ABSTRACT
This article approaches the artistic migration (especially clowns) in the recent phenomenon of cultural manifestations of the scene arts in virtual platforms. A movement not caused by covid-19 pandemic, but accelerated by it and which gained more insight in this period. The Article with inquiries by the researcher artist who was already present in the web, but was forced to produce this medium with more persistence during this period. The article passes through definitions concerning the clown art by entering in the scope of discussion whether the clown art may occur mediated by a screen and away from the face-to-face meeting.
The study explained here addresses the presence of the media in our daily lives and how this has, or can be, reflected in our artistic practices, starting from the history of the art of managing contemporary technologies in their actions, as a means of updating traditions and strongly following in its direct communication with the public.
There is also a consideration/prompting concerning the possible post-pandemic inheritance in the on-site work, taking into account that new relationship manners are in continuous development and in the technology field it hardly drives back. The clown work has experimented (without any choice) another way of working which may generate other ways of existing and enjoying.
KEYWORDS: Clown, pandemic, virtual, performing arts
