*for English please scroll down

André Casaca ile Clown Atölyesi: Bedenin Komik Kimliği

Normalin absürd şekilde yaşandığı bir dünyada, bir clown absürd olanı normal şekilde yaşayabilir.”

*26 Nisan Perşembe 13.00 - 17.00 
*Katılım ücreti: 200 TL
*Katılımcı sayısı sınırlı olduğu için cadirstudyo@gmail.com’dan kayıt yaptırılması gerekmektedir.

Oyuncular, tiyatro öğrencileri ve dansçılar başta olmak üzere, farklı disiplinlerden tüm katılımcılara açık clown atölyesi, İtalya’nın önde gelen fiziksel tiyatro ve clown profesyonellerinden olan Brezilyalı Andre Casaca tarafından veriliyor.
Pedagojik çalışmalar esnasında hedeflenen katılımcıların seyirciyle sahnede beraber var olabilmeleri için kendi bedensel komiklerini, yeniden sadeleşmeyi, yumuşaklığı ve gücü inşa etmelerini sağlamak. 

André Casaca
Brezilya doğumlu ve 1995’den bu yana İtalya’da yaşayan, oyuncu, clown, yönetmen ve tiyatro araştırmacısı. Casaca, fiziksel tiyatro ve clown üzerine İtalya’daki en önemli isimlerden olmasının yanı sıra Floransa Castelfiorentino’da kurulmuş, fiziksel tiyatro ve sözsüz komedi eğitimi üzerine on beş yıllık deneyimi olan Teatro C’art – Kültür Merkezi’nin de artistik ve pedagojik yönetmenidir.


Body comic identity created and directed by André Casaca
“Practical studies about the clown’s art starting from the recognition of the comic related with the own daily gestuality”
Professional formation directed to actors and students of theatre and dance. 

“My goal during the pedagogic activity has always been (and still be) to arouse in the student the need of constructing them own body comic story, finding again the simplicity, the tenderness and the strength to be able to be present in scene together with the public. Inducing the students to find them own Body comic identity means recognize in themselves the stupidity (folly), which is for the clown a high quality in the comicity. We don’t turn into a stupid person, we already are. Be stupid means to marvel, to understand the world in a different way instead of not understand it at all; means to use your own eyes, not for photographing and analyzing the society, but for holding the public and answering them necessities. Therefore, doesn’t means add, but to extract, to strip yourself from the concepts and shapes, making the act of being in scene transparent, and this is a constant condition, very hard to assume because is unconscious.

I believe that the clown’s work is fundamental to put the actor of our days back in contact with it’s own fragility, making him/her to find them own expressive strength in this vulnerable situation. It’s not by chance that the study of the clown art has been applied in the schools and theatrical institutes, generally in the end of the training course, because the clown brings back to the actors them true identify during the theatrical presentations.
The red nose preserve the words. When I find myself in front of my little students I often tell them that the clown has the red nose because he is ashamed. That nose makes our body speaks, and honestly it’s not a nose, but an eye that allows us to see the reality using the fantasy and the liberty. For that reason the words are not necessary.


Caetano Veloso, in one of his songs, says: “I sing only what I cannot hold back anymore”, consequently his words comes only when they have to express a feeling and not just a simple thought. One of this little students, with only 5 years old, told me once: “I’ve understood that the red nose preserve the words” and therefore he hasn’t just understood that his body was funny, his observation made me understand that the words I create actually are really important and because of this it must be preserved.”


André Casaca is one of the biggest professionals of the physical theatre and clown in Italy. He’s Brazilian and resident in italy since 1995. The Lume Teatro (Lume Theatre - Campinas, Brazil) and Yves Lebreton were fundamental during his preparation, and formation. Actor, theatrical researcher, clown, director and founder of the method called “Body comic identity”.

Engaged in theatre for more than 25 years his artistic and pedagogic method is recognized in Italy and abroad during theatrical studies and studies in universities.

He is the artistic director and pedagogic in the Teatro C’art Comic Education Onlus (Castelfiorentino, Italy) and collaborate with many theatre schools.