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Clown performer, teacher, director, researcher and musician with 40 years’ experience in theatre, street, circus and TV. Teaches, directs and mentors in the UK and internationally. Previously taught clown, improvisation and acting at the Institut del Teatre de Barcelona and co-founded the Escola de Clown de Barcelona. Former Research Fellow at RCSSD investigating contemporary clown/actor training. Lecturer in Clowning at London Metropolitan University and founder of the London Clown School. Author of ‘Clown Readings in Theatre Practice’, ‘Clown Training, a practical guide’, and ‘The Clowning Workbook’. Producer of the long-running monthly clown show ‘Friday Flop’ and currently preparing a new solo, ‘PooPoo the Clown’.

How to survive as a clown. This is what I've been doing all my adult life and I'm still doing it


I have spent my whole adult life (40+ years) exploring what clowning is, how it works, how to do it, how to learn it, what it means and what it is for.


I started performing by accident, and felt it had to be my vocation, without knowing why.


Then I started studying it, in order to understand how and the why what I was doing was clowning.


I started teaching it when I was a student, in order to try and work out how to do it better.


I started researching its history, in order to understand why many of the things I had been told about clowning were wrong, and didn’t work.


Today, I am still dedicated to exploring this paradoxical and ubiquitous artform which is so often denigrated as low yet so often has pretensions to wisdom. As one of my students recently suggested, clowns are anthropologists, we study humans.


My projects include:

  • Collaborate practical research with other clown performers and teachers worldwide

  • Large-scale performances aimed at the widest range of audiences

  • Solo clown acts

  • Directing, mentoring and tutoring clown artists

  • Teaching worldwide, in universities, drama schools, and all kinds of communities

  • Writing books about clowns and clowning, their history and variety across cultures


As I grew up and continue to live in a society and culture where everything is monetised, all this exploratory behaviour has come at a cost.


Sometimes I get paid to do it (teaching, mostly, and sometimes performing). Sometimes I don’t (research, most writing, some performing). On rare occasions, I’ve been paid to think about clowns and clowning (a three-year research fellowship at Central School of Speech and Drama).


At other times, the research happens under cover of teaching, which for me is always exploratory and asking the question ‘how do we do this thing called clowning?’ and never ‘ok, this is how you do it’. Many times, the cover is blown and the institution prefers to employ someone who will do the latter. But sometimes, I get lucky.


There have been times when money is tight, but then there is always the street. And again the same question: ‘how to do this thing called clowning … in the street?’


Sometimes, people and places are so kind as to offer their resources at little cost. The first instinct when someone gives you something cheap is to offer them more in return. And then the collaborations and the explorations blossom even more. But sometimes, people think that artists are a good source of hire income, whilst simultaneously expecting them to offer their experience cheaply, in the name of accessibility. 


Maybe we can’t instantly transform our monetised societies into kinder places where everyone can get on with doing what they are good at in peace and with the security of having their basic needs met. Maybe we can’t suddenly make clowning sacred instead of precarious. But we can keep looking for better ways.

What they said... 

Thanks very much for the weekend, it was a lot of fun - I haven't laughed so much in ages. I found it really liberating to be able to choose not to go along with other people if I didn't feel like it.

You were really helpful in demystifying clowning, offering ways in to it that were clear, and easy to understand and remember, like it being fine to be real or fake, not always having to wait for it to feel real, and the difference between what an actor generally does and what a clown is doing.

(Georgie Steele, London 2024)


I learnt a lot about clowning and how to approach it - Jon gets the message across in a simple and understandable way. Clowning isn't a mysterious art form - the answer lies in just what we are feeling at the time. Priceless.

(Sally Mayhew, London 2024)

I want to share with you that for me personally, I experienced deep joy every day. I woke up crying with happiness and thankfulness Saturday morning. It has been decades since I’ve felt so much lightness and joy…. I am breaking out of my own mental prison.  Yippeeeee! I hope to share the clown spirit with others. Thank you for being you.


Thank you Jon. Some takeaways and things I really appreciated and enjoyed: your honesty, practicing laugh and silence awareness, listening for laughter if my “funny idea” fails, moving when there is silence (dealing with on stage emotions), so many ways to clown, useful grounding tools, being less abstract or storyish, clowning within a script, the individual and group feedback was very useful. 


I felt safe, curious and open to try things. It is great how you see the clown in us and genuinely desire to magnify it. Your honesty and interest in each of us is apparent. Jon you are full of life and experience and it is beautiful that you are teaching/sharing at such a reasonable rate. I would take your workshop again because I know I can get more out of it each time. I highly recommend. What a great group of folks you draw in, hope to have you in Reno one day soon. Cheers (Audry Townsell, Los Angeles, 2023)


Oh my goodness, Prof. Davison!!

Your class is really fucking hitting home… I understand the value of doing what’s real, responding to what’s real in the room!

Your class is the class that just keeps giving, even after its conclusion.  I am very pleasantly surprised.  Already in one day, I am applying so much to my “real” life. Fascinating!

(Mona Hanouni, Los Angeles 2023)


Jon is a brilliant teacher and is able to bring out courage in people by focusing on the tasks of exploration rather than getting something "right". Jon welcomes all human interactions, interruption, confusion, and questions. Play is not limited to simply saying "yes". There is an excellent introspectiveness set from the beginning without it becoming paralyzing. Where all feelings are correct.

(Andy Ross, Bristol 2023)


Not having any previous experience in clowning or theatre, I was quite apprehensive and I really had no idea what to expect. Jon led the workshop through fun and engaging games which loosened me up and I managed to let go, and to just go for it quite quickly. Everyone was easy going and really nice to hang out with and you find yourself getting to know each other quickly. I found the workshop gave me a lot more than I had anticipated, giving me more confidence in my day to day life. I definitely recommend checking Jon's workshops out, it's a win-win situation.

(Paul Gadd, Bristol 2023)


This was an active, fun, funny weekend.  Lots of laughs and many varied stimulating activities to reveal the clown. Works well for experienced performers and brave beginners!

(Helen Herman, Bristol 2023)


“It has deffo been a challenge to come to terms with life outside of the glow of clown school. (but I guess life has to change as a result!)


It was wonderful! I'm still pretty new to performing, and I was worried about feeling too out of depth, but the whole thing felt so natural and logical (and novel in a massively exciting way)- which I think was very much down to the delicate way that you taught, (and how unified (most of) the group was). I was blown away by the line you managed to tread between letting us discover things and guidance. How open you were and the levels of honesty it felt like we reached, without being brutal.


It was certainly the most generous teaching I have had the pleasure to experience in my life. Within this environment, I felt safe (and compelled) to explore myself in places I had never known myself to be before. And I watched other people do the same. This felt like unlocking a new voice that had been dormant inside of me.


I have found within the ideas and philosophy of your teaching of clowning a new clarity in thinking around ideas I have been stuck with for a long time. Including ways of thinking about my own painting practice that has been in a consistent struggle with its relationship (or lack of) to an audience.” (Jessie, London)


“Your workshop (including your philosophical musings within) touched me in a deep way. For a while I have been feeling confused and wrongly accused by feedback about how I need to "think less and do more" or "follow my impulses", and also unhappy about my unpleasant experiences working in a group, and while of course you wouldn't know all of these going-ons and they are not "solved" or anything, I think my confidence took a hit from these experiences and in your workshop I felt a sense of relief, self-acceptance and an acceptance from others.


I felt so moved especially when you were talking about how we spend all this time trying to make people do things when each of us is our own person, but also your general approach of encouraging us to give observations (instead of judging statements) of each person's actions/words/expressions, and accepting our varied interpretations as valid.


I think this environment was also created when you told us to just chill when we have nothing we want to test for a reaction (it's so stressful to feel like we gotta do something all the time and the framing of "testing for a reaction" is really useful!), and when you encouraged us to try new ways of being in the space when we're just not feeling it.


I found the workshop to be an excellent introduction to a perspective on clowning that is freeing and clear. What I found to be the greatest strength was that the exercises were paced and scaffolded well such that they were do-able (really made the atmosphere encouraging instead of disappointing) and delivered the intended learning within the day itself (no need to wander and wonder until the day we mysteriously get 'it'). The language you used was clear and avoided misunderstandings/confusion, and the goals of the exercise were never hidden from us for no good reason (as in, you were clear on what we didn't need to do and what we needed to do, and there were no annoying surprises).


Oh, and I really felt so tickled by the idea of imaginary clowning which you classified someone’s clowning examples as -- it's been on my mind and a source of inspiration. I love it.” (Jia Min, Singapore)


“I find your teaching style is very concise and to the point, yet you are still sensitive to peoples emotions during the workshops. To kickstart was a rigorous name learning game, again, rigorous – I could name everyone in the room within two minutes. This is so important, I have been to other workshops that do not focus on this and it really does have an impact throughout the workshops so thank you. It is clear that your knowledge of Clowning is substantial and thorough, which guided us and gave factual information to back up the practice throughout. I also find it fascinating that you are able to join in with laughter in the audience- we are still funny to you! You are professional and clear, yet very much up for having a good time as well and this shows." (Beth, London)

My first clowning teacher Jon Davison conducting a workshop across the continent. His lessons gently tame my rigid imagination and creativity, allowing me to draw spark inspiration from the little scenes of life. It would be great if as many people in our country could have access to this interesting field as they wish. Woah I have so much to study...! (Soleá Soyoung Kim, Korea, 2021)


“I am trying to explain why the set up of the clowning classes work for me. I thought it was “because I get no assignments”. But I actually do. I think it is because I don’t feel judged.” (Rosemarijn Dumont, Care Clown, Belgium, 2020)


“Jon invites us through a door into the agility of our imagination. His ideas and exercises are simple, playful, whimsical, and work in deep moment-to-moment awareness. But please look around at other online miracles as I don’t want this one to get over crowded.(Peter Shub, Clown, USA/Germany, 2020)

“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)

"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 Royal Central School of Speech and Drama)

"thank you so much for all the laughs and the experiences so’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)

"Thanks again for a great workshop! This was my first clowning experience - ever. The workshop made me explore and discover so many new things as an actress and about myself as a person. Learning to laugh at oneself more, and just letting yourself be more stupid, as silly or simple as it sounds, is so rewarding. When you feel idiotic on stage, the audience feels it, they laugh, and you’ve done your job. I would highly recommend this workshop to anyone wanting to extend their acting style, or just experience the art of clowning  - you won’t regret it." (Jazzara Jaslyn, actress, Cape Town)

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

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')


What I've done 


Professional Training


1992-93 École Philippe Gaulier

1989 Foundation Course in Circus, Fool Time Circus School (Bristol)



2019-20 Kalarippayattu Indian Martial Arts, London

2016 Yiddish song and improvisation – Polina Shepherd (Jewish Music Institute, London)

2015 Flatfoot 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 


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)


English (native), Spanish (fluent), French (fluent), Catalan (fluent).


Performing – Clown/Theatre
2017-20 - 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.
2011-23 - 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 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.


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.



2023 – Quiplash, The Pit, Barbican, London

2022 – Krista Komodor, The Woman by Philippe Gaulier, New York

2022 – Lauren LoGiudice, stand-up live show

2021 – D.O.C., by Safety Catch Theatre, 101 Outdoor Arts Creation Space, Newbury.

2021 – We All Wobble, by Acá Theatre, Worthing.

2020-1 - Krista Komondor, Twitch

2019 – Clowning director for Mathilda and the Orange Balloon, DH Ensemble, London

2017-20 - 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.


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.

2019-21 – Co-founder and accordionist with Rhythm of the Floor, Scottish/Canadian folk duo, London
2017-18 - Accordionist 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.


2014-23 - Found
er of London Clown School

2018-23 – Clowning Module, BA Theatre and Performance Practice, London Metropolitan University

2023 – Clown workshop, The Family Theater, Olympia, USA

2023 – Clown workshop, Thymele Studios, Los Angeles

2023 – Clown workshop, Bold Elephant, London

2023 – Clown workshop, Desperate Men Studios, Bristol

2018-23 – Clowning Module, BA Theatre and Performance Practice, London Metropolitan University

2022 - Clown workshop, The Acting Studio, Nottingham

2022 - Clown workshop, Limehouse Town Hall, London

2022 - Clown workshop, Vancouver, Canada

2022 - Clown workshop, Clown Gym, NYC

2022 - Clown workshop, Front Porch, Savannah, GA

2022 - Clown workshop, The Story Parlor, Asheville, NC

2022 - Clown workshop, The Open Space, Brussels

2022 - Clown workshop, Remise/Werkstatt für Clownforschung, Potsdam, Germany

2022 - Clown workshop, Limehouse Town Hall, London

2022 - Clown workshop, Remise/Werkstatt für Clownforschung, Potsdam, Germany

2022 – Clown Lab, Athens, with Hilary Ramsden and Robyn Hambrook

2021 – Clown workshop, Universitatea Națională de Arte "George Enescu" Iași, Romania

2021 – Clown workshop, The Bureau of Silly Ideas, Brixton, London

2020  – Online Clown workshop facilitator, National Youth Theatre (UK)

2020  – Clown workshop facilitator, Cirkobalkana, Belgrade, Serbia

2019 – Clown workshop facilitator, Calgary Clown Festival, Canada

2018-20 – Clown workshop facilitator, The Open Space, Brussels, Belgium

2018 – Clown workshop facilitator, Montreal Clown Festival, Montreal

2018 – Clown workshop facilitator, New York Clown Theatre Festival, NYC

2018 – Clown workshop facilitator, V&A Museum, London

2018-19 – Visiting Lecturer in Clowning at Stellenbosch University (South Africa) (BA modules in Physical and Applied Theatre)

2018 - Taught clown workshops in Johannesburg (African Film and Drama Academy), Soweto (Ngizwe Youth Theatre) and Cape Town (Clowns Without Borders, Magnet Theatre) (South Africa)

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.
2007-19 - 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
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.



2023 Clowning Workbook (Bloomsbury 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

2018 ‘Thinkers for our time – Charlie Chaplin’, British Academy, London

2018 ‘A Brief History of Clown Fashion: Using Material Evidence of Costume for Research‘, Circus and Beyond - Rethinking the History of Popular Entertainment, University of Sheffield

2017 ‘Successful Failure’, TEDx RCSSD.

2017 ‘Clown Politics’, Clowns and Power Symposium, London International Mime Festival, Jacksons Lane

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.


2023 – Tag Rugby GB Mens 50s (unofficial), Tag Rugby World Cup, Limerick, Ireland

2023 – Master Rugby League, Brixton Bulls, London

2023 - Touch Rugby with “Regents Park Geese, London

2023 - Tag Rugby with “Bataj”, London

2022-23 – Walking Rugby with Richmond Rugby, RAG, London

2022-23 - Canicross

1980-81 - 1st XV Rugby Union, Hampton Grammar

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