Kamis, 08 September 2011

Lessons From the Way of the Showman – 33


This awesome piece of art was made by Mirada Mahalo.
Unifying the Many into One is the task of the Showman. Together they stand around the One who faces the Other Way. We have done this since the beginning of man.
This pattern of many watching one is something deeply ingrained and satisfying to us. We recognize it and we like it. It is part of being human.

The Clown and the New World part 2


So here we are again ready to follow our intrepid fool on his Way into the New World.
If you haven't yet read part one, I strongly suggest you do. It is quite necessary for the enjoyment of this installment that you understand the depths of our clowns predicament. So with no further ado, we take a breath and dive back in again.

Part 1 - Tragic beginnings and the Livid Storm
Part 2 - The Carnival is Dead
Part 3 - The Clown and Robert Johnson
Part 4 - The Angel and the Greatest Show on Earth 




3
To his surprise he woke alive
in a narrow berth.
It felt like some one stabbed his heart
and he knew he had no worth,
as in a flash it came to him:
his Girl had left this earth.
And he was still around to hurt.
He’d rather be, under six feet dirt.

There sat a sailor by his side,
he had fallen deep asleep.
The clown he turned against the wall
to weep and weep and weep.
The sailors could not console the clown,
as the Captain set the course he thought
“Should we have let him drown?”

When they fished him from the ocean
they found a round red nose
in the pocket on his breast.
There were mumbles and commotion,
“only clowns wears one of those.”
And the men proposed in jest
that the man he was a clown
But when they asked the crying man
he would only frown.

The ship it docked at a tiny pier
outside a tiny town.
As the sailors disembarked the boat,
in this port so damn remote,
they waived the clown goodbye,
he was wearing but a gown.
He had no place to be or go
but wandering he did.
It somehow felt a little better,
his mind would rid itself of pain
to be relieved.
The walking would be good for him,
that was what he believed.
But he was almost naked
And a stranger in this land
so far away from home,
he would need some clothes and shoes,
if he was to roam.

In a corn crop, by the little port
He saw a scarecrow standing,
waving in the gentle wind
with night dark ravens landing
on his outstretched arms,
in a field between two farms.
A scarecrow not repulsing birds
is absolutely obsolete.
With easy heart the jester could
the scarecrows clothes deplete.


4
The stranger in a strange new land
thought that he would drown
in all the tears that fell from him,
the broken hearted clown.
There was no joy in his heart no-more
Without the daughter he adored
He only wished to be ignored.
But somewhere deep inside there were
a spark that would deter,
the harrowed soul from finding death.
It stopped him seeking his last breath.
Even with a broken heart
a man must eat and drink.
But it’s so hard to make folks laugh
when of only misery you think.
And soon his belly rumbled
even louder than his heart
and he knew the time had come
for his display’s of mirth to start.

In the Scarecrow’s suit
he made up his mind.
“I’ll present my act on the seaport square.
From the look of all these sour-faced men
a show like this, is rare round here.”
He found a spot he thought would work,
wiped away a little tear.
He begun his old routines from home
but found the acts fell flat.
As he did his best to make them laugh,
they all shunned him like a rat.

Moments meant for laughter
were ominously silent
other moments meant for joy,
on the brink of being violent.
By the culmination of his act
the audience had left
the ancient, lonely harlequin
was quite alone in fact.
To stop his hunger,
he stole a bread
and ate it in the grave yard,
surrounded by the dead.

And so it went for many months
the clown became a thief.
To avoid the law his stays in towns
they all became quite brief.
On feet or in a railroad cart
always further south.
Tormented by his drowning girl
consumed by Neptune’s mouth.
The dust it blew right through him
as he walked the wind swept land
not enough of food to eat
neither fresh nor canned.
He was heading straight into a drought.
On his long and lonesome way,
way, way, way down south,

Then one day as the clown
walked into a town
there was a circus in the square.
A tiny little horse drawn show
with a Strongman and a bear.
The half starved and thirsty clown,
walked up like he belonged.
He tried to tell the circus men
he was a clown from far away
who had by life been wronged.
The strong man laughed and told him
straight up to his face
“You, a clown, I doubt that’s true.
You look like a disgrace.”

The jester he would not give up
He wanted bad to be on show
on a stage, in a big top.
But they did not want to hire him
as a funny man.
They didn’t think he’d have a plan
to make crowds laugh until they’d weep.
Instead they saw the poor old man
as a homeless creep.
But finally he got a job
as a low paid geek.
He got his board
and two bucks per week.
So the clown that lost his luck
now made a living eating snakes.
He found he didn’t mind
If he imagined they were steaks.

They traveled in the horse drawn carts,
from town to town,
but every village, just as bad
there just weren’t no cash around.
The shows were empty
but the fairground full
of people looking in.
The children looked so awfully thin.
Trying to get a man to gamble
a game, he couldn’t win
was crime as dark as sin.

When people starve
then no one wants
see the Wildman eat a snake.
With enough days without a bite
you have such a belly-ache,
seeing a man in a pit
bite the head right of a snake
does not repulse a bit.

Then after many weeks of this
they arrived into a town
Every river had run dry,
with deep cracks in the ground.
There had been no rain for months,
perhaps even for years.
The sound of crying, thirsty babes
filled their dusty ears.
Just before the show should start
the promoter called them ‘round,
famous for his armored heart,
he told them that the world they knew
had begun to fall apart.
The fat promoter climbed atop
the wagon filled with poles.
He raised his hands and cleared his throat
to the parched cries of a dancing goat.
“There is no money in any town
neither here nor there,
all the water has turned brown,
we are miles from anywhere.”
His eyebrows furrowed as he said
“We are sorry to have to tell you this
but the Carnival is Dead.”
He took his hat so solemnly
of his sweaty head
and placed it right before his heart
as an example for the crew,
but his face, a tad to smug,
the Strongman yelled
“screw you”
But there were no doubt in any mind
That the fairground did unwind.
And the carnival disbanded when
the management ran off
there were many hefty quarrels
and plenty fight and scoff
before they all went separately
out in the world, all free.


TO BE CONTINUED
So there you have it folks. The Carnival is Dead. But where does this leave us? Can life be any worse? Is there no respite? Fear not, fellow travelers, all will be revealed before the end. Click here for the third installment.
Your truly,
Captain Frodo

Rabu, 07 September 2011

The Clown and the New World


This is a poem inspired by the two Calliopes, the Carnival steam organ and the muse of epic poetry.

 
1
In the faraway land of Hayastan,
unfamiliar to the unschooled man,
beneath the mountain that once was
the port for Noah’s Ark,
lived a man that made a life as
a clown, in a circus park.
But there are no laughs in his caravan,
Life is hard for this poor man,
awaiting Death to take his wife,
one of two loves in his life.
Filled with grief the clown he saw
his wife wasting away,
but knew that there had to be
meaning in all dismay.
The horrid symptoms of consumption
was God’s will, was his asumption.
His other love, his little girl,
became motherless in this world.
The Clown took the death to mean
that it was time for change.
He thought perhaps the best would be
to board a boat to somewhere strange.
But his landlocked country had no shores
he had to journey to the ship.
He packed his case and prepared
his daughter for the trip.

He couldn’t wander west,
through Anatolia.
For there they slew his country men,
he would go through Georgia.
He traveled long and he traveled far
Out to the dark Black Sea.
He boarded a vessel that would sail
To the New World filled with glee.

They sailed through the Bosperus strait
Where he thaught his girl to fasten bait.
They stopped a day on the isle of Malta
then journeyed past the rock of Gibraltar.

They’d sailed far out on the open sea,
no land had been in sight
when a livid storm hit their ship
in the dead of night.




2
The wind is roaring and the sails they crack
as the ship is going down.
He protects his girl from the waves’ attack
shouting,
“I will not let you drown.”
But the sea is strong and it’s liquid arms
they are so full of force.
The drowning clown is willful, but weak.
You can never keep back anything
the ocean wants, of course,
but the father refuses to give up,
though life is bleak.
They draw their breath
and pray that they wont die
as the tired father treads the sea
and tries to hold her high.
He tells her
“It will all be good,”
but he knows it is a lie.

His legs they burn in the icy sea,
the painful fear and agony
tears at the poor clowns soul.
He’s clinging to his faith of old
“Please save me lord above,
take me please, and let her live,
my only little love.”
Nothing changes
God does not appear to hear.
“Why should God tear my child from me?
take innocent life at whim?”
He spits and coughs,
barely managing to swim.
He knows that the Almighty’s plan
is inscrutable to man.
There is no way a mortal can
begin to understand.
But he knows his own girls’ heart is pure,
she’s a beaming innocent.
“Please My Lord don’t drown her dead
I promise I’ll repent.
I’ll stop this silly life of mine
the constant sheer frivolity.
Please God, I beg you Lord
let her escape mortality
So many of your church men said
That only sin and devils work
With circus and laughs is spread
I thought them wrong I couldn’t see
That you were only testing me
to not trust my own head.
A little child so young and weak,
how could you in your wisdom seek
such havoc for the meek.”

He needs a rest so desperately
but the storm is blowing ceaselessly.
With his girl’s arms around his neck
Like an anchor from a ship,
She shouts into his dripping ear
with diction like a whip
“Please strong father hold me fast.
I can not even see the mast!
How can we sail to the New World
without even a boat?”
He smiles to calm his little girl
Whilst struggling to float.

With his last remaining strength
He takes his necklace of his head
It has always kept him safe
And promised hope ahead
Now he wants his girl to have
all his hope instead.
It sparkles as the lightening flash
and shortly lights the dark.
It is a golden recreation
of Noah’s Ark.
And how it hurts his soul to see
this symbol of a boat
That saved each living thing
by keeping them afloat.
He prays again to his Lord God
“Please send an Ark for me,
I can not hold her anymore
please end this misery.”

But nothing comes
and the storm it blows,
blows on and on and on.
His legs is lame
and he knows,
that the sea has won.

As the father cries tears of blood
and trembles with fatigue
The ocean waves come crashing in
and finally end the siege.
It grabs them both
and tear and tear,
and tear and tear apart.
No stronger love was fought unbound
in ocean or on solid ground.

So finally the moment comes
when he no longer can hold on
As she slips out of his grip
he sees her as a swan.
The clown he isn’t strong enough
to hold his little girl.
Their fingers part, she’s drifting off
he thinks he hears her cough.
In his mind his cygnet love
swims on to a better place
it brakes his heart to look upon
her little drowning face.
“Why do you deem it time,” he screams,
but God does not retort
All his strife has come to naught
Little hope remains for him,
it all seems rather grim.
He wishes to go to God as well,
so he doesn’t swim.



TO BE CONTINUED…
Is this the end for our poor Clown?
Is there any hope ahead?
Click here for part two of the story.
 

Lessons From the Way of the Showman – 32


Showman Shaman, zébulon rouge
The Art of Showmanship is about bringing humans together and taking them on a journey into a different reality. Through a Show the Master Showman changes Individuals into Clan, transforming them from an open hand into a fist.

Selasa, 06 September 2011

Lessons from the Way of the Showman - 31


Spectators are nervous to stand out, to clap at the wrong spot or to laugh out of time. They are caught in the dilemma of wanting to blend in but also wishing to be unique.
Give them simple clear signals. You are the conductor, they the orchestra. They sit with their bows on their strings waiting for you to lead them. Together you create the music.

Captain Frodo's Carnival Lullaby


Over the last few months I have had the pleasure of performing songs I have written long ago, but due to the demanding 8 shows a week performance schedule of La Soireé, I have yet to perform live. It has made me nervous like I haven't been for some time, but it's also exciting. 
This is a link to a song which was recorded on the 20th of August, 2011 at the Butterfly club in South Melbourne. I was doing a show with Miranda Mahalo, Mikelangelo, and Saint Clare called Lovesongs and Carnival Lullabies.

Senin, 05 September 2011

The Showman's Guild

One of the Showman's Guilds' symbols,
recreated by Hamish McCormick
I can be silent no longer.
All the lessons and thoughts that appear on this blog has been inspired by a long term research and creative project of mine. My search for an elusive secret society called the Showman's Guild and their secret teachings known as the Way of the Showman. The fraternity has gone almost undetected throughout history, but through fastidious research particularly over the last four years I have piece by piece assembled an outline of this esoteric history of circus.

I intend to publish snippets of this research right here on the Illuminated Showman. For the Showman's Guild is the shadow, always behind the Illuminated Showman. It's time the shroud of mystery is lifted.

Man on a Tightrope


Man on a tightrope is a 1953 film about a circus in Czechoslovakia run by a True Circus Man. They risks all as they attempt to use their circus skills to escape across the border into freedom. The movie raises interesting questions of thought crimes. What's the right thing to do for a true communist who loves his country but who also loves the circus?
There are some awesome dialog about the bond between all fellow Showmen, Carnies and Circus Folk:

"You see, Sir, circus people aren't like other people. The only nationality we have, the only religion, is Circus."


“I have no more love for you than you have for me. We would both cheerully rob each other and cut each others throats. But we are together on one thing: we are both circus men, first, last, and always. We hate the government, we hate the police and and when it comes to the question of circus against the law – you know which side I’m on.”


A beautiful tale of truth, sacrifice, and a united brotherhood of Circus folk and you can see it all right here on the inside.

Lessons from the Way of the Showman - 30

Life is the Greatest Show on Earth.

Minggu, 04 September 2011

The Creatrix

The Creatrix, Mark Ryden.
Whilst working for Circus Oz in 2005 I bought a limited print by the artist Mark Ryden. I had been fascinated with him for quite a few years, but had yet to purchase a proper print. Getting a print would be the only way I could have an “original” Mark Ryden on my wall since his art has long ago became unobtainable for someone on a Circus Oz wage. The print I got was by far my favorite of his works, the Creatrix. I found the lithograph print on e-bay. It was my most extravagant art purchase to date so the pre-arrival excitement was heightened by worries about being ripped off.  It arrived and to my relief it was genuine and in mint condition. I loved it and still today spend significant amounts of time staring at it, taking in the thousand truths and connective wisdoms of the complex picture.

In September 2006 I was in New York with La Clique, (then Absinth now La Soireé.) Nights were spent on the edge of Pier 17 in a Spiegeltent. We did rocking shows and hung out with Uncle Rob, our Soprano security man back stage. But during the days I went to the American Museum of Natural History. I stayed in NY for four weeks and visited the museum 5 times. I loved their dinosaur exhibits, spending hours just staring at these relics from deep time, a concept that still fascinates me just as much today. But the exhibit that I spent the most time on was something they called the wall of biodiversity. Basically it was a wall full of life. Organized and arranged in an explanatory and visually arresting manner. Standing before it everything seemed so beautifully connected. The lighting of the room, the whole atmosphere of the exhibits and the solemnity of the museum had deep impact on me.

Then on my last day hailing a yellow cab to go to the airport I buy an art magazine I had never read before. It was called High Fructose and it had a reproduction of a Mark Ryden print on the cover. I got a cab, got on my flight, opened the magazine to the interview with Ryden and found this:

The Wall of Biodiversity.
“The Creatrix is not about Creationism in the simple-minded Christian sense, but it is about the sublime mystery of life on earth. The painting was inspired by a visit to the Natural History Museum in New York. There is a room there called the Hall of Biodiversity. On a single wall the huge range of life forms on earth is displayed. In the painting, I wanted to capture the monumental feelings and thoughts this exhibition inspires in me.”

Now when I look at her, the Creatrix, hanging in my hallway, everything seems even more beautifully connected.

Lessons from the Way of the Showman – 29


We need to have the courage to expose our vulnerability.
Perfection is not as human as fallibility.
Small errors make life strong and beautiful.

Opening preview night of Dream Menagerie

My favorite moment of the opening night: I'm playing somewhere over the rainbow on the saw with Trent on ukulele and Derek Ives on drums. Imaan is hanging from the roof, the tent is filled with soap bubbles and Derek Scott has gotten 20 people up to dance. THEN. A couple gets up on the far end. A flash of doubt shoots through me - they are leaving. But instead they walk all the way around to the centre of the tent where they join the 10 other couples. He puts his arms around her and then they dance holding each other real close.

Lessons from the Way of the Showman - 28

Be playful. As you come on you have a secret and they want to know, they just don’t know it yet.
Your secret is you and your act.

Lessons from the Way of the Showman - 27

The crowd needs to feel that you are there for them. Reaffirm the situation, you are the performer and they the audience. Accept the situation, fully.

Lessons from the Way of the Showman - 26


Creation will take whatever time is allotted and no matter how long you have, the final week it will seem like it'll never be ready. But opening night the show is born whatever shape, form or sex it is. And you'll have to love it.

The Dream Menagerie is coming!

I have one hour left, I am eating the final supper before the Dream Menagerie becomes reality. So many hours creating, pondering, and rehearsing and it is almost there. I am thrilled and a little scared.

A documentary about me...

Just got off the phone with Hamish McCormick, the Carnival Cineman himself, and hence I am again excited about our upcoming documentary, check a teaser for it here. called like so many things I am working on at the moment "The Way of the Showman."

The exciting news is that we have secured ourselves Ben Walsh, a great musician and a friend to create a sound track for it! It will transform it completely. I just saw Ben direct a 10 person orchestra who where playing a score written by him. It lasted an hour and twenty minutes and made Shaun Tan's "the Arrival," come to life as a film. Check Ben's page about it here.

Sabtu, 03 September 2011

The Day We Killed Mystery

From an old newspaper review.

The Joseph Rockstacker Illuminated Circus, Carnival and Menagerie have come to Anchor for the coming week’s festivities and I was sent to see the sights.
The spot chosen, as all my readers have probably already observed, is the sports fields by the swimming hall, and never have I seen it looking so splendid. The grand Big Top, the Ferris wheel and the old Steam Carousel were all there. I wandered the Midway and took it all in, and a fine sight it was. I have chosen to use this culture column, not to review its main attraction, the grand Circus, but rather I want to convey what I experienced in a most singular and curious side attraction.
I was drawn to the anomalous little tent because it seemed to promise a different, almost anachronistic kind of Magic. The beautifully ornate woodcarvings on the show-front depicted strange symbolic images of Magicians. Their style was different from the other banners and circus pictures in that they seemed to hold some deeper significance outside of my understanding.
To me it had the air of times past, when Magicians were not just tawdry additions to children’s parties or entertainment on cruise ships or shopping malls. My interest was piqued, so I paid my dollar to enter and found inside the same style of decoration. The canvas walls were covered with painted symbolic depictions. One that caught my attention had a man climbing a freestanding ladder. He was almost at the top and held a key in his outstretched hand. Perched atop the wobbly structure his key pointed towards an eye with a keyhole pupil. The atmospheric imagery was indeed most esoteric and made me think more of secret initiatory fraternities, rather than venues for lighthearted sideshow amusement.
The little stage had deep red velvet curtains, with the letters BIS embroidered on them. They opened and with very little bravado an unassuming, but fiery showman with a big mustache came out. He smiled, seeming genuinely pleased that so many had chosen to join him in the afternoon’s spectacle. He began an oration about himself and his origin as an assistant in his father’s magic show then proceeded to perform a series of funny and baffling routines.
I found him a very amicable Showman, and could not help thinking I would very much like to count this chap amongst my friends. More than being fascinated with his particular tricks, I was captivated by the sense of genuine warmth and deep enthused passion that radiated from this curious prestidigitator. There was no shadow of doubt that this man loved what he did, and so did we. The crowd was all very much engaged, laughing and carrying on.
In one routine the Showman slipped an over-sized dice into a small cabinet with four doors, and promptly claimed it vanished, although it seemed obvious to us that it merely slid back and forth, with the clever conjuror always opening the wrong door to demonstrate the dice’s absence. The comedy of errors and his witty banter made frivolity rise to almost ecstatic heights. The children and more boisterous of us cried out, half chocked with laughter, at the misunderstandings, trying to get the Showman to open this or that door. In the end, when he finally opened all four doors of his dice cabinet, it became apparent he had indeed made the dice disappear and all the misunderstandings and fun that ensued was merely part of this man’s terrific showmanship. With many jubilant members of the audience wiping tears of joy from their cheeks, the lights dimmed. In the stark light from the spotlight, as dust rose from the dirty showground through the beam of light, the Showman proclaimed:
“It is time!” and held up a dead twig and a piece of red paper. In one swift motion he scrunched it up and stuck it on the end of the twig. Then he stepped towards some men in the front row who were drinking beers. With a slight nod he picked and pulled the green labels of their bottles. The men looked mystified by this strange behavior. The Showman then stuck them onto the twig and with this finished a crude imitation of a red flower. To this there was a smattering of goodhearted applause, but it also raised a few eyebrows in wonder of where this was going. The Showman continued with a serious tone:
“What power in us can transform what we see every day into something beautiful?” Of course no one answered this rhetorical question, and he continued to answer it for us.
“Love.” He said. “Love transforms the ordinary into the extraordinary. Love lets us see the wonderful in the wonderful, lets us realize the beauty of what we thought ordinary and lets us discover the mystery of life wherever we turn.”
With that the Showman snapped his fingers, and here I must admit I don’t know if the transformation happened just then, or if this was when I noticed it, but the paper, beer label and stick had indeed turned into the most lush and perfectly formed rose. The inanimate had come alive, life from death, the mystery of mysteries. The Showman stepped forward and graciously let the ladies in the front row smell its exquisite fragrance, so strong in fact, even yours truly, could smell it from the midst of the crowd. Then, back in the centre of the stage, the Showman snapped his fingers again and with this the rose ignited and in a flash of instant fire it was gone. A gasp rose from the crowd and a man turned to me with an expression of awe on his face, his mouth moving, but no sound passed his lips.
Here I must interject that this might not sound like the greatest of conjuring effects, but dear reader, you must understand that at this stage in the performance this simple effect somehow struck the deepest and most resonant chord with myself, and dare I say the entire congregation. Perhaps precisely because of its simplicity, we the audience could see the miracle and mystery clearer. The applause was different than for all preceding feats, more quiet, but also more intense and heartfelt. I thought this would be the end, but little did I know.
“Now, we all just witnessed something extraordinary. We saw and together touched the mysterious. And I know you are wondering how it was executed. How can one do such a thing, what is the secret? Where did the rose go?” Murmur spread through the crowded canvas room.
“You all seem like warm and good people so I will let you take the final choice. Would you like me to reveal this secret? Show you where the rose returned to? Just let it all be explained, mundane and deflated? Or would you instead like to end this performance carrying this feeling of beautiful unexplained mystery with you? I will let you decide which feeling to leave with.”
I believe it was one of the guys in the dirty shirts wearing trucker caps that first said it, but regardless, as soon as one had uttered it we all shouted for the secret. The Showman raised his hands, but said nothing. He removed his jacket, unbuttoned his shirt and with his fingernails grabbed his flesh and tore. Before my eyes the Showman ripped open his chest. Blood poured from the rip and as the wound opened I saw the ribs beneath. He pried his fingers between them and broke them apart. An awful sound, somewhere between stepping on a dry stick and cracking a lettuce, made my skin crawl. Ribs wrenched open, he forced his right hand in and after some searching proceeded to pull out his heart. The thick veins and arteries hung long, thick and dripping from the still beating heart. With each beat blood flowed in great abundance out of the torn arteries. The Showman, pale and white as a ghost, again with his nails, tore his heart apart and from its core he revealed the rose. Gently holding its flower he began pulling it out. It’s thorns turned the flesh of the vain it protruded from inside out as he tore it free and held it forth with no strength in his arm. For a few moments he inspected us with a quizzical look upon his ashen face. His chest still open, blood still flowing. No one clapped. No one spoke. Then he fell, and was dead.
Suddenly the lights turned up to full and the sidewalls of the tent rolled up like spring-loaded roller curtains and the crowded midway looked in on us all. The spell was broken and in that instance I understood we had just killed Mystery.  

Lessons from the Way of the Showman - 1 to 7

The lessons from the Way comes like lessons in life, in no particular order. Yet they all follow each other like one footstep follows another, each step placed where it is best for that moment. But overall they get you to where you're going.
The first bunch of these form the Illuminated Showman's Manifesto.


Lessons from the Way of the Showman - 1

A Showman is one who faces the other Way.
That walks with the crowd,
then turns around to face the Others.

Lessons from the Way of the Showman - 2

A Showman asks for attention and has something to show when he gets it.

Lessons from the Way of the Showman - 3

A Showman shows man - man.
Revealing the pulsing meat of
human experience.

Lessons from the Way of the Showman – 4

The Showman reminds us of the inherent folly
of all human endeavor.

Lessons from the Way of the Showman - 5

A show is artificial, meaning made by man for man.
A horse does not appreciate a card trick.
Completely artificial is also completely human.

Lessons from the Way of the Showman - 6

When we laugh at the clown
we are laughing at ourselves.

Lessons from the Way of the Showman - 7

The crowd has enjoyed the Showman from when he enacted stories by the cave fires, since he first drew a bison on a cave wall, back when they called the Showman Shaman.









Kamis, 01 September 2011

Life and Death the Siamese twins

Life and Death the Siamese twins
are proudly on display.
Before the ever watching crowd
who wants to know the way.
The admission price a dollar twelve,
it sure is strange.
But to get inside the canvas world
you must have just the exact change.

Life and Death the Siamese twins
are each a sight to be seen.
But the greatest mystery lies within
what comes in between.
The fleshy band of life and meat,
will sell every seat.
What ties the two,
ties him and you,
together as one it is true.

It's time, its time right here in this space -
Life and Death stare you in the face.

Life and Death the Siamese twins
reminds us what has worth.
To see the sights, to take the rides
before we're in the dirt.
The Fairground comes and then it goes,
secure yourself a seat.
That they never come to town again -
makes Life and Death so sweet.

Rabu, 31 Agustus 2011

James Thiérreé a Master Showman and creator of worlds

When La Clique played in the Famous Spiegeltent which was set up in Sydney's Hyde Park back in 2008, I was lucky enough to get tickets. The show was created by James Thierreé, the grandson of Charlie Chaplin. I thought to myself, that is big shoes to fill - but I must say he filled them so much he had to curl his toes.  He didn't just get genes passed on from his grandfather, but also got circus in with the mothers milk. His mum Victoria Chaplin and father Jean-Baptiste Thiérreé ran Le Cirque Imaginaire and James began appearing in the show when he was 4.
The Grand opening image of the show where a coil of rope twirling and unfurling so large it would put even Derek Ives -Australia's own dark clown rope-master- to shame. It is breathtakingly captivating and formidable. This massive spectacle was followed by a heart thumping piece of physical theatre. Before long your intrepid showman was in tears.
I have been searching the tube on semi regular basis for footage of his epic creations, and yesterday I found it. I highly recommend this show, to anyone who has ever loved and lived.

Here is the link to his beautiful creation Au Revoir Parapluie. The link is for part one, once it finishes just follow the links to part two etc...

part 1
part 2

part 3

part 4

part 5

part 6



With your heart as a compass on your way, you’ll never go astray.

A few thoughts to expand on Lesson 4 from the Way of the showman: “The Showman reminds us of the inherent folly of all human endeavor.”
Look around and take in all the bizarre stuff we humans do. Most are consumed with their own peculiar endeavors. But not everyone has found their passion.
I had a chat to a fellow carny last night about retirement, which I find a strange concept. Why would stopping work be a good thing? If I had to stop talking, thinking, and doing shows it would feel like a punishment. I guess the answer is simple enough; a lot of people don’t like what they do. What they do for work they do because they have to. In this case retirement is the time where you can finally stop going to the factory or the office and just do whatever you want. This is the reality for many people.
As the Illuminated Showman Tom Waits said: “We are all gonna be dirt in the ground,” so what ever house of cards we’ve built will fall and crumble when the wind of life leaves. This is the inherent folly of all human endeavors. Pictured by a clown spending his fifteen minutes of fame in the spotlight, struggling to do something that in the end turns out to be a joke, pointless but fun.
So why do anything at all when it is all going to end? I think when you find what you love, not doing it because its going to end at some point in the future would feel worse than doing it and enjoying it along the way. Lets face it, if you have fun, live a rich life imbued with activities that feels meaningful to you and to those who share them with you, what more can we ask for? Meaning comes from you.
With no one else to tell us what the right thing to do is its best to follow your heart. If it feels right, do it. This is of course easier said than done. There is a lot of noise in the world and the heart’s voice is merely a whisper. But if you start listening for it, its in there somewhere. Whether we live only once, or some omnipotent agent in a world beyond placed us here for some reason or the other, we should make the most of the time given to us (thank you Tolkien.) Don’t wait till you’re retired, do it now.
You create your own reality, so make it a good one. 

Lessons from the Way of the Showman - 25

It is paramount that you actually want to be on stage and that the crowd feels it. Once you can telegraph this you'll have a perfect foundation to build your act on.

Selasa, 30 Agustus 2011

Lessons from the way of the Showman - 24

Aim to discover one new moment each time you do your act. One reaction from the crowd that's new, an extra groan, an unexpected laugh - remember it and recreate it.
After 12 shows you'll need to lengthen your music or eliminate the weakest bits. You now have a natural selection happening. Your act is adapting and evolving.