 |
about us |
|
membership |
|
conferences |
|
insurance |
|
safety code |
|
youth circus |
|
training |
|
food for thought |
|
resources + links |
|
news + events |
|
nycd |
|
newsletters |
|
contact us |
Day 1: Snapshots
The following panelists were invited to present a 5 minute address on the philosophical concepts that underlie their work. Before each speaker, Mike Finch introduced the individual and provided background information.
- Reg Bolton
- Chris Becky
- Joel Salom
- Leonie Mills
- Frankie Gasser Jnr
- Linda Mickleborough
- Robbie Hoad
- Azaria Universe
Reg Bolton - Youth and community circus worker
Question: If Reg Bolton were to do a Ph.D., in 3 years what would you have liked him to have done?
His inspiration: Artists, children, explorers, inventors and people who say "Why not?", Fighting for children to have a childhood.
Kids need to:
- Show off (If it will not vandalise)
- Take Risks (The only way to learn. They must think they are taking risks even if it is safe. eg stilt walking)
- Trust people around them (Trust through touch and knowing that their stories are important)
- To dream and aspire (Must try new things otherwise they will go over the top)
Chris Becky - Performer, Zen Zen Zo (Stand in for Lynne Bradley)
Zen Zen Zo was founded in 1992 and uses 3 training Methods: - Suzuki Training - Buto (Dance) - Viewpoints (Anne Bogart came on board in 1998) The methods work well together, with the occasional healthy clash. Lynne Bradley formed Zen Zen Zo from her dissatisfaction with the theatre industry Bradley wanted to see engaging bodies, and so uses bodies to engage the audience through - Suzuki rigid, structured but incorporates a sense of play, lightness, and spontaneity - Voice as part of the body - Using bodies as performers to engage audience.
Question: Given ZZZ has usually performed productions of tragedy, why the move away from usual form with the current performance of The Man Who Sold The World?
Answer: ZZZ is heading in the direction of producing works without obvious theatrical texts and engaging them, or taking a text and physicalising it.
Joel Salom - MC, performer, street performer
It has been 18 months since Salom last performed a show on the street. Industry has a lot to do with sex. The term Street Performer is not a good name. Many similarities between genres. Street Performing is hard, a real Love/Hate relationship. Transition from Street Performing to Corporate Gigs, going back to Street Performing is good for freedom (conditions are tough though). Street Performers often fall into the SOS (Same Old Shit) circle. Often need to severe ties with good, reliable material to avoid the SOS. Believes the street creates strong, versatile, and unique performers. The street teaches you the ability not to be attached to the outcome of a situation - very important! Need a strong belief in self to perform on the street, and in turn this will provide confidence for entering into other areas of life. The street provides a strong foundation to build a show as you play to lots of different audiences.
Leonie Mills - Artistic Director, Spaghetti Circus
Comes from a strong gymnastics background. Wanted to create employment in Mullumbimby using her skills. Wanted kids to be able to enjoy the skills without the strictness of gymnastics. No theatre in gymnastics and wanted to combine the two. Wanted kids competing for own self esteem not against each other. Spaghetti kids come from diverse backgrounds. Leonie entered schools as a gymnastics coach and turned it into a circus course. Very rewarding for school kids and has achieved in keeping teenagers there and interested. Spaghetti Circus is surviving by volunteers putting in many hours, great feeling to do it because they love it. Did get funding this year from NSW Ministry for the Arts. Whole community is affected by the enthusiasm of the kids which is generated by seeing professional circus performers.
Frankie Gasser Jnr - Circus Royale
Comes from an old traditional circus family that can be traced back to 1442. He has done it all his life, he was born into the circus and it is passion and his driving force. He says it is unexplainable. The Edge between contemporary and traditional circus is blurring. The link between the two forms is the adrenaline the why people do circus, and push the body past the comfort zone. Proud of what we do and can do in body and mind. Driven by the passion the want and desire in circus. The passion to get up and perform in front of big or small audiences.
Linda Mickleborough - General Manager, Circus Oz
There are two fundamental ideas for the motivation behind what Circus Oz do; 1. The connection a show makes with the audience 2. A group of diverse people working creatively together Connection with audience and small group of idiosyncratic people co-operating Breaking the barrier between stage and audience Framing of physical, comic, philosophic, and political acts Everyone on and off stage presented to equal importance Read out the report from the New York Times on the opening ceremony. It focused on indigenous Australians and reconciliation Dealing with issues in a culturally specific way is an effective way of communicating in other cultures Art, performance, ceremony, spectacles can talk to an audience and through expression facilitate change.
Robbie Hoad - Community circus worker in the Northern Territory
Northern Territorian s motivation; work hard to make money to buy beer! Driven by; - Compassion and detachment - Responsibility - Ability to respond Goes to Aboriginal communities to teach physical theatre and circus Went out in response (and demand) from the audience/community, he wanted to empower them, individually and as a community to help them to tell their story. Theatre is about helping others tell their own story Enjoys the physical immediacy of exchange/interchange. Dialogue through physical performance Tradition of Aboriginal culture important in his work Kids need self esteem and empowerment, and esteem is found through performance Situation in Rural and Aboriginal Communities is far from good. To cope kids need dialogue. Circus can be used to communicate without understanding the language.
Azaria Universe - Performer, Rock N Roll Circus
Azaria Universe participated in the 1997 Rock & Roll Circus training project Philosophy of Rock & Roll Circus from Azaria s point of view: A lot of changes in the last few years Constantly reinventing Rock n Roll Circus Company needs to draw performers together Company members are from NICA, NIDA, street performers, General Manager (who can do magic tricks), Accountant sees company as a theatrical commando response unit with a diverse range of skills but still small enough to fit into a taxi Ensemble has been important from the beginning of Rock & Roll Circus The company feel that it is their job to be innovative, creative, experimental, perform anywhere, be a wild card, offer alternative solutions to old problems, shatter old traditions, and constantly question Ideas come from the heart, passion, knowledge Company will leave itself open to failure, and make artistic mistakes Practicality of when, who, money and how, is still important.
:: TOP ::
This project has been assisted by the Federal Government through the Australia Council, its arts funding and advisory body.