Founded and directed by Angela de Castro, The Why Not Institute is the UK’s only centre totally dedicated to performance, teaching, professional development, resources and events connected to contemporary clowning, especially that within theatre traditions.

The Institute runs workshops, develops performances and builds support networks for clowns and those interested in our approach. The Institute creates a space for people to try out clowning and for clowns to be recognised and validated. It also runs our unique space called ‘The Land of the Why Not’, a ‘clown’s playground’, a space for artists to experiment or simply exist with their clown personas outside of rehearsal or performance. The Institute is currently fundraising for a major three-year development project around The Land of Why Not.

The Institute’s successful seasons of courses by clown teachers from the UK, Europe and the USA have included ‘Who Said Women Can’t Clown?!’, ‘Rolling in the Aisles’ and ‘Love to Laugh’. The Institute also formed and promoted the HaHarmonics, de Castro’s clown choir (see performance section above) and ran Clown Summer/Winter Schools with the Gateway International Performance Summer School (Edinburgh, June 2003) and the London International Mime Festival (London, January 2004).

Dates for How To Be A Stupid, an intensive 6-day masterclass with Angela de Castro, are being planned for 2006.

More info:www.thewhynotinstitute.com

Contact: The Why Not Institute, People Show Studios, Pollard Row, London EC2 6NB

Tel: +44 (0)20 7739 8363
email:info@thewhynotinstitute.com

Supporter: Arts Council England, People Show, ArtsEd (the Arts Educational Schools) London

“I had a great and very rewarding week.”

“Thanks for an unforgettable week. I had a fantastic time.”

“I wanted something new for me, an area of personal growth to develop, explore, to draw out this part of me.”

“I enjoyed the focus of cultivating the ‘state of clowning’ as a major part of the course.”

“I understood how charismatic the clown state can be – much more so than playing a persona that second guesses what your audience wants to see.”

“Her emphasis on the theory felt exactly right. She spent a lot of time explaining the ideas behind clowning as well as her own discovery of it. It was very illuminating (and more effective than sticking on red noses and learning routines by heart).”