“All the world’s a stage” We clowns are merely players, eagerly waiting to bring joy and laughter into the lives of people across the world.
With the ever increasing requirement for clowns worldwide and the ‘shrinking of the globe’ it has become easier and accessible for clowns to perform in countries other than their own. Opportunities have increased. Clowns have been travelling across different countries and continents since a long time doing missionary work. However clowns have also been recognized as the most important catalyst in entertainment, be it festivals, conventions, events, theme parks and the list goes on. Overseas clowning has a much different flavor than performing back home. Speaking purely from a non-American perspective, I see a large number of events happening in Europe, Middle East and Asia where clowns are required in abundance.

Clowning internationally has a lot of challenges, at the same time it is a very rich experience that one has to be ready to embrace. The unique aspect about international clowning is that different countries have different ‘flavors’ of clowning which makes this an attractive variety. As much as it is important to hold on to the characteristics / uniqueness of one’s own region, there are a few things to be kept in mind while playing on the international stage.
In the next two articles (this and the following edition) we will explore the requirements for international clowning and get you ready for the ‘world stage’

Perception: There is a perception that only highly skilled circus clowns are invited to perform overseas. Of course highly skilled clowns are preferred over non skilled. However there are many others who also stand a chance of being invited to perform and get paid for their performance.
There is a wide perception amongst international event mangers and festival producers that when we talk about Americans clowns we are referring to the skilled ‘Ringling Brothers and Barnum & Bailey circus clowns. The bright colorful costumed whiteface, auguste and tramp. When we talk about European clowns the perception moves to street performers with lite auguste or no makeup. The Latin American clowns are identified by their loud and vibrant colours in their makeup and costume. The Russians and eastern Europeans are identified by their high circus skills or by their hobo look. The emerging markets of Southeast Asia are perceived as clowns who are highly skilled in balloons, acrobats and mime.
Though some of these perceptions may hold true, we also know that there are a lot of us who do not fit into these perceived stereo types. From my experience, having performed in 3 continents, participated in a few international festivals and speaking to a large number of clowns who have travelled, I have arrived at a few tips on being selected or identified to perform internationally.

What are producers/ clients looking for? Unless you are a missionary clown, which requires a whole different approach (and we will not discuss mission work in this article) there are primary 4 areas you need to be aware of. Producers and clients are looking at all 4 of these specifically in order of priority.
*Costumes, make up and accessories * Character * Skills * Language
We will discuss these in greater depth.

Costume and Make-up and accessories
• Good professional costumes are a must. Not the mix and match regular wear clothes. It pains to see some clowns assume their long sleeve thermal red t shirt as a clown t-shirt. You may convince yourself by buying cheap and bright colored shirts and tees, however take a second opinion from well travelled clowns, if these really look professional. Short sleeves and buttoned shirts are a definite no. Unless you are performing some skills that require you to wear half sleeve shirts or t-shirts, please avoid it. The costume should ‘look’ distinctly as a costume. Make sure you have more than one set of the costume and they are both pairs are similar.
• Good Professional Make up with a well defined character to go with it. So many clowns do not focus on the sharp lines and the importance of the auguste base. In many countries, unless performing on stage, a tramp character is not appreciated. International paying clients and producers look for comedy white face or auguste clowns.
• Good professional accessories like Wigs, Hat, Nose, Shoes. It amazes me to see that clown consider red sneakers or colored sports shoes appropriate for an international contract. Absolutely not. Many clowns have just one pair of professional clown shoes worn over the past 10 years and are emotionally attached to them. However if they are ripped and coming apart at the seams, you will need a fresh new pair for an international tour. Clowns assume ‘dyed’ hair instead of a professional wig as appropriate. These are an absolute No. If you must have a dyed hair, it has to be well maintained and presentable for the entire duration. However this is best avoidable. Definitely no foam noses.
The first impression is always the last impression. So many clowns focus on looking their best at competitions, and care too hoots in the real world. If you don’t look clean and bright like a ‘freshly baked over fresh clown’ you might as well stay back home.

Character: This is the bane of most clowns who ‘think’ they are professional and ready to travel. If a producer or a client has asked for a clown, it says just that. Not a juggler, or a balloon twister or a magician in a clown suit. Your clown character is judged prior to the display of any skills. You will need to have a well developed clown character. You are in character from the time you step out of the green room in public view. Not just when you go up on stage. I have seen so many so called experienced clowns casually walk around between acts in full view of the public, completely out of character. Trust me, a strong clown character is much more appreciated than a highly skilled juggler, twister or a magician.
Skills: Agreed, many clowns may not be high on skills. However it is very essential, if you wish to travel, to have two or three stage ready skills. Knowing 3 ball juggling is not a skill. Being able to perform a 3 minute piece with it is a skill. Knowing clown gags / skits is not a skill. Begin able to perform the skit on stage is a skill. So many clowns send in their resume stating that they ‘know’ Busy Bee, Stage Coach, Ring Ring etc but have never performed it. This is as good as being an arm chair soccer player. This brings me to the next point about language and humor.
Most countries in Asia and Europe do not have English as their first language. English is mostly spoken for essential conversation, instructions and directions. Hence American jokes and puns may fall flat in Europe and European jokes may be misinterpreted in Asia. So a verbal skit or a verbal clown gag is not a skill worth working on for international tours.
In my next article I will share about code of conduct, documents, boarding lodging and what goes in an international resume.

Martin D’Souza
www.flubbertheclown.com