Dolly Jacobs and Pedro Reis' CIRCUS SARASOTA opened their season last night with reprise clown Jimmy Folco providing the comedy this year.
Let me get this straight, Fumagalli and Jimmy Folco are in the States? Barry Lubin is in Europe? Wait just a cotton pickin' minute... JUST WHAT'S GOING ON HERE ?!?
Where is Frosty Little this season? Cirque d'Hiver?!?
whats happening: maybe americans getter better tast e in humor?
Unhless he's working as either Toto Chabris or Housch Ma Housch, Frosty Little is not at Cirque d'Hiver!!!
Are you going to let Zippo get away with that?
No, I've seen what it is that the Euroclowns are offering.
I think the Europeans have gotten the far better end of the bargain by our graciously allowing them to see our Mr. Lubin.
Perhaps it is their taste in circus comedy (and originality in character and material) that we will see elevated.
now you cant say that the acts jimmy folco is doing are bad.
his shark in the bathtub act is a little bit stolen from andré brogger but he certainly is ok: or he just wouldnt work a few seasons for circus krone.
fummagalli I just dont like: to much screaming and acting like an idiot.
let me get this straight: american and european clowning a two different things.
they dont have much in common.
things like walkarounds etc are especially designd for three ring circus.
we dont have that: because it wouldnt work here.
you have to take a whole different aproach when you are working in a huge arena with three rings.
European clowns there mimic has to be finer and the situations and storys more intimate then in a massive hall.
a fact is most european circusclown humout is understood everywhere.
ringling clowning in an european circus wouldnt work.
also a fact; worldfamous clowns contemporary and from history are european or russian.
ask the man in the street he knows a famous clown?
answers: grock ( from Switzerland),
charlie rivel ( from Spain, oleg popov ( Russia), David Larible ( italy), Frattelinis
and if they know something about circus: the Rastellis ( italy), les fransescos ( Italy), walter galetti ( Germany), Toto chabris ( belgium), Tony Alexis ( Spain)
this is a prove al the wreally great and international known circus clowns or european!
there names are also known in america.
the big difference also is: here clowns can be stars: huge stars because they have a big solo act.( in fratelinis case it even could take up to 45 minutes or even more)
they can even have solo shows: larible does theatre shows, slava polunin has a evening filling show.
Popov had even a program on russian television ( budilnik) and had his picture on the chocolates proiduced by the russian state.
american clowning is more a program filling act with al those smal acts and group numbers
frosty little, felix adler: they never heard off, only in america.
with a bit of luck they know the name off Lou Jacobs and if they are wreall circus fans they maybe know barry Lubin because he has been in krone and in mont carlo.
and you cant say this isnt true: its just a fact.
worldfamous clowns did come ans stil are from europe ( Italy and Spain has the most of them)
they are known everywhere. American clowns arent wellknown outside of America.
Europe has a clowning culture: with longtime history and tradition.
the styles are tottaly differnt and thats why audiences just cant apreciate when a clwon from europe comes to america or vice versa
(there are exeptions: les fransescos did lots of acts on american tv shows and popov was a succes on his american tour with the state circus)
I guess: point proven
"Point proven", Zippo?
Far from it.
Ego or bias proven, sure.
American clowning doesn't translate to other countries? Barry Lubin just charmed the pants off of audiences at Monte Carlo, Rob Torres just took a prize in Budapest...even Emmett Kelly went back to Bertram Mills for three seasons back in the late 30s/early 40s... a date that Paul Jung was originally booked on as well!
American clowning made up 80 percent of the participants in the three festivals that took place in China last year and was quite clearly favored and more enthusiastically embraced by the Chinese audiences.
Circus Kinoshita in Japan has hired nothing BUT American clowns since the early 90s.
American clowns can't be stars??? Virtually every major circus in the States is currently headlined by a clown. Last I looked Barry Lubin (USA) headlined Big Apple, Tom Dougherty (USA) is headliner of the Ringling Blue, Bello Nock (USA) is headliner of the Ringling Red, Justin Case (FR) is headliner of the Ringling Gold, Giovanni Zoppe (USA) headlines on Circus Flora and folks like Barry Lubin, Mark Karoly, the DeSantos, Giovanni Zoppe, the late Ottavio Cannestrelli and I have all done pretty well in recent years making our presence felt on the Shrine circuit.
I doubt any of those mentioned are household names, here or abroad, but that is far from the point.
The ONLY clown that one could argue is truly known, by name, all around the entire world sells hamburgers.
Grock, Rivel, Popov, The Fratellinis and Rastellis were all be great artists who performed at the very pinnacle of their craft but they are ABSOLUTELY unknown to Americans outside of a small handful of circus fans.
I'd be very surprised if most contemporary American circus PERFORMERS were familiar with their names, much less the man on the street.
There are ENORMOUS outside factors which kept American clowns from traveling to Europe for most of the 20th century. Europe suffered through two World Wars and their aftermath. Who would leave the States and the relative safety and security to try their hand in a post-war Europe during the American economic booms of the 1920s or 1950s?
Russia suffered through a bloody Revolution early in the century and was embroiled in a Cold War with the US and much of Europe for most of the end of the century.
One must also take into account numerous barriers of language and local laws and customs which HUGELY favor a European traveling to America where we all share a common language and drive on the same side of the road!
To ignore just these socio-economic factors is absurd.
American, European and Russian clowning are far more similar than they are different. All sprang from the same roots and grew as branches on the same tree.
Different directions, but all branches of the same tree.
All three can point to a relatively equal number of masters, all three can tally long lists of theives, also-rans and wannabees.
American walkarounds gags would never work in a European circus??? What is the Rastellis' entire entree if not a series of walkaround-style gags wrapped up with music?
Lou Jacobs (it's such a great relief to know that you've HEARD of him, his reputation as an artist is now certainly assured) was quite warmly received by audiences in Monte Carlo at the twilight of his career in his VERY FIRST APPEARANCE IN A ONE RING TENTED SHOW, proving beyond the shadow of a doubt that Lou could most certainly have taken any one of his ring gags to Europe in the 1960s or 70s or anytime that he wanted and had found the same level of acclaim that he enjoyed for 60 years here in his adopted country.
It is my very sincere wish that you would educate and immerse yourself in all areas of clowning without regard to the petty territorial bias that taints most all cross-cultural circus arts discussion.
While it may differ somewhat in it's presentation, clowning's creme will always rise to the top and taste just as sweet no matter the tongue.
Yuri Nikulin would be well received tomorrow on Big Apple. The Rastellis would kill on any of the three Ringling units, just as Otto Griebling would were he to appear with Roncalli or the Paul Jung Troupe on Krone.
Exceptional clowning always has and always will transcend all boundaries of nationality and language.
Regardless of what you think or feel.
I've always heard that it's the Americans who are culturally arrogant.
I think Zippo confuses world famous and famous in Europe, not to mention world famous and "known by circus fans." The fact is that the average person on the street can't name any circus clown. Sure, Grock was famous, but I'm not sure he could match the name recognition of Emmett Kelly, and I think that Otto Griebling was funnier than both of them.
Just because some circus and clown nerds in America know who Charlie Rivel is does not mean that he's "known" here. Likewise, just because some circus and clown nerd in Europe doesn't mention Peter Shub, David Shiner, Avner Eisenburg, or any of the many other great American Clowns doesn't mean that they can't hold their own against any Europeans.
To take something as subjective (not to mention ridiculous) as clowning, and then imply there is value to the observation that the "fact" that Europeans can name more European clowns than American clowns is simply pompous.
I also want to point out that Grock did come to America and fail. What does that mean? Can we say that he had a bad week, that different situations call for different forms of comedy, or that Americans have no culture?
Don't be ridiculous.
dont dare to call me uneducated.
or you can come over and see the amount of circus stuff and international programs you can find at my house.
and the amount of sites i visit on internet.
most known clownacts I know by heart
I even collect clown figurines ( 3236 today)
and I make them myselve in clay to.
larible , Popov, fransesco caroli
met them all and theey got a figurine that I made to.
heard of lou jacobs: I even taped the show on german television of his goodbye; ( I was five when I saw it)
ooh by the way you can count him in a bit as european to: born in germany. bremerhaven is still in germany ( did he get american nationality?)
what i want to say is: there is probably no bigger fan off clowns and has met more of the living famous clowns and got pictures and stuff of them.
so I 'm very educated in that matter.
but you have to face this and its just a plain fact: american circusclowning is not known here.
most names doent reach over the sea
you are seeing it with the eyes of a circusclown that is familiar with the matter because you work in the bussines
you have to see this with the eyes off the audience.
and language you can never call a factor in clowning because you dont have to use words.
great example of that kind: popov would never be a star abroad if he would talk in his act:
the man only knows russian.
so he mimes evrything and his acts are international.
barry lubin is just an exeption to the rules: because he always works a one ring circus.and the audience in monte carlo is something different then the roncalli or cirque 'd hiver or any european circus ( monte carlo is a tent full of international circus lovers how sometimes pay fortunes for a ticket)
I 'm pretty shure of it: when you take a ringling groupclown act and put it at roncalli or krone.
that doesnt works.
that is the difference in style.
you are wreally seeing this very much out of the point of view off an american circus clown.
and china and japan that is just another story
I studied at the conservatorium with lots of japanese and chinese people.
and they are just different.
they also never would say its bad when they think it.
no they applaud politly. thats there culture ou know;
and they laugh with everything
what a japanese or chinese is thinking or what he is saying or doing that are two different things.
I spent five years with those guys almost every day so you get to know them a bit.
ooh maybe another point that proves the difrent approach of clowning between europe and america.
In america you become a clown in clown college.
and how long does that education take? not so long. do you have to have a circus background: no.
most clowns in europe became a clown because there father or mother was and teven there father was;
they where born in circus, and they are in the ring since they where 10 or even younger;
the only thing they know is the circus. I'ts there passion and they keep doing it untill they are death.
you do have a bit of tunnel vision when you dont see the differences between clowning from different continents.
european clowning is totally different of european. russians have there own style and its closer to european traditions then american ( before 1900 only european artist performd in russia after that the state founded there own circus buildings and the circus state school)
and the chinese style is something completly different ( saw the chinese state circus several times with chinese clowns)
african clowning : there I have no clue ( only saw the baker boys with there bakery cascade from south africa and some things in africa-africa)
also the war cant be a issue: the russian state circus came to europe and america in full cold war;
they even visited cuba in war time ( the artist even did fight on the side of castro!)
and it even helped to end the war that they appeared abroad;
Russia called the circus artist peace messengers.
artist never cared about war or from which country you are.
( in daniel bärenboims orchestra musicians play togheter but there countries are in war for centurys:
politics cant but art can bring them togheter)
so that reason s absolute bullshit
and what about the last 50 years??
there wasnt a war then. we dont even have borders between countries here anymore
but only the last five years you can find some american clowns abroad
( an example andrew appeared in circo americano from togni: ooh american circus: whats in a name, and grandma in krones winterseason)
it would be a bit respectfull to call me uneducated in the matther of clowning
there arent many names, acts and facts from european and russian clowning i dont know.
and let this be clear:
from whatever country a clown comes;
there will always be good acts and bad acts.
and theres also another thing:
personal taste of audiences
( I can know that because i have been on lots of stages indifferent countries as a musician: belgium, holland, france, germany, danmark, poland, japan, italy , spain yes USA fine arts camp in LA and even big concert halls all over america and many more)
( in ever country they react different. well belgium and holland are very close and very small countries but even here is a huge difference inaudience reactions)
maybe this also a difference: and your answer is actualy showing it.
europeans and russians think international and go abroad;
americans think american.
ooh and if you call the rastellis act a serie off walkarounds wrapped in music that proves also a thing:
that you never seen more then one act of them and that you dont european clownhistory.
the different languages are also a good thing.
almost every european performer speaks multiple languages ( actually every normal man does to)
we can work anywhere.
europeans can easily come to america: we all speak english.
the fransecos did work in the whole world: why?? they did speak 7 languages if that didnt work they did a silent act or let the music speak ( still the worlwide best understood language)
so your point of view is very much the american view
and maybe the reason that audiences are watching the same kinds of acts for years know and that clowns always stick with old traditions;
so circusmanagers are looking for something different and new.
if you cant find that in ylur own country they are looking abroad.
does it works with the audience: then the act stays longer.
does the audience doesnt likes it:
then its time for another act.
thats what all artists shoul do:
listen to your audience a bit more.
greetings from belgium from a clown lover and clowncollector and international singer/ musician
( and sometimes clown on stage)
and again in adams post some facts are wrong.
peter shub and david shiner are welknown names to the audiences.
they where headliners at roncalli.
and the answer of adam is again a prove of tunnel vision.
you are very wrong when you think people dont know any names of circus clowns.
when a clowns name is known outside that small group of circus lovers then he ( or she) means something.
and that is the same thing in every bussiness.
If you cant see that you praobably live in another galaxy.
And if you dont see the difference in culture between countries and how that effects on humour and clowning then you are blind.
maybe you should ask some great clowns how toured the whole world about that.
and they will say all the same thing:
that you have to change your act a bit and react on the audience.
a truly good performer can do that.
he feels what the audience wants and changes his act to it.
a few facts: holland and france like talking comedians and talking clowns,
a audience from holland is louder and reacts more,
skandinavian audiences are wreally colder.
you have to work hard to getsome reactions there.
In Italy and Spain ther is temperament in the audience: so they react on humour that way also.
some countries like music more then others ( did you know it was forbidden in russia to play an musicalinstrument for clowns by the state untill some years ago)
so musical clowns dont score in russia
different countries means also different show rules.
in france the musical clowns are in a traditional circus always the last act. And the children know that and are looking forward to that.
In france or spain you can make your routines longer.
but audiences in holland or germany like the acts better when there short and fast.
so if you think the same comedy works everywhere and has the same effect everywear in the world your deadly wrong.
if you just turn blind on the cultural difference and habbits in countries when you work with humour
then your act failes yes.
popov made when I met him a great remark;
humour is hard work. you have to think about it; and think over and over. what does the audience reacts to.
what do they think when I make this gesture or do this with my face.
he thinks humour is also a kind of phylosofical thing. and that you have to be intelligent to make every audience laugh.
that a clown can play a dumb character but the performer has to be intelligent and clever.
And has to have fingerspitzengefühl to play with peoples feelings.
And that a clown is a mirror of the common mans soul.
Well they arent my words but the words of pipo sosman in an interview.
he compared european and american clowns and he said the following words.
American clowns are more shallow then europeans; european clowning uses more tradition and goes deeper.
I just couldnt believe at first.
but maybe he has a point.
I had no idea that I was dismissing the valuable opinions of a circus comedy scholar of such magnitude.
You have met several clowns AND own a sizable collection of clown figurines??? Both?!? HOW?!?
It's almost too much for one lifetime.
I will go back through the clownalley.net archives immediately and begin collecting your posts for publication in two leatherbound editions, one for the John and Mable Ringling Museum of the Circus in Sarasota, FL and the other for the Circus World Museum in Baraboo, WI so that other American philistines, like myself, may gain a greater understanding of not just the nature of circus clowning but the true beauty of the written word.
Such wisdom and insight will surely be savored for generations to come.
On behalf of American circus clowns and fans, I thank you very humbly for taking the time to share so much of yourself and your views with us. They are of unspeakable value to us all.
I can only hope that one day I myself might achieve such stature that you will consider using your considerable talents to craft my likeness in clay so that I might be your 3237 clown figurine and know real immortality as I am selected to proudly stand amongst the Pantheon.
Forever awed and in your reverence,
I think you're missing my point. Perhaps you're not meaning to insult, but that's what you're doing. You continually imply that Europeans don't like American clowns, but also say that David Shiner and Peter Shub are household names. I'm confused.
As far as thinking and working internationally, I performed on four continents last year. The people in towns that I met who didn't work with shows didn't know names of circus clowns, but then again there are a lot of people I didn't meet. You say that I'm blind for not seeing that acts need to change when performed in front of different audiences. I don't understand what made you think that I don't know that. I do understand that you have no idea who I am, or who I've met or worked with, so I'll let all of that go.
My original point is that it's unfair and incorrect to equate American clowning with Ringling, Clown College, or three ring circus. I fully agree that many Ringling gags wouldn't work in Europe. That doesn't mean that Americans can't work in Europe.
It's true that Clown College did not graduate clowns at the level of any of the clowns we've mentioned. It never lasted more tham four months at the most. The average career of a clown on Ringling was probably around four years. There are also a lot of amateur clowns that couldn't hold a ring or a stage anywhere in the world. That doesn't mean that American clowns are necessarily inferior. Barry Lubin went to Clown College and was a clown on Ringling. Bill Irwin went to Clown College. People who stick with it can end up being quite good. Like you said, greatness comes with experience. There is alot more to American clowning than has appeared on Ringling.
It's interesting also that you mention Pipo. I worked with him and found him to be a beautiful man who was very generous in his help for a young American clown. Many of his comments were directed towards the proliferation of amateur and inexperienced clowns. I don't think he thought that Americans are incapable of working at deeper levels, and I don't think that you should either.
I might also be confusing your point. If your point is simply that American clowns are not known in Europe, and that many Ringling gags wouldn't work over there, then I will agree that you are right.
George Carl. Known EVERYWHERE.
Undoubtely, the historical cultural gap american/european circus clowning is changing.
Last century opposed in the two continents the three-ring multiple circus clowning one side, to the soloist one-ring reprise and entree at the other, as if a solid wall was between. In the mean time, all other kind of circus performer (even with comedy) crossed back and forth the ocean without troubles.
The difference is in the context you create in a circus, and how do you educate your audience.
In Europe, in the early 80s, american comedy style (Shiner, Shub) began to work because Roncalli and followers wanted to go beyhond the "entrée", that at the time was decaying. All other european circuses believed that "a circus is not a real one without entrèes": but without thinking that those acts was not as good as they used to be.
Te same goes for Usa. Creating the context for the one-ring format, circuses as Pickle or Big Apple or Soleil developed a different American ccircus comedy style, and someway necessarily close to the european circus comedy. And on such basis Big Apple created the conditions for european clowns imports.
I think that this global situation, in the early 90s, was a strong encoragement to Feld to open the doors to Larible and Nock, and to later gave focus to Dougherty etc.
European clowning have been for a century based on dialogues, music and acrobatics along a family transmission, where clowning used to be the second of later profession of acrobats or riders.
American circus clowning I see more based on the sight, silent tradition of three wonderful American forms: vaudeville, movie slapstick and cartoon.
Europeans have to learn immensely from that, and sometimes they did.
An exemple of crossing those borders. Rastellis, even if Europeans, were former trampoline acrobats that turned themselves into clowns, but American style. Working in America, they were influenced by the Holiday on Ice producers, and revue gagmen, and the Spike Jones shows. They compacted the sight gags into an act. Well, this changed clowning in Europe. Totally. Every entrèe in Europe slowly left behind the dialogues and followed the Rastelli model.
But the real american/european contamination, I think, is after the Shiner-Shub-Larible tornado, that also affected Soleil tours in the two emispheres.
Today every young european clown of traditional family is more and more adopting this style, even if on the confortable way of the plagiarism.
In the Usa, I think that America is ready for solo clowning in circus, don't matter if European of American; more if you consider the progressive shrinking of the 3ring format. Europe, on the other side, have a lot to learn from the American clown talent: young europeans from circus families are pretty lazy and have just a modest school frequentation in their childhood; they don't have an education in movies, slapstick or fantasy behind "my grandfather's gag" or a Larible video copied in details. You have a recent good example those days on your shores pictured on this blog.
After the new Monte Carlo broadcasting in France, Italy and Germany in the next months, I will not be surprised to see under the continental big tops a multiplication of reprise clowns in red dresses, yellow socks, grey lady wigs with popcorns, happily doing gym parodies or singing in playback.
well then you did understand it wright.
the three ring acts wouldnt work here.
off course peter shub and shiner where a hit here.
but their act has taken distance from the traditional clown.
and thats what roncalli does more:
they have traditional clowns for ages ( most european circuses even dont have entree clowns anymore)but also more modern comedy.
Jigalov and Pic.
off course those things do work here; Even in variete they do well.
( sometimes better then in circus)
but yes indeed what I meant is the american three ring circus clowning
( not shiner and peter shub or avner eisenberg): the clown with make up and bright costume and wig and red nose.
And you have also understood the point I was explaining:
Ringling clowns mainly stay for four years.
here that would be considered strange:
because clowning is a way of live for a clown here.
they are born as a clown and they die as a clown.
and the words of phillipe sosman where in an interview ( i'll try to find it back: because its still online) and are exactly his words when they asked him about his
time working for ringling with larible.
And mr cashin you better dont make fun of my collection of figurines.
i will send you some pictures someday. and probably you will be amazed
and I wreally met most of the famous european clowns;
I visit circus a lot. sometimes travel a few days to see a performance.
fransesco caroli, larible, bernhard paul, angelo munoz, tony alexis,alfredo rastelli, popov etc..
all off them I met and had a chat with them and they gave some pictures to style the figurines on so that every detail would be correct and every wrinkel or facial detail could be wright.
and most off those statues are on clowns make up tables know.
and many on display behind glass at my home.
when I go on a concert trip and I have free time I visit the circus or go shopping for clown figurines (german gilde clowns or statues from lino zampiva or swarovski chrystal clowns)
or when friends went abroad and they saw a clown figurine somewhere they bring one home for me.
thats how you get tousands of clown figurines from all over the world.
I have made also many statues to use as props on stage or on tv.
in many decors on theaterstage where a garden was on stage there was an cupido or cherubin that I made.
or if there was a king in the play
there was a statue of him on stage: I made them on demand with the actor as model in front of me.
what was a litle hobby at first became a wreall bussines.
and dear mr cashin. I am wreally at home on the international music stages. Because when it comes to classical music and operasinging: well I am a householdname.
and I just love circus and clowning
and collect as much as possible about it ( books, autographs, pictures, programms,etc..)
so you will probably think he cant know all of this; but I do.
i am well documented and informed when it considers circus clowning.
>but yes indeed what I meant is the american three >ring circus clowning (not shiner and peter shub or >avner eisenberg): the clown with make up and >bright costume and wig and red nose.
Again, right as rain.
Absolutely no European clown has or ever would wear makeup, wigs, shoes or noses. It simply wouldn't work there.
Who has ever heard of such a thing???
>And mr cashin you better dont make fun of my >collection of figurines.
I better don't?
I shouldn't won't not dream of it!
>i will send you some pictures someday. and >probably you will be amazed.
Uh, yeah. And then again, probably not.
>when I go on a concert trip and I have free time I >visit the circus or go shopping for clown figurines >(german gilde clowns or statues from lino >zampiva or swarovski chrystal clowns)
>or when friends went abroad and they saw a >clown figurine somewhere they bring one home >for me.
>thats how you get tousands of clown figurines >from all over the world.
Well that, eBay, garage sales or garbage picking but what you are doing sounds like it's been working for you.
Such a full, rich life. Opera singing, chotchkie shopping AND online lunatic ranting?
It's really no wonder you are a "householdname".
>and dear mr cashin. I am wreally at home on the >international music stages.
>Because when it comes to classical music and >operasinging: well I am a householdname.
Hey, you are a household name around here too!
I've been fielding phone calls from fellow clowns who have been giggling about your posts since yesterday afternoon.
Here in America, "Charmin" is also a household name. I hold your opinions in equal esteem.
>so you will probably think he cant know all of >this; but I do.
>i am well documented and informed when it >considers circus clowning.
We are all, each and every one of us, overwhelmed and very greatly impressed by the depth, height, width, girth, circumference and radius of your vast knowledge.
Yours is a wisdom that stretches far beyond your waistband.
We can only pray that you continue to use your formidable talents for the good of mankind.
wel I can find myselve in the opinion of mr de ritis.
that if you combine the best of both cultures you can come to a synthesis that is succesfull.
there are traditions but sometimes you have to let them go.
the best edecation still is a mix of the traditions and new ideas
and to know what is going on beside your work and take influences from othere people.
also true the strong tradition of euopean clowning is both a good thing but can only be a weak point.
i dont agree when he says that most clowns here were ex riders or acrobats.
yes most of them have other skills when they where young. popov is a great juggler and wirewalker, pio nock great wirewalker. les fransescos also did a riding act.
but that doesnt means they did clowning because they got older and couldnt compete with other jugglers or wirewalkers;
sometimes you can see in a clownact more artistic spectacular things then in the actual juggling act or arobatic act. but its not less funny and they are still great clowns.
so is it negative that a clown also has a great artistic level: I dont think so
And yes indeed there was a gap and its closing slowly but it is closing.
roncalli was and is a trendstter on this.
and indeed they ( well actually bernhard paul: bewause roncalli is berhard paul and vice versa) introduced the reprise kind of act.
but they never cancelled the entree: every year there is an entree.
most european circusses lost the white face they didnt: now they even have a old style white face gensi( and exacpt yann rossi and bruno chicky in renz holland there arent many circusses how still have a white face anymore)
the entree clowns also where stars in roncalli.
and the entrees were funny: fransesco and angelo and bernhard paul with the honney bee. that was killing material to.
perfect example that roncalli is the perfect mixture of tradition and new things.
and more and more you can see a style in the ring that is closer to variety and stand up comedy and miming then to tradititional clowning.
( you can see that in everyhing: costume,(no) make up ( red nose a hard to find these days!), props andeverything)
so its a good thing that those two different styles slowly growing togheter.
but i felt that in many posts here there was an undertone saying what the hell these european clowns are doing in america and that there acts arent good.
and thats why I wanted to point at the differences between both styles.
and that there is more behind it.
i hope everybody did understand my point now
( mr de ritis his answer made it a little clearer)
and that it wasnt there to insult people and maybe my not so perfect and unsofisticated enlish made it look like that.
but the only point was to make clear that there are big differences between two styles ( far bigger then you can even think)
and that thats is why sometimes people dont like this or that act.
but insulting people: no I never would!
wel mr cashin.
that answer is very respectless!!
1)what i meant was with the clown with wig nose and costume ( of course they also do that over here)
is the traitional circus clown and the acts he ( or she) brings.
you cant denie theres a difference in character between old school and modern clowns.
apparently : raffael deritis and adam got the point; you still don't.
2) ebay and garage sales or full of garbage.
and thats far from what I collect.
because if you would know what gilde clown statues and lino zampiva and then you would know that is expensive eclusive stuff for collectors
3)this answer of yours proves you have wreally great tunnel vision.
and that you dont respect opinions of others ( wich is a bad thing for a blog owner).
and this is not the only place online or in the world where you can learn something or you can see numberous pictures and acts ( i can do that at home to)of great clowns from the past and the present
you seem to only respect other fellow american clowns and the rest you are looking down on as minor people.
well here's a message for you:
all the material of my collection is photographed but it will be never showed here.maybe on another blog
you are going to miss dozens of pictures and exclusive signed programs by wreally famous clowns
( not off those they think they are)wich has been showing on numberous exhibitions
And I hope you never come to work in an European circus because when you act as rude and respectless as you are know it could be possible you could swim back to america with in your bags lots of bad reviews and a relieved audience.
your very modest words( this has to be irronic) make me laugh far more then youre acts.( its by far the most intelligent humour i ever saw of you and makes it chrystal clear you dont have a clue what you are talking about)
I hope some day you will get some respect for circusfans because thats what the wreally great stars have. because only because these people visit the circus to see them they can make there living of it.
respect for there audience and for other artists that is a trademark of the really great clowns.
i the beginnign it was fun: but now I 'm sick of visiting this blog.
because a place where you are treated respectless and some great acts are sometimes called crap.
that doesnt enriches your culture but just makes a person turn sour a bit.
what you " wisdom" doesnt comes from looking at pictures and videos.
but that stretches far from your wasteband.
and that respecting other ways of thinking can expand your own world and thoughts thats something intelligent people know.
but when you are to shallow to see that its better not to explain that.
there are people here that I respect very much but others arent just worth it!
"I'll bet those grapes were sour anyway".
That was Jackie Gerlich's bell...
Freddie, Otto... back to your corners.
ok heres my input, which doesnt matter, im a down home professional clown in atlanta,georgia and have been for a clown for 14 years a professional clown for 7...ive been to every state as a clown and on 3 overseas trips as a clown and im only 16. But from having never met Mr. cashin nor the so called household name zippo, Im gonna have to take Mr. Cashins side on this because honestly to me the TRUE clowns are ones such as the desantos, frosty little, david shiner, peter shub, leon mcbryde, jim howell, the people i grew up gawking over and luckily now know most and are near and dear friends with them.....but what makes them TRUE clowns is not their noses shoes or costumes nor make-up...but its their kindness and the influence theyve had ON clowning and i dont care what anybody says the european clowns have taken and used countless amounts of american clown routines and the clowns here have no problem with that...now as far as zippo goes u might have met many famous clowns and been to as many circuses as you can count and that may you a household name and if it does congratulations, but here you have to actually make a name for yourself and earn the right to be a household name...Mr. Cashin from other shriner friends ive made over the past year or two Mr. Cashin has been a top name in the shriner cirquit...Mr. McBryde very respected lecturer and circus clown is a very good friend of mine and I know for a fact to the down home clowns hes sure enough a house hold name, but i juss wanted to put my input in, like i said it doesnt matter cause Im only 16 but i juss like to voice my oppinion on my craft.....thank you
Gentlmen, gentalemen! please let us agree to disagree. This is very interesting reading and very educational. Obviously you both are very passionate about clowning. but the fact is people are funny all around the world. everywherepeople love to laugh. would this or that work there or here...who cares try it and see. The important thing is that we make people laugh, or feel, or cheer, or cry,whatever we damn well feel like doing! Thats what I love about clowning, I do what I want and the audience lets me know whats up. All of this over what I think was meant to be a joke. Wars are started this way.
Holly Cow!!!!!!!!!!!!! I had no idea there was a hey rube going on in the Alley. This is big!!!!
At least you have Mr. de Ritis offering his assistance. When the dust clear's it will be "my" fault because, as I have already heard, you adjatited Pat at the start. Go figure,
I'd consider the style of Lubin to be far more high brow and european as opposed to American despite Mr. Lubin being an American himself. Lubin presents quite intelligent comedy.
I do tend to prefer european style clown humor, it's much more intellectual than the slap and fall of many American clowns. Those that truly put the fright in fright wig. Perhaps thats why many of the popular clowns headlining in the USA have a european flare and touch to their style.
Something to consider.
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