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'n Nar, of hanswors, is 'n is 'n persoon wat komedie en kunste optree met 'n openhartige houding deur gebruik te maak van fisiese komedie, tipies terwyl hul duidelike grimering of kostuum dra en sosiale norme omkeer.[1][2][3][4][5][6]

Verwysings[wysig | wysig bron]

  1. "argiefkopie". Geargiveer vanaf die oorspronklike op 6 Januarie 2020. Besoek op 25 Januarie 2023.
  3. Rogers, Phyllis (1980). "My Favorite Foods are Dr Pepper, Collard Greens, and Pizza. I'm sure I'll Be a Good Clown". ScholarlyCommons. Studies in Visual Communication. University of Pennsylvania. 6 (1): 44–45. doi:10.1111/j.2326-8492.1980.tb00116.x. Besoek op 1 Januarie 2021. Your face was your fortune, and to copy another man's face without his permission was theft, punishable by ostracism. Every man had some kind of special trick which made his makeup look perfect...The old clowns feel that the quickest and easiest way for a person to distinguish between a clown and a person in makeup is the clown's ability to make his face move...The old clowns say that anyone can apply greasepaint to his face but very few practitioners of the art of clowning ever acquire the skill to make their faces move.
  4. Butler, Laurel (Maart 2012). "'Everything seemed new': Clown as Embodied Critical Pedagogy". Theatre Topics. Johns Hopkins University Press. 22 (1): 63–72. doi:10.1353/tt.2012.0014. S2CID 191476878. Geargiveer vanaf die oorspronklike op 29 April 2021. Besoek op 1 Januarie 2021. Italian clown pedagogue Giovanni Fusetti proposes...conceiving of clown as a state of being...'a state of playing where everyone has access to the key question: what is so funny about myself?' Lecoq describes entering into 'the clown dimension,' which requires 'a state of openness, entirely without defense...a state of reaction and surprise' (146). John Wright...[says] 'the state of bafflement that we see in a common state of humanity...Clown reminds us that, deep down, we're all in exactly the same bemused state' (218). John Flax (2009)...says that, for Lecoq, 'theatrical clown was just about finding that basic state of vulnerability and allowing the audience to exist in that state with you...A clown state is a state of innocence and poetry and naivety that allows the audience to draw their own conclusions. That's the state that you bring them to, and they'll make the connections or not, but they love to be in that state because we don't go there very often. It's a state of anti-intellectualism, a kind of pure emotion.'{{cite journal}}: CS1 maint: bot: original URL status unknown (link)
  5. Keisalo, Marianna (24 Maart 2017). "'Picking People to Hate': Reversible reversals in stand-up comedy". Suomen Antropologi. 41 (4): 62. Besoek op 22 Maart 2021. Reversals, broadly defined as switching to the opposite of what is considered 'the normal order' ... Reversals are an important aspect of the performance of many ritual clown figures (Keisalo-Galvan 2011; Steward 1991 [1929]) as well as more everyday instances of clowning and humor (e.g., Basso 1979).
  6. Double, Oliver (2014) [2005]. "Licence". Getting the Joke: the inner workings of stand-up comedy. Quote by Stewart Lee (2nd uitg.). New York: Bloomsbury Methuen Drama. p. 264. ISBN 978-1-4081-7460-9. According to Stewart Lee, 'By reversing the norms and breaking the taboos, the clowns show us what we have to lose, and what we might also stand to gain, if we stand outside the restrictions of social convention and polite everyday discourse.'

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