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WorkShop OutLine
Lesson Plan for
Circus Arts / Clowning Workshop
(Students)
10-week workshop outline
This workshop uses circus arts and street theater as an alternative educational approach to
teach students how to use the performance as a means for artistic expression. The goal is not to create professional performers but to allow the creative expression to emerge from any individual. Public performances are a means of opening up dialogue between the community and the students. Through juggling, clowning and other performance arts the students will establish a bond between themselves as well as the community. The understanding of the term “Social Artist” will be realized as the student uses these techniques to perform. There are so many different activities in the circus arts, but here are a few of the techniques used in my workshops:
• Body work, with or with out instruments, balancing, pyramids, simple acrobats
• Manipulation of objects, juggling balls, scarves, pins
• Games and creative play; group games, improvisation
• Trying out different styles / characters,
• Creation of acts or performances
The approach I use is based on respect for the students and a safe zone for them to proceed at their own pace. Participation, fairness and equality for coach and students alike are key criteria and the basis for what is called a “learning circle”. This is a non traditional form of education in which the coach show great openness and an atmosphere of cooperation is fostered, thereby promoting a mutual learning process stripped of all unhealthy competition. In practice, this circular approach translates into the coach remaining open to reactions of the students and creating an environment in which a spirit of cooperation reigns. All these techniques, which range from extremely simple to quite sophisticated, are approached in the spirit of an appropriate pace. Some techniques require physical courage, while others demand the patience of a gesture that must be repeated a thousand times. Everyone is encouraged to try everything and to continue to practice on his or her own time.
The students gradually become accustomed to showing what their doing through exercises that combine techniques with presentation and make them think in terms of creative concepts; character, making an entrance, making an exit, making movements in a certain order, etc. If the decision is made to put on a show, practice moves toward creating acts and stringing them together. This type presentation may extend over several sessions depending on the scope of the show. Not every workshop ends with a show, but many do. It depends on the length of workshop (one-day, five-day, 10-week) and what the students want. Sometimes it’s a full-fledged show; sometimes it’s an impromptu appearance in the park or school grounds. It depends on each site. Invariably, however, it’s the setting for some truly wonderful moments. Learning the circus arts by performing all these activities lets the student develop attitudes and values that result in the formation of new relationships with them and with others. Those values include a sense of belonging, perseverance and respect. Participating in the workshop, making friends, forming friendship with the coach and helping with game activities are all experiences that give the student a sense of belonging to the group. Although the circus arts are fun to learn and take place in a relaxed atmosphere, they still demand perseverance and tenacity.
A number of circus techniques require cooperation and solidarity. To build something together, to gain everybody’s cooperation, you must first of all be able to listen to others and respect him or her.
Since the students are placed in a context of success and compete with no one but themselves, they gradually regain or develop a sense of self-confidence.
Workshops often serve as a stepping-stone to other things. They are designed to foster healthier relationships between the community and it’s young people. For these reasons they frequently awaken a keen sense of social participation.
Goal:
To use established improvsiation games as a method for teaching students to use the circus arts or street theater as a tool for the social artist. Through these activities the student will learn techniques and fundamental values at the same time. This workshop is designed to develop a sense of belonging to a group and at the same time the student will have a feeling of solidarity, perseverance, participation in community, listening to others and respecting them. The end result of this workshop will be a street performance created by the classmates. This can be done before the student body in the union hall or on the grounds.
Objectives:
• To encourage exploration of new avenues
• To develop self-esteem, self confidence
• To stimulate the desire to create
• To discover and develop their bodies (flexibility, character development)
• Think outside the box
• Interact with others creating a positive outcome
• Working as a group conscious
Workshop Format:
• Welcome ritual
• Warm-ups
• Educational sessions
• Acrobatics/balancing
• Juggling
• Group games
• Creating characters
• Relaxation
• Feedback
• Creating scenario
• The Show
First and foremost is that the student be able to taste the delights of circus arts, deriving an immediate interest and pleasure from the experience. To make this happen, the activities are designed to be fun and at the same time the students feels a sense of accomplishment. In the first few sessions the ice needs to be broken to create an atmosphere of fun and the confidence to stay with it.
Rituals serve to channel the beginning of the “group” or session. This is done by a “circle up” and a name for the group such as “the tribe” or “sacred circle”. A grounding of our group serves as a beginning and the ending of every session.
In the beginning we spend time getting to know each other. Methods for doing this are provided in various improv games.
Examples;
We will begin to throw an imaginary ball through body movement and sound we will be able to make this imaginary ball seem real.
Player 1 will decide what kind of ball and how heavy it is, that way when player 2 catches the ball they will have an idea of how to react. So for example if a player says the it is a tennis ball then player 2 will be able to react to catching a ball that size and weight. Then player 2 can change the ball to a basketball and toss it to player 3.
Everyone in the circle should be reacting to the ball as it sales across the circle.
Outcome:
What made the ball seem real to you?
Is it possible to make your body respond to an imaginary
ball as it would to a real one?
Everyone will line up and be counted as 1. 2. 1. 2. The one’s will be asked to stand to the side of the two’s. Then they will be asked to pare up with someone from the same number they don’t know and spend the next 5 min. listen to the others story, without talking back (they can only listen and nod), then they will change and listen to the other’s story. At the end of the 10 minute period the group will circle up to tell the other persons story in stead of their own to the rest of the group.
In other words they will tell the others story.
By this time the people are warmed up and begin to feel comfortable. They begin to let their freedom of self-expression emerge.
Throughout the games attention will also be on forming together as a pyramid, simple acrobatics or group activity. Falling into other arms and trusting others to catch is particularly good for bonding the group. Contact improv and dance can be applied as the confidence builds in the classmates. In some workshops juggling can be taught, depending the length of the class and the students commitment to the task.
All the improv games will lend themselves for natural clown and character acts to emerge. Humor and laughter are a large part of the workshop as it serves to relax the atmosphere and continue to break down inhabitations. We laugh about ourselves but never mock others. This helps the student to step back and not take things so personally.
A guided relaxation activity enables the participants to experience body consciousness. I suggest they think back to a moment in the workshop where they felt particularly happy and harmonious, associating them with an image that reminds us of the safety and acceptance of the group.
Feedback where the student feels on an equal basis with everyone there, including the coach, has an ability to express their ideas or feelings. Express what came out for them or fears they overcame. This is also the time I can use to express appreciation of the group and individual work, the high points, everyone’s success. This open exchange encourages the students to open up and allow for creative input from the coach as well the group as a whole.
Inevitably the hard work of a group will lead to the creation of scenarios and as a result of stringing these together the formation of a show. The show as mention earlier is not the necessary end result to the workshop, but it does serve as a focus point of a project from beginning to end. The level of creative energy and joyful expectation that a show will produce does have benefits that might be considered.
The show can take many forms from a full stage performance to an un-announced appearance in a public forum. That depends on the institution, the students and the time scheduled.
The show in itself constitutes an initiatory ritual where, as if by magic, all has been learned, all that has been discovered, takes on meaning and is offered to the community. Recognition from the community, which in turn recognizes on this occasion the students’ constructive and creative potential, play an essential role.
Coaches’ Code of Ethics:
The coach/student relationship goes beyond the mere transmission of circus skills. These interactions must be revered with human sensibility and obey certain principles. This will prevent any instance of abuse or neglect or an awkward situation that could cause harm to the student or the coach.
I am not a psychologist or social worker, however my role does require the application of certain responsibilities and work methods that guide my interventions, which must be grounded in respect for both the student and the coach.
I always am aware that my attitude and behavior will serve as a model for the student and that aspect of the relationship is just as meaningful as the learning content to be transmitted.
This code of ethics stems from a synthesis of existing codes developed by sport associations and professions with a social and educational thrust. It involves a convergence of artistic, social and sports concerns, integrated into a single teaching approach.
The code is founded on these key principles:
• Competency
• Integrity
• Individual responsibility
• Dignity and respect for culture
• Social responsibility
• Safety and security
• Teamwork
• Employment relationship
In conclusion;
Overcoming fears via a system of gradual progressions; enjoying an intense experience; letting their imaginations run wild; rediscovering a sense of play; valuing creativity; reclaiming the right to dream; developing confidence and self esteem; seeing results through effort; feeling pride and dignity; developing their potential; opening up new horizons; creating ties with community; discovering the importance of self-discipline; demystifying the inaccessible, are the desired results of this workshop.
In some cases the group continues long after the workshop is over. The group has a connected consciousness that enters a life of it’s own. Although the purpose of the workshop is not necessarily the formation of a troupe is has been the outcome in many situations. At any rate the student leaves the workshop having been challenged in a new way allowing them to pull from resources as they approach situations own their own.
The student also will realize they can use these new found tools as a means for dealing with life’s situations. They will, first hand, see how they effect the world around them and how they can participate with positive outcomes.
Brino Ism
brino@worldpeaceclowns.org
www.worldpeaceclowns.org
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