#7 PART ONE - The Clown Diaries - Greek Tragedy, Harsh Criticism and Tears

Hello wonderfuls!

Be warned, this is a long one!

So much has happened in the last week that I have decided to split this week's blog into TWO PARTS! Lucky you! The first part being entirely dedicated to the course and the second part dedicated to subjects such as fashion, food, paris gossip and restaurant recommendations.

Unfortunately since I wrote last Wednesday I have been suffering with a nasty concussion. Clumsy-me accidentally cut the top of my head open last Wednesday night, in a moment visually reminiscent of the prom scene in the film Carrie. Because of this and also due to a developing flu virus I have been feeling far more fragile and tender than normal!

Apologise therefore for more spelling and grammar mistakes than normal! My dyslexic mind is working even slower this week!





I never knew that much about Greek Tragedy until I studied at Gaulier.... about the stories of Antigone, Medea, the cruelty of Kreon and the violence of Dioynnus. The Greek Tragedies were something faintly known and often crudishly recited, such as the story of Oedipus and his relationship with his mum. However, only here have I started to understand the beauty and power of the stories and how they all intertwine together.

In our room at home Ryan and I share the same dog-eared copy of the plays of Euripides. It is now underlined and marked with our various notes, Conversations over wine are on analysis and understanding of the characters.... ‘Is Medea in love with Jason? Does she hate him? Is she insane when she kills her children?" etc etc.

Gaulier has a very specific artistic manifesto as a teacher and director. From 45 years of teaching he has developed a definite view on what makes good theatre and a beautiful performance. For those who have come from drama schools where there is a focus on realism and naturalism Gaulier’s training can seem a complete push against their honed craft. He hates 'mumblers' and he hates Stanisklavski and any other teacher of ‘method’. If you truly believe you are the character when you are on stage rather than enjoying ‘pretending’ to be the character, you are doing something terribly wrong. He doesn’t want you to feel anything except the pleasure to play and pretend on stage. You need to enjoy being with the audience. If you come on stage feeling the sadness of Antigone, you are what he calls ‘a fanatic. You shouldn’t feel anything according to him- let the audience do the feeling! In that respect you could argue that the performer for Gaulier is a heightened version of a marionette - with only pleasure and happiness in their body as they perform to what he calls 'the rhythm a