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HelsinkiResidency CIRKOFestival 08 Europeanresidencyprogrammeforculturaljournalists H E L s I N K I  R E s I D E N C Y CIRKOFEstIvAL 12mAY2013–08 p.3BRECHtHERmANs Thebodyopenly in view/Eenvrijeblikophet lichaam :p.10IgORBuRIC CirkoFestival2013 “Fromthe Helsinkitrapeze/„ЦИРКО ФЕСТИВАЛ2013 p.19jELENAjINDRA sexandDeathin Helsinki/seksismrtu Helsinkiju p.25KARINvANDEWIEL Thevalueis in CircusItself/Thevalueisin circusitself p.32LYNDsEYWINsHIP “Isn’titenoughto do thething?”:Theintrinsicvalueofthecircusskill p.36mAjAmRĐENOvIĆ Andnow what”:Finnishcontemporarycircus“ /anditsplaceinculturalpolicyandthearts Andnowwhat“:kulturno-političkoiumjetničko„ pozicioniranjesavremenogcirkusauFinskoj p.45NIKAARHAR Howtobreakthroughthe confinesofone’sowntraditionandlookinto the(un)knownfuture?/Kakoprebiti okvirje astnetradicijeinpogledativ(ne)znano prihodnost? Prototype – Gilligan Jay p.56NINOKOvAčIĆ unpacktheArts p.63sARAvANDERKOOI /CircusTheatreand theArtof Failure Circustheateren dekunstvanhet mislukken © Frida Flodin Frida © :p.69sERgIOLOgAttO Fromtotemtotaboo The Bodyinthe ContemporaryCircus/Dal totemAltabù.IlCorpoNelCircocontemporaneo Presentation Circus arts are an art form like theatre or dance, residencies for cultural journalists in the context but have not yet a profound level of intellectual, of twelve major festivals programming cultural and institutional recognition it deserves, contemporary circus. The goal of the project in Europe as well as at national and local level. is to facilitate the circulation of knowledge and Thereby political and financial support to this experience, to develop the critical discourses sector is quite low and there are structural of its participants, and to further the role of the weaknesses. There are strong imbalances in media within the circus arts and contemporary comparison to other creative areas, even when society. comparing the realities between regions or countries. 12Residencies–120Articles Unpack the Arts consists of 12 residencies in Despite the growing success of circus by 8 countries, spread over 2 years (August 2012 – the audience and programmers, circus arts are February 2014). Each residency is set within the not covered by abundant literature, academic framework of a festival and follows the same research, in-depth articles, reviews,... and artists format: over the course of 4 days, the participants themselves often experience difficulties in contribute to a series of moderated thematic producing theoretical writing that communicates discussions, attend lectures by key circus experts, their practice, their creative processes and their see 3-5 shows, and meet with and interview productions. They rarely have the chance to programmed artists along with a representative exchange with critics and experts from the of the host festival. After the residencies, each performing arts on theoretical or conceptual participating journalist delivers one article. terms. These texts are collected, translated and turned into an online, multilingual publication. Also, many art writers are clueless about contemporary circus. Cultural journalists don’t This seventh publication collects the texts of 10 know the disciplines and techniques and overall European journalists who attended the residency they lack the contextual understanding to tackle at Cirko in Helsinki, Finland, 8 to 12 May 2013. a piece’s dramaturgical choices, to reference other productions, or to interview artists creating We wish to thank all participants and all non text-based works. collaborators who made this residency a success. That’s why Circuscentrum and 9 important circus KOEN  ALLARY festivals all over Europe conceived Unpack the Director, Circuscentrum (project leader) Arts. Unpack the Arts is a European project – YOHANN  FLOCH granted by Europe Culture – that provides Adviser 2  Thebodyopenly Eenvrijeblikop in view het lichaam Thededicationtoandfrom Deovergaveaanenvan the audienceinFinnish hetpubliekinFinscircus circusandBelgian-Austrian enBelgisch-Oostenrijkse performance. performance. BRECH t  HER m AN s BRECH t  HER m AN s What do a poetic Finnish circus performance and Wat hebben een Finse, poëtische circus- a crude Belgian-Austrian piece of shock theatre voorstelling en een Belgisch-Oostenrijks have in common? Curiously enough, I found maagstompend stuk shocktheater met elkaar myself watching Tenho by Agit-Cirk in a similar gemeen? Tijdens het kijken naar Tenho van Agit- mind to that which I had watched Kein Applaus Cirk merkte ik tot mijn eigen verbazing dat ik met Für Scheisse by Vincent Riebeek and Florentina eenzelfde blik naar deze voorstelling keek als Holzinger with two years earlier. At first sight, twee jaar eerder naar Kein Applaus Für Scheisse however, these performances do not seem to van Vincent Riebeek en Florentina Holzinger. have very much in common. Why, then, did my Nochtans hebben de twee op het eerste zicht mind connect the two? An investigation is weinig raakvlak. Waarom maakte mijn hoofd needed. dan toch de link? Tijd voor een onderzoek. Thewaythingsusedtobe Hoehetvroegerwas The starting point in the Finnish circus De Finse circusvoorstelling Tenho neemt het performance Tenho is the past. In a sober manner, verleden als uitgangspunt. Op sobere wijze roept Agit-Cirk evokes the atmosphere of the golden Agit-Cirk de sfeer van de oude hoogdagen van het age of circus. Traditional acts such as the circus op. Traditionele acts als de sterke man strongman are performed in a somewhat worden hernomen in een licht melancholische melancholy way. The setting is minimal, there is sfeer. Geen piste echter, de setting is minimaal. De no ring. The actions are purified and the acties zijn uitgezuiverd, de bewegingslijnen strak. movements are taut. Als een ritueel worden de handelingen aanvankelijk As though marking a ceremony, the acts are in stilte uitgevoerd. Een acrobate (Jenni Lehtinen) performed in silence. An acrobat, Jenni Lehtinen, wordt via een katrolsysteem opgetrokken in de is pulleyed up by strongman Sasu Peistola, who is lucht. Aan het andere eind van het systeem staat wearing a belt around the waist. When he crosses een stevige man (Sasu Peistola), hij draagt een the stage, she takes to the air. It demands an gordel om zijn middel. Wanneer hij de scène dwars enormous effort. We can hear him breathe and oversteekt, gaat zij de lucht in. Het vergt een zware groan. We watch how he strains himself while krachtinspanning van hem. We horen zijn adem, she performs graceful movements in the air. zijn kreunen. We kijken toe hoe hij zich inspant, terwijl zij sierlijke figuren maakt in de lucht. At the end of the act, he lifts her once again. This time, he holds her weight by clenching a bit Aan het eind van de act trekt hij haar nogmaals between his teeth – just like John Massis, an old- omhoog. Dit keer houdt hij haar niet in de hoogte time Flemish popular hero, who could pull literally via zijn middel, maar via een bit in zijn mond. Net anything using his teeth: cars, trains, helicopters. John Massis, een vroegere Vlaamse volksheld die BrechtHermans 3 Agit-Cirk – Tenho © Agit-Cirk Both Massis and Tenho provoke a physical zowat alles voorttrok met zijn tanden: auto’s, reaction from the spectator, partly anxiety for treinen, helikopters. Zowel bij Massis als bij Tenho the anticipated physical pain, partly awe for this roept het een fysieke reactie op bij de kijker. Deels man’s feat, performed right here in front of us. afgrijzen van de mogelijke fysieke pijn, deels verwondering over wat die man presteert hier In later scenes, the muscleman blocks a 25 en nu voor onze ogen. kilogram weight with his stomach and suffers a chair being smashed to pieces on his back. During In achtereenvolgende scènes stopt de all this Lehtinen goes around as a charming krachtpatser een gewicht van vijfentwintig kilo assistant, exchanging subtle and ironic glances met zijn buik en krijgt een stoel stukgeslagen op with the audience. Later on, she herself shows her zijn rug. Lehtinen loopt daarbij rond als de strong side in a trapeze act and a balancing bevallige assistente die via subtiele blikken een exercise performed on top of a dozen chairs. ironisch onderonsje heeft met het publiek. Later in de voorstelling laat zij haar van haar sterkste kant The performanceKein applaus für scheisse is of zien in een trapeze-act en een evenwichts- a completely different kind: it is a brash oefening bovenop een toren van een tiental performance filled with nudity, on-stage vomiting stoelen. and actors urinating on each other to the sounds of bad pop music. Is there any correlation Kein apllaus für scheisse is een voorstelling between the two performances? On second van een heel ander kaliber: een hondsbrutale thought, the answer is ‘yes’. performance vol naakt, overgeven op scène en acteurs die elkaar onderplassen op de tonen BrechtHermans 4 The authors of Agit-Cirk revive part of the history of van foute popmuziek. Kan er sprake zijn van een circus and investigate its use in a contemporary raakvlak met Tenho? Wanneer je er dieper over performance, an act parallel to that of the authors nadenkt, blijkt het antwoord ja. of Kein Applaus Für Scheisse, who turn to their roots in performance arts. Vincent Riebeek and Net zoals de makers van Agit-Cirk in Tenho Florentina Holzinger investigated shocking een stuk circusverleden opgraven en de mogelijk- performances – from the 1980s to the present day. heden ervan voor een hedendaagse voorstelling In Flanders, these performances have been a rather onderzoeken, zo keren ook de makers van Kein common sight, with Jan Fabre being one of the Applaus Für Scheisse terug naar hun roots, in most prolific creators.
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