Jon Davison

“I played my first small solo and managed to apply some of the ingredients of your method.

It was fun! And it worked! The feedback I got:

•You seemed very relaxed in stage

•There was always laughter

•It was so stupid!

•Really funny

•The audience always felt safe and recognized.

So, I wanted to say thank you and that your method produces something pleasurable for both the performer and the audience.” (Tobi Tambornino, Germany)

 

“Thank you for the brilliant course. It was wonderful in every way – personally challenging without any terror attached, mind opening, fear conquering. I think everyone should do a clown course to better understand themselves and others. And particularly do yours.” (Dr Dea Birkett, Ringmaster and leader of Circus250)

 

“Jon is a brilliant teacher!” (Dani Tonks, Wild Play Lab, London)

"Jon is the best teacher I have ever had, and I am a very picky person. He is like the rain that gently falls onto the earth, softly moistens the grass and encourages every plant to grow at their own pace. He never judges people and gives a lot of freedom. He makes scaffolds and you will find yourself making progress and achieving more than you have expected. The way he inspired me definitely boosted my self-confidence and stimulated my creativity. Now I know myself better and I love myself more. Last but not least, all the happiness and silliness you will experience in his clowning course is the medicine for life! We all had so much fun!” (Jingxian Mei, Clown Foundation Course 2018)

 

"You won't know when you start a clown course what you will discover ... with Jon Davison he makes it wholly about your journey, supportive and a true guide. He has specific and helpful ideas, which he clearly communicates, even more, he has a genuine capacity to facilitate your learning. People say he’s a clown teacher genius. I am saying this too, although I have only experienced 8 other clown teachers. I never want to leave the London Clown School … that’s why I am so happy to keep getting it wrong (this is a bad clown joke)!”

(Justine Smith)

 

"If you can make it and were thinking of going, just go. It's amazing." (Caitlin Day - Nottingham Clown Course)

"thank you so much for all the laughs and the experiences so far...it’s a wonderful class and I’m very grateful to you and the group for the sheer joy of it all. Thanks for sharing your superb gifts and teaching”

(Mark Denham - London Clown School student)

"This morning’s class in emojis...
😶🤨🤥😭😅 💩(Avril Cummins - Johannesburg teacher of theatre)

“a teacher who never gave up and taught me not to be afraid” (Fiona Keenan, Bristol workshop student)

 

"What a ridiculously funny and informative workshop!" (Nathalie Codsi, Brighton clown student)

"Thanks for such an engaging workshop. I loved how you de-emphasized the individual clown- which has always felt like a difficult way in for me. It was fascinating to see how we arrived at many of the core concepts in clown in a much more intuitive and felt way."

(Rebecca Stevens MA Performance Practice Research, RCSSD)

The workshop was fantastic, one of the best things I’ve done since I arrived in England … I am definitely laughing much more and much harder since the workshop!” (Dror Latan, Circomedia student)

 

“Great fun and a very good learning experience” (Katherine Steer, Brighton clown student)

  

“I really enjoy your teaching approach... I felt I was eased into the session nicely (as I was a little nervous), but toward the end I felt like we were digging deeper. It was a nice gradient!” (Jenny Haufek, Brighton clown performer and student)

"Some of the most illuminating and enjoyable workshops I've done (and I'm addicted to the things)" (Jonathan Richardson, producer of House of Idiot Comedy Club, and London Clown School student) 

 

"Jon Davison is a great clown teacher" (Lucy Hopkins, freelance physical theatre performer and creator)

 

"I wish I was in London to do this, the man's a genius!!" (Klara Van Wyk, clown student and performer, South Africa)

“recommended OED source of authoritative information on clowning terminology” - Peter Gilliver (Associate Editor, Oxford English Dictionary)

 

“displays his inner clown impeccably” (Reseña, Madrid)

 

“Absurd” (ABC, Madrid )

 

“a much-needed contribution to the field, discussing historical and contemporary clowning in one volume” (Lucy Amsden, reviewing “Clown Readings”)

 

“fascinating, innovative analysis ... Davison’s book is marked by an intense investment in his subject matter ... The book’s wealth of information and broad scope encourages further detailed looks at a variety of clown histories and practices. Often taking views contrary to other clown or theatre practitioners and scholars, Davison hopes to ruffle feathers.” (Dave Peterson, reviewing “Clown Readings”)

"Davison is not afraid to challenge assumptions and counter prejudices. The result is a gratifyingly historicized and situated account of a staggering range of examples of clowning, grounded in personal artistic experience, which is invaluable for students and scholars alike. Clown is impressively ambitious in scope, ranging from Shakespearean fools to hospital clowns, from Buster Keaton to the Koshari of New Mexico” (Barnaby King, reviewing 'Clown Readings')

How did this come about? 

 

I started performing at the age of 20 in 1982 while studying French at Nottingham University. On a visit while still at school to see the place I had been strangely convinced by a final-year student called Pete Holdway, mostly due to the good prospects of doing theatre while at Nottingham in its two on-campus theatre spaces. I say “strangely” convinced, because I’d never done any theatre in my life. Well, not since being a bear on Noah’s Ark at the age of 11, which consisted in crawling onto the ark at the beginning of the show and off it again at the end, wearing a too-heavy papier mâché head. 

 

Then, ten years later, in my second university year I agreed to accompany one of my house-mates, the poet and novelist Jill Dawson, to a party. How could I refuse? The booze was free. And we were good pals. However, the real point of the party was for various student directors to announce their auditions for the coming year’s productions. Being a bit woozy from the wine, I put my name down to audition for a play that had plenty of non-speaking parts. Next week, sober, I went along to the audition and got lumbered with a whole slab of words spoken by the character of the Marquis de Sade, whom I was chosen to play. The play was Peter Weiss’s “Marat/Sade” and the director, Jem Carden, had not the slightest interest in “actors”. Seemed like he preferred people who hadn’t a bloody clue, like me. I don’t quite know how, but from there I went on to perform in a multitude of forms: comedy, political agit-prop, melodrama, surrealism, as well as direct Sartre’s “Les mouches” in French with my old friend Pete Holdway in the lead role.

 

I recount all this, not to sing my own praises, but to try and shed some light on the fact that theatre has always been, for me, a process that is shrouded in darkness and surprise. I mean, how do we do it? What is it? In those early days I simply “did” without knowing why or wherefore. The other reason for my story is to acknowledge and give credit to those friends and colleagues who have helped me find my way. (I don’t want to just write a list of names saying, “thank you to x, y, and z”.) I worked with Jem on more occasions, most memorably for me on Beckett’s “Krapp’s Last Tape”. And I learned the basics of mime from Pete, which seemed to be the most natural and easiest and most obvious thing to do in the world to me. Like a duck in water, for a while I only thought of and performed and taught mime, aided by the fact of living at that time in France and not having any hope of being allowed to speak on a stage.

 

Such limits are wonderfully liberating. In early nineteenth century Paris, the most absurd and bureaucratic restrictions were put on what one could perform and where. Only certain “official” theatres were permitted to stage spoken theatre. Hence the not-so-lucky venues had to put up with action without words. But with music. Melodrama took its distinctive form: gloriously action-based plots, where music, taking the place of the spoken and rational word, expressed with its vast emotional vocabulary that which our pitifully small dictionaries have no room for, echoed, a century later, in the technically limited silent cinema. 

 

(And today, here in Barcelona from where I write, I am still wrestling with the obstacles in the path of theatre, still trusting that it must one day lead to a better way to perform, instead of to giving up because it’s just too hard: “national” theatres that only want the provincial (Catalan) or the foreign, as long as the foreign comes from abroad and doesn’t actually live here; “commercial” theatres, that produce no new products but simply re-sell someone else’s (musicals from the U.S.) at a good price; “alternative” theatres that are so dull that even with government finance have to give away free tickets in order to half-fill the auditorium; “independent” theatres, bars and other spaces that ask the performers not to tell too many people about the show and could the audience please refrain from clapping as the neighbours will complain; “organised” street performance, where the council’s mysteriously complicated system states that human statues shall not be permitted to wear masks, perhaps to remove that criminal element who dare not show their face? and that musicians may not gather in groups of more than 3, or one in the case of the area around the cathedral (for religious reasons?!), nor play percussion instruments unless they are pre-recorded.)

 

On returning from France to England I started to perform in the productions directed by Simon Shepherd, where I also became good friends with Andy Lavender. These were much more than run-of-the-mill student theatre. Brecht, Melodrama, Suffragette Agit-Prop, Music Hall, put on at Labour Party knees-ups (this at the height of Thatcherism) or Yates’ Wine Lodge (known at that time for the occasional broken-glass fight). Far away perhaps from the ethereal world of the French mime, yet I felt equally at home. Andy and I and a regular gang of us kept plugging away at this stuff for a few years. Apart from the politics, what we looked for was form, structure and definite meanings. Quite the opposite to my earlier “I don’t really know why or what I’m doing” phase. We extended our range to Molière, Carol Churchill and our own original work in our search for significance.

It had been when being cast as “Bobby Trot” in the melodrama “Luke The Labourer”, directed by Simon, that I had been bitten by the clown bug, but I didn’t know I had the disease yet. (Still not cured.) Bobby Trot is an example of the requisite comic yokel, in this case from Yorkshire and accompanied by Jenny, played by Kate O’Halloran in this production, who contrasts with the hero and other serious characters. Still not knowing quite why, I soon after formed a new company dedicated to clown and melodrama. Its only other member was Tim Meldrum, a stupendously outrageous histrionic talent. We had two productive years together, touring half a dozen original shows around the East Midlands, Scotland and elsewhere, and discovering new audiences all the time – children of all ages, old people of all ages, mentally disabled people, deaf people, rural people, inner city people, suburban people, drunk people……

It was about now that I felt for the first time that I really wanted to learn something. About theatre. I mean to learn something that I couldn’t learn by just performing, which is all I’d done for the last seven years, apart from my brief mime apprenticeship. I had a vague sensation that I was missing something. I had no idea what it was right then. So I went to study for three months at Fool Time Circus School in Bristol, and…….found it! I remember the first moments of the first class when the teacher touched my chest lightly and said, “There’s a big story here, isn’t there?” I started to cry. Over the next months I began to piece together what had been missing – me. I had felt comfortable among so much structure and form, but what had been lacking was my own spontaneity, life, humanity, heart…. And now, Franki Anderson, this profound and charismatic teacher of clown, fool and play, had shown me where to look. Inside. To her and to Guy Dartnell, who taught voice and what he called “expressive improvisation”, I owe the discovery that set me on the right road, and without which I couldn’t have continued nor done all the performing, teaching and creating of the next years. 

 

I completed my (very brief!) studies with the unique improviser, Jonathan Kay, and the master of clown and play, Philippe Gaulier. Jonathan taught me where play is to be found: right here and now. I was on a residential course in the middle of nowhere in Hertfordshire in February. Snow was on the ground. I had been bored for five days. He asked us to go outside for a couple of hours, preferably barefoot and alone, and play. For an hour and a half I sat shivering and got a very wet bum, huddled up on a tomb in the nearby cemetery, cursing the money I had wasted on this bloody course, when, out of sheer freezing necessity, I stood up and started stomping my feet and clapping my hands in order to warm up. That then turned into jogging, jumping, and very soon I was running around, rolling around, and….playing! The running and rolling quickly became a game of “escape from a prisoner-of-war camp”, and in half an hour, I’d made my way, inch by inch, to the road, playfully but genuinely wary of each occasional passing car. If only I could get across that road, I’d be free and away! Time whizzed by. It all seemed totally real, yet of course I knew it was only a game. My fantasy seemed more vivid than life as I knew it. For it was lived, every moment of it, in the here and now, in the moment.

After that, I couldn’t wait to perform one-man impro shows based on nothing at all. So I did. My great friend, Paul Taylor, who had been at circus school with me, became my director. I began to investigate the essential questions: “how can I improvise? how can I guarantee that I will improvise well?” At times these questions became ever more frustrating and difficult to answer, and at others it was all so simple that the questions ceased to exist. I was constantly devising exercises for myself, which Paul would then direct me in, and many of which appear below. Some of the shows were great. Others were great flops.

 

At the same time, I started directing Jo de Waal, a singer. She wanted to free up her performing and somehow between us we decided I would train her to be able to perform improvised musical theatre. Which she did. By directing and being outside the inner process, I was able to gain a perspective on my own work. For example, I remember discovering a way for Jo to make herself laugh, by a particular way of breathing and voicing. I then tried it on myself, with Paul’s guidance. All this research occupied me for two years or so, near the end of which a group of six of us formed together to take things even further, though we never performed or even had a name. So, with hindsight, I call it “The Experimental Clown Group”.

 

As I mentioned, my studies were “completed” at the École Philippe Gaulier, at that time in London. I think that Philippe is the person I’ve met who most understands what it is to “play theatre”, as well as what the clown is. That experience put the theoretical lid on what I’d been experiencing. And here we come to the final stage (so far) of this little story, for it was at “L’École” that I met and began to work with Clara Cenoz, my clown partner from then on and with whom I have shared many years of dedication to the search for the truth of the clown, a time spent mostly in Barcelona, discovering just how the hell you put all this stuff into practice. And it is here that I have had the opportunity to teach many many hours of clown, impro and play, principally at the Institut del Teatre de Barcelona, as well as at the Col.legi del Teatre and numerous other schools, in direct continuation of those years of investigation with Paul and Jo. Indeed, I keep on investigating, as I freely admit to my students. Sometimes I say to them, “That’s turned out well, then. We just invented that game while you were playing it.”

 

(Barcelona 2005)

 

... to be continued ...


 

 

What I've done 

 

Professional Training

Schools

1992-93 École Philippe Gaulier1989 Foundation Course in Circus, Fool Time Circus School (Bristol)

 

Workshops

2015 Flafoot Dance – Alice Cade (Chats Palace, London)

2014 Trampoline – Caroline Quist (Phoenix Fitness Centre, London)

2014 Parkour – Parkour Generations, London

2011-13 Comedy Script Writing – Guy Meredith (City Lit, London)

2010-15 Eccentric Dance – Barry Grantham

2010 Sword Dance (Rapper and Longsword) – Hawksword, London

2008/2009 Andrey Drozhnin Movement Technique – Natalia Fedorova (MXAT)

2008 Michael Chekhov Technique – Lenard Petit (Michael Chekhov Acting Studio)

2008  Meyerhold's Biomechanics and Chekhov's Psychological Gesture - Sergey Ostrenko

2007-15 Clog Dance – Camden Clog (EFDSS)
2006 Clown - Moshe Cohen 
2003 Improvisation - Ruth Zaporah 
1993 Clown - Théâtre de Complicité 
1991 Fool - Jonathan Kay 
1991 Tight Wire – Kate Verney 
1990 Voice – Franki Armstrong 
1989-91 Improvisation – Guy Dartnell 
1989-90 Clown - Franki Anderson 
1989-90 Voice - Guy Dartnell 
1989 Clown - John Lee 
1988-9 Tai Chi – Simon Biddlestone, Nottingham ICC 
1988 Puppetry – Bob Wade 
1987 Political Theatre History and Practice – Nottingham CAC 
1983 Mime – Pete Holdway 
1981-2 Karate – Nottingham University 

 

Education
2012-2018 Royal Central School of Speech and Drama – PhD in Clown Performance
2006 University of Kent – M.A. Practice as Research (Drama)
1981-85 University of Nottingham – B.A. (Hons) in French Studies (2:1)

 

Languages 
English (native), Spanish (fluent), French (fluent), Catalan (fluent), German (intermediate), some knowledge of Russian, Romanian, Italian, Bulgarian, Yiddish. 

 

Performing – Clown/Theatre
2017-18 - Producer of Friday Flop, monthly event at Rosmeary Branch Theatre, London

2014-15 – Created and performed Not A Real Horse with Stupididity

2014 - Created and performed clown solo Can clown performance be made out of clown training? at RCSSD

2011-13 – Created/performed solo show 21st Century Clown at CSSD, London variety and cabaret venue2013-15 - Created and performed clown solo The Self-Deconstruction of Clowning at RCSSD.
2012 - Performer with Festive Road, devising/performing Brewing Up, touring SE England festivals.
2011-15 - Performed with Camden Clog, various folk festivals throughout Britain.
2011- Co-created and performed with Sophie Page-Hall The Mermaid, trapeze/clown show, various festivals in UK.
2010-13 - Created and toured The Spaghetti Horse, co-produced by Stratford Circus.
2010 – Devised/performed Clowning by Numbers at Battersea Arts Centre and various cabarets, London.
2008-9 – devised and performed Jontxu...to be and Clown Phenomena, at London venues (Chisenhale Dance, Boogaloo, Festival of Emergent Art) and Edinburgh Fringe Festival (with Sideshow)
1993-2006 - Co-founded, with Clara Cenoz, Companyia d’Idiotes, Barcelona. Shows to date: Mamiydaddy; Bebè Dolent; Ou Xou; Clown Impromptu; Macbez; Tzirk!; Home Sweet Home; Look Into My Eyes!!!; Don’t Play It Again, Sam; De Kartró; Jonny D.; Klezmer Clown. Touring Spain, U.K., France, Russia, Poland (Tàrrega; Festival Cos; Mercat de les Flors; Teatre Malic; El Canto de la Cabra; La Paloma; etc)
2000 - La Llave Perdida with Companyia Mousiké, Barcelona.
1998 - Variétés 98 with Jango Edwards, Teatre Goya, Barcelona.
1992 - Solo experimental clown show Ghosts, The Dance Centre, Bristol.
1991 - Solo impro clown show I Want To Be A Human Being, various venues, Bristol.
- Lunatic Agency, impro group with Franki Anderson, Guy Dartnell, Bristol.
1987-8 - Co-founded Cast of Thousands Theatre, 2-man clown company, writing and touring shows around U.K.: The Audition; Things Go Horribly Wrong; You’ll Never Walk Alone; The Story With The Missing Pages; Victorian Values.
1987 - Dom Juan in Dom Juan by Molière, The Third Eye Centre, Glasgow.
1986 - Bobby Trot in Luke the Labourer, dir. Simon Shepherd, Nottm., Loughborough, Manchester.
- Cabarets with City Stage at The Old Vic, Nottm.
- Agit-Prop Sketches from The Workers Theatre Movement and The Actress’s Franchise League, The P.A. Studio, Nottm.
- Sganarelle in Sganarelle by Molière, The New Theatre, Nottm.
- Fear of Falling by Mark Aldridge, The Midland Group, Nottm.
- Music Hall Show, Yates’ and The Old Vic, Nottm.
1985 - Various roles in Blood Relations by Carol Churchill, with City Stage, Nottm.P.A. Studio.
- Other Experiments, with City Stage, The New Theatre, Nottm.
- Revue Show, The New Theatre, Nottm.
1984 - Greeneyes in Deathwatch by Jean Genet, Nottingham Playhouse.
- Matthew in The Threepenny Opera by Brecht, dir. Simon Shepherd, Yates’, Nottm.
- Revue Shows with QYT, touring England and Wales.
1983 - L’Idiote in Les Mouches by Sartre, The Performing Arts Studio, Nottm.
- Krapp’s Last Tape by Beckett, dir. Jem Carden, The New Theatre, Nottm.
- Revue Shows and Street Theatre with QYT, Nottm., Darlington, Coventry.
- Mime Artist with Le Théâtre Jeune de Narbonne, touring Languedoc.
1982 - Marquis de Sade in Marat/Sade by Peter Weiss, dir. Jem Carden, The New Theatre, Nottm.
- Revue Show, touring bars, Nottingham.

 

Cinema/TV/Commercials/Radio
2003 - Presenter in feature length documentary Asia en Casa, by Leo de Armas.
2003 - Chairman of the panel in comedy talent show series 4 i acció…, TVE2, Spain.
2001-5 - Principal roles in commercials for: Renault Kangoo; Turismo Canarias; Vivatours; TVE1; Agua de Veri; Karstadt; Nokia; Cerveza Damm; Michelob;Rianxeira; Helios; Vodafone; Williams;Polaris;Port Aventura.
2001 - Appeared as Clown in feature film El Zoo d’en Pitus.
1992 - Fool (principal role) in short film No Man’s Land by S. Dewey.
1984 - Wrote and presented series on UK pop, Radio Narbona, France.
1982 - John (principal role) in short film The House by Simon Brown.

 

Video Art
2003-5 - Made feature length documentary on clown training, Play and Play Portraits. Barcelona.

 

Director
2017-18 - Friday Flop with Citizens of Nowhere

2014-15 – Not A Real Horse with Stupididity

2010-13 – The Spaghetti Horse with Sclowns.
2005 - Uncle Vanya by Chekhov, Institut del Teatre de Barcelona.
2004 - Belle-ile-en-mer, by clown company Compañía In Serius, at Can Felipa, Barcelona.
2003 - Mossegades, by Companyia Mousiké, at L’Atelier, Barcelona.
2001 - Molt Trist, by clown company Companyia Sense P, at Teatre Malic, Barcelona.
2001 - The Duchess of Malfi by Webster, at Col.legi del Teatre, Barcelona.
1999-2000 - Play, experimental improvisation, at La Caldera, Barcelona.
1993-2006 - With Clara Cenoz, all of Companyia d’Idiotes’ productions, Barcelona.
1993 - Pétards Mouillés, clown company, London.
1991 - Jo de Waal, experimental singer, Bristol.
1990 - Town In The Dumps, mask show by Nothing Personal Theatre Company, Bristol.
1985-6 - All of Cast of Thousands Theatre’s productions, Nottm.
1982-4 - Various revues, sketches, etc.
1982 - Les mouches by Sartre, P.A. Studio, Nottm.
1982-2006 - Numerous short pieces and individual numbers by various performers.

 

Stage Manager
1992 - 3D Collaborative Theatre, circus-dance company, Bristol.
1991 - Tented show by Fool Time Circus School, Bristol.

Assistant Casting Director
2002- Assistant to Itziar Hernandez, Barcelona. 
-Assistant to Carol Piera, Barcelona.

 

Musician 
Instruments: accordion, piano, child’s piano, banjo, violin, clarinet. 
Styles: Klezmer, Folk (British, Irish, American, Romanian, Bulgarian), Classical, Ragtime/Early Jazz. 
Sight reading: high level.
2017-18 - Accoridonist and co-founder of Popurri klezmer band, London. 

1986-2015 – Busker playing accordion and child’s piano, UK and Europe.
2004-2006 - Co-founded Hop!, Clown-Klezmer band, Barcelona.
2004 - Arranged and performed, with Ciuri-Ciuri, music for the show Una Gitana en Barcelona, by Maria Stoyanova, at La Nave J.
1997-2003 - Co-founded Orkestina, Jewish/Gypsy band, Barcelona, releasing 3 CD’s: Soul of Europe; Jewish Gypsy; Transilvania Express.
1990 - Member of Mere Mortals, devising and performing music for Fen by Carol Churchill, Hope Centre, Bristol.
1987-93 - Accordionist with Wholesome Fish, Celtic-Cajun band, Nottm., touring U.K., Ireland, Germany, Czechoslovakia, Hungary, Romania.

 

Teaching
2014-18 - Founder of London Clown School

2017-18 - PhD Co-Supervisor and Lecturer, University of Stellenbosch, South Africa

2016-18 - Taught clown internationally: Peru, South Africa, Belgium

2006-13 - Co-Director of Studies, Escola de Clown de Barcelona.
2007-18 - Visiting Lecturer in Clown, CSSD, University of London. Taught clown on undergraduate and (BA Drama, Applied Theatre and Education, BA Theatre Practice, BA Acting) postgraduate courses (MA Classical Acting, MA Acting for Screen, MA Actor Training and Coaching, MA Applied Theatre, MA Theatre Studies, MA Writing for Stage and Broadcast Media).
2007-10 - Creative Research Fellow at CSSD, University of London.
1996-2006 - Taught Clown, Improvisation, Play and Actor Training at Institut del Teatre de
Barcelona.
2000-2 - Taught Acting with ITDansa, postgraduate dance company, Institut del Teatre.
1997 - Co-taught Clown with Jango Edwards at El Mercat de les Flors, Barcelona; and Festival of Fools, Loèche-les-Bains, Switzerland.
1995-2005 - Clown, Play and Impro workshops and full year courses at numerous drama schools, Barcelona (Col.legi del Teatre, El Timbal, Co&Co, etc.)
1992 - Founded The Experimental Clown Group, Bristol, dedicated to clown and play research.
1987-8 - With Cast of Thousands Theatre, numerous workshops in universities, schools, community and youth centres, including residencies at Long Eaton School and Ollerton Dukeries.
1987 - Theatre in Education anti-racism projects with Strange Fruit Theatre, Nottm.
1984-6 - Workshops on Clown, Brecht and Shakespeare, with City Stage, Nottm.
1984-5 - Theatre workshops at community centres, Derry.
1983 - Mime workshops, Languedoc, France.

 

Publishing
Publications

2019 Clowning Workbook (forthcoming) (Methuen)

2015 Clown Training (Basingstoke: Palgrave Macmillan)

2013 Clown: Readings in Theatre Practice (Basingstoke: Palgrave Macmillan)

2009 “Clown Prosthetics and Amputations” in Performance Research Vol. 14, No.4 'Transplantations'

 

Conference Papers

2015 “Surviving as a Clown at the Margins of Society”, TaPRA University of Worcester

2015 “Documenting Clown Training”, Comedy Symposium, University of Salford/BBC

2015 “What Is The Value Of Clown Training?” Intersections Performance Research, RCSSD

2014 “Clown History Today”, TaPRA Royal Holloway University

2014 “The Staging of Spontaneity”, Colloquium of Performance Research, RCSSD

2013 “How To Be A Clown”, TaPRA,University og Glasgow

2013 “Historicising Contemporary Clown”, Colloquium of Performance Research, CSSD

2010 “Clown Training Today”, TaPRA, University of Glamorgan

2010 “Clown Training”, Documenting Practices, CSSD

2009 “An Encyclopaedia of Clown”, Festival Of, CSSD

2009 “The Dramaturgy of Clown”, Festival Of, CSSD

2008 “The Practice of Failure”, Festival of Emergent Arts, CSSD

2008 “The Phenomenology of Clown”, Festival of Emergent Arts, CSSD.

Biography