Dear friends,
Welcome to Artists Reach Out: reflections in a time of isolation. I dreamed this series of interviews out of grief for my work both as a documenting arts writer and curator of live performance. In this time of social distancing, we are called to responsibly do all we can to safeguard ourselves and our neighbors. It is, literally, a matter of life and death.
But there's no distancing around what we still can share with one another--our experiences, thoughts, wisdom, humor, hearts and spirit. In some ways, there are more opportunities to do so as we pull back from everyday busyness out in the world and have time to honor the call of our inner lives.
So, let me introduce you to some artists I find interesting. I'm glad they're part of our beautiful community, and I'm eager to engage with them again (or for the first time) in years to come.
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| Kendall Cornell (photo: Peter Hurley) |
At the helm of the all-women clown troupe Clowns Ex Machina, Kendall Cornell has created, directed and performed in the full-length shows, The Bad’uns: Clown Acts of Contagion (“an opus of clowning mastery”); Oil of Olé! (a collaboration with flamenco artists); Clowns Full-Tilt: A Musing on Aesthetics (“kaleidoscopically-dizzying physical theater of the absurd with a wicked steel edge” which was nominated for an Innovative Theater award for Outstanding Set Design); Clown Axioms: a gory, romantic tale (told by clowns); Clowns By Dead Reckoning (a semi-sophisticated cabaret), and the troupe’s debut production, Not Just for Shock Value. Kendall has been profiled in The New York Times, The Wall Street Journal, Backstage, Spectacle Journal for the Circus Arts, Attitude Dance Magazine and elsewhere. She has a background in acting and modern dance and has studied clown with David Shiner and Philippe Gaulier among many others. Currently Kendall teaches clown workshops for women and she recently organized a panel discussion on “Clowning While Female” for Howlround TV. www.ClownsExMachina.com
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Do you have a current or planned project whose progress is affected by the pandemic?
I feel so grateful that my most recent clown project (The Bad’uns: Clown Acts of Contagion) was brought to fruition in November, 2019 when we premiered at LaMaMa, so I was now in my quiet, thinking, waiting phase of the next creative cycle during the start of this pandemic. Luckily for me and the clown troupe, there was nothing major to cancel or postpone or reorganize. I was planning to teach some workshops, but they can easily be put off until later.
In fact, I had noticed in February that I was surprisingly empty of ideas for the next project--and now I expect that it was some deeper wisdom that was clever enough to hold off until society gets well underway with its pandemic transformation. I’m sitting with all these issues brought to the surface as the world is revising itself--and the many relevant topics for clowning will likely reveal themselves soon.
Briefly, tell me about how you got involved in the arts and in your particular practice.
I am a clown and physical comedian making clown-theatre. I have a background in acting and dance--and when I discovered clowning it seemed to bring together all my other practices in an amazing and resonant way. My interest is in women clowns and what they uniquely offer. I have a troupe of all-women clowns (Clowns Ex Machina), and I lead/direct the ensemble-creation process, and perform as well.
These days, I am also devoted to making a space conducive to working artist-parents, which is a constant improvisation. I am happy to work with so many folks who are creative improvisers and jugglers!
In a more specific way, what are you practicing? And what are you envisioning?
During our last show, we had two women with brand new babies they were nursing at the time we got to performance. And our set designer also had a new baby at home. As a troupe, we needed to commit ourselves to a work-family juggle to have the babies on site, and LaMaMa worked with us to help make it all possible.
Every person on the project had to commit to a different and patient way of working--and luckily there is so much compassion, respect, authenticity, humor, and admiration already in the process. We did a great job. It was such a meaningful process and contributed to an amazing show.
At this pandemic moment, when so many more people are having to discard the illusion that there is a barrier between work and home life, I am glad we have provided a model and experience for how we can fold all of these elements together. It takes a village.
How does your practice and your visioning align with what you most care about?
Clowning humor relies on lots of truth-telling and lots of vulnerability. As a director and as a performer, I am having to over and over again come back to that deep authenticity. At the same time, there is the wonderful illusion of performance that re-creates a moment of truth and gives expression to a specific voice, while keeping the improvisational aspects of interacting with the here and now and audience. It’s maintaining the inner life while balancing the outer life.
I care about giving voice to women’s experience and reframing historical conditioning--and making sure social commentary is delivered with vitality and life-affirming and deep humor. I’m grateful for all the moments I am able to make that happen. I was very happy to hear from audience after our last show that they were having the deeply fulfilling experience of laughing and crying at the same time.
How does your practice function within the world we have now?
At this moment of extreme slow-down and social distancing and isolation, I am very interested in getting in touch with the Land, the ground, and the potential to change trajectory. I notice how changing the space between people (6 ft) changes our subtle body language of connection. How can we play together in this structure? Is it possible?
I watch the dogs in the street who are looking for friendly interaction from passers-by. Are we open to others, or in our own bubbles? When do I deeply gut-laugh in these tough times? What are the issues that come to the surface that we as a society need to find a way process?
Sitting with the extremes of life and death seems to be my main practice at the moment.
Self-care tip:
I’ve been doing much self-care during the weeks of this pandemic isolation. One small thing I’ve been doing is making the effort to find cut flowers to have in my apartment. I’ve been getting them at the Farmer’s Market (daffodils or ranunculus or anemones), and they have helped bring springtime beauty in my life when I feel cut off from spending easy time outdoors in the parks and gardens.
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DISCLAIMER: In addition to my work on InfiniteBody, I serve as Senior Curatorial Director of Gibney. The postings on this site are my own and do not necessarily reflect the views, strategies or opinions of Gibney.
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