|
Participant notes from Clown Congress 2025 Sessions proposed and documented by Anna Frearson I arrived at Clown Congress fully aware of my place there, filled with excitement and hope, yet carrying a heavy heart due to the current state of our world. I wondered how, as clowns, we might contribute to positive change. I genuinely believe that comedy has the power to heal the world. As a comedy writer, I have always leaned on humor to address difficult topics, using my natural comedic instincts to share the world I want to see and be a part of. I love humanity, especially my fellow clowns. If you can play with me and make me laugh, my heart is yours. With this in mind, I pondered a simple question: if Donald Trump can become President of the United States, why can’t a clown? After all, our British government is full of clowns, and I often stare in disbelief and bemusement at the few moments I’ve witnessed parliament in session. Anna Farthing spoke about the theatre of politics, and that encapsulates our situation perfectly. There we all were, gathered, and I felt compelled to propose the idea of a Clown Manifesto—a Red Nose Party. How would we approach “government” differently? During the first session on Saturday, it was challenging to voice all the emotions I had brewing, so I wanted to hear everyone’s thoughts. We decided to take the current political model and brainstorm our own political departments and play around with how we would draft policies. After some time, we shared our ideas. Although there was joy and fun in our discussions and a lot of passion behind our words, I still felt something was off. At the end of this session, we realised we wanted a moral compass or code—something we came to call the Clownmandments—rather than a strict set of policies to represent how we would show up as clowns in life. A lot was stirring within me after this session, along with a sense of dissatisfaction and awareness that there was much more to explore. The words "micro" and "macro" came up frequently over the weekend, highlighting how we can make a significant impact on a small scale. Yet, I questioned why we should limit ourselves. Perhaps the micro represents grassroots movements. Maybe that is how systems will topple—through an overwhelming surge from the ground, leading to the fall of the tree. (Of course, I don’t want any trees to be harmed in the process.) Yet, I wondered how we could also move in the macro and ensure we are seen and heard. What is the clown's power? Historically, the court jester held significant influence, serving as a truth-teller and trusted advisor to the sovereign. Where have those figures gone? After a fruitful discussion at lunchtime, I felt inspired to hold another session, determined to explore the bigger picture. I realized that simply trying to match or respond to the current systems of power wouldn't be effective. Instead, we needed a fresh start. I proposed that we imagine an apocalypse had occurred and consider how we would, as clowns, rebuild the world. This is how the best play session I’ve had in a long time came to be. My heartfelt thanks to everyone who collaborated on this project. It was a true collaboration of hearts and clowns. Clowns Take Over (Post Apocalypse)
Hey! The apocalypse hit In case you missed it Yeah, what came before Was gone, flattened So got to start again Finding our way Through play Unplanned, languageless A beautiful chaos Grew out the mess With no homes A rehearsal room to roam See things anew Those of us who made it through Rules were sooo pre-apocalypse Who needs rules, not us We, the original fools Our compassion knew what to do When we found each other Caring ruled Huge smiles, no hate So grateful, laughing We cheered and hollered Found a rope and pulled together Rescued those struggling Then built a warm shelter So they could recover Cos amongst the madness There was sadness So we danced for them While guarding their den (In a friendly way Not to keep anyone away But to keep them safe, inside And when other clowns arrived One by one by one We welcomed them Heartily, As they belonged Untangled a red nose Presented it like a red rose To show our love Created a song Our anthem We sang over and over Together We had too much fun It was easy No hierarchy And when people tried to leave To find another place to be We found it hard to set them free Yet we soon found the play in that Realising they’d left to come back In a different way Mischievously Making art out of rubble We loved the trouble Through trial and error Stickers for gender We swapped and removed Cos it didn't prove a thing About anyone It was just more fun There was no failure In that hour When the clowns took over We rose gracefully Free to play and be free It was ecstasy Anna @annafreepoet Comedy Writer, Performer and Facilitator Comments are closed.
|
AuthorCreative research into the meeting point of clowning and activism Archives
September 2025
Categories |
ABOUT ROBYN
Robyn is a Bristol-based director, teacher and performer. With over 25 years experience she is a passionate practitioner of clowning, physical theatre, circus and street arts. She has a MA in Circus Directing, a Diploma of Physical Theatre Practice and trained with a long line of inspiring teachers including Holly Stoppit, Peta Lily, Giovanni Fusetti, Bim Mason, Jon Davison, Zuma Puma, Lucy Hopkins and John Wright.
Over the past eight years she has been exploring the meeting point of clowning, activism and a deep desire to address the injustices in the world. This specialism has developed through her Masters Research ‘Small Circus Acts of Resistance’, on the streets and in protests with the Bristol Rebel Clowns and in research residencies with The Trickster Laboratory. Robyn’s Activist Clown research has led to collaborations with Jay Jordan (Laboratory of Insurrectionary Imagination, France), Clown Me In (Beirut), LM Bogad (US), Hilary Ramsden (Greece) and international Tricksters; ‘The Yes Men’ (US). During the pandemic in 2020, Robyn set up The Online Clown Academy with Holly Stoppit and developed a series of Zoom Clown Courses. Robyn’s research, started during her Masters, has been exploring the meeting point of clowning and activism, online, in the real world and with international collaborators. With this drive to explore political edges of her work she has also dived back into the world of the Bouffon; training with Jaime Mears, Bim Mason, Nathaniel Justiniano, Eric Davis, Tim Licata, Al Seed and the grand master Bouffon-himself; Philippe Gaulier. Keen to explore the intersection of clowning and politics, Robyn is driven to create collaborative, research spaces, testing and pushing the limits of the artform to create new knowledge and methodologies for her industry and strengthen partnerships for future work. Some of her most recent collaborations and teaching projects have included the Nomadic Rebel Clown Academy (5-day Activist Clown Training), The Laboratory of the Un-beautiful (Feminist Grotesque Bouffon Training for Womxn Theatre Makers) and the Clown Congress (annual gathering of clowns, activists & academics collectively exploring what it means to be a clown in this current era) |









RSS Feed