Clown Ministry Workbook

Transcription

Clown Ministry
Workbook
for Outreach, Teaching, & Worship
By David R. Suhs
Copyright David R. Suhs 2012
Visit www.dramashare.org
Dedication
This workbook is dedicated to four clowns who have inspired and
have brought so much laughter, joy, and delights to so many people,
but especially to this clown.
Dedicated to:
Patricia Suhs-my partner, my best friend, and the most giving person I have ever known
Floyd Shaffer-my mentor, my friend, and the inspiration for much found in this workbook
Barbara Smith Jang-my friend, one of best clowns I know, and co-author of Yesu-The Life of Jesus
Bill Hanson-my departed, but never forgotten partner in crime and very best clown
Table of Contents
How to Use this Workbook……………………………………………………………………………………... 1
A Clown’s Prayer……………………………………………………………………………………………………… 2
Introduction to Clown Ministry………………………………………………………………………………. 3
Scripture and the Clown………………………………………………………………………………………….. 4
Some Reflections on the Clown……………………………………………………………………………….. 5
How to Get Started in Clown Ministry………………………………………………………………….6-12
The Three Basic Clown Types…………………………………………………………………………………..13
The Grotesque & Neat White Face Make-up Instructions…………………………………...14-22
The Simple & Complete Auguste Make-up Instructions……………………………………...23-26
The Simple & Complete Tramp/Hobo Make-up Instructions……………………………...27-29
Three Forms of Clown Ministry…………………………………………………………………………...30-31
Article: “Clowning as a Tool in Teaching”…………………………………………………………….32-33
Article: “Clowning As Recreation”………………………………………………………………………..34-35
Article: “The Healing Magic of Clowns”………………………………………...…………………….36-38
Script: “The Lord’s Prayer”……………………………………………………………………………………39-40
Clown Ministry & Clowning Bibliography……………………………………………………………..41
Clown Ministry Scripts…………………………………………………………………………………………...42
Clown Ministry and Clowning Videos…………………………………………………………………....42
Clown Ministry Training Completion Certificate…………………………………………………...43
1
How to Use this Workbook
This workbook is designed to be used in a workshop setting or in training sessions.
The various pages are meant to assist a trainer in covering sessions to help get a
clown ministry started in a church.
The author has included pages on the symbolism, the scriptural basis, and the
theology of Christian clowning. Other pages include an example of a training
weekend, how to get a clown ministry started in your church, the types of clown
ministry, and an understanding of the types of clowns. The workbook also gives
detailed instructions on the three types of clown make-up and ideas for costuming.
To get your ministry started the author has also included a simple clown skit or
interpretive movement that your group might try entitled, “The Lord’s Prayer.”
There are several articles that go more in depth on the teaching, recreational, and
outreach aspects of Christian clowning.
Finally, the author has include a certificate that could be duplicated to give to each
participant upon their completion of the training. Won’t it be fun to hold a clown
graduation in make-up and costume with the pastor officiating?
I do hope you find this workbook fun and helpful to your own clown ministry.
And always remain In the Lord’s Laughter,
David R. Suhs
“Christoph”
2
A CLOWN’S PRAYER
As I stumble through this life,
help me to create more laughter than tears,
dispense more cheer than gloom,
spread more cheer than despair.
Create in me the gift to bring laughter to others
and never let me fail to see the wonders in the eyes of a child
or the twinkle in the eyes of the aged.
Let me experience the laughter, the wonder, the joys,
and the delights that only you can bring, Lord.
Let me share my painted face that others might
understand the Power of your Word;
the Strength through Faith;
and the Joy of your Love;
so that all might rejoice in the Lord’s Laughter.
And in my final moment,
may I hear You whisper:
“When you made My children smile,
you made Me smile.”
-Anonymous-
3
INTRODUCTION TO
CLOWN MINISTRY
Photo by Danny Chamblee
David Suhs appears as “Christoph”
while participating in a pantomimed presentation
of holy communion.
CLOWN MINISTRY first appeared in the
United States and Canada in the late 1960s.
Creative artists searched for ways to express
the Christian faith in new and dramatic ways.
Director Rolf Forsberg created a short film for
the 1964 New York World’s Fair entitled
“Parable.” In this film, Jesus is depicted as a
clown and humanity as a travelling circus.
Stephen Schwartz and John-Michael Tebelak
were inspired by “Parable” to write the musical
of Jesus’s life and ministry entitled, “Godspell.”
In this musical, Jesus and his disciples appear as
clowns.
Clown Ministry is a dramatic art form that
attempts to communicate the message of our
Lord in a new way through pantomime and laughter.
The use of the clown in ministry finds some of its justification in scripture such as—
1 Corinthians 4:10
1 Corinthians 1:27
Psalms 100:2
“We are fools for Christ’s sake;”
“But God hath chosen the foolish things
of the world to confound the wise;”
“Serve the Lord with gladness.”
Throughout history, the clown has been about serving others whether in the circus or
reaching out to others in various settings. What better symbol for Christians then to
serve and to love each other like the clown? Jesus said we must be like the child to enter
the kingdom of heaven. The clown is a very powerful symbol of this child-likeness.
Clown ministry is not just entertainment; nor preaching in costume and make-up. It is a
means of touching souls, something most clowns somehow manage to do. The clown
through pantomime may be able to communicate the Lord’s message to people who are
not able to be reached by the spoken word or other forms of communication. The clown
reminds us that Jesus came to give us “Good News” and that we should be happy and
joyful. The clown in its “child-likeness” reminds us of what Jesus was saying that we
must become like children in order to enter the kingdom of God. We hope that the
Lord will touch you through His servant, . . . . . the Clown.
6
So just how does one get started in something called clown ministry? “I’m
only one person. How can I get a group going at my church?”
To begin a clown ministry, you need to carefully consider the following:
1) Who will be involved in the ministry?
2) How do you create interest in the church?
3) How do you train a clown group and what resources are
available?
4) What form will your ministry take?
1) Who will be involved in the ministry?
The preference has always been to primarily involve adults in this ministry because it is easier for
them to understand the symbolism, dramatic aspects, and theology of the clown. Selfishly, I feel there
is more of a need for adults to get in touch with the child inside them which this ministry can so effectively provide. However, one can also effectively involve middle school and high school youth because
they can understand the symbolism, theology, and dramatic aspects. For younger children, it is more
difficult to get them involved because of their inability to completely understand this dramatic art
form and its symbolism. Younger children can successfully do clown ministry with a family member or
adult who can provide guidance. This ministry is also successful across ethnic, male or female, or denominational differences. It is a real opportunity to bring diverse groups together. Also, one should
not be concerned about the number of participants. Quantity is not important in clowning with a few
able to minister very effectively. As Jesus said, “For where two or three are gathered in My name, there
am I in the midst of them” (Matthew 18:20).
2) How do we create interest in the church?
There are several of ways to create interest in the church. The first is to invite a local Christian clown
group to your church to participate in a fellowship dinner, a youth program, a vacation Bible school,
or even a unique evening worship service. If possible, permit a time for the visiting clown group to
share their experiences and impressions of the ministry and a time for questions and answers. A second way, would be to try to obtain the videos of Rolf Forsberg’s Parable, or Floyd Shaffer’s Mark of the
Clown, A Clown Is Born, and That’s Life. These videos are available through some denominational audio-visual libraries. The author also has DVD copies of Yesu—The Life of Jesus, the clown/mime play
published by Contemporary Drama Service. This video is available for the cost of duplication and postage. These films again could be shown at fellowship dinner, a youth program, a vacation Bible school,
or an evening worship service.
3) How do you train a clown group and what resources are available?
Training—The next step is to offer clown training in either one-hour sessions once a week for about
six weeks or an intensive weekend session. Once the primary training is completed, follow-up sessions would be recommended to learn new skits and skills. Ask your minister for permission to advertise the training in your church newsletter and perhaps other churches as well. It would be great to
have an ecumenical experience. The optimum choice of a trainer is someone who has experience in
clown ministry, however, if that person is not available you can try several things. First, read up on
clown ministry in the resources provided in this article, then possibly find a drama person from the
community or schools to help you on the make-up and pantomime skills. The other possibility is to
obtain a copy of Floyd Shaffer’s “Clown Ministry Video.” It was produced by Group, Inc., but is out of
13
THE THREE BASIC CLOWNS TYPES
TYPE






WHITE FACE
Neat
Grotesque
AUGUSTE
Simple
Complete
TRAMP
Simple
Complete
MAKE-UP &
COSTUME
CHARACTER
OUTLINES
This is the classic style make-up in all
white face with simple lines for facial
expression. The primary colors are white,
black, and red, with sometimes blue for
highlights. “Neat” face has very simple
small features like a mime. “Grotesque”
face has more exaggerated features. The
classic costume is the one-piece jumpsuit
or two-piece colorful outfit with colorful
shirt and pants.
This type of clown exaggerates
childlikeness, playfulness, risk
taking, mischievousness, and the
care-free, but vulnerable lover.
This clown uses child-like symbols
like balloons and bubbles.
This make-up type exaggerates features
and emphasizes the eyes, the mouth, and
the nose. Flesh tones and white face are
used to bring exaggeration to the eyes and
mouth. This clown often wears the large
rubber or putty nose. “Simple” face does
not use much flesh tones and emphasizes
the white patches around the eyes and
mouth. “Complete” face covers the entire
face with colors or flesh tones. The costume is usually two-piece with bright,
colorful, and exaggerated size (e.g. shoes,
tie, and tiny hat).
This is the clown who uses the
exaggeration of the human
condition where nothing ever
seems to go right. He often takes
the fall, but can stand with some
help. This clown is the prankster
who is the butt of jokes who often
is involved in slapstick situations.
The focus for this clown is falling,
then rising.

This make-up emphasizes the stubby
beard that goes down onto the neck.
The area above the beard is white or
flesh tone. The mouth is either
frowning, neutral, or even smiling.
This clown has a rubber, putty, or
red painted nose. The costume is a
tattered and torn worn out suit with
patches and often oversized. A
slightly crushed hat or top hat finishes off this type of clown.
This clown is often the fall guy for
the White Face and Auguste
clowns. He/She evokes the caring
instinct in other people who want
to make him/her less sad and
downtrodden.

HISTORY







White Face is found in many
cultures as a “death mask”
Italy-Punchinello
France-Pierrot
England-Joseph Grimaldi
United States-George Fox &
Dan Rice
Germany-Tom Belling,
circus ringmaster 1864
“der dummes auguste” clumsy boy
Depression 1930s-Begging
and riding the rails
United States-Emmett Kelly,
Red Skelton, and Otto
Griebling
14
The Grotesque & Neat White Face
Drawings from Ringling Bros. & Barnum & Bailey
Clown College Resource
SUPPLIES
MAKE-UP-Use only professional theatrical make-up and greasepaint




Clown White (Stein’s, Mehron, or Kelly’s)
Red Greasepaint or liner (Stein’s Carmine #18,
Red Mehron or Red Kelly’s)
Black Greasepaint or liner (Stein’s Carmine #17,
Black Mehron or Black Kelly’s)
Black grease pencil or eye liner
EQUIPMENT







Q-Tips or Cotton Swabs
Facial Tissue or Soft Toilet Paper
Wet Tissues
Soft shaving or blush brush
Baby Oil
Towel or Smock
Baby Powder (recommend Johnson & Johnson)
STEPS





2 Cotton Socks or large Fluffy Powder Puff
Towel or Smock
Mirror
Bobby Pins, Sweat Band, or Hair Net
Toothpicks
OPTIONAL
 2 -Thin #1 Sable Make-up Brushes
 Cold Cream
The White Face Clown uses three basic colors, often called the “circus colors,” red, white, and black. Other
colors, such as blue, are used only to highlight. The three areas which are emphasized are the mouth, nose, and
eyebrows.
1. The face should be totally clean (Well shaven for men and no make-up for women).
2. You may want to put on your costume first to prevent smearing the make-up while putting it on over your
head. Place a towel over the costume to prevent getting make-up on it.
3. Optional: Apply a fine coat of baby oil or cold cream to the face, wiping away the excess (this may aid some
people in taking off the make-up later).
4. Using bobby pins, a hair net, or sweat band, pull your hair back and away from the forehead. Do a final
cleaning of the face with a wet tissue. Begin to apply clown white face make-up to the forehead with circular
motions. It is advisable that you use the first two or three fingers of either hand to apply the make-up. Be
careful to apply only enough make-up to cover the natural skin coloring. Put on just enough clown white to
make your face look very pale white. You do not need a great deal of clown white to look good. There
should be no skin tones showing through. Continue down the face covering eyelids, nose, around the lips,
and the neck area that will show with your costume on.
5. When the entire face and neck area are covered with clown white, use the same two or three fingers to
begin patting the face. The patting will eliminate the finger smear marks in putting on the make-up. By
doing a good job of patting you will have a very smooth and even white mask with no smears. Begin patting
at the forehead, working down the face to the neck.
20
30
THREE FORMS OF CLOWN MINISTRY
Clown ministry can basically take three forms with each providing some very unique and powerful
opportunities in ministry. These opportunities are in what we call Outreach, Teaching, and Worship.
Outreach—The first form is in the area of outreach. The clown has this unique ability to communicate non-verbally, break down barriers, touch people, and create an atmosphere of joy, laughter, and
delight. God has given the individual who has that special kind of clowning that Mr. Tebelak called
“coming from the soul” to truly bring joy to others. The clown ministry in your church can begin by
doing just that—by visiting and sharing with those who need joy and the touch of fellow human
beings. The following chart gives you ideas of the who, where, and what can be done utilizing clown
ministry as outreach.
O
U
T
R
E
A
C
H
WHO
(Best Age Group to Do)
(Experience has shown this order
to be the most successful)
1.
2.
3.
4.
Youth
Adults
Older Adults
Younger Children
(with supervision)
WHERE
(Best Locations)
1.
Full-Care or Partial-Care
Health Centers
2. Hospitals
3. Retirement Centers
4. Centers for the Challenged
5. Day Care Centers
6. Special Olympics
7. Schools and Libraries
8. Prisons (with special
preparation)
9. Camp sites and Parks
10. Parades
WHAT
(Best Types of Activities)
1.
2.
3.
4.
5.
6.
7.
8.
9.
Appropriate Physical contact (i.e.
hugs, handshakes, rubbing arms,
and kisses)
Listening and talking
Walk-arounds or short gags
Imagination play
Balloons and balloon sculpture
Longer skits
Regular visitation
Passing out appropriate gifts
Creating an atmosphere of fun
Teaching—The second form is in the area of teaching. The clown can be useful in the classroom or
other educational settings in two very effective ways. Firstly, the clown can create an atmosphere
where learning can be a fun and enjoyable experience. Secondly, the clown has the ability to tell a
story and bring new life and understanding to it. By just walking into a room, the clown has the ability
to create an atmosphere of joy, laughter, and delight and to transform a classroom of students from
merely spectators to participants. The clown is also valuable for his/her ability to be an effective
storyteller. “The Story” is held in a new guise where the students see and experience the scripture with
a new freshness and emotional vibrancy that may be lost by sheer familiarity. The physical movement
through the use of pantomime by the clown and the resulting vicarious movement by the viewer to
the story results in greater interest, attention, and retention of the message. The following chart gives
you ideas of the who, where, and what can be done utilizing clown ministry in teaching.
T
E
A
C
H
I
N
G
WHO
(Best Age Group)
(Experience has shown this order
to be the most successful)
1.
2.
3.
4.
Adults
Older Adults
Youth
Younger Children (with supervision)
WHERE
(Best Locations)
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
Church (Sunday) School
Mid-week Youth Programs
Youth Fellowship Groups
Vacation Bible School
Christian Drama groups
Youth Retreats
Children’s Church
Schools (Drama classes)
Libraries
Kindergarten and Day Care
WHAT
(Best Types of Activities)
1.
2.
3.
4.
5.
Interpreting scripture through
skits
Application of scripture through
skits
Interpreting doctrine in skits
Moral plays
Drama skills, pantomime, mime,
and make-up
43
Given this
Day of
“May all your Days be Circus Days”
Author
David Suhs has over thirty-five years of experience in clown ministry including performances, teaching, script
writing, and workshop leadership. He has been blessed to share the clown and pantomime with young people
and adults in five different countries. He works both professionally and donates his time and talents to churches
and other non-profit organizations. Since, 1977, he has appeared in make-up before audiences over 500 times.
David is co-author of two clown/pantomime plays published by Contemporary Drama Services-Meriwether
Publishing, Yesu-The Life of Jesus and Clown-gregation. He has been on television on several occasions as a
clown and even appeared in a commercial. For three years running from 2001-2003, he performed with the clown
troupe, Clown-gregation, at the Chuncheon International Mime Festival in South Korea. For a number of years,
David taught clowning at the Annual Recreational Workshop, Montreat, North Carolina and was an instructor in
an Adult Education Course in clowning at Horry Technological College, Conway, South Carolina.
David holds a Master’s Degree in Christian Education from Union Presbyterian Seminary, Richmond, Virginia
and has served as a Christian educator in several military chapels and churches, as a classroom teacher, and
school administrator. David and his wife, Patricia, served for over 20 years as missionary teachers in a Christian
international school in South Korea. They have a grown son and a daughter, Hans and Bonnie. David and Patricia
are secondary school teachers in Hawaii and are both still active in clown ministry.
In the Lord’s Laughter
David R. Suhs
DramaShare

Clown Ministry Workbook

Transcription

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