Nights at the Circus

When someone says the word 'circus,' you might think of a lion tamer, clowns, or acrobats attempting death-defying feats feet above your head. But recently, there seems to be a new kind of circus evolving out of the disciplines of dance, theatre, and acrobatics. UK-based companies that take on this type of performance include NoFit State (Noodles), and Circa (Wunderkammer) but the circus world here is quite small - everyone knows everyone, yet it's buzzing with activity.

Perhaps one of the most well-known and internationally acclaimed companies in this type of circus, Quebec-based Cirque du Soleil have been around since 1984, but still know how to keep things fresh. They have evolved and expanded such that the company can have different shows touring at the same time, and their most recent production for an arena-style environment, Dralion, arrives at Glasgow's Hydro next month. Based around the four elements (air, water, fire, and earth), Dralion brings nature to life through twelve acts that include acrobatics, trampoline, juggling, flexibility/contortion, and many more skills to amaze. While it is quite a flamboyant-looking show, the circus acts fit the overall concept of the performance. 

For some cast and crew members, Dralion is a debut performance; for others, this is part of an established routine. In an attempt to understand more about the show and the way circus shows are being put together, The Skinny spoke to various Cirque du Soleil performers about the industry. 

Classically trained Australian percussionist Marcus Perrozzi, who achieved his life-long dream of playing for Cirque five years ago, reveals a little about life as a member of Cirque du Soleil's live band: "In an orchestra, you have to be watching the conductor, but for me, in this show, I'm not reading music, it's partly memorised and partly improvised. Our musical director is calling on a microphone, telling us which piece of music is coming next, counting us in or counting us out. He's the conductor, but we don't see him, we just hear him."

Japanese trampolinist Hiroi Tokuma has been with Cirque du Soleil since 2008. Prior to this, from 1994 to 2007, she competed as a member of the Japanese national team for trampoline in various worldwide competitions. "It can take between four to six months to learn the acts, but it's not just trampolining, it includes choreography, it includes music, it includes costumes, which are extremely different to competitive trampolining," Tokuma explains. "When I was competing by myself, I used to jump on just one trampoline and try to stay exactly in the middle, but for these acts we share trampolines with five people and we are constantly moving. You have to just keep in mind there's other people with you."

Meanwhile, on the clowning front: "There's no fourth wall. That's the biggest thing. Interacting with the audience, you get to turn a lot on the audience. It's structured but there's a degree of improvisation, which is good 'cause it keeps us playing all the time," states Courtenay Stevens, one of the three clowns in the show. "Circus, in general, the clowning, I think involves a lot of a sense of play."

Either way, physical fitness and training can influence a great deal. Zhang Jianan, one of the many talented acrobats in Dralion, states: "If you want to get better at acrobatics, you're going to put your energy into it, you're going to have to put your patience and concentration into it; that is what it takes to be a professional acrobat." 

Speaking of hard work, Bright Night International, supported strongly by Glasgow Parkour Coaching and Aerial Edge, continues to train the Commonwealth Youth Circus (CYC) troupe. Initiated in October last year, the eighteen members of the Commonwealth Youth Circus have been training intensively both to perform as part of the Glasgow 2014 Cultural programme, and to be able to walk away from the experience with a skillset that will allow them to enter auditions for circus companies across the globe. 

While corporate circus companies perform in big tops (or, in the case of Cirque du Soleil, arenas) Bright Night, based in Govan, are taking a much more grassroots, even humble, approach. After all the training is done, they will pop up in street performances to encourage people to see circus for free, for what it is: entertainment, and fun. The Commonwealth Youth Circus is one of Bright Night International's community projects, with the others including work in disadvantaged areas, and education. Spreading the word about circus and respecting the surrounding community is vital in providing a platform for people who want to try it, or even just to see it.

Since October, the CYC performers have been drilled in all the four families of circus: equilibristics (balance), acrobatics, object manipulation, and aerial. At the same time, they are learning things like parkour, acro-stilts (acrobatics on/with stilts), and physical conditioning, spotting each other, how to deal with injuries, and even how to go about fundraising.

"We really hope we are giving them what they need to have careers and futures," explains JL Cassells, artistic director of Bright Night International. "They're getting a traditional circus training, because it's integral if they're going to try and join another company, but they're also doing really unusual things, like parkour, acrobatic stilts..."

Much like cabaret, parkour, and even breakdance, the circus community is not difficult or inaccessible; it is possible to take a workshop with your circus idol or train with them. Training together seems to benefit everybody, since the diversity of cultural and learning backgrounds allows them to learn from each other, soak up knowledge (like sponges), and build up not only their physical fitness, but also their confidence. Broadening their perspectives, they spend twenty – if not more – hours a week together.

Undoubtedly, both circus companies enjoy diverse influence of differing backgrounds and don't seem to have an issue with people who are not from a traditional circus background. While Cirque du Soleil have been around for years, and Bright Night's CYC has only just started on the path to learning, it's clear the work ethic driving them to perfection during a performance is the same: train hard, reap the gains. 

Of course, it's equally important for them to practise their disciplines and specialisms safely. As Cassells states (and many circus and non-circus people would agree): "If you can't do it safely, don't do it at all." As for the performers of the CYC themselves, a good proportion of them are entirely dedicated to circus as an artform, while others are less certain of their future in the genre. With two circus schools in the UK – one in London and one in Bristol – and many more across the globe, choices are not limited for them. After all, they now know how to promote themselves, and have a worldwide platform to showcase their skills in the summer. Either way, they seem to be having the time of their lives. 

"It's been amazing to work with all these different types of performers, from acrobats to parkour people to aerialists," says Will Borrell, 23, an aspiring juggler. "Whereas before my inspiration was mainly from jugglers, now it comes from lots of different areas."