One of the stranger aspects of visual performance, clowning and animation is that the characters often have an “animal-like” or “non-human” quality.
This wonderful clip of the Godfrey Daniels character sums it up perfectly.
The character is roughly human, but we certainly don’t react to him as we would a “person”. He doesn’t speak and has no facial expressions – so we only get information about his mood from his physicality. There is something fascinating about it.
Harnessing this idea can be invaluable, allowing characters to be:
- completely unique
- very likeable
- free from the usual rules of society (and even physics)
This is the territory of mask work but we also see it in clowning, puppetry and even early film, where facial expressions couldn’t be seen very clearly.
My favourite Chaplin films are where his antics are viewed from a distance. It is Chaplin’s extraordinary physicality that made him such a great silent film star. Have a look at his physicality compared to the other actors in the first few minutes of the famous factory scene:
The “non-human-ness” of his appearance allows us to view his character differently. Perhaps we don’t judge him as harshly. Maybe we don’t worry so much when he gets hurt. And we enjoy his unnatural movement which we might consider too “fake” if watching a modern film.
Some performers, like the one “inside” Godfrey Daniels, have masked their whole body, giving a new dimension to their physicality. Clowns use big shoes and baggy pants to deliberately distort the body shape. Some performers have taken this to the extreme. The creators of “Mummenschanz” are a good example. (I especially like the “tube” in clip at 48 secs:)
Some of the Mummenschanz “characters” have got hardly any recognisable features. But the movement still allows us to follow a narrative. Note in particular how they use focus (ie where they are looking) and how they change speed.
If you want to explore this oddity further, try this for fun:
- Get together with some friends.
- Draw some different faces on some sheets of paper (one face per sheet).
- Poke small holes for the eyes.
- Use an elastic band to hold one of the pieces of paper over your face.
- Try moving around as your new character – but be careful if you can’t see that well!
- Get your friends to ask you questions, or make suggestions about what’s happening to you.
- Without using words or facial expressions, you will find that you have to explore a whole new vocabulary of expression.
- Have fun!
IN A NUTSHELL
Disguising the “human-ness” of a character can have strange and exciting results.
You don’t need words to enthrall an audience.
Experiment with face masks, body masks and physicality.
(I’d love to hear from anyone who knows more about the psychology of non-verbal, non-facial expression. If you could recommend some reading I’d be really grateful.)
We want New Slapstick is a resource for everyone involved in visual comedy of any kind.
We’re putting our money where our mouths are and creating films of our own. To have a look at the attempts so far, click here: