Explore how the basics of clowning and clown training can assist the actor in auditioning and in other parts of a more standard theatre process. I’m planning to discuss the value of clown training and how it can be translated to any type of theatre process and how the core pillars of clown training are something the actor can always use to explore and expand their practice. Structured as a lecture with a Q&A session where I’ll discuss the basics of clowning, what aspects are most useful for auditioning, risk-taking, using clown to expand and explore character and how to begin thinking about creating your own clown work.
Kiana Woo is a Chinese-Canadian actor, mover and creator with a special love for clown,
physical theatre, and classical works. Kiana has worked across Canada since graduating from the
University of Alberta’s BFA program, spending time in Edmonton, Calgary and Toronto. She
first began to explore clown as a part of her acting training under the instruction of Mike
Kennard. After that, she became more and more curious about exploring duo clowning and
teamed up with classmate and friend Joel David Taylor to begin creating more clown works.
Their most recent turn “Mona Lisa” has been performed in various forms at both the Play the
Fool Festival (2017&2018) and at the Calgary Clown Festival (2019). Kiana continues to use
clown as an active part of her theatre practice. In her free time, she enjoys knitting and crochet,
playing the ukulele, and searching for exciting snacks. Selected credits include: Cymbeline
(Shakespeare Bash’d), E-Day (Serial Collective/Theatre Network), That’s Danger! (Alberta
Workers Health Centre), The Two Gentlemen of Verona (Theatre Calgary/Shakespeare by the
Bow), Doll House, The Lower Depths, and The School for Scandal (Studio Theatre).