The Technique IS the Character

I was talking recently with someone who is working on creating a new juggling act, and they mentioned that they wanted said new act to contain more “character”, and that they wanted to include more stops and pauses: for the purpose of showing that “character”.

Almost as recently, upon introducing myself to a fellow circus performer they asked me what “theme” my juggling act had. My reply of “juggling” left them nonplussed.

Having had to pick my jaw up from the floor on each of these occasions, I realised I could perhaps usefully try (for myself if no-one else) to form my thoughts into some kind of clarity on this matter.

The year is 2011. It was over 30 years ago that nouveau cirque made a clear and, surely at that time, necessary statement about the break they were making from non-nouveau cirque. But I sincerely hope that we are far enough now with the circus arts and their development to understand that we don’t have to justify our time on stage by claiming it to be circus “with theatre”, or “with dance”, or “without horses”. Or “with value added character”. Circus is circus, and it’s practitioners are circus artists.

If we are using the circus arts (circus techniques, as in skills and tricks) to express ourselves, then we owe it to them, and to ourselves, to show them some respect and to create and show work where that technique set is needed. Needed means not added on as a bonus but rather integral to, and defining of, the work. The technique should be a necessity of the performance (and perhaps also the other way round, but that is perhaps a topic for another time).

If technique is integral (which to me is a backbone of circus performance), then technique has a lot of responsibility. It is the major means we have to communicate our intent. I shall repeat that more clearly (and to really stress it, I shall do so by manually re-typing it, rather than using copy and paste): technique is the major tool that we have to communicate our intent.

That doesn’t mean that it should subsume the intent, but that it serves the intent.

If our intention includes the need to create a particular “character” (be that character one of pop-star, ninja, sailor or, dare we even say it, JUGGLER), then I hope it is clear that, although costuming and make-up, or staging and light, are important and valuable factors in our constructs, it is TECHNIQUE that must take the lead. We should innovate in our technique, believe in it, and shouldn’t be scared to trust it to tell an audience more about our intentions and emotional content then any other factor.

After all, love of technique is what drove us in the first place to learn this craft, and I hope that that same love is a factor in keeping us in this crazy, impossible, beautiful, painful, ghastly, inspiring, incredible life that we may call our job.

Innovate your technique: create the right trick for the right moment.

Trust in your tools: and let an audience share that trust.

And always remember: the technique IS the character.

6 thoughts on “The Technique IS the Character”

  1. Thoughts after reading your article

    I think it was a very natural evolution of circus to combine various different arts.I consider art as one and the same thing and wherever you come from the separation between arts should be more blur the more it expresses your complex inner world.

    Circus does not need other arts and other arts don’t need circus but they meet naturally some times and create a new thing that is essential to a world that had so much of categorizing and talking, that physicality became essential again.

    Circus teaches other art forms freedom and how to be closer to the audience to forms like dance, that has a beautiful but introverted nature, but when circus uses movement(almost always) it becomes dance without the dance world’s strict criticism.For every artist digging deeper into his art there is the danger of dedicating his art only to artists who would understand the difficulty or the innovation of their art and isolate from the human as a political animal.Imagine a film or a book full of formalistic tricks well studied methods but without passion or pain in it or the comparison of a classical music musician with an african percussionist that does not see numbers in music.

    Performativity is a skill by itself in every art and must be practised side by side with technique even if somebody is a technique teacher.Technique may be used as a tool of exploration or as a safety net, and safety kills art.

    Danger of failure and unusual things are a tool for circus that is not judged strictly and leaves space for more sympathy for the performer.This element opens audience’s eyes wider, sets them free from the everyday life experiences and criticism to arts that they are familiar with and attempts to create a blank page in audience’s brain to tell a story or influence.This page may be left blank for the next day and the experience would be temporary or can be filled with the performers aspect of life.The means to do this could be anything the performer thinks is necessary and enhances his idea.It may has various forms but in general it’s art and circus is freedom of arts,maybe even the tool to put them together again as a whole as opera and silent films attempted in the past.

    Thank you for sharing your ideas.

      1. really sorry to hear that, in that case i would like to ask if it is possible to delete it here so i post it in this thread.

        Thank you very much

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