Clown Characters: Whiteface Insights
With Randy Christensen – WCA Awards Director
We have two clown make-up competitions at the WCA Convention in the area titled “whiteface.” There are some major differences between the classic whiteface and the comedy whiteface categories. In some cultures, the “white clown” was also just known as the “clown.” The whiteface has evolved through the centuries, being expressed in different ways by different performers. Consequently, these two specific styles of whiteface are embraced.
In the early 1800’s two fantastic performers brought their own personal styles to the whiteface clown. Both of these historic clowns had their performance roots in the Commedia Del Arte. Here they learned comedy, character relationships, physical communication and their stage craft. Let’s take a look at each of these historic characters to better understand the differences between classic whiteface and comedy whiteface.
The first clown demonstrates to us the mindset of the classic whiteface. Jean-Gaspard Deburau, a Frenchman, performed as the stock character, Pierrot, . “The chief quality that Deburau brought to the role was finesse: he performed all his tricks and acrobatics with great delicacy and grace.”1 He was a magical and mystical mirthmaker who performed in French pantomimes in Paris. He had numerous skills and physical aptitude. “Deburau’s Pierrot was also a creature of mystery.”2 This was not a stupid character, but one that had graceful athleticism, confident mental capacity and whimsical wit. He was smart.
Mr. Arthur “Vercoe” Pedlar (one of our former WCA Presidents) states that the traditional European authoritarian whiteface portrays strictness, rigidity and the “faceless authority” devoid of emotion. The whiteface portrays the mindset of government, the rules, the unbending “right way to do things.” He is logical, systematic and analytical making decisions from intellect and proven principles rather than by emotion or trial and error. This is portrayed through the classic whiteface make-up. It’s white. Non-colorful. Emotionless.
When I created my classic whiteface persona for the New York WCA Convention, Arthur was adamant that I not put blush on my cheeks. He argued that rouged cheeks didn’t capture the traditional stoic persona. At the same time, I noted that Arthur had painted some red onto his otherwise white ears. I asked him about that. He smiled and winked, “Even the whiteface has a bit of humanity to him,” he replied.
Arthur (1998 International Clown Hall of Fame inductee3) also told me that whiteface is not funny by himself. I believe that to be a basic difference between the classic whiteface and the comedy whiteface. The classic whiteface has limited smaller features. He is precise in every way. The classic is not a laughmaker. The comedy whiteface is. The comedy whiteface uses exaggeration to bring humor to his appearance and his character.
Which brings us to the second clown from the early 1800’s… Joseph Grimaldi. Also beginning as a pantomime performer, Grimaldi evolved as a clown performer, establishing a new type of character in his day. He performed audience participation comedy songs, slapstick, and onsite creative inventions. “Ridiculous combinations of objects could become animated in Grimaldi’s hand; he could create a living…vegetable man out of a pile of turnips and carrots. Or he might thrust a mop handle through a wheel of cheese, place each end of the stick in the hands of a prone Pantaloon, pile additional cheeses on the old man’s back, and wheel him off by his ankles as though he were a wheelbarrow.”4
Grimaldi was fun and funny, physical and eccentric. His facial features were enlarged. He painted red patches on his cheeks, had a red mouth and blue tufts of hair erupting from his bald skullcap. His character was a glutton and gave full sway to satisfying his appetites. Though he was always in control, there was a sense that he was personally out of control. Grimaldi used comic exaggeration. He changed the course of clowning as we know it today, and to honor his contribution, clowns today are often known by his first name, “Joey.”5 In today’s clown culture, Joseph Grimaldi would be seen as a comedy whiteface.
We have the classic whiteface as demonstrated by Deburau. We have the comedy whiteface as demonstrated by Grimaldi. “Whereas Grimaldi was coarse and jolly, Deburau was subtle and sinister.”6
Consequently, the wardrobe and facial designs portray the chosen characters. The classic whiteface seems to “flow” without exaggerated movement and without exaggerated features. The classic whiteface does not wear a false nose. Often the eyebrows mismatch with one having an ornate swirl. At times, one eyebrow curls upward while the other curls downward. This is a matter of artistic expression. He wears slippers or well-fitted shoes. This is the “clown doll” persona…the poetic beautiful clown.
The comedy whiteface also has a white make-up base. He is in charge. But, his level of comic exaggeration is greater. This may be demonstrated clearly by his shoe choice. He won’t wear slippers like the classic whiteface, but may wear exaggerated large shoes like the auguste. He may wear a red nose to exaggerate that feature. I’ve often thought that comedy whiteface may be a closer cousin to the auguste than he is to the classic white. His costuming may have more exaggerated features (i.e., lapels, cuffs, flowers). Bozo was a comedy whiteface, not a classic whiteface. His personality was far more bold than a classic whiteface’s prim and proper approach.
One of the highlights of WCA conventions is viewing the make-up competitions. Numerous stunning classic whitefaces have appeared over the last decade, along with fun, delightful comedy whitefaces. For more information on our competition guidelines and processes, please feel free to contact me at wcaclown@earthlink.net See you in Chicago!
To read more about the criteria for classic whiteface and comedy whiteface make-up competition, you may go to our website at www.worldclown.com
Notes:
1Seleneck, Laurence. A Cavalcade of Clowns. (Santa Barbara, CA: Bellerophon Books, 1985) p.22
2Seleneck, Laurence. A Cavalcade of Clowns. (Santa Barbara, CA: Bellerophon Books, 1985) p.22
3 https://famousclowns.org/famous-clowns/arthur-pedlar-famous-english-clown/
4 Towsen, John H. CLOWNS. (New York, NY: Hawthorn Books, Inc., 1976) p.158
5 https://en.wikipedia.org/wiki/Joseph_Grimaldi
6 Speaight, George. The Book of Clowns. (New York, NY: Macmillan Publishing Company, Inc., 1980) p.31