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Serious Play
Modern Clown Performance
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Price £14.95, $30
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ISBN 9781841502410
Paperback 224 pages
230x174mm
Published June 2009
Imprint: Intellect
Books by Louise Peacock
Books in Performing Arts
Chapter Titles     |      Reviews     |      Comments

Clowns’ slapstick is their primary mode of performance and allows them to provoke audiences to laughter wherever they perform. This innovative book, focussing on contemporary practice in the USA and Europe over the last 50 years, investigates the nature and function of clown performance in modern society. Through analysis of clowning in a range of settings - theatre, the circus, hospitals, refugee camps and churches - Peacock establishes a theoretical framework for the evaluation of physical comedy.

Peacock explores clowning that takes place outside of conventional venues, and also the therapeutic potential of clowning in clown doctor organisations, refugee camps and war zones. Serious Play: Modern Clown Performance is the first book of its kind to consider clowning performance venues and performance styles in the light of Play Theory, including comparisons of traditional clown comedy with contemporary circuses such as Circus OZ and Cirque du Soleil, and an in-depth look at famous clowns such as Nola Rae and Slava Polunin.

Chapter titles
Introduction - 'Play: Serious and Frivolous' - Page 9
Louise Peacock
Chapter 1: 'Clowns and Clown Play' - Page 19
Louise Peacock
Chapter 2: 'The Development of the Circus Clown: Frame and Content' - Page 41
Louise Peacock
Chapter 3: 'Clowns on Stage' - Page 65
Louise Peacock
Chapter 4: 'Clowns who Act: Actors who Clown' - Page 87
Louise Peacock
Chapter 5: 'The Truth Tellers: Clowns in Religion and Politics' - Page 107
Louise Peacock
Chapter 6: 'Clown Healers' - Page 127
Louise Peacock
Conclusion: 'The Centrality of Play in Clowning' - Page 153
Louise Peacock
Reviews
'Both serious and frivolous, clowning to her uniquely succeeds in bridging contemporary Western society's alleged undervaluation of play with our own visceral drive towards make-believe.' – Christophe Collard, Vrije Universiteit Brussel

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