Circus school graduates shooting promotional images

Writing A Circus Act Part 2

it is so warm out today.  i try to keep my room in shadow so that i can keep working, but it is oppressive.  but what can i do.  i need to work.  listened to over 10 hours of music today just trying to get an idea of what i’m looking for in my act.  

thought a little bit more about my costume.  i think that for at least a little while i am going to talk about all the equilibre numbers i saw this week and what my impression of them has been.   

pretty much as soon as they get on the canes, they are in preparation to get into the trick, and the trick itself is all there is to look at. 

there is a real sense of solidity and rigidness in all of the tricks. what can i do to preserve fluidity even in the held positions? 

flexibility is a major problem for me, and i need to force myself to increase it all the time, wherever and whenever.  active flexibility in particular so that i can move that more freely and controlled in the extreme positions.  i think that it is extreme, impossible looking positions that really work.

i have been playing with the idea of using live music in my act, either solo or in accompaniment with the music that i choose.  but I don’t see how to make it work yet. 

i need to make all transitions between dance and acro and handstands to be absolutely seamless.  a lot of conditioning is involved in that. 

let’s see.  there are three weeks in september, and 10 after that, i think, to work.  so i’m looking at maybe 12 for now.  the most important part for me to concentrate on in the next six week is strictly the non-handstand part of the act.  in the meantime, i will be working with byamba on the handstand technique, so i want to have music selection done as soon as possible.  i think that by the end of next weekend i need to have two minutes of music selected for the evaluation concept presentation.   

the school cabaret is coming up soon as well. 

first of all, it is a good exercise because I cannot rely too heavily on circus arts.  everyone at the school already knows what we can all do.  what can i bring to a circus audience from outside of my circus experience?  how can i involve music and theater, in other words.  the theme is “communication.”  maybe i want to have text interspersed with music?  a character that is me?  who knows.  there is a lot to think about.  ultimately, i want to express myself in a more honest way than i ever have on stage.  that will be the real task, i think.  to not be the performer, the musician, but to really be me, travelling acrobat, on stage, full of vulnerability and honest.  if i can achieve that, well, that’s something that i’ll want to preserve in my act as well.  i think that i am most interested in seeing performers who are not acting honestly, but who really are there, present and full-on there.

4 circus school graduates shooting promotional images

Writing A Circus Act Part 1

i am writing my circus act.  the way i like to do things like this is to sit down for half an hour and force myself to write nonstop for the whole time.  no matter what comes out.  i used to do it with pen and paper, but my hands would cramp up and my head would get so much farther than my hands would that i felt like i was slipping away from myself and losing information and not getting as far as i could.  now i use the computer because i type much faster than i write.  when i’m done, i read what i’ve written a few times and choose about 5 concepts, maybe more, maybe less, that still stand out for me.  those little phrases or thoughts or ideas, i then transfer into a notebook reserved for that, and after a year or two, i have an act or a play or what have you. 

i like is the idea of a character living outside of time, living as if frozen as if caught in a yellowing photograph from the beginning of the 1900’s.  i have the image of a figure in a bowler or derby style hat in a tailcoat covered in dust.  with every step a cloud billows up from the antique, straight lines of his silhouette.  there could be acrobatic moves, each one of which, however, might end up in a stylized very formal sort of pose.  a suitcoat with tails that someone might have been buried in fifty years ago. 

maybe this first incarnation of the number is going to be a dark one.  a tragic one. no sense of redemption.  a death.  a dysfunction.  a descent.  a decadence.  a destruction and a loss.  there will be pain in my character, and a promise of redemption, but one that is never achieved, never realized.   

something fitted and formal in the setting of a circus ring.  could be powerful, useful.  fixed motions, like a rotating one-armed handstand.