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Bill Irwin's Clowning: Zany Labor of the 'Physical Intellect'

Peterson, Dave

Comparative drama, 2020-03, Vol.54 (1), p.1-25 [Periódico revisado por pares]

Kalamazoo: Western Michigan University

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  • Título:
    Bill Irwin's Clowning: Zany Labor of the 'Physical Intellect'
  • Autor: Peterson, Dave
  • Assuntos: Actors ; Anxiety ; Avant-garde ; Avant-garde (Aesthetics) ; Blau, Herbert ; Circuses ; Clowns ; Experimental theater ; Innovations ; Irwin, Bill ; Literature, Experimental ; Motion pictures ; Social aspects ; Theater
  • É parte de: Comparative drama, 2020-03, Vol.54 (1), p.1-25
  • Descrição: While this theme can be seen in many of his works, it is perhaps clearest in his early clown show The Regard of Flight, which self-consciously mocks the aspirations of the avantgardes theatrical innovations, primarily through Irwins uses of the body to showcase the physical and mental work essential to create something new.3 In thus making intellectual work simultaneously physical, funny, and exhaustingly laborious, Irwin exemplifies Sianne Ngai's contention that "the zany" has become a key category of American aesthetic experience, wrestling, as the aesthetic does, with the cultural imperative to constantly work and create, and with the effects of this imperative on a stable sense of identity. The framing of innovation as actual labor further allows Irwin to playfully invert the ways theatre itself often engages in concealing the very bodily labor that makes the art form possible. Ngai's account of the zany aesthetic helps position Irwin's expose as a response, not just to the labor of theatre specifically, but also to larger social concerns regarding the relationship between art and labor. Broadly, Irwin cites popular entertainers, such as television clowns Phil Silvers and Art Carney as well as classic cinema clowns Chaplin and Keaton as key influences.5 In terms of direct training, he took a winding path through a variety of programs that intersected with major trends in the avant-garde.6 Irwin attended several theatre programs on the West Coast, studying mime with Mamako Yoneyama and performance at CalArt, which, starting in the 1960s, was attracting faculty from innovative performance traditions.7 Irwin eventually traveled to Oberlin College as part of Herbert Blau's KRAKEN experimental group (other alumni include Julie Taymor).
  • Editor: Kalamazoo: Western Michigan University
  • Idioma: Inglês
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