Clown is “clandestine”

when he doesn’t declare his nature as a Clown.

Clown could be some guy, whoever: just any man, with his stupidity and his astonishment, weakness, limits, failed attempts to look pretty, elegant and interesting.

Pierre Byland, with Jacques Lecoq, discovered and revealed the essence of the New Clown, who is “clandestine” when he doesn’t wear his red nose.

For years we are deepening the research about “clandestine” launched by Byland and checking its revolutionary significance. We want to continue along this path through experimentation, study and comparison between this and others roots of the 20thth century’s theatrical research, with the aim of finding a way in making theatre “alive”, as Peter Brook says.

Clandestine Clown can be a pretext for working on acting, writing and directing with the possibility of an immediate verification through the contact with the public.

In fact, like Mr. Anyone, Clandestine clown could be everywhere: on the stage, on a circus ring, in a public conference, on a movie set, on the street…

The workshops, called “From Neutral Mask to Clandestine clown”, are part of the research towards the True Clown and start from the study of neutrality, essential to the actor who wants to get rid of stereotypes and personal deformations.

The work suggests and provides the use of the street, as a place of experimentation for the actors.