Self-Centered Mirror is an arrangement of 34 vertical panes of mirror. It has a retro-reflective behavior, and anyone standing in front of this mirror will see themselves reflected on all 34 panes. The mirror is designed to isolate a very narrow field of vision, and seemingly reflects the image of each viewer individually. It physically illustrates the narcissistic gaze that is usually associated with mirrored reflection. This piece is a wall-mounted sculpture that curves out from the wall on its left and right sides.
Artist and computer developer Daniel Rozin is best-known for incorporating ingenious engineering and his own algorithms to make installations that change and respond to the presence and point of view of the viewer. Exploring the subjectivity of self-perception, Rozin’s works are made from a wide array of materials from video to wooden pegs and even street refuse. Trash Mirror No. 3 (2011) uses motors and software designed by the artist that manipulate ‘pixels’ constructed out of flattened, reflective pieces of garbage, which shift to render the silhouette of whomever approaches it.
With his own productions and his collaborations with Dimitri de Perrot, the choreographer, theatre director and clown Martin Zimmermann has performed in renowned theaters and festivals across Europe and throughout the world.
Hans was Heiriis built around a rotating house. The set looks like a dolls’ house, a square of four rooms with simple furniture. Then it starts to spin. The performers stay upright as the floor tilts under them, until gravity sends them tumbling from room to room.
Appearing as part of the London International Mime Festival, the show was created by choreographer Martin Zimmermann and composer Dimitri de Perrot, both festival regulars. In Hans was Heiri they put six acrobat-performers through a series of transformations and tangles. They switch costumes, quarrel, teach yoga classes and hide in boxes.
The performers switch personalities, arguing with each other or pursuing their own obsessions. These character scenes go on too long, milking the jokes, though the material is inventive.
Hans was Heiri is strongest when it stops trying so hard to be wacky. The most deadpan artists are the most impressive. Mélissa Von Vépy, a wonderfully serene aerialist, floats around the house. She hangs from her knees from the set, pulled into a great circle as it turns, casually picking up a fellow performer as she goes.
Dimitri de Perrot mixes the soundtrack live on stage. The show starts with audience chatter, the real conversations in the auditorium blending into the recorded sound of the same thing. Then Perrot starts chopping and looping it, turning it into rhythms that get the show moving.
The house brings out the best in everybody, as they dodge falling furniture or stay insistently seated on chairs that have turned upside down. Leaning into the slope, they hold themselves at impossible angles. A man leaning against a wall finds himself lying down, then sliding across a tilting floor to bump his head on what used to be the ceiling. Another runs clings to the outside of the house, running to stay on top as it picks up speed.
The poetic gesture – from a monologue for a single spectator to an Olympic ceremony. Theatre, dance, acrobatics, circus, opera and documentary: all come together in the work of compagnia Finzi Pasca.
Daniele Finzi Pasca (Lugano, Switzerland), co-founder of Compagnia Finzi Pasca
Author, director, choreographer, lighting designer and actor
Daniele Finzi Pasca lives in three worlds at once: stage directing, performing arts, and the art of clowning. Born into a family steeped in the arts, he starts his career as a gymnast and becomes a circus artist before delving into the world of theatre.
In 1983, he heads to India where he volunteers to care for terminally ill patients in Calcutta. On his return to Switzerland, with Maria Bonzanigo and his brother Marco he creates the company Teatro Sunil and its peculiar vision of the art of clowning, dance and acting: a theatrical technique they name the “Theatre of the Caress”. With Teatro Sunilhe creates and directs around 30 shows depicting a profound sense of humanity and playfulness, performed in about 20 countries.
In 1991 he writes Icaro, a monologue imagined for a single spectator that he performs nearly 800 times, in 6 languages, still on tour. In 2009 he co-founds Inlevitas with his wife Julie Hamelin Finzi (†), aiming to create and develop various artistic projects, where the opera L’Amour de Loin (Love from Afar) for the English National Opera London is its first production.
In 2011, together with Antonio Vergamini, Hugo Gargiulo, Julie Hamelin Finzi and Maria Bonzanigo, he co-founds Compagnia Finzi Pasca and continues creating and directing numerous shows like Donka– A Letter to Chekhov (a production with The Chekhov International Theater Festival, coproduced with Vidy-Lausanne Theater to mark the 150thanniversary of the birth of Anton Chekhov), La Verità, Bianco su Bianco and Per te (the latter dedicated to the life of his late wife Julie), lyric operas like Verdi’s Requiemand Aida (with Maestro Valery Gergiev) for Mariinsky Theatre in St. Petersburg, Pagliacci (Maestro Donato Renzetti) and Carmen (Maestro Zubin Metha), both for Teatro San Carlo in Naples, big events like 3 Olympic ceremonies (for Turin and Sochi Olympic and Paralympic Games, in 2006 and 2014 respectively), 2 shows for Cirque du Soleil (Corteo with 8,400,000 spectators on a 10-year tour, back in 2018 and Luzia, ongoing since 2016), Montréal Avudo, a multimedia outdoor show on the banks of Montreal’s river produced by Compagnia Finzi Pasca for the city’s 375thanniversary (2017), Abrazos, an interactive show for families at the Feria de León in Mexico (2019, 200,000 spectators, production Compagnia Finzi Pasca) and also the 2019 Fête des Vignerons (Winegrowers’ Festival), a celebration held in Vevey (Switzerland) every 25 years approximately. Amongst his most recent directions, the opening opera for the 2019-2020 season at the Grand Théâtre in Geneva: Einstein on the Beach by Philip Glass and Robert Wilson, co-produced by Compagnia Finzi Pasca.
Daniele published some books, appeared in seven languages: a collection of short stories, two dramaturgies of his shows, a novel, a novella and a long interview-book by Facundo Ponce de León, Daniele Finzi Pasca. Teatro de la caricia. Other projects are on the making.
Amongst many recognitions (e.g. 3 nominations in Broadway for Rain, 2006), Daniele received the Montréal English Critics Circle Award (MECCA) 2009 for Icaro, the Hans Reinhart Ring (2012), the highest distinction of Swiss theatre for his lifelong contribution to the performing arts and the Best Director of Circus Performance Award 2016 (Russia) for La Verità.
Since 2008 the originally small group of enthusiasts who wanted to create a single performance has grown into a grouping of almost one hundred actors, dancers, acrobats, musicians, producers, technicians, doctors, make-up artists and other professionals.
Following the unexpected success of the debut show La Putyka the brothers Rosťa and Vítek Novák founded Cirk La Putyka. The first as the artistic director and the second as the executive director have since then set the direction and speed of travel for our theatre and contemporary circus wagon.
Over the first ten years of our existence we created more than 20 projects, we cooperated with more than 300 people of 25 nationalities, we gave more than 1,500 performances and visited more than 21 countries.
“I don’t want our company to stagnate and pander to the expectations of the general or professional public. I want to create freely and with the energy that allowed the company to come into being and live.”
– Rostislav Novák Jr.
Firm theatre foundations
Our company started with nothing, with no experience in the contemporary theatre genre. We know what it’s like to rehearse under unsuitable conditions and only in your free time, what it’s like to teach yourself and how long it takes to reach a proper level, not only in terms of the show but also in terms of production and creative facilities. We know what it’s like to improvise and how important it is to be sure that you have taken the right path. And how fundamental it is to persist. This makes our company strong and viable.
Our roots are in theatre, and when we were starting to create our work we replaced virtuosity and acrobatics with theatricality until we gradually started to create our own contemporary circus and theatre style. The central point of each project is always a theme. We attempted to express this using various expressive means, multi-genreism and multi-culturalism. We have never enjoyed doing the same thing twice, every project is different, we are constantly searching to find where the boundaries of this genre are (not).
We aim higher and further
We want to continue. We want to search, to create, but we also want to break down prejudices and barriers and reinforce our own poetry that depends on the people who make up the company and the individual projects and put their all into it.
In the years to come we want to bring interesting themes to the Czech scene, to develop the next generation, and to offer space to renowned visiting foreign theatre directors who have never created a contemporary circus production and for whom such projects will be a great challenge.
Our Own Space
Jatka78, our home stage, is a place with ideal conditions for contemporary circus, dance, non-verbal, alternative and puppet theatre. In the Prague Market complex, in halls 7 and 8, you will find a multifunctional theatre hall, a small theatre, training hall, rehearsal room, gallery, bar and bistro. The Holešovice cultural zone is in the wider centre of Prague and is accessible both by public transport and car (parking in the market complex).
Having our own space where we could rehearse, practice and perform under a single roof was a long-term dream of our principle, Rosťa Novák Jr. Thanks to the support of our artistic friends, several months of work on the part of volunteers, and financial contributions from firms and individuals, we managed to turn it into reality. On 5 November 2014 we could start a two-month trial operation that would show us the way forward.
Between February and April 2015 we organised a crowdfunding campaign aimed at getting the money for partial construction alterations and the purchase of basic technical equipment allowing year-round operation.
Public resources and professional performance
Cirk La Putyka has been more than just a theatre company for a long time now. With each year of existence we develop our performance in both the artistic and educational field.
But constantly increasing demands for financial securing are associated with the professionalisation of the whole team. However, one can say that in spite of the fact that without the support of many private sponsors and public grant providers our activity could not be extensive, every year we manage to reduce our dependence on public grants. For example, in 2018 our self-sufficiency level exceeded 80 %. Economic management with healthily structured budgets allows us to maintain a balance between freedom and education and culturally-socially publicly beneficial activity.
But it must be emphasised that our foreign activities in particular, via which we represent the Czech Republic and the Czech contemporary circus scene, constitute an extraordinary burden in terms of production and finance that we could not manage without grant support.
The company operates on the principle of multi-source financing. Over the long-term it operates with funds from own resources (sales of tickets, additional economic activity), with revenues from the grant systems of the Prague City Council, grant systems of the Ministry of Culture of the Czech Republic, and with other public resources and income from private business subjects. Over the long term revenues from own activity constitute approximately three-quarters of the overall income of the company, which shows financial stability, solid potential of projects and the organisational ability of the implementation team.
Cirk La Putyka Studio is an educational project of our company in which we organise sporting and leisure activities for children and youth, coaching and artistic development of young acrobats, senior circus with Elpida and, last but not least, regular education of instructors.
Courses for the public
Acrobatics courses for the public are held regularly once a week in the Jatka78 training hall. The programme is divided into several classes according to the age of participants (3-5, 5-8, 9-12, 13+), and the last lesson is open space, where there is space for everyone, and there is an assumption of a certain specialisation and at least a slightly advanced level in the specific discipline. The courses are held from September to June and are divided into two terms, winter and summer. The lessons are taught by experienced tutors, more than half of whom perform actively in productions of the company.
There is no creative idea that would not fit in Les Halles: its unique dimensions make it the perfect space to reinvent performance and find unique ways to break the fourth wall.
Les Halles is a space open to everyone: we are all about participation and outreach. Sometimes egoist, sometimes collective, just like the world we live in. We are open to the hopes and changes faced the people who make Les Halles : from our neighbours to those coming from far away land. We are showing the best work coming from all over Europe, looking for answers to the big questions of our times. We explore new passions, adventures, and freedom.
Dance, circus, cross-art forms… Explore, experience and have fun!
We also host other types of activities: between 3 days and 3 weeks long, these special events gather professionals, students and amateurs. We combine academic thinking and emerging practices: reflexion and direct application. These events are unlike anything you would have seen before: Foire-Attraction, CIA Fair, the Astronautics & Leisure Fair, Assemblée d’Avril or Bruxelles-Africapitales.
Last but not least, Les Halles work with emerging Belgian and European artists to support their development. We are executive producers for some of the best companies from Fédération Wallonie-Bruxelles and also co-producing with other partners the best of tomorrow’s performances from Belgium and Europe.
Example of Les Halles program:
Cosmic Neman & Martin Palisse
Futuro Antico is a circus performance but also a visual and musical ode.
The premises are simple : one the floor and ceiling, nine white and blue squares, a stick, a white balloon, a few balls, a juggler who pushes the limit of his skills and an obsessively calm musician. It is ageless like an antique temple and futuristic like a Mars landing. Is he a cosmonaut ? Is he a Greek priest about to perform a sacrifice ? Whether he is wearing a ritual mask or spatial helmet, Martin Palisse has a mysterious and ethereal aura around him. He is juggling without panache, yet he is simply beautiful. As the piece progresses, his craft become more precise : with an extreme and organic precision, Palisse keeps on juggling. Every time the balls falls into a new crack, a new joint. Halory Goerger’s writing, that accompanies the piece, becomes a psalm, the ephemeral soundscapes become oceans. We are playing cosmic hopscotch; we play with the infinitely big and the infinitely small. Atoms, stars and their secret pas-de-deux. They give us the whole universe in nine square meters. How did they even do it ?
Nicanor de Elia
Through the unique use of ‘juggling-dance’, Juventud is an ode to physical freedom.
The performers are inhabited by a spirit of freedom, of utopia. In Juventud, beauty doesn’t come from a perfectly executed movement, but from the off-the-wall complexity of the figures drawn by a group in constant movement and acceleration. Juventud celebrates speed and changes through constant mutation. Objects fly between artists in an endless race where one can make mistakes at every turn : ball drops, end games, immobility, timeouts. This piece needs performer to master the most masterful skills : a miraculous instinct, a genius perception of what’s to come. The artists have let go of their relationship with ‘their’ jugging clubs, they share them with the other performers, opening new alleyways and take responsibility for their own destiny : the end of the game or its indefinite renewal. A formidable cure for eternal youth !
cie 32 novembre
New Magic that will make you forget time and space.
Are you ready to cross the threshold of reality? The missing “K” in the clock of the title indicates that time and space as we know them do not matter anymore. In the hands of Jérôme Helfenstein and Maxime Delforges, two of the most respected magicians of this world, the mundane warps and evaporates, turning into a parallel reality, which is absurd, comical and poetic. Due to their exceptional skill to create illusions, visual effects and prestidigitation, an unstable universe materialises before the eyes of the audience. The manipulators are manipulated as well, and the impossible becomes possible.
Theaterfestival Basel were full of dance, theatre, nouevau cirque, performance and everything in between.
Theaterfestival Basel presents an international, biennial festival program featuring a range of genres and forms: from city projects to renowned dance and theatre productions, performances, nouveau cirque and installations.
After three hugely popular editions under the direction of Carena Schlewitt, the theatre festival (29.08. – 09.09.2018) will continue the successful work done so far with artistic director Tobias Brenk at the helm.
The city of Basel and the local region are transformed into a wonderful venue: discover new forms and tales of theatre during the 12-day event throughout the city centre and the surrounding canton, at the Kaserne site, including Turnhalle Klingental, at Kaserne Basel, at ROXY Birsfelden, at Theater Basel and neuestheater.ch and at junges theater basel.
It was modelled after the Rencontres chorégraphiques de Seine-Saint-Denis in Paris, a pioneering festival that’s been dedicated to contemporary choreographic creation since 1969.
Swiss Dance Days made it their mission to create a platform for the promotion of the Swiss choreographic arts in a context that facilitates the encounter between dance professionals, the audience and both national and international programmers.
Co-organised by Reso – Dance Network Switzerland since 2006, the event takes place every two years in a different Swiss city. Unique in Switzerland, it represents an exceptional opportunity to discover remarkable dance pieces from across the country that have been created in the two years prior to each new edition.
Geneva, Basel, Bern, Lausanne, Lugano, Lucerne, Zurich: Swiss Dance Days has taken place in many of Switzerland’s largest cities as well as in its three principal linguistic regions.
After the great success of the last edition in Geneva in 2017, professionals and dance enthusiasts alike are ready to head to another Romandy city for the highly anticipated 10th edition. A leading city for performing arts with an extremely active and diverse choreographic scene, Lausanne will give its all for dance from the 6th to the 9th of February for Swiss Dance Days 2019.
Reso is a network of organizations from the professional dance creation context. Reso realizes a vision of a coordinated and extensive system of dance support with funding agencies. It strengthens local and regional initiatives in the areas of infrastructure, audience development, production, diffusion, observation and analysis of practices. This networking creates a center of competence that fulfills needs with national relevance. Every two years Reso co-organizes the Swiss Contemporary Dance Days together with the partners of the host city.
Since the creation of Compagnie 7273 (2003), Laurence Yadi and Nicolas Cantillon have developed a dance style that invites the body to continuously and endlessly unravel. Their research is inspired by the specific Arabic music system of Maqâm.
Each maqâm describes a “tonal-spatial factor” or a set of musical notes and the relationship between them. It allows the musician to play in-between the notes and gives him the opportunity to express himself.
Named Multi styles FuittFuitt by the choreographers themselves, the transfer of this technique into the body ables the movements to weave into each other in a wavy, spiraled and hypnotic dance.
Through their career, Laurence Yadi and Nicolas Cantillon created about 20 pieces: from silent ones to dansed-concerts, from duets to group pieces, all of which they toured internationally (Africa, Asia, United-states, Europe, Middle-East, North Africa and Russia). The choreographers regularly give sessions of workshops in Switzerland and abroad. They are also invited to teach the Multi styles Fuittfuitt to young dancers in professionnal training.
In 2014, they published a book, diary for some or guide on the practice of the Multi styles Fuittfuitt for others, the ways to approach it are endless.
Laurence Yadi and Nicolas Cantillon won several awards: the Swiss Prize for Dance and Choreography, and the Fondation Liechti for the Arts’.
The choreographers regularly offer workshop sessions in Switzerland and abroad. They are also invited to teach the Multi styles Fuittfuitt to young dancers in professional training schools.
In 2014, they published a book – a diary for some, or guide on the practice of the Multi styles Fuittfuitt for others. Laurence Yadi and Nicolas Cantillon have won several awards, notably the Swiss Prize for Dance and Choreography and the Fondation Liechti for the Arts.
Sur l’île de Darsheen
Performance for 1 dancer and 3 musicians | Creation 2020 | Duration 50’
For the past ten years, Laurence Yadi and Nicolas Cantillon, choreographers of Company 7273, have been working on a dance that could be composed like music can.
This music is linked to their several travels around the world. Each trip was an opportunity to meet musicians. These encounters participated in the development of their own dance style, the Multi Styles FuittFuitt.
L’île de Darsheen is an intercultural place where we meet to share a knowledge which will become a poetic object. Experimentation will be the basis of this experience that will invite and allow the audience to create their own island of imagination.
Musicians Sir Richard Bishop, Simphiwe Tshabalala and Maurice Louca will join Nicolas Cantillon on stage.
“Today” PERFORMANCE & FUITTFUITT WORKSHOP
Solo | Creation 2017 | Duration 35’
Dancer Laurence Yadi will present a 40-minute solo dance performance. By exploring musical representation in body movement, and turning the body into a melodic song, Yadi transcribes for audiences a world of emotions kept secret.
This dance is a battle in its own way.
TODAY will be touring Kolkata, Kathmandu and Delhi. Duration: 40 mins.
FUITTFUITT can be danced by everyone, and the workshop will be offered in Kolkata, Kathmandu and Gurugram.
Performance for 10 dancers | Creation 2013 | Duration 55’
A gigantic spinal column blows like grass in the wind, fanning the dancers across the stage. We gaze upon the heart of Tarab, this ductile calligraphy, alive and spreading in the background, now unfolding into two continuous, rhythmic lines of lingering, magnetic agitation.
What follows is an uninterrupted choreographic phrase in continual metamorphosis. It avoids accented beats, favoring the transitions between fluid patterns and forms with a certain mysterious quality. In the wake of the sextet Nil (Swiss Dance and Choreography Award 2011) and its effervescent undulation of flowing bodies, Tarab unveils ten dancers in striking combinations.
It calls to mind the DNA of our shared humanity as much as the cultural jigsaw puzzle unfurling in the hybrid choreographic grammar of Laurence Yadi and Nicolas Cantillon.
The Oriental-inspired dance with undulating pelvic movements encountered in this piece engages a delicate balancing act with the classic groove across the dance floor, marvelously slowed down and out of sync.
The choreographers combine hip movements found in the soul dancing of B-Series, funk, R&B and rock, with lines of liquid, graphic arms. Unbound hands move in a continuous cascade of fluttering fingers, an element which the former masters of tap-dancing and acrobatic dance, the Nicholas Brothers, turned to their choreographic advantage.
This is reminiscent of Henri Michaux’s asemic writing, those fleeting figures of evanescent beauty, peculiar and distorted. In the multiple layers of changing positions, of bodies spinning and coiling slowly upon themselves as if following the drift of a languid flamenco, the piece avoids dramatizing movement.
It traces without pause a continuous line of anatomical curves. This hypnotic and limpid line, at once fleshy and ethereal, generates a flow whose source emanates from the young dancers. Transmission is the silt of the work undertaken.
We watch these bodies moving again and again in a state at times volatile and diffuse, forming a shifting semi-circle of community which envelopes the soloist, depicting a landscape, an emotion and other often inexpressible sensations.
In this respect, Tarab is perhaps the most accurate fulfillment of the vow formulated as far back as Climax (2006)—an orderly progression without rhythmic changes moving towards an always deferred orgasmic plateau. In other words, the infinite renewal of the question of what dance should consist of.
The piece gives the audience the liberty to contemplate and to question; we find in these endless spiral movements a nourishment both appeasing and staggering. True to the festive side of soufi-groovy, Tarab bathes in an atmosphere of vibrating strings which resound in echoes, brought to us by the prodigious jazz and world music guitarist Jacques Mantica.
This enveloping sound matrix is sustained by the meandering, muffled tread of layers of bass. We are at the source of “tarab”, a musical emotion evoking an instrumental and expressive chant, like an evocative poem, or a palette of feelings gravitating from a deep interiority to an intense exaltation, a reflection of life in the streets of Cairo.
Hence this distant recollection of the melodic and traditional form of quarter tone called maqam which stresses the tie between two movements. Tarab approaches the realm of trance with the disarming innocence of an adolescent, reaping wholeheartedly the states that it attempts to render simultaneously—rapture and melancholy, concentration and letting go.
The choreography takes a musical turn, tuned to the fluctuating strata of low, deep strings which create an echo chamber for the solitude of a gently undulating strand of algae, carried along by the languid twists and turns of its course. This moment of deepening twilight confirms the appeal of Tarab for the intermediary, for that which lies between, and resonates like a promise held by awakened senses, the enticing savor of an encounter to be continued.
Studios for rehearsals , Residencies of creation Compagnie 7273 received a residence of research at Cairo-Egypt Pro Helvetia and a provision of studios from the ADC – Association for Contemporary Dance and CND – National Centre for Dance, France.
The transfer of this technique to the body is at the origin of Laurence Yadi and Nicolas Cantillon’s choreographic research since 2003. It is what they call the Multi styles FuittFuitt.
Each maqam describes “tonal-spatial factor” or set of musical notes and the relationships between them. It allows the musician to play in-between the notes and gives him the opportunity to express himself. To find an original way of playing the Maqam requests both rigor and imagination.
This April, Swiss dance company 7273 is starting a long term program, in Egypt, in collaboration with Cairo Contemporary Dance Center (CCDC), contributing to the professional development of 30 young dancers and the development of practice in contemporary dance by dancers and choreographers.
The program was developed by company 7273 and CCDC especially for the full-time dance school students to ensure coherence and relevance to the professional training they attend at CCDC. It will last for two years including workshops and public performances.
“Multi Styles FuittFuitt” is a dance that requires of the interpreter a constant, permanent, and deep internal reflection. Forms are brought to the surface that become the foundation of the dance. FuittFuitt is about unfolding an endless movement that is drawn by ornaments and created with a dedication to precision, ultimately leading the dancer to forget the limitations of the body, thus leading them to experience the intoxicating joy that comes with a release from consciousness.
Their in-depth research into music of the region lead Laurence Yadi and Nicolas Cantillon to discover for themselves the regional-specific system of “mâqam,” where quarter tones are played using a general music system with special applications. The dancers have since developed a freedom through movement that corresponds with the way in which the mâqam gives the interpreter space to express their personality and find their own originality. The execution of the maqâms requires rigor and fantasy and the transfer of this musical technique to the body is at the core of Yadi’s and Cantillon’s Multi Styles FuittFuitt.
Creation – 2014 Duration 60′
It is 1995, Laurence Yadi and Nicolas Cantillon are in Beirut, Lebanon.
There begins a story that will lead them to a world of creation tainted by the unique atmosphere of what they consider being their first true meeting. The same year, Mohamed Matar (Arabic buzuq master) dies prematurely in Beirut, aged 56. Laurence and Nicolas never met Mohamed Matar but he will play a central role in this creation. Beirut 1995 is an attempt to reenact the moment of birth of their multi-styles FUITTFUITT under the guise of a fairy tale
Circa Contemporary Circus is one of the world’s leading performance companies.
Since 2004, from their base in Brisbane, Australia, they have toured the world – performing in 40 countries to over a million people. Their works have been greeted with standing ovations, rave reviews and sold-out houses across six continents.
Circa is at the forefront of the new wave of contemporary Australian circus – pioneering how extreme physicality can create powerful and moving performances. They continue to push the boundaries of the art form, blurring the lines between movement, dance, theatre and circus, and leading the way with a diverse range of thrilling creations that ‘redraw the limits to which circus can aspire” (The Age).
Under the direction of circus visionary Yaron Lifschitz, Circa features an ensemble of exceptional, multi-skilled circus artists. They are a regular fixture at leading festivals and venues in New York, London, Berlin and Montreal with seasons at Brooklyn Academy of Music, The Barbican Centre, Les Nuits de Fourvière, Chamäleon Theatre as well as major Australian Festivals.
Circa dares to create a physical score for the towering masterpiece of the symphonic repertoire – Beethoven’s 9th Symphony.
In this first-time collaboration between the Melbourne Symphony Orchestra and Circa, ten world-class circus artists under the direction of Yaron Lifschitz will present Beethoven’s music in its physical form – with emotionally-charged choreography intricately woven to reflect the score. Extreme skill and dramatic acrobatics play out in this grand celebration of humanity, where the lines between movement, music, dance and theatrics are blurred and boundaries are pushed.
Three artists stretch the boundaries of contemporary circus in this intimate and deeply moving new production by Brisbane-based contemporary circus company Circa.
Hauntingly beautiful and truly virtuosic, What Will Have Been is a sublime display of interlocking bodies, awe-inspiring movement and pure physical beauty. Circa’s intrepid artists will challenge your perceptions of what is possible within the human body and draw you deep into a world of physical daring.
Accompanied on stage by a live violinist and fusing together the music of Bach and spine-tingling electronica, this explosive new production is guaranteed to tug at your heartstrings and have you on the edge of your seat.
Straight from the score and onto the stage, the man known as Mozart appears amid a storm of powder, tumbling and twirling, as musical mayhem and movement fuse in this family show with a circus twist.
To those who know him, he is Wolfgang, the dart-playing, pun-loving ratbag. To those who are watching and listening, he is the wigged genius Mozart. Come and discover his irrepressible spirit and vibrant compositions through physical comedy and mischievous antics.
Designed to amaze people from the age of three and upwards, Wolfgang’s Magical Musical Circus reinvents the composer’s magical music in a skilful and illuminating show featuring Circa’s dexterous daredevil artists and an accordionist. Watch as the notes are physically lifted off the page as performers bring the renowned compositions to life amidst a storm of powder, tumbles and crashes, all under the eccentric swirl of the conductor’s baton.
Circa’s internationally-renowned ensemble joins with a local cast of circus performers, dancers and young people for a world premiere circus event.
The art of circus is taken in an exciting new direction as 36 performers hang from a grid suspended in the air and propel themselves across the stage, tumbling, balancing and soaring together. The dramatic power and extreme skill of Circa’s trademark acrobatics thrillingly expose the tension between the mass and the individual in this epic theatrical event that is at once deeply moving and physically stunning.
In these complex times, Leviathan offers hope by celebrating what can be achieved when we work together. This action-packed show connects the local with the global and the emerging with the visionary and genuinely pushes boundaries in a powerful new circus production.
Johann Le Guillerm has remarked: “I don’t make new shows, I continue them…” Secret, the vision of a life, reflects this process, fusing continuity, transformation and movement.
Johann Le Guillerm, acrobat, juggler, creator and manipulator of objects, is one of the most unusual figures on the contemporary circus scene. Drawing on the arts and sciences, he doggedly pursues his search for a 360° view of the world. Alone in the ring or in his “laboratory”, he explores and materialises his observations in strange machines, testimony to or expressions of the relationship between man and matter.
Two years after creating the company Cirque ici and when he was only 27 years old, Le Guillerm won the 1996 National Grand Prize for Circus, an award that crowned his career in the arts up till then. In 2001 he undertook a huge multifaceted project, Attraction, which is first and foremost the manifesto of a creator who makes invisible knowledge visible. This “mental circus” signals a utopia, with an all-encompassing eye that scrutinises everything around us, while our modern gaze has for decades been happy to take in only what’s right in front of us. A 360°vision, as imposed by the ring, the circus.
The universe is his playground; the ring the laboratory where he experiments with new laws to create some order in the tumult of the world and to shake up the supposed evidence.
Here, Le Guillerm is at one with matter, he tames atmospheric turbulences, he provokes unstable balances and plays with the elements. He is Don Quixote when he rides strange machines, part-spider, part-snail, and launches an attack on unfathomable challenges.
He is then Sisyphus, obstinately building giant mikados that he destroys without any qualms the moment their stability ensured.
There is also a bit of mystery in this show, a bit of of poetry, a bit of intuition, a bit of experience. Some fury, too. A secret that (re)creates itself year after year to draw a map of a placeless planet with sensitive perspectives and infinite utopias. A new landscape appears, show after show, familiar but imperceptibly reconfigured with each production.