I have a friend who describes the proliferation of the "New Vaudeville" approach to clowning as the "New Yama". His reason being that now it's just as generic, hackneyed, and uninspired an approach to clowning as the rainbow wigged, Simplicity-patterned, greasy, smeared makeup of the "yama yama" clown that hands out stickers at the car wash now simply repackaged to showcase how much money these performers have spent picking items out of the Dube catalog.
His assessment may not be true of everyone but it is essentially valid and is only gaining more ground with me as time goes on.
Dressing in gray, black or brown thrift store castoffs and topping it with a derby or porkpie to show how different you are from the typical convention, Shrine and Christian clowns that you are trying to distance yourself from makes sense only to other "New Vaudeville" clowns. The general public doesn't understand or care about the idea - or what you are doing with it. If anything, it only serves to distance you from your audience, for whom vaudeville (either old or new ) is a largely meaningless word.
His assessment may not be true of everyone but it is essentially valid and is only gaining more ground with me as time goes on.
Dressing in gray, black or brown thrift store castoffs and topping it with a derby or porkpie to show how different you are from the typical convention, Shrine and Christian clowns that you are trying to distance yourself from makes sense only to other "New Vaudeville" clowns. The general public doesn't understand or care about the idea - or what you are doing with it. If anything, it only serves to distance you from your audience, for whom vaudeville (either old or new ) is a largely meaningless word.
It all boils down to character, without a strong character you have nothing. So if the costume only serves to make the character more accessible, more unique , more marketable... why look like everybody else?
When you think about it, it really makes about as much sense for a contemporary performer to wear a top hat as it would have for Buster Keaton or Harold Lloyd to work in the 1920s dressed as Joseph Grimaldi.
When you think about it, it really makes about as much sense for a contemporary performer to wear a top hat as it would have for Buster Keaton or Harold Lloyd to work in the 1920s dressed as Joseph Grimaldi.










