Clown School Day 30: Pleasure Under Duress

In which Our Hero puts on his big boy pants.

Everyone received a mark of zero today. Every. Single. Student. A new record. Some people earned three zeroes; some two; some only one. I loved it.

The teacher says I sometimes laugh when no one else does. “When Julian laugh, he is alone.” Fair enough. Sometimes I’m not laughing at the thing itself, but at what the thing makes me think of. Like a few weeks ago: a group tried to play a game where they became “scared” whenever someone said a word with the sound boo in it. The game was stupid; the play was bad; and the gap between the silliness of the idea and the flatness of the execution made me laugh. It was like watching someone throw themselves at the ground and miss. Delightful.

I received a zero today. I enjoyed it. I don’t care about their grade. That’s just part of the game. I’m glad I succeeded in doing some new things well.

I had one moment onstage—maybe half a second—where it all clicked. Holding my hands in perfect blades (as I was a stick insect), I tried to open a soda bottle. I was having so much fun; I looked ridiculous in my all-gray outfit; the audience laughed. Then one of my partners stole the bottle away, stealing the game from me and thereby ending it.

During the summer course, I heard the head clown teacher say something like “You have found a problem. That is a very special thing for a clown. If you solve it, you will need to find a new problem and that is not always so easy.”

Still, for that instant, I succeeded. 😀

During talkbacks, Head Teacher said: “And this guy [me]. At least he is finally covering his legs.” (I usually wear shorts.) So I raised one pant leg—just a small, innocent reveal. She laughed and looked away, maybe a little embarrassed. I did the same with the other leg. She laughed again. Light, gentle, generous, giving. Success! You’re not only performing when you’re on stage. You’re always performing. [And, well, I was still standing on the stage.]

Today I took the whole class as a joke. A game. A silly thing we’re all doing together. That shift alone made everything feel lighter. It made me more receptive and open.

I found the fun and the games in her comments. I felt lightness all the way through. (Except for the time when she said I laugh alone. I felt hurt and sad and lonely for a moment there. And then I found the lightness and pleasure again 🙂

Monday was my most painful Clown School day yet. On Tuesday, I started to recover. Today, I find the whole exercise funny. Our teacher literally started class with vocal exercises of her pronouncing the word “zero”. After people performed, she sometimes said “[X person] had a good entrance…” and sometimes said “[Y person was a] total catastrophe” yet still gave everyone in that group the same mark: zero. A farcical grading system! A curve with a mean of zero and a standard deviation of also zero! Only needing one number card to hold up! How droll. What a deeply silly ritual.

One student had a few little flashes of something—tiny moments, not the whole piece—and I told her after the show. She lit up, said it was nice of me to say (and said it in the way that people do when they’re authentically touched). We’re all in this together, and a glimpse of success counts.

Somehow, when we’re in rough waters, I find the pleasure more easily than when we’re sailing smooth seas. On Monday, right after everyone’s big triumphs of last Friday, I was the lowest of the low. Perhaps this is part of why I laugh alone. I suppose there’s fun in that discrepancy too.

“What’s funny about suffering?” you may ask.

What isn’t?

I think we’re being trained to find pleasure under duress. A clown’s job is to bring pleasure to the audience, they have to mine that pleasure from their own world, and share it. And the world isn’t always gentle: political trouble, personal strife, illness, rough crowds. If I can find pleasure when things go well and also when things go poorly: that’s a kind of success.

They’re training us to be successful clowns. If you’re going to be a truly successful clown, you need more than one safe trick. One peak of pleasure isn’t enough. To find higher peaks and fill your bag with more tricks, you have to explore: try things, fail, fall into valleys, climb out again. Failure is how you map where the fun actually lives. The teachers are training us to fail well so we can explore more freely. The more I flop, the more terrain I get to see. And I better entertain the audience along the way.

Right now, this stick insect finds more pleasure during the poor times.

What a funny thing to be.

P.S. I watched the second-year clown students today. They were also harangued more aggressively than usual. I’m almost certain this is intentional. I approve. When something works, push it to the extreme.

Clown School Day 28: Boring and Dumb

In which Our Hero learns to befriend his flops.

Americans are pushies.
Not sensitive. Not gentle.
We want it, so we push it.

It’s not attractive. It’s not sensitive. It’s not connected.

Today, I was boring. A cause for celebration.

I entered the stage as a mangy, rabid coyote. I loved it. Head Teacher even said I was full of delight and pleasure—but that my pleasure wasn’t reaching the audience.

So she began to chant:
“Boring! Boring! Buh-buh-buh-boring!”

The class joined in. Then I joined in.
And when I joined, they loved me.

I danced; we chanted; I escalated to “…and dumb!” They loved that too. Real humility—not performance, not irony. I was boring! I was dumb! I was ugly. And we loved that together.

We love someone who makes fun of themselves.

After Head Teacher called out a fellow student for pushing too hard, the student offered to jump out the window. The audience laughed. The assistant teacher helped him open it. We laughed again. Excellent pedagogy. Also: improves student-teacher ratio. 

After class, I decided to catch the train to Paris. I had four minutes to pack my bag. Then I thought:
Why am I rushing?
This isn’t fun.

So I slowed down. Decided to take the next train. Stopped by the café instead. And since I was going, I figured I might as well bring a cake for my classmates.

I texted the group chat and showed up with cake.
They were so grateful—
—or at least they would have been if any of them had been there.

The café was entirely bereft of clowns. Oops.

I sat outside and chuckled at myself. A homeless man approached. I waved him away out of habit… then called him back and offered cake.

He asked if I had a knife to cut it in two. I didn’t. So he broke it with his hands.

It brought me joy that he stumbled away without saying merci.
It gave me delight to share cake with someone who wanted cake.
It was joyful to see him divide it in half—
—he’s not greedy, after all.

Sometimes your flops are kinder than your successes.
If you stay open, good things arrive.
Clowns don’t need cake; hungry (and drunk?) homeless people do.

Another homeless man later refused my cake, saying, “If I ate cake, I would die.”

Good to know the homeless are still French.

As I write this, I’ve arrived in Paris to buy makeup and a gray shirt. On Friday, I’ll be a stick bug. For camouflage, I’ve chosen gray: dignified, dull, affectionately geriatric.

At dinner, the woman beside me asked what I do. When I said I study clown, she told me I have a kind and happy aura.

The couple who sat down after her asked what brought me to Paris… and then invited me for Shabbat dinner in New York.

The woman in the makeup shop gave me her number as she wants to go for a walk with me. 

Clearly, I’m doing something right.

What’s the lesson from today’s class?
Something about having good humor, laughing at myself, not taking life—or art—too seriously?

Beats me: I’m boring and dumb.

Clown School Day 26: Something is Rotten in the State of Julian

In which Our Hero wants to run away from joining the circus

Fuck all you hoes. (Get a grip, motherfucker.)

I don’t feel connected. I don’t feel like I belong. I don’t feel… part of anyone’s anything. Is that them? Is it me? Did I watch too much TV? Is that a hint of accusation in your eyes?

Mondays after class, everyone mills around forming groups for Friday’s performance. And every Monday, I feel like I’m picked last in gym. It’s not that anyone is doing anything wrong. It’s that my internal meter flips into nobody wants you. Even though I have no idea whether that’s true or not.

In Movement class, too, I somehow end up in the group of three more often than not. (“Everyone in pairs, one group of three.) Some part of me takes this as evidence. Evidence of what? That I don’t fit. That I’m the odd one out. That I’m in the wrong place even when I want to be here more than anything.

None of this is rational.
It just feels real.

I’ve asked people a few times to grab dinner or go for a walk, and the responses have been mixed. That should be normal. It is normal. But this week, the rejections land harder than they should. My brain turns each one into a thesis on exile.

And so I keep circling the same questions:

  • Is it that I don’t like them?
  • Is it that they don’t like me?
  • Or am I simply struggling to be open?

Is this why I can’t clown? Is this the same issue: some belief that if they saw me, they wouldn’t like me → so I don’t show them myself?

Head Teacher once said that even if I don’t want to perform with others, I still have to perform for the audience—to give. I keep wondering if she can see the part of me that prefers single-player games. The part that only trusts what I can control.

So yeah—Friday requires groups of 3 or 5. I still don’t have a group. I posted in the group chat. And a small, childish part of me wants to take my ball and go home.
Fuck this.
I don’t need this.
Except… I clearly do.

After class, someone asked how I was.
“I’ve been better.”
She tried to give me a hug. Kind, if a little awkward. I walked away still feeling disconnected, but I guess appreciating the attempt? That’s the weird part: even gestures of care glance off me this week.

What the fuck is going on?

They say you’ll see sadness in the eyes of a clown.
Is that because clowning attracts people searching for joy? Who else dedicates themselves to fun except those who’ve had to hunt for it? It’s the old question: Who is the clown for the clown?

For me, the work is spiritual. The connection, the nakedness, the earnestness. And right now, all of that feels out of reach.

I sobbed three separate times today. Is that sensitive enough for you, Head Teacher?

The first time was after class, when groups were forming. Historically, I’ve had terrible luck picking groups—worse than random probability—so now I let randomness decide. There’s also the small practical matter: I came here to learn to work with whoever shows up.

But still: no group. Again.

I’m clearly struggling with the social part of clown school. And it stings, because this is the place people come when they feel misaligned with the “normal” world. The circus is for the outsiders. But what happens when you feel like an outsider inside the circus?

So today, when I tried being an ostrich and got one laugh before retreating into my shell, I felt that same old instinct: run, hide, disappear.

Maybe that’s part of the training. They apply pressure and see what cracks, what softens, what finally opens.

In my case, the message I keep hearing from the teachers is:
They don’t love you because you’re not showing them you.

And fuck, that’s hard. It’s hard to show yourself when you already feel unwanted.

Anyway—
I still lack a group.
So that. Really. Hurts.

P.S. Head Teacher said my clothing looked like broccoli vomit. I believe she’s suggesting I dress differently. So tomorrow, I will. Change.

Clown School Day 25: Successful Elements

In which Our Hero’s class sets records.

Today, our class succeeded. Five of us earned fives, two earned sixes, and many of the rest pulled in strong marks. Even I received a “not bad” for one of my two performances. (The other got a zero.)

Why did today work so well? 

  • First, we were all pulling for each other. Cheers before and after each performance. We didn’t previously do this. It’s very helpful to your peers. 
  • Second, the exercise was fundamentally fun: embody an element (earth, fire, water, air). Enjoyable to do, and powerful enough to allow for layering the text gently atop. 
  • Third, the exercise was simple. Embody an element. Low stakes.

My first element was fire. One line in, I lost the text. They kicked me off for it: six hours of memorization, gone. The takeaway: start memorizing on Monday. Use sleep cycles for the memorizing. Earlier, lighter memorization beats late, intense memorization. 

My fire received these notes: 

  • “This is not fire. This is fire with petrol.” 
  • “When he starts to speak, we see something. He is sensitive. I think, ‘Ah, something is coming.’”

My second element was snow.

I began with the same image as yesterday. I watched it. I barely moved. I started saying the text (the same text as we used for fire). The teacher yelled: “Shut up!” then “Move!” then “Snow falling down from the sky!”, then repeated these three over and over. (Said one friend: “It seems funny to me that you’re asked to memorize lines but then she doesn’t actually want you to say them”.)

My favorite part was that she said “Shut up” and “You talk too much!” after nearly every sound I made—and several times when I wasn’t speaking. She’s freakishly skilled at spotting when I’m reciting text in my head. This is an impressive superpower. I need a big, strong, vivid image to overpower my love of text. Or maybe to make myself brilliant enough to be dumb: know the text well enough to forget it, but still have it when I need… #writerproblems

A few notes from the day:

  • The exercise that gives you the breakthrough isn’t necessarily the one you should perform. (I possibly should have done Earth, not Snow.)
  • When the rhythm of the lines matches the rhythm of the movement, it becomes boring.
  • What I like doesn’t always matter. The audience tells me what they like.

Head Teacher’s comments on my snow: 

  • “Not bad, but this is not snow.”
  • “You need good humor always. Something funny in your mind.”
  • “Even when you aren’t speaking, we see you speaking text.”
  • “You were sensitive.”

Teacher comments to others (because they’re funny):

  • “This is ‘theater de mi cajones.’ You know what it means? It means theater of my balls.”
  • “It’s a good image but it doesn’t arrive to us because of your shitty voice.”

Memorizing the lines isn’t actually that important. Being able to say the lines is. If you only know the first three, you can still earn great marks if you perform them well (*cough* one of my roommates *cough*).

I over-invested in learning the lines. I under-invested in being able to do the lines while doing the exercise. That’s the part I should have practiced. Or visualized. Or practiced and visualized.

Just because the assignment involved memorizing lines does not mean the assignment is to share the lines you memorized. Ain’t clowning great? 

My goal this week was sensitivity/openness/gentleness. Today showed more glimpses (I opened briefly during Fire, and on-and-off during snow). I’ll keep working on this. For now, it’s nice to be landing it more often. 

I received a zero and a “not bad.” The zero came with a comment that I was sensitive and open. Win. The “not bad” came with the same comment. I’m improving at this key trait. 

Intensity: check. Voice: powerful. Game: reliable. Impulse: alive.

Sensitivity/gentleness/openness/giving: getting there, if only Our Hero would shut up.

Clown School Day 24: Snowfall

In which Our Hero melts.

Today I finally heard it:
“You were sensitive.”

Not “You’re being a fascist.”
Not “You’re pushing again.”
But:
You were sensitive. You were open. You were beautiful.

This has been my quest for the last four or five days: trying to soften without collapsing, open without weighing down, give without pushing. So when the assistant teacher said she could tell I’d been trying to be sensitive, something in me loosened. Like the wall I’ve been kicking finally cracked.

They then called “Julian and four others” onto the stage. And somewhere in that transition, I started crying. I don’t remember the moment. The whole experience became one.

The exercise was “snow.”

The teacher gave a confusing description of snow. Something like: “It’s the kind of snow that shuts down a city.”

Which… is just a quantity of snow. That’s not an image; that’s an amount.

So I asked a question that she didn’t answer. And then I started being snow. I grabbed an image that moves me: Lorelai in the first season of Gilmore Girls, stepping outside as the first snow falls. That little gasp, the cup of coffee, the anticipatory thrill, the “I smell snow.”

That image speaks to me. So I used it.

They asked for lighter. I moved lighter.
They asked for less movement. I slowed down.
And then the crying came—like a release of walls I didn’t even know I was holding.

I felt open. Present. Immersed. And I tried to stay there as long as I could. Even after class, I tried to keep it alive. I wandered to a café because it felt like “the present thing to do.” Then I left, because that also felt present. Then I ran into classmates outside the café, so I went back in. Presence, it turns out, has a sense of humor.

Then, I called a friend.
That was hard.

It felt like I came home excited that I’d thrown a baseball for the first time—look, look, I did the thing!—and they said, “Careful not to break a window.”

Not malicious. Just… a mismatch. And when you’ve just cracked open a new emotional door, mismatches hurt more.

After class, one of the teachers said: “You were very sensitive, and very beautiful. You had an intensity—but it wasn’t bad.”

I laughed at that. I’m glad it isn’t bad, because my intensity ain’t going away.

Later, I asked the teacher, “Did I do it? Did I actually finally successfully give?”
She didn’t answer directly. She asked, “Were you sensitive? What did you feel?”

Here’s my experience:
On stage without my glasses, I am legally blind. I couldn’t see anyone.
I didn’t listen to them either. The audience was mere shapes. Just the snow and me. And once in a while, a teacher’s comment.

So if the question is “were you sensitive to the audience?”, the answer is no. I was literally senseless. Ah clown school: you ironic farce.

They don’t mean sensitive. They might mean gentle. One way to arrive at sensitive is to notice that you’re too much for the audience. Another, apparently, is to channel the perfect childhood you never had in idyllic smalltown America.

Sometimes total silence is a good sign, the teacher said. It means the audience is engaged. “A quiet room can be as good as a laughing one. No one doing this [shuffling around, moving in their seat]”.

Yaya, today, I was sensitive. I did it right, entirely without sight. Senseless, yet somehow more sensitive.

Clown school, you rascal.

Earlier in the day, I channeled a storm. They told me I looked “obsessed with the game.”
I laughed. “This was the least obsessed I’ve been in days. I literally set myself the gentle mantra, ‘This is for you[, audience]‘”. Light. Open. Giving.

The feedback wasn’t about my intention; it was about my appearance.
They saw obsessed. I must change that appearance.

Perhaps I need extra lightness to counterbalance my baseline intensity.
Some people need more power or voice. I might need 10x the gentleness.

After class, a fellow student said to me:
“Good on you for staying up there. You could have sat down.”

My brow furrowed.
Sat down?
Why would I sit down? That made zero sense.

This is bottom of the ninth and I’m pitching a no hitter.
I will remain here until you drag me off this mound.

It’s funny what other people reveal about themselves when they comment on you.

Somehow, after I left the stage, the right person knew I needed a hug. He gave me one. And, lo and behold, it was good.

All afternoon I kept trying to hold the feeling: café, walk home, phone calls. I wanted to stay cracked open. Even though it’s uncomfortable? Especially because it’s uncomfortable.

I did my first cartwheel today. I went up as the guinea pig because I wanted more than anything not to.

Somewhere in all of this, I realized:
This experience with snow is a metaphor of the friction I’ve been having with the social life of clown school.
Pushing instead of being sensitive.
Wanting to give but not meeting others where they are.
The effort to be open met with a congratulations about remaining on stage or a warning about windows.

What next?
Maybe the answer is simply: more on-stage openness.
Maybe I’ll find some new challenge.

But today, for a moment, I did it. I gave what they’ve been telling me to give.
I didn’t perform emotion.
Nor pretend.
Nor simulate.
Nor mimic.

I was open.
Light.
Warm.
Gentle.
Like the first snow
And it’s You.

Because this snow.
This tiny, infinitesimal flake of snow.
If you do it enough.
Could cover the world.

Clown School Day 21: Enter Neutral Mask

In which Our Hero proves that knowing is not the same as doing.

Yesterday, I wrote a taxonomy of clown-school terms.

Today, I flopped.

Intellectual knowing is not the same as embodied knowing.

We say “those who can’t do, teach,” but that’s too glib. Some teachers are former doers; some are doers making rent; and some—well, maybe they can’t do, but they sure can see.

My ability to coach clowning probably exceeds my ability to be a clown.

Partly because I’m a better theoretician than performer writ large.

Partly because certain psychological or emotional doors in me are still locked.

Today in class, our Head Teacher said it was obvious that I was still saying the text—in my head. Which is an insane read. She’s right, though: I was silently saying the words instead of placing them gently atop the game.

That’s fucking wild. How can someone see that? And what does that even have to do with clowning?

Maybe everything. Maybe the moment you’re “thinking” instead of being, you’ve already left the game.


Today we began Neutral Mask.

You wear a mask so we can’t see your face. You imitate water: you see a beautiful lake, feel yourself becoming water, then add text on top of the game.

Here’s what hit me:

Clown school is really fucking tough.

Denser than any Yale course I ever took.

Four weeks of relentless concepts, barely time to digest one before the next arrives.

It’s like going to art school and having one day on each primary color, one day on mixing, one day on three-point perspective, and then being told to paint the Sistine Chapel.

And when you mess up, they just tell you how you failed.

But it’s a brilliant method for a school that wants to produce a thousand different clowns.

The system that made Emma Thompson, Roberto Benigni, Sacha Baron Cohen (who all on his own has a host of diverse characters, including Borat, Bruno, and Ali G) isn’t designed to give you one formula. It’s designed to force you to find your own.


So now I shall learn the Neutral Mask.

Tomorrow, we become fire. Or air. Or despair.

And maybe one of my small discoveries from Le Jeu holds:

I love doing impressions, especially voices.

Maybe that’s part of my clown.

Maybe that’s mine to remember.

Because it’s all mine to choose. And all mine to learn.

🤡

Clown School Day 20: Le Jeu (Game) Over

In which Our Hero becomes Our Zero

“When Julian enter, was he with [scene partner] or was he alone?”

Audience: “Alone.”

At least I’m consistent.

(That’s a crap joke, but I’m keeping it.)

I’ve now attended two classes here.

Both had a final presentation.

In both final presentations, I received a mark of zero.

Zero is a bad mark.

It means:

  • You were boring.
  • You weren’t even interesting enough to get specific notes.
  • We could not see your pleasure.
  • You were not beautiful.
  • We do not love you.
  • Goodbye.

The Week

Monday: We received our assignments. I chose a partner I liked — skilled, smart, fun.

Tuesday: We rehearsed and found a stupid little game we loved.

Wednesday: We showed it to a trial audience. They couldn’t see the game. So we added another on top.

Thursday: We played again. We had fun.

Friday: We talked through our plan. Then, right before going onstage, my partner suggested a new one:

“Milk the opening if it works. Only go to the game if we need to.”

The drumbeats sounded. Our turn.

We entered.

The audience laughed once.

I thought, Aha! They’re laughing at me!

(Still kinda true: I set up something he executed.)

I did it again. No dice.

My partner panicked:

“We need to do the game!”

And before we even played the game, we were kicked off.


The Problem

I loved rehearsing with him. Genuinely. It was a highlight of my week.

But when I entered the stage, I didn’t open myself. I didn’t share with the audience enough pleasure of being on stage.

And so: I wasn’t lovable.

I’ve only opened myself once on stage. People found me beautiful.

How do I get back there?

Is this lack of openness also a problem in my relationships?

Am I in the wrong place, doing the wrong thing?

Is this biomedical?

Will clown school eventually teach me to play well with others?

Right now, I feel like a lonely, isolated lump of clay.

An ugly one.

It’s not fun to feel like an ugly lump of clay.

Maybe if I did therapy for an hour every day, I’d get better at opening myself. Then I just do that on stage, but lighter.

If the hypothesis is that success comes from being open and light and generous, then at least the openness part is something I can train on my own.

Once my father leaves on Tuesday, I’ll try that.

I’m not leaving yet. The clay’s still on the wheel.

It’s really. Not fun. To be clay.

💩

Also, two students told me they thought Head Teacher was unfair — that I’d actually been beautiful. I trust the opinions of the expert few over the uninformed many. Still, something relaxed in me when I heard that. This must be why people commiserate.


Comments About Me

“Who do we like? We like [my scene partner].”

“You are not beautiful.”

“Do we love him? Not at all.”

“When Julian enter, was he with [Scene Partner] or was he alone?” Audience: “Alone.”

“Zero, zero, zero.”


Learnings

  • Start with the fun part.
  • Stick to the plan. You made it for a reason. (Definitely don’t abandon the plan shortly before going on stage.)
  • Learn that it’s pleasant to be open.

My French classmate learned this. Others have too.

So why the hell is it so hard for me?

I even had a potentially fruitful relationship recently undermined because of this non-openness.

Do I like this? Am I choosing contexts that reinforce it?

After class, one of my peers said:

“I feel joy when I open myself on stage.”

He meant it kindly. I appreciated it.

I just don’t fucking know how.

This isn’t about wanting to. It’s a skill gap.

And it’s funny — my teacher said I’m best when I’m subtle and open, not when I’m pushing.

And now all I want to do is push.

So maybe I should just… give up?

That can’t be right.

Fuck if I know.

A friend who knows me very well commented on these last three lines: “fuck off. Don’t you play better when you’re down 2 and 0? Congrats, you’re now down 2 and 0.”

This must be why people share their emotions.

Clown School Weekend 3.2: This Place is Run by Clowns

In which Our Hero concludes that brilliance is no match for a red nose.

About once every other day, someone at clown school does something spectacularly disorganized. I sigh and say, “This place is run by clowns.”

And it is.

Clowns are not, by their nature, particularly intelligent.

It’s not that they’re stupid.

It’s that intelligence and clowning live on different axes.

An intelligent person may learn the craft faster. But the desire to clown, the joy of it, might even be anti-correlated with intelligence.

Smart people tend to want control. Clowns surrender it.

Smart people tend to want power. Clowns seek to be laughed at.

And yet, in my March course, three of the 30 Americans were Yale graduates.

Plus a single from Stanford.

Just enough prestige to make the chaos feel ironic.

Of course, it helps to be rich enough to spend a year falling on your face.

Still, it’s a funny sight I observed in Thursday’s class:

eight clowns silently arranging themselves in order of intelligence.

The clown they insisted should be at the bottom later thought this was hilarious as he has a master’s degree.

Clowning is a craft.

Most work is a craft.

Hell, even medicine is a craft.

And mastery in a craft depends less on general intelligence than on dedication

and on cultivating the right skills: openness, affability, lightness.

This is the first social hierarchy I’ve been in where people organize by skill in a single, very specific craft.

In college, you could be successful at any number of things — academics, theater, sports, journalism.

In elementary school, the options were fewer but still broad: maybe good at math, worse at English, class clown, or owned the good video games.

Here, clowns arrange by everyday charisma.

And charisma in life is decently correlated with charisma on stage.

Add to that: we’re learning charisma.

And the social life becomes pretty interesting.

It’s like a schoolyard where the only question is: how fun are you at play?

Clown School Day 14: Some Days Ya Don’t Got It

In which Our Hero fails honestly.

That’s three days in a row I’ve wanted to skip clown school.

And three days I’ve gone anyway.

Three days of long, heavy sleep:

11 hours, 9 hours, nearly 10 last night.

Three mornings waking early, wishing I could stay in bed forever.

What’s up with that?

I’m tired in a way that’s not physical.

It’s the exhaustion that comes from being seen — again and again — and still not finding what works.

The ache of caring too much about doing well, and not quite getting there.

Maybe it’s just the part of me that resists growth.

The part that wants to avoid the flop.

The part that whispers: stay safe, stay small.

But the show goes on.

So I go too.


In which two pairs of clowns succeed

I have a hypothesis about clowning: there are only two good moves.

The first is doing something good.

The second is doing something bad, and admitting it.

The second is just a version of the first: both are open, honest sharings of self.

Maybe that’s what makes someone funny: the willingness to be seen, and to be laughed at.

Open, but not grasping. Honest, but not pleading.

Just human: the funny little wriggly worm that we are.


Today, I failed.

I got exactly one reasonable-sized laugh, when I shrugged and said, “Some days ya don’t got it”.

It was the opposite of calculated, and therefore perfect.

My scene partner, though, was charming. I’m not good at charming a crowd.

One person, sure: I find what they care about and give them that.

But a crowd? That feels like crafting myself into someone they’ll love…

and that’s never been my thing.

Maybe that’s why I’m drawn to bouffon: the grotesque outcast who refuses charm, making you laugh by breaking the mold.

I don’t know how to play “charming” without feeling false.

Tall, handsome, strong, masculine — all that bland, moral ideal.

Heroes just seem so… plain.

My favorite sex-work writer once said something like, “When I do the girlfriend experience, I just give guys all the parts of a date they want, and none of the parts they don’t.”

It’s the same trick as charm: shave off the edges until only the pleasant remains.


The two American clowns who are alumni from this school that I’ve seen succeed are masters of the flop (one linked here).

They do things that don’t work, then admit it, again and again.

It’s delightful. Comic. But not powerful.

The most successful recent student, though — a Norwegian — is the opposite:

he does good things, and they work.

Maybe that’s cultural.

Maybe Americans prefer the flop because it’s relatable.

Maybe our comedy is just collective self-recognition in failure.

That’s probably why I’d rather play the fool, or the villain, than the flawless hero.


Today, two pairs performed brilliantly.

One was a seasoned clown with a German partner.

The clown failed, over and over, and acknowledged it.

The German played strong, stalwart, beautiful.

We laughed at one, cheered for the other.

Together they danced between laughter and awe:

Comic and Beauty, alternating in rhythm.

After five minutes, our teacher smiled and said, “Thank you for sharing your joy.”

I wondered how long the German had been performing — possibly decades.

And the seasoned clown has ten years under his belt, with awards to show for it.

I was glad to see them.

It helped to see the two paths clearly:

the clown who fails and admits it,

and the one who succeeds by doing good things.

Maybe both are forms of giving.

Maybe both are beautiful.

Maybe the German’s beauty wasn’t in his poise,

but in his openness — his unpushed caring,

his gentle invitation:

“I’m here. This is me. Go ahead: laugh at me.”

Clown School Day 1: The Honking Commences

Squeak. Squeak. Squeak.

A pair of large red shoes emerges from behind the curtain. Above, a painted face under a red wig.

“Am I in the right place?”

I considered entering clown school in full Ronald McDonald regalia. Starting with a joke. Establish a clear reputation from day 1.

But that’s not clowning. At least not here. Here, clowning is an Earnest Art. It’s Authenticity. Connection. Sharing. Giving. Kindness. Lightness. Joy. It’s a Raw and Unadulterated Openness. The successful threading of a needle where one side is the Error of Honesty, the other Pretense. We do neither.

Instead, we Play.

Light,

Open,

Gentle,

Subtle,

Friendly,

Kind,

Grounded.

And the best part:

it’s all a lie.

We began the day by walking around the space. “Think of a naughty thought,” our teacher prompted. Immediately, eyes magnetized. Twinkled. Lightened. Brightened. Illuminated.

I know my Naughty Thought. My cadre of considerations. My illustrious internal illustrations.

Heeheehee.

The strangest feeling:

some of the students remained flat. Some stayed boring.

But others.

Oh lawd.

Drawn to them: intellectually, physically, psychically, carnally. With appetite, curiosity, interest, want and need.

Whoa.

How beautiful is it to watch someone play.

How beautiful indeed.

After class, I approached one of the clowns. “I don’t want you to take this the wrong way,” I said. “But I loved watching you with a naughty thought”.

She promised me she’ll tell me her thought

as soon as this course ends.

Have you ever felt you’re in precisely the right place?

I have.

Twice.

Once, in a Chicago airport. I had flown in for an interview at an arts program for a master’s degree. My bag became weightless. I was Following My Purpose.

The other, today, upon entering Ecole Philippe Gaulier.

Glee. Humor. Airyness. Mixed with hard work and trials. Difficulties and action. Giving it your All and then some.

Crying. Caring. Trying. Opening.

And then

ideally

success.

I am currently a student at Ecole Philippe Gaulier, the world’s premier clown school. I write and publish daily.