Physical Comedy in Tunis

[For Arabic readers here is Hend Salama's article about the workshop (Salama, H 22/12/22, Rosalina News, Cairo)]

Outside the Tunisian National Theatre on 10th December 2022 a large crowd cheered Morocco who had beaten Portugal to go through to the semi-final of the World Cup in Qatar, a first for a North African country.

I witnessed the same effervescent energy in the Physical Comedy workshop at Institut Supérieur d'Art Dramatique (ISAD) during the Carthage Theatre Festival 3-10 December 2022 (JTC), JTC- Journées théâtrales de Carthage أيام قرطاج المسرحية

thanks to an invitation from Artistic Director Nissaf Ben Hafsia

Photo by Yasmine Chekili (L)

The students had a strong foundation in clowning so over three days we created new material to develop the audience relationship, eccentric dance sequences and falls (using a chair).

Photo by Mohamed Hamdan. (L to R) Hamza Trabelsi; Mãriem Aloui, Yasmine Chekili, and Mustfa Mansouri.

I have developed these based on physical theatre choreography and some routines I teach at the University of Salford, originally developed by variety star Johnny Hutch who taught at the London International Workshop Festival in the 1994, and who originally trained with a Moroccon acrobatic troupe. Thanks Richard Cuming for your article on this.

How do you combine these skills with spontaneity and at the same time keeping an eye on interaction with the audience?

The usual dilemmas became important theoretical discussion points: questions about persona/comic character and clown. I agree with Gaulier that you tend to have one clown and that this is only a 'character' to the extent that it manifests and exaggerates your own characteristics and qualities.

Should I appear for our first encounter as Kurt or myself?

To what extent should I teach through the persona?

The group performances were a delightful fiasco. The students worked in huddles, clawing at each other to pull each other upright, dragging each others bodies and pushing individuals to the forefront.

Video by Mohamed Hamdan. Fatma Mabrouki (C), Zaineb Marzouki (L) and Sàlèm Sâlâmâ (R)

We worked on "flocking" and "socking", to begin shaping the huddle and to create more distance. I asked for a more formal choreography - and they learned quickly. I asked them to develop a delicate, intrepid curiosity. I wanted them to seek permission from the audience to expand on ideas, to move closer. I am influenced by classic techniques from Jacques Lecoq, and those who worked with him - Philippe Gaulier and Pierre Byland , more recently described by Jon Davison These approaches are all designed to present the clown as a highly responsive and curious figure.

I spoke with Sadok Aïdani, a Belgian theatre maker living in Tunis, and director of a new show by The Unified Theatre with Abdou Cherif, a graduate of ISAD.

Sadok talked about the clown as an existential state of discovery. He is attracted to a perplexed but resourceful individual - rather than the stripey mime cliché that Kurt Zarniko toys with. And in a show directed by Sadok, Abdou Cherif uses his clowning as a social critique in a country which is struggling socially, economically, post revolution

Photos courtesy of Unified Theatre

They will be presenting a residency in Tunis on 12-28 February 2023, from their base in the old Medina.

Sadok Aïdani (L) and Abderahman Cherif at the curtain for Storyless...Blead (Unified Theatre, 2021)

I also worked with Mohamed Lakhoues whose clown was a fully formed ‘little boy’ persona, complete with a squeaky mischievous voice. In a playfully disruptive tradition, he wanted to subvert the stasis of people in public places. I urged him to resist the temptation to feel sorry for his clown and he responded creatively. The students all began to expand their clowns - showing a clown body comically 'out of sync', not pitiful - but optimistic and inexhaustible. It was marvellous and refreshing, to see how quickly Mohamed and others developed new ideas.

Video by Mohamed Hamden. Youssef Ghariani, Intessar Bin Nagi, Mohamed Lakhoues and Yosr Belkahla - a symphony of farting

I hope to return to work with the group again. They each got a certificate of participation - a lovely gesture from JTC. (R) Iheb Mrab receives his certificate.

Thanks to their tutor Mr. Yassin Ouni who organised the workshops, and to Houssem Belghoula who gave up his place in order to co-ordinate the group.

Thanks to Intessar Bin Nagi (L), who met me for a run around Tunis and to Houssam El Rabahi and Hajer Hamdi, for keeping me company in the city one afternoon.

And the wonderful participants Mustfa Mansouri , Zaineb Marzouki, Chawky Essaâdly, Sàlèm Sâlâmâ, AyOub Boughalleb, Youssef Ghariani, Sara Bin Mohamed, Yosr Belkahla, Yasmine Chekili, Hamza Trabelsi, Aisha Kashouk, Hajr Mounsaf, Najoua Gendoubi, Imen Belhedi, Youssef Elfariani, Houssam El Rabahi, Ihab Mrad, Fatma Mabrouki, Mohamed Lakhoues and Maryouma Rima, Mãriem Aloui.

… Please let me know if I have missed anyone!