RSI 2008 | Courses | Clown Facilitator Training | GLADWELL
Rudolf Steiner Institute

Social, Cultural, and Ecological Renewal
Clown Facilitator Training
VIVIAN GLADWELL
VIVIAN GLADWELL
lives and works in France as a modern-day Court Jester and facilitator with various businesses and teaches clowning with the Bataclown. Gladwell discovered clowning in 1978 and founded Nose to Nose in 1990 to promote a new approach to teaching this work in the UK and elsewhere. He regularly gives workshops at Emerson College in Forest Row, the Blackthorn Trust Medical Centre in Maidstone, and at a number of Waldorf teacher training institutes in Germany, all inspired by the teachings and philosophy of Rudolf Steiner. More information and articles on Nose to Nose.
This is the second year and Level 2 of the current training session held at the Rudolf Steiner Institute July 20-26 2008.

    Next sessions will be held:

    • November 2008 Location to be announced
    • March 2009 Location to be announced
WHAT HAPPENS IN A WORKSHOP
We work in a group of no more than 12 people. We start warming up with games, vocal and physical exercises. We then proceed with improvisations on a stage (alone or with others). Each improvisation is discussed to identify and bring out the positive and important aspects of our clown (and how it lives in us). This is done with care and respect for each individual and within a framework of rules that ensures a secure and protective environment.

THE CLOWN WITHIN
The clown's nose, the smallest mask in the world, is the mask that unmasks. Through the clown we can rediscover inner qualities of openness, spontaneity and play. The clown allows our imagination to soar, while keeping our feet firmly on the ground. Working with warm-ups, games and on the empty stage, we will find our inner clowns through improvisation, play and welcoming everything that emerges.

DESCRIPTION OF COURSE LEVELS
From Introduction to clowning to Social Clowning

LEVEL 2
Level 2 shifts the focus to structure and relationship. The more demanding aspects of this level come from a need to practice responsiveness and awareness to your partner on stage, to your audience, and to the images, stories and characters that emerge during improvisation.

At this level, changes are introduced in the way the work is taught in order to bring greater insights into the techniques of improvisation and performance. New structures and improvisation themes bring greater challenges and rigor within the improvisations.

Key words: narrative drive, images, awareness, balance, breaking the thread, character and play within play.



Keywords: Fool, Court Jester, irreverence, authenticity and presence, play, transposition, courage, social activism and transgression.