I'm a friendly Winter Mountain Leader, based in the Highlands. I feel most alive up high, playing in cold places. I love being out in the Scottish winter hills.
The third instalment to the series which aims to make your hours behind your desk that bit easier.
Tip Number Three: Keep Your Inbox Empty
Having a job where you have to travel all the time can make staying on top of the inbox a bit of a hassle. I use a technique taught in the book ‘Upgrade Your Life’ by Gina Trapani. The method is simple.
Create an ‘Archive’ folder and remove the 1000s of old e-mails from your inbox and move them into the ‘Archive’ folder.
Next create two new folders called ‘Hold’ and ‘Follow Up’.
Now as soon as an e-mail comes into your inbox read it. Judge how long it will take to respond to the message.
If it will take less than 1 minuet or is really urgent deal with it then and there. Then move it into either your ‘Archive’ or ‘Hold’ folder.
If it’s going to take longer than 1 minuet move it into your ‘ Follow Up’ folder.
If it’s an important message that you are going to use in the next few days move it to the ‘Hold’ folder.
Do not leave e-mails in your inbox.
Put any follow up e-mails on your todo list, do not let them linger in your ‘Follow Up’ folder unanswered for more than a few hours. Empty your ‘Follow Up’ folder a three or four times a day.
Empty your ‘Hold’ folder once a week.
If you stick to this method you should become quicker at responding, more organised and feel less intimidated by your e-mail.
If you use a smart phone (iPhone, Android, BlackBerry etc.) then you can probably use push notification with your e-mail account. This basically means e-mails arrive on your phone as soon as they have be sent so you can keep up message by message. The only thing to bear in mind about push e-mail is that it can eat up your battery.
If you want to learn how to set up push e-mail on your phone then I suggest googling ‘push email <the brand of your phone> <the name of your email provider>’. For instance ‘push email iphone hotmail’.
If you found this tip helpful or have any suggestions please leave a comment below.
This is the second in a series of posts aiming to make your hours behind your desk that bit easier.
Tip Number Two: Signup to Twitter.
There are still so few circus artists using Twitter, this is changing but I hope I can convince you to sign up today.
People often ask, “What is it? What’s the point? How can it help? Isn’t it a total waste of time?”. Watch the video below and read the Twitter FAQ.
Basically the more circus people that are on Twitter the more useful it becomes, the more connected we all our, the more experience we can share and the better informed we all get, creating better work. This will increase the interest and eventually demand in circus which in turn means there are more jobs for us all. Sounds a bit hippyish but it actually makes perfect sense.
If you don’t know who to follow (receive updates from) @CircusGeeks has a lists of circus artists,venues, employers and our very own bloggers on Twitter. You can just chose to follow our lists and you don’t have to go searing around for hours on end. If you want to be included on our lists just send us a tweet (message via twitter).
Still not convinced? Get an account and follow our lists, you don’t have to tweet but I bet something will pop up that sparks off your interest and before you know it you will be addicted!
At the Circus Open Space there was a great topic of conversation suggested by Mish Weaver; ‘The BEST trick you have ever seen’.
I got quite excited by this conversation because it’s the main reason I became interested in circus. I love tricks.
I have a poor memory when it comes to names and other important details about artists but for some reason I remember tricks. I get annoyed when people dismiss this element in traditional circus, so many times I’ve heard the equivalent statement that contemporary circus ‘stays with you’, implying that an awesome trick doesn’t. Well it does for me. And here is (putting the ethics debate to one side) an awesome trick:
From an unknown circus on Nanwan Monkey Island situated in Lingshui County, South China’s Hainan Province (according to YouTube).
In this series of posts I’m going to give tips on using technology to make your hours behind your desk that bit easier.
Tip Number one: Use RSS Feeds.
RSS stands for ‘Really Simple Syndication’, you will probably recognize the logo as it’s on most websites. Basically it’s a neat way of reading all of your favorite websites news from one convenient place. Meaning you don’t have to waste time checking each site individually. I’d recommend using the Google Reader as it’s simple and will work with 3rd party Apps on iPhone, iPad, Android phones etc.
You can learn more about RSS in general here and watch this video about Google Reader…
Once you’ve set up an account be sure to add our RSS feed to your list!
If you found this tip helpful or have any suggestions please leave a comment below.
After my prop building post I thought it might be nice to look at prop stands in the context of juggling routines, they are often over looked but can dramatically change the structure of an act.
I thought it might be interesting to analysis some routines to see what kind of prop stand they use and note some of the positive and negative aspects of their stand. If you know of any interesting examples or points don’t forget to add a comment below.
Before I get too deep on this subject it’s probably best to define what a prop stand is. I’m defining it as an object created for the purpose of holding a performers props, allowing them to quickly or elegantly transition from one prop to another. Fairly simplistic but I think it’s a workable definition.
So first up I’d like to look at Donald Grant’s diabolo act.
I love this act; it’s well choreographed and full of character, one of my favorites. In the act Mr. Grant transitions from using one diabolo to two. His prop stand is either the floor or sometimes an assistant brining on the second diabolo. It works because it’s simple, it doesn’t distract from the performer and gives him a quick transition from one piece to another. The drawback is should you have an act with more props, the stage could become unworkable and if the stage is not level then it could easily cause problems.
Having said that a few months ago Jay Gilligan and Wes Peden released a video called “More Fun Than Visiting a Zoo Volume 2 – Instant Prop Stand” in which they explore the concept of using the props themselves as the prop stands.
The set up required for some of the tricks is slightly mind blowing but besides the practicality it produces some very nice and original work. You can buy the full video download here (and no I’m not on commission!).
Kris Kremo is another favourite of mine so let’s have a look at his work with regards to prop stands.
Kris uses more props than Donald but works around the problem by having his props on a convenient table or ledge usually off stage. This way Kremo avoids having a distracting prop stand on stage, he also doesn’t have to worry about having his prop stand set correctly. The only draw back is he must exit the stage momentarily to change props. However this also helps in the structure of the routine, for a moment the audience doesn’t know if he will return to continue or take his final applause. It’s interesting to note in this fascinating interview with Kris Kremo he mentions his farther, Bela Kremo who taught him much of the act. According to Kris, Bela liked to use a chair as a prop stand because (like the props in his routine) it was an everyday object that the audience was familiar with.
Gandini Juggling, who I occasionally work for, use many different props and have simple methods to store their often large number of props on stage.
For standard small balls they have simple buckets which stop balls rolling about the stage. The only draw back is that it’s difficult for more than 2 performers to access the balls at once. The Gandini glow club stand solution is extremely elegant, the props and stand are displayed to the audience rather then hidden away and are particularly atheistically pleasing. I think this is a great example where the prop stand adds to the routine rather than distracts from it. On a practical note the only downside I know of is that they weigh a fair amount and do not fold down.
Dieto another gentleman juggler that has a particularly interesting prop stand. Parts unfold revealing small characters presenting props, very unusual and well crafted. I like that a visit to the prop stand is as entertaining as the juggling and manipulation (which I also really like). Some people will say it’s too gimmicky but personally I love this act and would love to have a prop stand as equally as eccentric!
The god father of technical club juggling, Alexander Kiss had some amazing tricks and some very impressive props that bordered on the line of prop stands. My favorite of his was a device which fired clubs into the air (he then perform a trick which has become a measuring stick for many of today’s jugglers; 5 club backcrosses). The magical quality in which he is given his clubs makes you question if he is also just some kind of ingenious machine built in one of the circus workshops behind the Iron curtain in the 1950s that surely existed. Given the tricks that he and his sister (Violetta) performed I would not be massively surprised to find out they were both robots.
Evgeni Biljaure (Or Ewgenie/Evgenie Biljaueis depending where you look on the net) is another juggler who pushed the limits of what was thought was possible. 2 ball head bouncing, 5 club forward rolls, 7 rings with a balance, an amazing juggler. In his routine props were thrown to him from all different directions, props flew in from all around the ring. This kept the audience guessing, used the space well and kept the energy of the act up. The only downside to using faceless assistants is you have to trust that the ring boys are paying attention to your act and waiting for their cues, otherwise you might be waiting for that 3rd ball for an awfully long time!
Bert Garden a comedic gentleman juggler, has a automated moving case that appears to interact with him. At one point Garden is even handed a ball from an arm that protrudes from the case in a comical manor. I’d say the main draw back with this particular prop stand is that the performer has to bend over each time to get a new prop. Bending over looks a little unsightly and doesn’t seem to fit well with the character of a gentleman. However I like the idea of the prop stand having a mind of it’s own, it reminds me of ‘The Luggage’ from the marvelous Disk World novels by Terry Pratchett.
More recently Christoph Rummel uses a club firing device in one of his routines. Interesting to have the workings of the device on display, it seems more robotic and less magical, I’m not sure if that’s a good or bad thing.
I’d say there is still so a lot of potential in using prop stands in creative ways but building interesting stands can be tricky. If you’d like to learn more perhaps reading this article about implementing a propstand into a routine written by the brilliant Steven Ragatz over a IJDB is a good place to start.
First my throat slightly contracts, then I can’t help but breath out a sigh and my eyes sink towards the floor. “I’m a circus artist” I reply.
I know my body language and tone could easily be misinterpreted as embarrassment, but unfortunately the emotion I’m trying to hide is not embarrassment, not even modesty. If it were, I could hope that the questioner would see my distress and move on to something else. Instead my interrogator jumps at the thread and pulls as hard as they can forcing me to unravel the conversation which is almost as rehearsed and practiced as my act. It’s not their fault, it’s mine. I shouldn’t have a job that sparks off so much interest, seems so wacky and unlikely from the outside and yet so normal to me. Perhaps these encounters are a fresh chance to remind myself how lucky I am to have a job I love.
Instead they just depress me a little. I’m good at opinions, I’m not good at anecdotes or jokes. That’s a hang up I have and one I’m constantly trying to change, but for now this is where I am. It’s hard to get opinion in a conversation about a topic which one half is almost entirely ignorant. That’s not a criticism on them, why on earth should they know about the differences in what I do and what Ronald McDonald or Cirque du Soleil does? It just makes it difficult for someone as socially unskilled as I to connect to someone in this particular conversation in any meaningful way. I know this because I have had this conversation 100’s of times; it either results in an uncomfortable parting or my other tactic – change the subject as soon as possible. I know some artists thrive at the chance to engage in this type of interaction, driving the conversation about themselves and enthralling onlookers, as if the conversation is a performance and a chance for the performer to shine.
I can’t criticize too much, I’m a performer by trade and writing a blog about my experiences and thoughts. However I like to think my ego is slightly different from this type of need for attention. But then everyone always thinks their particular brand of ego is unique. I suspect I just have a bad attitude towards the whole thing, perhaps I should say I’m a chartered accountant when asked, “What do you do for a living?”.
Note: I wrote this in 2009. I recently came across Derren Browns stunning read “Confessions of a Conjuror” in which he also comments on the dilemma of the question (far more eloquently than I). It’s a great read, particularly for any performing artists.
I’ve always enjoyed making routines that use custom props. I’m not sure if it’s due to an insecurity in my ability to create with ‘standard circus props’ or due to the fact that I come from a family of engineers.
I love thinking up improbable ideas (and then struggling to make them a reality) and think these ideas have gone on to be some of my strongest work.
Normally I come to an ‘effect’ that I want and then work out how it might be achieved, a little like how I imagine a magician might work. Then I take these collection of slightly random thoughts to my prop builder and get his opinion, argue about the detail and then help as best I can in the building of the new prop.
I’m really lucky, my Dad is my prop builder. He’s built me everything from skipping rope machines to fake iPods. Being an engineer by trade he often has his own ideas on my routines, most of which a pretty lame but sometimes he strikes gold.
I wonder if there was a USSR circus prop workshop back in the 1950s that made all the props for the acts back then? I wonder who made Alexander Kiss‘ club firing device or rising platform. Maybe his Dad?
Funny I should find myself writing this on a bus on my way home from Bristol after just reading Jessie’s blog post about the very same commute.
But I’m not on a national express coach, I’m on a bus kindly organised by Circus Space to take anyone who wanted to attend Open Spaces, an event at Circomedia.
It’s Circomedia’s 25th anniversary and as part of the celebrations they have organised a networking/conference event for people interested in the future of British circus.
I’m a little surprised at the lack of artists on the trip but unfortunately it coincides with the 3rd year show at Circus Space so I suspect that didn’t help numbers and the coach also left at 7:15. Us circus artists are a driven bunch but morning people we are not!
The day was run on the Open Space method hosted by Improbable. The over all title of the day was ‘Devoted & Disgruntled. What are we doing about circus in the UK?’. Anyone can suggest issues they want to be raised and set up their own conversation at a given time and place in the room. One can drift in and out of conversation as one please and interject if feeling inclined. You can read more about it here.
The intro to Circus Open Space
I suggested a topic about ‘Circus & The Internet’ which a handful of interested people came and listen to me rant and rave about the failing of circus to embrace the internet and the various free useful web tools available to circus artists (watch out for an essay on this in the near future). It was great to meet the brains behind Sideshow Magazine and hear of some future projects they have planned.
Overall I found the experience a little frustrating, it felt like the conversations didn’t produce any clear outcomes or future goals – an action plan. While I think it’s great that people interested in circus actually meet each other and share opinion, it’s all rather academic if there is no real change. You can easily share opinion in the comfort of your own home and be far more concise and clear. Solution takes longer to work out and benefits most from dynamic conversation. I’m not convinced the conversations I heard produced real steps that people could undertake.
It’s too early to tell if there will be any lasting positive change from today’s Circus Open Space but I really hope there are. I enjoyed meet new people and listening to other passionate people talk about circus.
Thanks to all those who came and contributed and special a thanks to Circus Space, Ciromedia and Improbable.
Funny I should find myself writing this on a bus on my way home from Bristol after just reading Jessie’s blog post about the very same commute.But I’m not on a national express coach, I’m on a bus kindly organised by Circus Space to take anyone who wanted to attend Open Spaces, an event at Circomedia. It’s CMs 25th anniversary and as part of the celebrations they have organised a networking event(?) for people interested in the future of British circus.
I’m a little surprised at the lack of artists on the trip but unfortunately it coincides with the 3rd year show at CS so I suspect that didn’t help numbers and the coach also left at 7:15. Us circus artists are a driven bunch but morning people we are not! BTECH?
The day was run on the Open Space method hosted by Improbable. The over all title of the day was ‘Devoted & Disgruntled. What are we doing about circus in the UK?’. Anyone can suggest issues they want to be raised and set up their own conversation at a given time and place in the room. One can drift in and out of conversation as one please and interject if feeling inclined. You can read more about it here.
I suggested a topic about ‘Circus & The Internet’ which a handful of people came and listen to me rant and rave about the failing of circus to embrace the internet and the various free useful web tools available to circus artists (watch out for an essay on this in the near future).
I found the experience a little frustrating, it felt like the conversations didn’t produce any clear outcomes or future goals – an action plan. While I think it’s great that people interested in circus actually meet each other and share opinion, it’s all rather academic if there is no real change. You can easily share opinion in the comfort of your own home and be far more concise and clear. Solution takes longer to work out and benefits most from dynamic conversation. I’m not convinced the conversations I heard were real steps that people could undertake.
It’s too early to tell if there will be any lasting positive change from today’s Circus Open Space but I really hope there are. I enjoyed meeting new people and listening to other passionate people talk about circus.
Thanks to all those who came and contributed and to Circus Space, Ciromedia and Improbable.
CircusGeeks.co.uk 
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