• Clown Compass on how clown theatre is exploring climate change, sustainability and social stories in Sri Lanka

When most people think of clowns, they often picture entertainment, laughter, and playful performances. But for Clown Compass Theatre Company, clowning is far more than a source of amusement. It is a form of storytelling – one that can reflect society, explore complex issues, and create conversations around topics such as climate change, sustainability, and social justice.

Founded to expand the understanding of clowning as a serious theatrical art form in Sri Lanka, Clown Compass Theatre Company has been exploring how physical theatre can connect with local traditions and contemporary issues. Their latest international collaboration brings together Sri Lankan and international artists to examine clowning through a new lens, culminating in a climate change-themed performance.

Mark your calendars for Trash World, an exciting, family-friendly physical theatre show premiering on 19 July at 6.30 p.m. A brilliant international collaboration between the USA’s Butch Mermaid Productions and Sri Lanka’s Clown Compass Theatre Company, this imaginative performance will take place at the CoCaArt Space on Gothami Road. Audiences of all ages can expect a delightful, high-energy experience that brings world-class physical comedy and theatre to the local stage.

The Daily Morning Brunch spoke with Clown Compass Theatre Company Founder and Artistic Director Veenadari Lakshika Jayakody (Veena), and Ania Upstill, an international collaborator and physical theatre practitioner, about their collaboration, the role of clowning in addressing global issues, and their hopes for the future of this evolving art form.

Below are the excerpts of the interview:

This marks your second international collaboration. What inspired this partnership, and what makes this collaboration different from the previous one?

Veena: Our first international collaboration was with an artist from Austria, where we created a show online. That project focused on generational knowledge. This time, the collaboration is different because it involves a more direct exchange through clown theatre, including research, training, and a live performance.

The inspiration behind inviting Ania came from our shared background in physical theatre. We attended the same physical theatre school, and I always felt that clowning was such an incredible art form. That is how I started exploring clowning and eventually created Clown Compass Theatre Company.

I wanted to bring more artists into this form and create opportunities for local artists to experience different approaches to physical theatre. When I connected with Ania, it felt like the right opportunity.

One of the things that interested us was the connection between clowning and Sri Lankan traditional performance forms. When people think of clowning, they often associate it with Western performance traditions, but we also have similarities with forms like folk theatre, where performers reflect society and communicate messages through humour and performance.

This collaboration has also allowed us to explore those connections – how clowning can exist within a Sri Lankan and South Asian context, and how it can develop alongside the art forms that already exist here.

Ania: I think what has been really exciting is seeing what Sri Lankan artists bring to this form. Having worked internationally and taught in different places, I have noticed that Sri Lankan artists come with a very strong physical presence and groundedness.

Your upcoming performance, Trash World, explores climate change through clown theatre. Why did you choose this subject, and how can humour and physical theatre help audiences engage with such a serious issue?

Ania: We are both interested in sustainability, and the theme of the show is something we felt strongly about exploring. When we think about climate change and environmental challenges, these issues can often feel overwhelming.

Clowning brings curiosity and lightness to difficult conversations. A lot of the messaging around climate change and sustainability can feel negative or depressing, and sometimes that makes people feel disconnected from the issue. Through clowning, we can approach these topics differently and look at creativity, possibility, and solutions.

Veena: Since the beginning of Clown Compass, we have always been interested in using recycled materials in our work. Creating large productions with expensive sets is not always realistic, especially as an independent company, so we have learned to find creativity in simple things.

For us, recycled materials became a major part of our artistic process. It is about finding joy in everyday objects and showing that creativity does not always need a lot of resources.

This project continues that exploration by looking at climate change and the relationship between people, waste, and the environment.

Can you tell us more about what each of you bring to this collaboration and production?

Ania: I studied physical theatre and later moved into creating devised theatre and clown work. I work as a teaching artist and educator, focusing on clowning and physical approaches to performance.

I have also performed internationally, so what I bring is a foundation in clowning and creating devised work, but also an understanding of how different cultures approach this art form.

I am interested in how clowning can respond to different themes – not just entertainment, but also topics like social justice, sustainability, and human experiences.

Clowning is often misunderstood. Many people associate it only with birthday parties or entertainment, but it has a much deeper theatrical history. It can be a mirror for society and a way of exploring important ideas.

Veena: That is something we really want to highlight in Sri Lanka. There is nothing wrong with entertainment-based clowning, but the art form goes beyond that.

Like many traditional performance forms, clowning can reflect society. It can talk about inequality, social issues, and human behaviour while still using humour.

We want people to understand that clowning is not only about making people laugh – it can also create meaningful conversations.

Professional clowning is still a relatively niche art form in Sri Lanka. What has your journey been like in establishing companies that specialise in clowning? 

Veena: Before officially establishing Clown Compass, we travelled around Sri Lanka teaching clowning through workshops and camps, especially with younger audiences. We saw how naturally people connected with the form and how it allowed them to express themselves.

That made us realise that clowning could be explored beyond just workshops. We wanted to introduce it as a serious art form and create space for professional artists to engage with it.

The journey has been challenging because many people still see clowning as simply being a “joker.” They ask why someone needs training to become a clown. But there is so much more depth to this form.

There is a growing community of people who understand what clowning is, especially those who have experienced theatre internationally. We are hoping to expand that understanding further by bringing clowning into more theatre spaces and festivals.

One of the biggest things we discovered during this collaboration is that clowning asks artists to connect with their bodies and instincts. Many performers are trained to think deeply through emotions and memories, but clowning also focuses on physical expression and presence.

Seeing artists experience that freedom has been incredible.

Ania: I think one of the most valuable things about this collaboration was allowing people to experience clowning directly. It is difficult to understand the value of the form until you actually practise it.

Internationally, clowning has also gone through periods where it was not widely understood, but it has been experiencing renewed interest because people are exploring its possibilities beyond traditional ideas of what a clown can be.

What have been some of the biggest challenges and most rewarding moments in building a career in this unique performing art form?

Veena: One of the biggest challenges is that people do not always take clowning seriously as an academic or professional art form. Many people are surprised that someone can teach clowning at universities or work with professional artists through this medium.

There is also the challenge of being a woman leading an organisation in the creative industry. Sometimes women leaders have to work harder to be taken seriously, and that has been part of my journey.

Funding is another major challenge for creative organisations. Building an audience and creating sustainable opportunities takes time.

But the rewarding part has been seeing people connect with the work. Seeing children and adults respond differently to clowning, watching artists discover new ways of expressing themselves, and building a community around this art form has been incredibly meaningful.

What do you hope audiences will take away from Trash World, and what are your hopes for the future of clown theatre and international collaborations in Sri Lanka?

Ania: We hope audiences leave with a new perspective on waste, sustainability, and the choices we make every day. The show is not about telling people they are wrong or giving them instructions. It is about encouraging people to think differently and recognise that there are creative ways to approach challenges.

Veena: Climate change is already affecting our lives, and sometimes the reality of it can feel overwhelming. We do not want people to leave feeling hopeless. We want to bring back humour, curiosity, and the idea that we can still find ways forward together.

It is also important for younger audiences. We want children to think about how they interact with waste and the environment, but in a way that feels engaging rather than frightening.

Looking ahead, we hope to continue collaborating with international artists and create more opportunities for knowledge exchange. One of our dreams is for Clown Compass to become a hub where artists can come and explore physical theatre, clowning, and Sri Lankan performance traditions.

This collaboration showed us that there is interest and curiosity among local artists. The goal is not for everyone to become a clown, but for artists to discover new tools that can strengthen their own creative practice.

Trash World: a collaboration between Butch Mermaid Productions (USA) and Clown Compass Theatre Company (Sri Lanka) will take place on 19 July at CoCa art Space, Colombo 8. For more information, visit @clowncompass on Instagram