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workshop in scopje, macedonia
Iman with students at Workshop in Scopje, Macedonia

Iman Lizarazu teaches workshops in Eccentric Performing, Comedia del Arte, Juggling, and Circus Skills. These workshops are designed to help performers and non-performers alike, and will expand your ability to create, and promote your capacity to solve problems in unusual ways. For performers, these workshops will help you build complicity with the audience, and give you fresh ideas for new material and expanding your existing work. Non-performers who would benefit from these events include public speakers, teachers, lawyers, and anyone who deals with the public. These workshops are intended to enrich and enhance each participant’s outlook and imagination.

If you’re interested in booking a workshop, please contact Iman directly

As seen on the website of her mentor and teacher, Avner the Eccentric, here are the Clown’s Principles of Eccentric Performing and Working with Volunteers. Thses are the principles which inform Iman’s teaching. Click here to download the PDF version

Clown's Principles of Eccentric Performing

1. Clown’s job is to make the audience feel things, and to get the audience to breathe.
2. Everyone inhales, but many of us need to be reminded to exhale.
3. The imagination and the brain are connected to and affect the body. Any change in the mind has a corresponding change in the body. Any change in the body (i.e. in the breath first) has a corresponding change in the mind.
4. Don’t tell or show the audience what to think, do, or feel.
5. Don’t tell or show your partners what to think, do, or feel. Don’t point.
6. Weight belongs on the underside. Keep a single point in your lower abdomen. Keep your energy flowing.
7. Tension is your enemy. It produces emotional, mental and physical numbness.
8. How you feel about your performance is what counts, not whether it is in reality good or bad.
9. The clown discovers an audience who are sitting in rows and looking at an empty space and waiting for a show. This must be dealt with first, by establishing complicity with the audience.
10. The clown creates a world in the empty space, rather than entering into a world that already exists (sketch).
11. Use mime to create fantasy, not to re-create reality.
12. The clown searches to create a game and to define the rules, which then must be obeyed.
13. Don’t ask or tell the audience how they feel or think. Have an emotional experience and invite the audience to join in your reaction.
14. Be interested, not interesting.
15. Everyone must to breathe all the time, even when on stage.
16. The clown enters the stage to do a job, not to get laughs. If there are laughs, it is an interruption that must be dealt with.

Working With Volunteers

“That looked like fun. Maybe I will be chosen next.”

1. Make your volunteer look good. Goal should be for the rest of the audience to say to themselves, “That looked like fun. Maybe I’ll get picked next time.”
2. Get agreement before making contact - come with a proposition.
3. Be clear what you want the volunteer to do.
4. Enter the prospective volunteer's space. Don’t be afraid of rejection.
5. Their enjoyment is your employment.
6. Never pull someone on stage who doesn’t want to go If volunteer is uncomfortable, or uncooperative, return him to his seat and apologize nicely so next volunteer knows he will be treated well.
7. Take the blame if the volunteer screws up. Example: If the volunteer throws a ball over your head, rather than to your hand, react as if you were in the wrong place, rather than that the ball was thrown badly.
8. If the volunteer is happy, the audience will be happy. Take the time to be sure your volunteer is breathing.
9. Use verbal and non-verbal yes-sets.
10. Always reassure volunteer that they are doing well, and that whatever they do is correct.
11. Find verbal and non-verbal tactics to get a volunteer.

© Iman Lizarazu 2006,2008 Original site design by Kimberly Parrish and Zev Eisenberg