There are at least three different audiences for this book. The first is made up of academics interested in literary theory, for whom I believe the idea of a “clown-like” reading of texts can offer some innovative insights. The second audience comprises those who are interested in, but unfamiliar with, the performance, practice and theory of clowns or fools. The third audience is made up of practitioners of clowning or fooling, who may be delighted by a self-described outsider recognizing the idea that there is more thought and nuance involved beyond “louder or softer.” Readers will come away with an enhanced understanding of the lines that all artists, makers and doers have to walk—that foolish tip-toeing balance of rehearsal and spontaneity, emotion and practicality, theory and practice.
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