private? We do not want to make it seem like the UK is the oppressor and we, as clowns, are immigrants. To avoid this, we need to reference more 'iconic' political structures from across the world, not just the house of commons.
Why Shakespeare? This grounds us even more in a UK-based world - do we want this? In The resistible rise of Arturo Ui by Bertolt Brecht, one of the characters uses text from the play Julius Caesar to practice his political speech. Can we reference famous politicians' rhethorics in this way in our play as well? Again, it would be good not to just pull from Shakespeare, but to open up our clown world to more global references as well.
We must work out our group dynamic and individual characters more: what is the status order of our clowns? What makes them unique within our clown world? How do they relate to carrots, the government, rules, what are they passionate about? We scheduled a workshop with Lynne to help us with this, and we will also be exploring some Michael Chekhov exercises in our next rehearsal.
A key question to keep asking ourselves is: why clowning as a tool? What do we want to do with the clowning besides just pointing out the world's current gradual descent into fascism? There is a really interesting tension between the innocence and unpredictability of the clown on the one hand, and the controlled, carefully curated speech of politicians. Can we play into this even more?












