Thursday, June 25, 2020

THE UNIVERSAL MIND AND NON-CLOWN CLOWNS

“Non-Clown Clowns” is a concept that there are numerous people in all sorts of fields who are natural clowns but express their humour and creativity outside of the field of clown or theatre. In this case there is not a lot of funny-ness from the two Jazz musicians. However, the host is the brilliant ‘clown’ comedian Steve Allen who was an accomplished jazz pianist and composed thousands of tunes and songs. He also was an expert on clown and comedy. His parents were a Vaudeville comedy duet. 

The Evans brother’s conversation is one of the closest concepts to my method and philosophy of creativity that I have ever heard of. The other closest concepts are from Hassidus and Kabbalah, both of which, along with jazz are practical inspirations to me and to my work. I also relate the same inspiration particularly from the work of the painters: Kandinsky, Klee, Miro, Chagall, Arthur Boyd, and a few others. 

The Evans brothers discuss the ‘Jazz brain’ or ways of thinking jazz. This is completely in harmony with what I call “The Quantum Point”. I am currently editing my 2nd book about my work. It’s title is the same as my method “Quantum Theatre: Slapstick to Shakespeare”. It will be released in 2020.

The Evans’ are both also teachers of music and jazz. I am highly critical of what has been perpetuated as ‘clown teaching’ and ‘physical theatre training’ both of which I consider hoaxes stemming primarily from Paris schools and their cloned businesses. I explain about that in the beginning of Clown Secret and there I relate and connect the hoax to two myths/stories: The emperor’s new clothes; and, the worship of the golden calf. Evans’ have seen similar problems in the teaching of music and jazz and explain the problems and solutions which to me are essentially the same issues and solutions in the teaching of clown and physical theatre and improvisation.

What the Evans’ articulate can be applied directly to clowning. My introductory template “The Four Articulations for Performance” provide a “framework” and techniques as Evans’ explain. In fact, I would say my method is the same as what they articulate about the learning, teaching, creating, performing about Jazz, only my ‘jazz’ is clown.

In fact, I would say the relation between what they and Allen tell has an uncanny relation to how I actually think about clown. But it is no coincidence because as they articulate and as I tell in the book Clown Secret my method is actually to establish and reveal “Universal Principles”. As they are universal they can be found in science and in mysticism such as Kabbalah and Hassidic philosophy. 

“The Universal Mind of Bill Evans”:

Steve Allen:

Bill Evans:



Tuesday, June 16, 2020

Is Nonsense Necessary to Make Sense of Society?

Is Nonsense Necessary to Make Sense of Society?

I think that nonsense is a necessary part of the human mind. It is not something likely to be provable. Provable generally tends to mean - scientifically provable.
But the social science are soft sciences and that involve ones perception.
Hard science claims that perception and the personal are not part of the science.
Quantum Physics seems to have a different acceptance that ones perspective dictates ones conclusions.
Here is a video about traditional Chinese medicine that is notably as much an art as it is a science. 
TCM today is not actually the original indigenous form of traditional Chinese medicine as Dr Duffy in the video explains.

I paused the video after 22 -23 minutes when Duffy showed two Chinese symbols: one for music and the other for medicine. He explains and we can see visually the two symbols are very similar but that medicine has two extra elements which look like three-pronged spears or tridents like that of the mythical archetype - Neptune is said to have had such a trident.

However, as soon as I saw the symbol for medicine I noted that the two ‘tridents’ look exactly like the 21st Hebrew letter ‘shin’. Interestingly, When the Hebrew alphabet 22 letters are written there are actually 23. The reason is that ‘shin’ is actually presented as a double letter with one version pronounced ‘shin’ and the other pronounced ‘sin’. Some other letters in Hebrew also have a doubling. Some of the letters have a vowel point added so the pronunciation differs like the letter ‘pe’ has a hard sound like ‘pee’ or a soft sound like ‘fe’. A few letters also have one appearance when placed in the beginning or middle of a word but when placed as the last letter they have a changed form.

Back to Duffy, he points out that the double trident at the top of the symbol for medicine represent ‘shaman’ as a double image of a male shaman and a female shaman. The Hebrew letter shin/sin appears like a trident and represents the sound ‘sh’ or ‘s’ depending on where the ‘vowel’ point is placed. When the point or dot is placed on the right side of the trident it is sh/shin. When placed on the left side of the trident is is s/sin.

Friday, June 5, 2020

Collaboration - “The Quantum Point”

“The Quantum Point” is what I call the magic space in time where creativity can move in any direction or manner. Physically, the pineal gland is like the embodied metaphor of The Quantum Point. In the book Clown Secret (2018, 2020) there is a chapter Co-Creating. The Quantum Point can be the fulcrum between and balancing collaborators. Another book is soon to be self-published “Quantum Theatre: Slapstick to Shakespeare”. I liked this article and the way the writer/mother/artist reflected on a challenging environment. https://busymockingbird.com/2013/08/27/collaborating-with-a-4-year-old/

Thursday, June 4, 2020

Truth Is Not Black or White... it is much more grey and more fluid like Yin/Yang

This book link below was posted on fb today. This is great to see such a book. I will order it. Certainly in the USA the Entertainment Industry was an ‘activist’ in making the wedge into the public’s psyche to change it’s programmed and historic racism. That activism started already in the early films, but, as the public generally was living in a fully racist society, activism had to be cunning and incrementally introduced into films. Even Sammy Davis, Jr in his autobiography explains for example how he had to enter venues by the kitchen and was not permitted to use the front entrance even though he was one of the most talented and highly revered entertainers. Then is was Las Vegas and the “Rat Pack” which he was a part of that forged an open path for him. His friends in the pack included Frank Sinatra, Dean Martin, who along with Jerry Lewis ensured and forced greater exposure of Davis. But there is a set of ‘politically correct’ myths including how ‘black face’ functioned. Black face though controversial was consciously turned into an important wedge. Also the so-called ‘demeaning’ roles in films as servants (historically accurate) in almost all cases (not each, not all, but most) the film makers ‘placed’ the Black Americans so that people could visually see yes they are an equal part of the society. Additionally, almost always the Black servants and characters were recognisably with a nobility. Some were the opposite, but most were positive roles even if the character’s job was as a servant. Hal Roach already in the 1920s insisted to have a Black American child in The Little Rascals/Our Gang. Al Jolson, Eddie Cantor, Milton Berle were just a few of the most famous entertainers who fought the system and used their stardom to do so. Two books which deal with some of these themes are: “Blackface, White Noise” by Michael Rogin; and, the even politically oriented “The Eddie Cantor Story” by David Weinstein.
https://www.amazon.com.au/African-American-Entertainers-Australia-Zealand/dp/1476677956/ref=sr_1_2?_encoding=UTF8&dchild=1&qid=1591312337&refinements=p_27%3ABill+Egan&s=books&sr=1-2