Philippe Gaulier's Illustrious Students Reflect on His Clowning Legacy
The world of theatre and comedy is mourning the loss of Philippe Gaulier, the revered clown guru who passed away at the age of 82. His unconventional and often alarming teaching methods left an indelible mark on a generation of performers, including renowned actors and comedians such as Rachel Weisz, Sally Phillips, and Simon Munnery.
Embracing the Idiot Within
Louise Brealey, known for her roles in Back and Such Brave Girls, credits Gaulier with giving her the permission to be an idiot. "He taught me to laugh at myself," she recalls. "His theory was that everyone has a clown. For instance, David Mitchell has an angry clown—when he rants, it's hilarious." Brealey believes that without Gaulier's influence, she could not have portrayed characters like Cass or Muriel, as he empowered her to take the piss out of herself without it hurting.
The only time she saw Gaulier smile at her performance was when she dressed in leather, hit everyone with a stick, and performed Lady Macbeth in a German accent. "I don't know what that says about my clown: she's a very confused dominatrix," she jokes, adding that her clown is probably an idiot.
Entertaining the King and Failing Forward
Rachel Weisz highlights Gaulier's bouffon workshops, where students had to entertain him as the "king" or face expulsion from an imaginary court. "You had to be mischievous and test the boundaries of foolery," she says. "Mostly, you had to keep him entertained and interested." Weisz considers this one of the greatest lessons of her career, feeling lucky to have been taught by such a master.
Damien Warren-Smith, also known as Garry Starr, describes his time at École Philippe Gaulier as tough, marked by repeated failures. "I failed and failed and failed," he admits. However, he eventually made Gaulier laugh by stepping into a scene as Monsieur Loyal, the boss clown, and clapping while saying, "I told you they were great, didn't I?" Gaulier's response was a chuckle and the remark, "He's such a bastard!"
Warren-Smith learned that "you will be your funniest in your moment of failure." His character, Garry Starr, embodies this by being a high-status idiot who fails happily, encouraging audience participation.
Alarming Lessons and Human Moments
Simon Munnery shares a memorable workshop where Gaulier instructed others to kick a Swiss juggler to provoke a hilarious reaction. "It was like being tortured," Munnery recalls. When it was his turn, Gaulier told him, "OK, talk, but don't make any sound." This led to a breakthrough moment where Munnery couldn't put a foot wrong, though he understood the pain of being laughed at.
Sally Phillips applies Gaulier's methods to her work, including in Smack the Pony. She remembered his teaching when developing a sketch about a woman stacking Toilet Duck in a supermarket. "The funniest thing would be not knowing," she realised. "It's about how your humanity is visible when you don't know what you're doing." This approach has also influenced her parenting, particularly with her son who has Down's syndrome, emphasising being in the moment over productivity.
Polarising Humour and Generous Spirit
Zach Zucker, aka Jack Tucker, was an unfunny 19-year-old when he attended Gaulier's workshop in Los Angeles. "I had never seen somebody speak in such a polarising, hilarious way," he says. Inspired, he later founded his company, Stamptown, named after Étampes, where Gaulier's school is based.
Emily Woof appreciated Gaulier's lessons in melodrama and bouffon. In melodrama, he encouraged performers to "unleash a generosity of spirit" and play to the gods. Bouffon, in contrast, involved mocking the bourgeoisie with an edge. "In clown you love the audience, but bouffon is a much more twisted form," she notes.
The Tyranny of "Suivant" and Momentary Engagement
Hamish McColl recalls the dreaded word "suivant" (next), which meant getting off stage if you failed to engage the audience. "Slowly, you realised how to engage with the audience in that moment," he says. This lesson stayed with him as a director, emphasising the need for work to be present and dynamic.
Cal McCrystal highlights Gaulier's advice against bringing pre-planned ideas into performances. "The performance has got to be about what's happening in that moment," he explains. Gaulier compared it to a four-year-old coming downstairs naked when guests are over—a mischievous act driven by pure desire.
Philippe Gaulier's legacy endures through his students, who continue to embrace the ridiculous, find humour in failure, and connect authentically with audiences, proving that his teachings transcend the stage and resonate in everyday life.
