The full res map can be found here: Map download
12 years ago when I went to study circus at university there was a reading week but no reading list, either required or recommended. I don’t know if there’s one now but I thought it would be an interesting challenge to come up with my own list.
The following consist of things I wish I’d been more aware of before taking my degree. My list would have given me things I lacked in 2005 (and perhaps still do).
Some entries provide a wider understanding of circus and related activities such as side-show and magic. I have not included books on the history of theatre or dance as they were included in the course syllabus. For some inextricable reason, the history of circus was not covered on the course. Others entries on the list are featured as an attempt to deepen the students’ knowledge of the creative process and the real world application of such a process.
If I’d consumed all this stuff I would be in a better position to take a degree in circus.
After sharing this article a couple of people suggested some additions…
Charlie Holland, author of one of the books on my list suggested the following…
“I normally did a couple of film lectures (at The Circus Space) and recommended ‘The Golden Age of the Circus‘ by Howard Loxton, as an accessible introduction, and ‘The New American Circus’, by Ernest Albrecht.
The UK circus timeline you link to was iirc derived in part and with my permission from my fuller version (with a couple of small errors I’ve never quite been arsed to correct!) at http://palaceofvariety.co.uk/page24.htm
For those interested in the development of circus acrobatics, I cannot over-recommend Strehly’s ‘L’Acrobatie et les Acrobates’ http://gallica.bnf.fr/m/ark:/12148/bpt6k882577q/f17.image – a book that really should be translated into English by someone, one day.”
I aspire to be a skeptical person, but try to step back from brink of cynicism. I struggle to make my mind up on how I feel about the concept of quotations. When I see a vague statement written in fake handwriting on a wall like, “Love is the string to my bow” I can’t help but feel disgusted. Can one really distill the complexities of life into a glib sentence?
Yet, when I come across an idea that has resonance with me I try and find a sentence that concisely sums it up and add it to a quotation note on my phone. Hoping that at some point I’ll read it back and find it useful. A shortcut to the memory of an idea.
At the front of my physical notebook I write a few quotes from my collection. I’ve just started a new notebook and have four quotes from Luke Wilson on the inside cover. I’m only now beginning to work out how I can use them to guide my work.
Perhaps the whole subject of quotations for me boils down to, “I like quotations but only when I’ve curated them.”?
“The technique should be a necessity of the performance.”
“The technique is the major tool that we have to communicate our intent.”
“Innovation is creating the right trick for the right moment.”
“Be aware of what you aim to do.”
I will do anything to impress you.
For those who like magic and politics:
Nice interview by Team Zero Safety with wire walker, Rick Wallenda.
It’s Festival Mondial du Cirque de Demain this weekend and there are two UK acts taking part, perhaps a milestone for UK circus.
One part of me thinks the contest element is stupid, how and why does circus compete in any meaningful way? Why does this format still exist? Apples and organgutangs etc.
Another part of me recognises that the festival launches careers, it showcases amazing artists and it has a historical significance which has had a direct and indirect impact on me. Mark Robertson competed for goodness sake!
Demain always reminds me of Luke Wilson. I think back to Luke and Ilka competing as LukaLuka in 2003, the fist Circus Space alumni to reach a truly internationally respected circus platform with their own work.
Luke had a great story of meeting Francis Brunn at the festival. Francis asked to see his hands, saw they were all callused and broken and said, “Good”. Luke was immensely proud of that.
Luke returned to the festival stage in 2011, he got picked to be a volunteer for a pickpocket. It was slightly set up as Luke had been given objects specifically for the act. As Luke pointed out, he would never utilise a belt and braces at the same time, for obvious reasons.
I’m proud of the NCCA, it’s so excited to see artists go through the UK system and come out on a level on par with the rest of the world. LJ and Korri are a credit to the progress being made in UK circus and obviously they’ve also worked crazy hard to get into the festival.
Good luck to them both and the other artists involved in the festival.
Jon Udry is running an interesting Kickstarter campaign. Learn more about it here.
This is starting to become my yearly ritual. Every 12 months I make a list of remarkable stuff I think worth sharing. It’s really fun to do.
Every so often I send out a short mail with cool links I think worth looking at. If that interests you add your e-mail address here.
I hope you get something out of those links, they bring me much cheer.
Have a great 2017.
A day of travel, most feel the same.
Train tickets, phone battery levels and passport location checked and double checked.
Deciding if engaging in conversation is best avoided or embraced being mindful of appropriate volume and tone. Sometimes silence is best.
So many annonomous drivers with few words and poor packing skills. Large bags should always be given priority.
Ticket inspectors, airport security and the triangulated formation of the French army pretending to be carrying out vital security work.
Frantic scrambles up flights of stairs heaving overloaded bags, forming groups of bags, functioning as a temporary fort so scouts can make trips for provisions before we once again board a train and consume baguettes.
Window views worth looking at. Smells worth avoiding.
Constant emptying and refilling of bags, pockets and stomachs.
Unwanted adrenaline rushes from delayed trains, missed buses and forgotten bags.
Finally arriving to utterly forgettable hotel receptions, passport out, key card, wifi password & lobby sweet.
E-mail catchup, half-unpack, dinner.
Split the bill. Tip.
Internet, catchup with loved ones, read.
I’ve been asked a few times what software I use for work related stuff. Here’s my current list that may or may not be of use to you…
(I am aware of how dull this post maybe to those hoping for something more circus related).
Occasionally I would slip into an always enjoyable philosophical, futurist conversation with Luke. He had a deep love of technology, an Apple fan boy before it was cool and then not cool. He was optimistic about the future. Excited by the new.
I’ve recently been listening to Homo Deus by Yuval Noah Harari, it’s brilliant to listen to the thoughts one of todays most famed historian and futureist. It’s striking how close Luke’s own thoughts and predictions seem to aline with this book.
I’m still struck by how overwhelingly sad I am that Luke isn’t around to discuss rambling ideas like this. And I know there are others who feel the same.
But I should remind myself that there are many new and exciting ideas to be found, better experiences to be shared and plenty of happy memories of Luke that he left me with.
4 years to the day.
Circus Geeks received Lab:Time funding to carry out research into an immersive juggling experience.
Doreen Großmann, Iñaki Sastre and Arron Sparks spent 3 days in the Creation Studio at the National Centre for Circus Arts generating juggling material and working through experiments on a friendly guinea pig voluenteer audience.
Inaki Sastre suggested the concept of creating a juggling piece in an alternative enviroment from the traditional show format of a juggling performance- imagining what and how a juggling installation might function. From that original concept, Arron generated a series of questions to explore and an array of different directions the research could head.
“Over the first couple of days we created two short pieces, one in which the external viewer could move where ever they pleased while a juggling piece took place in the same space (much like how a traditional gallery space operates with a sculpture). In the second version the performers guided an audience of one through the piece which happened over, around, to and with the aid of the audience member.
Based on audience feedback from day two and our own insights we decided to focus on the second more personal method used. We spent day 3 creating a 7 minute piece which we then performed as a continuous loop for close to two hours, receiving feedback throughout and testing adjustments.
With more research time it is probable that the first “free-range” method could be developed and refined to get over the obstacles we encountered, such as the audiences self imposing rules which restricted their viewpoint, enjoyment and even understanding of the piece. This could be circumnavigated by stating the rules of engagement from the start (with, for instance, the use of a sign) and is an area of research that could de explored and tested in its own right.
Exploring the possibilities of putting a non juggler into the world of juggling is something I have considered before. In an early version of Beta Testing we attempted (unsuccessfully) to simulate the pressure onstage that a professional juggler has to confront with an audience volunteer. However in this research -thanks to the questions we set out with and the softer, intimate approach Doreen and Iñaki brought to the performance helped us communicate to an audience the physical experience of juggling and the pleasure that it brings us.
After 3 days of research and a series of tests and feedback we are confident that this is an area of juggling rich with possibilities. We hope to further explore the area of immersive juggling in the near future.”
Immersive Juggling Research made possible thanks to the National Centre for Circus Arts, the Esmée Fairbairn Foundation, The Production Shed and all our friendly guinea pigs.
Lukas and Aaron are just graduating from DOCH…