SchoolTime 07/08 Study Guide Circus Oz—Laughing at Gravity Friday, November 30, 2007 at 11:00 a.m. Zellerbach Hall About Cal Performances and SchoolTime The mission of Cal Performances is to inspire, nurture and sustain a lifelong appreciation for the performing arts. Cal Performances, the performing arts presenter of the University of California, Berkeley, fulfi lls this mission by presenting, producing and commissioning outstanding artists, both renowned and emerging, to serve the University and the broader public through performances and education and community programs. In 2005/06 Cal Performances celebrated 100 years on the UC Berkeley Campus. Our SchoolTime program cultivates an early appreciation for and understanding of the performing arts amongst our youngest audiences, with hour-long, daytime performances by the same world-class artists who perform as part of the main season. Teachers have come to rely on SchoolTime as an integral and important part of the academic year. Cal Performances Education and Community Programs Sponsors Cal Performances’ Education and Community Programs are supported by American Express Company Foundation, California Arts Council, California Mortage & Realty, Design Community & Environment, Evelyn & Walter Haas, Jr. Fund, Orton Development Inc., Sharon & Barclay Simpson, Pacifi c National Bank, The Wallace Foundation, Bernard E. & Alba Witkin Charitable Trust, and The Zellerbach Family Foundation. SchoolTime Circus Oz— Laughing at Gravity | I Welcome November 8, 2007 Dear Educators and Students, Welcome to Cal Performance’s SchoolTime! On Friday, November 30, 2007 at 11:00 a.m. your class will attend the SchoolTime performance of Circus Oz: Laughing at Gravity at Zellerbach Hall on the UC Berkeley campus. After more than two decades, Circus Oz, Australia’s original and best contemporary circus troupe returns to Berkeley with a performance of wit, grace, spectacle, satire, and fi nely-tuned silliness. For the Laughing at Gravity Tour, the company has gathered a mind-boggling array of new world-class performers and created a treat of a show that melds anarchy with absurdity. As New York Daily News says of the show, “It is hysterical and graceful, awesome and intimate, weird and beautiful.” This study guide will prepare your students for their fi eld trip to Zellerbach Hall. Your students can actively participate at the performance by: • OBSERVING how the performers use their bodies, and how they work together in various acts • NOTICING how the lights, music and sound enhance the acts • MARVELING at the skill, technique and preparation required by the performers • THINKING ABOUT all the ways circus is a theatrical art • REFLECTING on the sounds, sights, and performance skills experienced at the theater. We look forward to seeing you at SchoolTime! Sincerely, Laura Abram s Rica Anderson Director of Education Education Programs Administrator & Community Programs II | Table of Contents 1. Theater Etiquette 1 2. About the Performance 2 3. About the Artists 5 4. About the Art Form 7 5. About Australia 12 6. Learning Activities 15 7. Glossary 18 8. California State Standards 20 1 Theater Etiquette Be prepared and arrive early. Ideally you should arrive at the theater 30 to 45 minutes before the show. Allow for travel time and parking, and plan to be in your seats at least 15 minutes before the performance begins. Be aware and remain quiet. The theater is a “live” space—you can hear the performers easily, but they can also hear you, and you can hear other audience members, too! Even the smallest sounds, like rustling papers and whispering, can be heard throughout the theater, so it’s best to stay quiet so that everyone can enjoy the performance without distractions. The international sign for “Quiet Please” is to silently raise your index fi nger to your lips. Show appreciation by applauding. Applause is the best way to show your enthusiasm and appreciation. Performers return their appreciation for your attention by bowing to the audience at the end of the show. It is always appropriate to applaud at the end of a performance, and it is customary to continue clapping until the curtain comes down or the house lights come up. Participate by responding to the action onstage. Sometimes during a performance, you may respond by laughing, crying or sighing. By all means, feel free to do so! Appreciation can be shown in many different ways, depending upon the art form. For instance, an audience attending a string quartet performance will sit very quietly, while the audience at a gospel concert may be inspired to participate by clapping and shouting. Concentrate to help the performers. These artists use concentration to focus their energy while on stage. If the audience is focused while watching the performance, they feel supported and are able to do their best work. They can feel that you are with them! Please note: Backpacks and lunches are not permitted in the theater. Bags will be provided for lobby storage in the event that you bring these with you. There is absolutely no food or drink permitted in the seating areas. Recording devices of any kind, including cameras, cannot be used during performances. Please remember to turn off your cell phone. SchoolTime Circus Oz— Laughing at Gravity | 1 2 About the Performance For the SchoolTime JAMIDI Juggle – Joel Salom performance on Friday, JAMIDI stands for Juggling Activated November 30, at 11am, Musical Instrument Digital interface. Circus Oz will present 1n 1998, Joel Salom created this act by a selection of acts from combining music and juggling. Recording their Laughing at Gravity samples from the audience, Joel then Mel Fyfe Tour. The acts performed mixes these with other pre-recorded in this show include the beats by bouncing his juggling balls following: on special pads strapped to his arms. Circus Oz: Act Audiences still fi nd it hard to comprehend Descriptions with that a digital sampler triggered by Performers, from juggling is mixing the beats live. Laughing at Gravity Wheel – Mel Fyfe and Christa Hughes Bricksmash – Mel Fyfe The Rhoenrad Wheel looks like a Joel Salom and Joel Salom giant hamster wheel, but it defi nitely As Strong Woman doesn’t stay in one place. Used by the Mel Fyfe bends over Moscow Circus, this apparatus was fi rst backwards, three concrete introduced to Circus Oz several years ago. slabs are placed on her The company then added the innovation of stomach and then broken suspending the wheel in the air. with a sledge hammer. No hidden tricks are involved in this stunt which Flying Trapeze – The Ensemble uses real bricks, a real Many trapeze acts have been Ben Lewis hammer and extra strong incorporated into the Circus Oz show. abdominal muscles. In a fl ying trapeze routine, there is a high platform at one end from which a performer grabs the trapeze bar and Straps – Ben Lewis jumps off, and someone who ‘catches’ A traditional the airborne performers from another Chinese act, Straps is an trapeze bar on the opposite side. extraordinary display of strength. In a series of increasingly impressive Cloudswing – Rockie Stone Christa Hughes plunges, performer Ben Cloudswing is essentially one piece Lewis slowly rolls against of rope attached to the ceiling at both gravity up two thin straps ends. The performer hangs in a ‘V’ shape of canvas, then plunges from the rope and performs dives, rolls, suddenly back down drops and other dynamic moves from again, barely missing the the swinging rope. A trained dancer with razor-sharp moves, Rockie Stone’s 2 | ground. Michael Ling version of this act is very precise and disciplined. She will often hang from the rope connected only by a single body part such as a hand, a foot, or even her neck. Duo Acro – Ben Lewis, Rockie Stone, James Holt Acrobatics is one of the ancient forms of circus arts. In partner acrobats performers work together to do handstands, tumbles, fl ips, balances and more. With movements ranging from precision control and stillness to mid-air somersaults and ‘pitching’ moves, this version of an old artform is inspired by on-stage performance at Rock concerts. Swaypole – Michael Ling As the name suggests this is a long pole which bends… a lot! Michael Ling performs a comedy act on this fl exible pole which actually leans right out over the audience. Human Pyramids – The Ensemble Above: The Ensemble creates a four tier human pyramid. Human pyramids are associated with Below: Mel Fyfe spins in a giant wheel of fi re for the fi nale. Moroccan acrobatic troupes and with fi refi ghters’ physical displays. There is a village festival sport tradition in Catalunya (a Spanish province) where huge, 8- person high towers are built. Circus Oz’s pyramid techniques are inspired by a combination of these practices, Chinese sources, and their own invention. In the past, Circus Oz has done balances as lawn bowlers, classical human statues and a bunch of back fl ipping politicians. This time around they’re recreating the sights of their world tour in the form of postcard pictures. SchoolTime Circus Oz— Laughing at Gravity | 3 James Holt Rockie Stone Group Bike – The Ensemble This is another classic Chinese circus skill which Circus Oz learnt from members from the Nanjing Acrobatic Troupe. Circus Oz does it with a slightly less people, but a lot more cheekiness! Some of the company’s group bike combinations include: The Peacock which calls for 11 people on one bike, the Lotus which looks like a giant fl ower, and something called The Boat, which requires many people to pile themselves low on one small bike. Fire Act – The Ensemble During the fi re act Circus Oz takes anything that may burn and sets it on fi re—musical instruments, equipment, costumes… the lot! Actually, it’s a marvel of choreography as giant wheels, fl aming torches, an aerial hula hoop and even drum cymbals all share the stage in a busy kaleidoscope of movement.