Canadian Clown: A Generation’s Journey to Legitimacy, Innovation, and Excellence

During the fifties and sixties, clown in most parts of Canada amounted to an occasional visit by the Shrine Circus, a questionably skilled birthday party entertainer, or the television presence of American ‘kiddie’ clowns. Few realized that early comic film and television actors were actually clowns. This all changed with the counterculture, civil rights, and social advocacy movements of the sixties. The exposure to populist approaches to theatre, drawing from diverse cultures and influences in the pursuit of meaning and innovation, inspired a wave of creativity that took to the streets. New vaudeville was born, street performers gained both notoriety and visibility, and idealistic youth trekked to Europe and beyond in search of a deeper, more relevant theatre. As with many moments of extreme social unrest, clowns joined the parade, and by the 1980’s and 90s, a true renaissance in clown theory and practice was under way. Canada was well placed to lead this movement, both culturally and geographically. We lived in close proximity to the United States and shared its upsurge in activism and history of stage, screen and circus clowning, and also had firm roots in European clown and Indigenous traditions. These circumstances fostered the development of influential techniques that have become the bedrock of contemporary clown theory. This article looks at the rise to legitimacy that clown has made within Canada, and at the challenges of that journey. Ultimately, it showcases the uniqueness of Canadian clown and explores why we have become internationally respected leaders in this performance tradition.