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They seem to be afraid of the audience. Although they are a rather large group of well trained people, meeting the audience scares them, and they stick together in a tight bunch as they enter the stage from one corner keeping close to the background curtain.
Eventually they start acting out towards the spectators on the tribune on the other side of the stage-room – becoming more daring and expressive. Pyramids build up themselves – since they are made of people. And fall apart again – or rather dissolves and transforms into something else. Or the group is called back by an angry figure that seemed left behind by the others.
Somehow it all makes sense. There's a story somewhere in these situations and tableaus. But it wasn't intended – so the trainer Sebastian Danbæk assures.
“It's a bit like painting on the spot. You use what is there, the situations, and then you work on making the transitions from situation to situation interesting,” Sebastian explains.
“It is not intended to make sense as a play or a story, but when it's finished it somehow does anyway. For instance, the angry man came from Patrick not being a part of two pyramids, we were working on. So what should he be doing? Well of course, he would be angry about it, and when he cries out, all the others react by running to him and form this comforting crowd around him.”
Circus-schools and courses tend to focus on training and skills, but the playful and creative “story-telling” is really important to “new circus”, Sebastian figures.
“It's great fun working with it, but also very hard, a marathon of getting all these crazy ideas tied together in a performance, were nobody knows exactly where it's going. Mind you, when we had our dress rehearsal it didn't seem to be working at all. But it really got going, when there was an audience present.”
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Story: Kaach
Photo: Per Pedersen
Once they have invaded the space, the artist are not that shy afterall ... |
