wunderkammer

Transcription

wunderkammer

“White-hot, funny and sexy, these are superhuman acrobats masquerading as mere mortals.
They raise the bar of what is possible ... .”
The Stage, UK
WUNDERKAMMER
World Premiere Brisbane, September 2010
Performers 7 Crew 3
Duration 85 minutes
Second day set up and open
WUNDERKAMMER PRESENTER PACK
OCTOBER 2011
CO NTENT
About the show
P3
Company profile (Short)
P3
Company profile (Long)
P3
Extracts from reviews
P4
Show reviews
P5 – 12
Acknowledgements
P13
Show Images
P14 – 19
Technical Specifications
P20 – 26
Marketing Examples
P27 – 33
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OCTOBER 2011
ABO UT THE SHO W
In this exquisite cabaret of the senses, a diva melts into a rope, balloons and
bubble wrap discover their artistic souls while bodies twist and fly. Seven
performers of unbelievable ability bend the very fabric of reality.
Sexy, funny and explosive, Circa returns with a breathless cocktail of new
circus, cabaret and vaudeville. Control and abandon, skill and humour,
lyricism and anarchy all meld into a sinuous fugue of profound beauty.
Circa is world-renowned for creating starling new ways to experience circus.
Combining seemingly impossible physical feats with a poetic sensibility, its
creations move, amaze and astonish.
ABO UT THE CO M PANY
COMPANY PROFILE (SHORT)
From Brisbane, Australia comes a bold new vision of contemporary circus.
A blending of bodies, light, sound and skills. A place where acrobatics and
movement meld into a seamless whole. A celebration of the expressive
possibilities of the human body at its extremes.
Since 2006 Circa has toured to 22 countries across five continents. Critics
have raved about its shows calling the work “stunning...exquisite... heartstopping” and “electrically charged”.
COMPANY PROFILE (LONG)
From Brisbane, Australia comes a bold new vision of contemporary circus. A
blending of bodies, light, sound and skills. A place where acrobatics and
movement meld into a seamless whole. A celebration of the expressive
possibilities of the human body at its extremes. Since 2006 Circa has toured
to 22 countries across five continents. Circa’s work has been rapturously
received by audiences, presenters and critics around the world. Critics have
raved about Circa calling the work “stunning...exquisite... heart‐stopping”
and “electrically charged”.
Circa’s current touring shows span diverse contexts from works for families
in traditional arts centres to European contemporary arts festivals. Its works
are highly innovative genre‐bending pieces that stretch the practice and
perceptions of circus. Circa features a full time ensemble, a concentrated
administrative team and a dedicated circus studio. Circa’s touring program
in 2010 reached over 80,000 audience members locally, nationally and
internationally.
Circa also runs a Training Centre with an impressive workshop program in
Brisbane at our professional studio, in schools and with partners throughout
Queensland and beyond. On top of our term based and one‐off training
activities, Circa has an impressive track record of producing quality
workshops for children, young people and adults in a range of community
contexts. In 2010 our Training Centre programs reached an audience of
close to 20,000 people.
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OCTOBER 2011
EXTRACTS FRO M REVIEW S
“White-hot, funny and sexy, these are super-human acrobats masquerading
as mere mortals. They raise the bar of what is possible, giving British
contemporary circus a real target.”
THE STAGE, UK
“Circa have reinvented circus the way Cirque du Soleil did decades ago
before they became predictable-but the young company is way cooler.”
MIRROR, Montreal
“Wunderkammer is the perfect formula to arouse the senses and caress us
with its extravagance, grandeur and rigour.”
BERLIN MORGENPOST, Berlin
“… genuinely spectacular…highly original which adds greatly to the sense of
wonder and danger.”
ARTS HUB, Australia
“It’s a fleshy fantasy, complete with strip trapeze that flirts and flexes in
equal measure.”
METRO, UK
“… fantastic entertainment: shocking at times, thrilling, sexy, beautiful,
moving and captivating throughout.”
ourbrisbane.com, Brisbane
“…there is genuine risk… as well as passages of sensual mesmerizing beauty.”
THE TIMES, UK
“… a breathtaking highlight for young and old!”
HAUPTSTUDIO.COM, Germany
“Extraordinary acrobatics turns circus upside down at the Barbican”.
HORNSET, CROUCH END & MUSWELL HILL JOURNAL, UK
“This is a spectacle that lifts you up with its lightness, that titillates as much
as it entrances, and amuses as much it inspires.”
ROVER MONTREAL ARTS UNCOVERED, Montreal
“…the brilliant Australian circus Circa…”
THE GUARDIAN, UK
“Presented in inventive and unique forms, the strength, control and
flexibility displayed by the ensemble... is astounding.”
COURIER MAIL, Brisbane
“…few companies can match the innovation and sheer brilliance of Circa.”
THE STAGE, UK
“An acrobatic and erotic masterpiece.”
BZ/ Berlin
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OCTOBER 2011
REVIEW S
Katherine Ives 2011, Hornsey, Crouch End & Muswell Hill Journal,
“Wunderkammer at the Barbican” published July 25, 2011
http://w w w .hornseyjournal.co.uk:80/w hat-son/theatre/theatre_review _w underkam m er_at_the_barbican_1_ 9
71419
Extraordinary acrobatics turns circus upside down at the Barbican.
This is no ordinary circus. Nor is it “ordinary” modern circus.
Performed by six breath taking performers from the company Circa,
Wunderkammer creates a truly entertaining and enthralling one-and-aquarter-hours of breathtaking physical achievement.
Anyone who has ever tried to climb a rope will know how much strength
and effort is required to hold your own body weight. If you haven’t - try
hanging from the door frame and you’ll quickly realise!
Bearing that in mind, the effortless strength, control and grace of the
performers is all the more breathtaking.
Outstanding moments were the opening hoop routine – a cross between a
ballet and a magic act as the hoops seemed to pass through the performer’s
body - and, later on, the solo rope act which defied gravity and logic.
The show melds expert circus skills with gently subversive humour and wellconsidered music to produce a compelling theatrical experience and visual
feast.
Touches of burlesque and even sing-a-long are also thrown into the mix, so
just when you think you know what to expect the tables are turned –
striptease turns into dressing-up and acrobatics are performed in bright red
super-high heels.
By placing circus skills in a theatre environment with carefully designed
lighting and integrated music the audience focuses on the detail of the
performance and lives each moment.
There’s no drum rolling or hype but audible gasps from a predominantly
adult audience echoed around the auditorium throughout the show.
Circa is an Australian company here for a short period of time, but keep
your eyes peeled for their next visit.
Liz Arratoon, The Stage Reviews, “Wunderkammer”, published July 20,
2011 http://www.newsonstage.co.uk/index.php/hop/latest/1/93993
Circus, as everyone knows, is everywhere, but few companies can match the
innovation and sheer brilliance of Circa. Having stunned audiences with its
production of the same name last year, this young Aussie troupe is back
with the aptly named Wunderkammer, meaning wonder room. It is a dream
of a show, fizzing with energy and élan, even with Scott Grove missing
through injury.
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OCTOBER 2011
Stylish, minimal strip-lighting and a red/black palette for the spike-heel
patent shoes and costumes - mostly underwear - make it visually beautiful
and arresting. But, driven by a thoughtful mix of music, it is the dazzling
physicality of the six performers that makes your heart stop.
In his poetic tumbling/break-dance number, Lewie West has the grace of a
dancer. His acrobatic moves are simply beyond belief. Emma Serjeant’s
handstand routine in red pointe shoes is also sublime, but there are no onetrick ponies here. All of the performers have myriad skills, and - reminiscent
of those other Aussie wizards, Simon Yates and Jo-Ann Lancaster of
Acrobat - look trained to within an inch of their lives. The women,
particularly hula hoop performer Freyja Edney, are as strong as the men,
often lifting or supporting them.
Everything from a bubble-wrap tap dance to lifts aided by a pinch of flesh
here, a snatch of hair there, is given a quirky edge - a mouth becomes a
useful foothold in the static trapeze sequence.
White-hot, funny and sexy, these are super-human acrobats masquerading
as mere mortals. They raise the bar of what is possible, giving British
contemporary circus a real target.
Neil Boyce 2011, Montreal Mirror, “Bypassing the big top”, published July
14, 2011
http://w w w .m ontrealm irror.com /w p/2011/07/14/bypassing-thebig-top/
Australian company C!RCA define a new era of circus with Wunderkammer
One of the aims of Montréal Complètement Cirque is to show audiences just
how distinct “new” circus can be. With their opening show this year, they
proved it. It was, as one of the intro-ducers aptly put it, the work of “un
talent fou.” Wunderkammer (“cabinet of curiosities”) is the new show by
C!RCA, a young Australian group of seven acrobat-based performers under
the artistic direction of Yaron Lifschitz. Last here in 2009, they’ll return to
TOHU next February after they finish the current fest.
Working without a net and with few props or costumes, their shows fuse
ballet, dance and theatre with mind-blowing acrobatic and tumbling work.
Hula hoop gal Freyja Edney—in black, wearing bright red lipstick and a
deadpan expression—started the show with a routine of sharp, precise,
mechanical doll movements, adding more hoops as she shimmied. But to
call it a hula act doesn’t do it justice, or any other part of the show for that
matter.
C!RCA have reinvented circus the way Cirque du Soleil did decades ago
before they became predictable—but the young company is way cooler. An
acrobat stands upright on the head of a fellow performer, walking onto
another and continuing as if making her way from stone to stone over a
river. Male and female performers are flung like skipping rope, entangling
themselves as they’re caught. The beauty of a routine rather than mad skills
is where they’re at, but you still shake your head in disbelief.
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OCTOBER 2011
What stands out is their approach to the male-female dynamic, their
inversion of the man-as-forklift in acrobatics. Here, a woman is just as likely
to hoist a male performer over her head, or catch him, as the inverse. One
moment, a female performer is picked up by the hair and flung about; the
next, she’s putting her shoe in a male colleague’s mouth to get a better
purchase as she climbs on a trapeze. Our expectations of what male and
female bodies are supposed to be capable of or built for is boldly
challenged. They turn these notions on their heads, and do so with attitude
and irreverence.
Circus-y elements are suppressed. There’s no building a routine to a
showstopper, no mugging for an audience. In fact, Wunderkammer parodies
it: a male burlesque routine finishes with the performer revealing a torso
covered in giant band-aids that he slowly pulls off, wincing, before taking a
too-large bow.
They’re very vaudeville, very cabaret in their choice of skimpy underwear,
dickey tuxedo fronts, and suit jackets. Much of the show is spent dressing,
stripping off and redressing—often while airborne or contorted into a
pretzel. They score it with classical and electronic music (there’s a haunting
Peter Gabriel tune in there) to great emotive effect.
Even silly circus interludes are rejigged: a sheet of bubble wrap is brought to
the front and unrolled with solemnity. A ridiculous faux-tap dance follows
with the performer stomping and rolling around on the stuff, even chewing
it in his mouth before he’s dragged away.
At other moments, Wunderkammer approaches pure theatre. In the finale,
all costumes are gone and the acrobats are in plain black underwear, their
bodies showing the red marks, sweat and smeared powder of their to-thelimit exertions as the music dies down and they line up, panting, staring at
the audience. There’s silence, then everyone goes nuts.
Graham Watts, ballet.co, “Circa Wunderkammer”, published July 11, 2011
http://www.ballet.co.uk/magazines/yr_11/aug11/gw_rev_circa_wunderkam
mer_0711.htm
In an increasingly crowded marketplace for cabaret-style circus shows any
new production has to be extra special to stand out from the crowd. And it
isn’t any longer just enough to put great showmanship, brilliant gravitydefying tricks and clownish humour into a proscenium setting. When a new
show comes along declaring itself to be a Wunderkammer, literally a
wonder-room but, more particularly, a reference to Renaissance Europe’s
fascination for a cabinet of curiosities, then it becomes a metaphor or
exceptional circus skills that raises the bar of expectation even higher.
These ensembles often come in sevens – one major Canadian outfit is even
called the 7 doigts de la Main and sure enough there should have been
seven in Circa. Delivering a room full of circus curiosities to fill 85 minutes
must be a tough ask when you have your full team to rely upon, but Circa’s
capabilities were cruelly cut short by Scott Grove’s broken thumb and since
they came all the way from Brisbane in Australia, a last-minute substitution
was not on the cards.
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OCTOBER 2011
With no announcement of this withdrawal, it is to Circa’s great credit that
most of the audience would never have realized they were a man down.
The show must have been significantly rearranged to fit the remaining
sextet (three guys and three girls) emphasizing all the more the most
impressive aspect of Wunderkammer in the group’s remarkable diversity.
This was not a show where tiny girls are thrown around by burly strongmen:
these tough girls were often the catchers and carriers, frequently taking the
men’s wright as absolute equals. Unlike traditional circus shows, each
performer had a vast smorgasboard of talents without being typecast into
certain roles or specialities, although everyone got a change to show off
their very best tricks.
Sexual frisson, wrapped up in the humour of burlesque, smouldered through
the show, involving ongoing bouts of dressing and disrobing, which is
perhaps not surprising since on of Director Yaron Lifschitz’s earlier circus
shows was simply called Naked. In Wunderkammer, Jesse Scott stripped to
a thong while hanging from the high trapeze by various parts of his
anatomy; a voluptuous redhead, Freyja Edney, morphed her clothing into a
skimpy burlesque outfit complete with nipple-tassles; and the whole
ensemble gradually disrobed to matching black underwear in a slow-moving
finale. Usually, performers return to their dressed state for the curtain calls
but not this bunch who came back several times to take the rousing
applause with bum cheeks still happily on display. Perhaps this is the
product of their supreme self-confidence in taught, muscular bodies or
perhaps it’s just an Australian thing?
I greatly admired the show’s unflagging flow and momentum (even more
admirable given the missing team member) and there were several standout highlights, most particularly in the amazing aerial cord lisse skills
(acrobatic poses and balances on a vertical rope) and strength of Emma
McGovern (who also shared a fascinating counterbalancing trapeze duet
with Jesse); the hand balancing of Emma Serjeant (the possessor of one of
the largest tattoos I have ever seen) who also did a balancing routine en
pointe that might even have made Tamara Rojo’s eyes water; the multiple
hula-hooping of Edney; and the dynamic mix of breakdancing, acrobatics
and hand balances by Lewis West. Perhaps the most impressive sight was
one of the girls doing the splits with each foot resting on a different head as
her two “supporters” moved further and further apart! I believe that the
cabinets of curiosities referenced by Wunderkammer contained a mixture of
the beautiful, the absurd and the grotesque and the latter was certainly
represented by a stomach-churning sequence in which the whole ensemble
managed to stretch red elastic strings through their nose, down their
throats and out of the mouth, accompanied by sundry disgusting hawking
noises, then pulling it vigorously backwards and forwards. In terms of
Wunderkammer this must be the circus equivalent of a pygmy’s decapitated
shrunken head mouthed in a glass case.
I would have liked to know more about these interesting people: the
information supplied not only failed to tell us of Grove’s incapacitation but
anything at all about the ensemble’s personnel, which was a shame. This
was a sexy, uber-talented group that kept up the tour of their cabinet of
curiosities with bundles of humour (mostly from Darcy Grant) and
outrageous tricks. Not everything worked but, given the overall slickness, I
suspect that those few parts that didn’t gel were probably the last-minute
additions or changes necessitated to overcome the missing man. A 6/7th of
capacity this was still a great show, but I’d love to see it with the full hand of
trickery.
8
OCTOBER 2011
Shawn Katz, Rover Montreal Arts Uncovered, “A Marvelous Playpen of
Wonders”, published July 11, 2011 http://roverarts.com /2011/07/am arvelous-playpen-of-w onders/
The young performers in C!RCA’s Wunderkammer are a lot like a group of
bohemian loft mates. They like undressing each other. They like standing on
each other’s shoulders. They like swinging each other through the air and
tossing one friend to the next, much like an afternoon game of beach
volleyball. Okay, so they’re not quite your everyday loft mates, but
still…there’s something there.
In all seriousness (or some anyway), there’s a youthful jubilance and
camaraderie among the twenty-something Wundercast that makes this
Australian troupe’s performance practically glow. Their energy and
ebullience delights the senses and sets the stage ablaze with a magic that
stays with you long after the final bow.
It’s all the magic one would expect from a spectacle with such a name. A
Wunderkammer, or Chamber of Wonders, explains Artistic Director Yaron
Lifschitz, was “an encyclopedic collection in Renaissance Europe of types of
objects whose categorical boundaries were yet to be defined.” In France,
such a room was sometimes known as a cabinet de curiosités.
This concept, writes Lifschitz, was the creative well from which all the
acrobats and creators drew their artistic inspiration. And what a triumph:
rarely have I seen a show whose final manifestation is as faithful to its
creative origins, or whose title so holistically captures its essence and
character. The range of eclectic performances runs the gamut from hula
hoops, to trapeze duets, to vaudeville and burlesque, to awesome
acrobatics, to contemporary dance – and even a segment featuring some
Riverdance-tinged playtime, care of a huge sheet of bubble wrap.
In this playpen of wonders and curiosities, each bag of surprises unveils a
new toy unlike the last. Each of the players eagerly awaits their turn to show
off their latest party trick. Along the way, we come face to face with the
beauty of the human body, the warmth of the human heart, and the heights,
both literal and figurative, to which both can soar. It would be hard to
imagine a more fitting show to launch the second edition of Montreal’s new
circus festival, Montréal Complètement Cirque.
This is a spectacle that lifts you up with its lightness, that titillates as much
as it entrances, and amuses as much it inspires. There’s comedy and quirk,
kindergarten and kink; and throughout it all, a sense that the show is
gleefully balanced on a tightrope between multicoloured eclecticism and an
easy cohesion – a reminder, perhaps, that it’s all found in the Chamber of
Wonders.
If it were up to me, we’d never leave – and every house would have one.
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OCTOBER 2011
Kathryn Greenaway, The Gazette Montreal, “Wunderkammer is good
circus”, published July 8, 2011
http://www.montrealgazette.com/entertainment/Wunderkammer+good+ci
rcus/5071244/story.html - ixzz1UaiYb2k4
Good circus makes you squirm. It makes you gasp. And it removes you from
all things real. Good circus weaves a spell.
Wunderkammer is good circus. The urban-cabaret with its deep vaudevillian
roots is the creation of artistic director Yaron Lifschitz and members of the
Australian company C!RCA.
Wunderkammer officially opened the Montréal Complètement Cirque
festival at Tohu, Thursday. The international circus festival presents
productions from around the world until July 24.
Opening night, six of the seven acrobats listed in the program (one of the
men was missing) deconstructed familiar circus skills and then
reconstructed them in odd and amazing configurations. It all began with a
woman, three metal hula hoops and spare classical music. Body undulating,
the hoops responded to her every twitch.
Wunderkammer was as much about style as it was about skill. Creating a
mood of casual liberation was crucial. Lighting was used sparingly, but to
great effect. Music shifted from urban pulse, to classical, to tango, each
aural shift shaping the tone of the next vignette. One sequence melted into
the next, acrobats appearing and disappearing, effortlessly inserting
themselves in a routine already underway, then slipping back into the
shadows. The costumes were a titillating wink to off-kilter German cabaret.
Black and red dominated, with high heels, fancy bras and lacy underpants
playing to that smoky-cabaret atmosphere.
There was nothing X-rated about the show, but it did evoke the bawdiness
of old Vaudeville at moments, sometimes in the most unexpected of ways.
Early in the show, a young woman dressed in the pasties and thong of a
stripper proceeded to put her clothes back on while she contorted. A bit of
reverse irreverence.
The artists were at their strongest when performing elaborate hand-to-hand
routines, with girl lifting girl, boy balancing on girl and boy lifting boy.
Remarkable strength and imagination.
The highlight of the night was a reworked version of an old Vaudeville
routine called “toss the girl”. It was originally done with two men and one
woman. C!RCA does it with the entire cast and the girls do get tossed in
ways that, yes, make you gasp.
In the final moments the artists rid themselves of all cabaret clothing and, in
stark contrast to the chaos of moments before, stood quietly in their
underwear. Simple, but effective. The audience leaped to their feet.
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OCTOBER 2011
Olivia Stewart, The Courier Mail, “Wonderful bent, Where silliness and
serious skills collide”, published 17 September 2010, p 96
Knowing wunderkammer means “wonder chamber” helps when
contemplating Circa’s eclectic world premiere production.
Sitting under the stars in Brisbane Festival’s open-air amphitheatre-style
theatre with the towering brick wall of the Powerhouse as its backdrop
invites anticipation of something out of the ordinary.
And Wunderkammer, a collaboration between Artistic Director Yaron
Lifschitz and his ensemble of seven, delivers on that – presenting segments
from the seriously skilled to the seriously silly.
The juxtaposition works well when the silliness taps into themes of universal
identification – such as the urge to pop bubble wrap – with inspired
originality.
There are also big pay offs when those two approaches are combined in
offbeat ways for an added element of risk – balancing on a swinging trapeze
perched on just your sitting bones or hanging by your neck is already
impressive, without the extra comic and adrenaline factor of removing
layers of clothing at the same time.
Other feats are truly awe-inspiring without any embellishment.
Highlights include the female rope act three storey’s high, amazing
acrobatics, tumbling, lifts and throws, human towers and astounding
balances transferring weight from one performer to another.
Presented in inventive and unique forms, the strength, control and flexibility
displayed by the ensemble – females lifting males as well – is astounding.
The cabaret approach is reflected in the musical score (contrasting classical
with atmospheric pop arrangements and quirky 1950s and 60s Latin and
show tunes), lighting and burlesque costuming.
Some skits and elements, however, go out of their way to remind us that
this is not the sanitised ‘new circus’ of Cirque du Soleil, upping the risqué
factor and delighting in dipping into gross.
While Wunderkammer largely delivers on form and entertainment value –
drawing a standing ovation from many in the audience – it could have
benefited from an objective eye to trim weaker pieces included perhaps
more for mood or breathing space than content.
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OCTOBER 2011
Katherine Lyall-Watson, ourbrisbane.com, “Chamber of wonders”,
published 15 September 2010
http://w w w .ourbrisbane.com /blogs/perform ing-arts/2010-09-15cham ber-w onders
A wunderkammer is a cabinet of curiosities or a chamber of wonders and
that’s exactly what Circa presents in its brand new show, premiering at
Brisbane Festival.
This is fantastic entertainment: shocking at times, thrilling, sexy, beautiful,
moving and captivating throughout. Wunderkammer is the perfect show for
the QUT Festival Theatre. The huge wall of the Brisbane Powerhouse is an
imposing backdrop and is beautifully lit by Jason Organ to give an urban
grunge effect that juxtaposes with the burlesque beautifully.
Yaron Lifschitz has once again done a phenomenal job creating and
directing this show. He makes dark and humorous stories from human
bodies doing acts that beggar belief. And, for Wunderkammer, he’s been
able to work with all the artists in the Circa ensemble, so we have seven
fearless performers on stage, each showing absolute focus and commitment
to the production.
Wunderkammer is circus mixed with burlesque. The burlesque influence
means that stripping is a motif throughout the show, but it’s done so that it
confronts or amuses instead of just titillating. (There is no actual nudity on
stage, but the performers do get very close to it.) Music is also an integral
part of the show and the soundtrack is fabulous.
I was disturbed by a number of the vignettes – but disturbed in a good way:
in a way that made me reconsider some of my attitudes and assumptions.
One of the most shocking and poignant moments for me was seeing a
woman trying to make sound from her body before a man put his hand into
her mouth and carried her off stage by her teeth. This could have been the
basis of a whole play or book, but the story of the silenced woman was told
in a couple of minutes and was all the more harrowing for it.
Don’t be put off by the dark moments: they are counterbalanced by a whole
lot of whimsy and beauty. There was laugh out loud humour, audible gasps
as acrobats ricocheted off each other and plenty of jaw-dropping feats.
In the course of the performance, you’ll see hula hoops used in a surreal
burlesque piece, watch a trapeze duo where the woman wears spiky stiletto
heels and see an aerial display that has you white-knuckled for the artist
suspended so high against the Powerhouse’s brick wall, with nothing to
break her fall. There is high voltage tumbling, some gross business with
balloons, lots of stripping and an incredible strong man.
This is sexy, adult circus. If you do take children, be prepared for some frank
discussion afterwards.
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OCTOBER 2011
ACKNO W LEDGEM ENTS
Created by Yaron Lifschitz and the Circa Ensemble
Perform ed by (Specific Cast will be made up from 7 of the following
performers)
Nathan Boyle, Jessica Connell, Daniel Crisp, Jarred Dewey, Casey Douglas,
Valerie Doucet, Freyja Edney, Darcy Grant, Scott Grove, Todd Kilby, Emma
McGovern, Rudi Mineur, Alice Muntz, Brittannie Portelli, Lewis West
Artistic Director Yaron Lifschitz
Associate Director Ben Knapton
Producer Diane Stern
Lighting Design Jason Organ
Costum e Design Libby McDonnell
Logos Required:
1.
Circa
2.
Queensland Government
3.
Australia Council for the Arts
with the text to follow:
Circa acknowledges the assistance of the Australian Government through
the Australia Council, its arts funding and advisory body and the
Queensland Government through Arts Queensland.
13
OCTOBER 2011
W UNDERKAM M ER IM AGES
Please email [email protected] and quote the image number to access
high res copies of any of the below images.
IMAGE
DETAILS
L‐R
Jesse Scott, Scott Grove,
Freyja Edney
Photographer
Justin Nicholas,
Atmosphere Photography
Im age num ber
WK IMG_01.jpg
©Circa 2010
L‐R
Darcy Grant, Lewis West,
Scott Grove
Photographer
Justin Nicholas,
Im age num ber
WK IMG_02.jpg
©Circa 2010
L‐R
Jesse Scott, Emma
McGovern
Photographer
Justin Nicholas,
Im age num ber
WK IMG_03.jpg
©Circa 2010
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OCTOBER 2011
L‐R
Scott Grove, Darcy Grant,
Jesse Scott
Photographer
Justin Nicholas,
Im age num ber
WK IMG_04.jpg
©Circa 2010
L‐R
Emma McGovern
Photographer
Justin Nicholas,
Im age num ber
WK IMG_05.jpg
©Circa 2010
L‐R
Jesse Scott
Photographer
Justin Nicholas,
Im age num ber
WK IMG_06.jpg
©Circa 2010
L‐R
Jesse Scott, Scott Grove,
Emma McGovern, Lewis
West, Darcy Grant
Photographer
Justin Nicholas,
Im age num ber
WK IMG_07.jpg
©Circa 2010
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OCTOBER 2011
L‐R
Freyja Edney, Emma
McGovern
Photographer
Justin Nicholas,
Im age num ber
WK IMG_08.jpg
©Circa 2010
L‐R
Rudi Mineur, Jessica
Connell,
Photographer
Sean Young Photography
Im age num ber
WK-IMG_09.jpg
©Circa 2011
L‐R
Alice Muntz, Rudi Mineur,
Jessica Connell
Photographer
Im age num ber
WK-IMG_10.jpg
©Circa 2011
16
OCTOBER 2011
L‐R
Brittannie Portelli, Jessica
Connell, Alice Muntz,
Nathan Boyle
Photographer
Im age num ber
WK-IMG_11.jpg
©Circa 2011
L‐R
Nathan Boyle, Jessica
Connell, Brittannie Portelli,
Alice Muntz, Rudi Mineur,
Daniel Crisp
Photographer
Im age num ber
WK-IMG_12.jpg
©Circa 2011
L‐R
Jessica Connell, Brittannie
Portelli, Rudi Mineur, Daniel
Crisp, Alice Muntz, Nathan
Boyle, Todd Kilby
Photographer
Im age num ber
WK-IMG_13.jpg
©Circa 2011
17
OCTOBER 2011
L‐R
Jessica Connell, Brittannie
Portelli, Rudi Mineur, Daniel
Crisp, Alice Muntz, Nathan
Boyle, Todd Kilby
Photographer
Im age num ber
WK-IMG_14.jpg
©Circa 2011
L‐R
Nathan Boyle, Alice Muntz,
Daniel Crisp
Photographer
Im age num ber
WK-IMG_15.jpg
©Circa 2011
L‐R
Jessica Connell, Alice
Muntz, Rudi Mineur
Photographer
Im age num ber
WK-IMG_16.jpg
©Circa 2011
18
Wunderkammer Presenter Pack
October 2011
TECHNICAL SPECIFICATIO NS
O CTO BER 2010
Contact
Jason Organ
Technical Director
[email protected]
+61 7 3852 3110
+372 59 264 269 (International number)
NO TE - IM PO RTANT
These technical specifications are not optional – they form part of
the contractual agreem ent for presenting W underkam m er. If there
are any problem s w ith delivering the technical requirem ents outlined
in this docum ent they m ust be discussed prior to contract.
20
October 2011
Running Tim e
•
85 minutes (approx)
Interval
•
No Interval (interval can be arranged by consultation with Circa)
Touring Com pany
•
10, consisting of
- 7 Performers
- 1 Producer/Tour Manager
- 1 Technical Director/operator
- 1 Stage Manager/operator
Schedule
Second day open
Day 1
09:00 –13:00 Setup, lighting, rigging
13:00 – 14:00 Lunch
14:00 – 18:00 Setup continues + sound
18:00 – 19:00 Dinner
19:00 – 22:00 Plot and/or Technical safety
Day 2
09:00 – 12:00 Tech Hold
12:00 – 16:00 Technical Rehearsals
16:00 – 17:00 Dinner
17:00 – 19:40 Show Preparation
19:40 – 20:00 Clear on stage, house live
20:00 – 21:30 Show
Venue Crew
Setup
• Stage Crew x 6 x 8 hours
• Lighting Crew x 8 x 8 hours + 4 x 4 hours
• Circus Rigger x 1 x 4 hours
• Audio x 1 x 4 hours
• Audio x 1 x 8 hours (system tech)
• 1 x Lighting system tech to stay on till finish
Tech
•
•
•
•
Hold, Technical Rehearsal and Show Preparation and Show s
Stage Crew x 2 (1 x fly, 1 x stage mechanist)
1 x Lighting system technician
1 x Sound system technician
Additional crew is set up/strike between shows as required.
Get Out (3 hours)
Minimum required to strike and load out CIRCA’s equipment
• Stage Crew x 3
• Lighting x 2
• Circus Rigger
21
October 2011
Stage
Stage
• Minimum area 12mx12m
• The stage must be stable, level and suitable for acrobatic impact.
• The stage surface should be black or covered in Black dance floor.
• Stage should be swept and mopped prior to Circa’s arrival.
• Dance floor to be mopped by venue crew just prior to doors.
M ats
The staging consists of 10mx10m of acrobatic mats 30mm (smaller stage size
can be negotiated with Circa). The mats are joined together by velcro strips.
Depending on the size of stage and the venues sightlines, the mats are usually
set approximately 2 metres from the downstage edge of stage. Over the mats,
black dance floor (Rosco, Harlequin or equivalent) is laid minimum 12mx12m.
M asking
Masking stage to have 5 wing flats/legs per side min height must be equal to
proscenium height in venue. Taller upstage is preferable.
Back drop:
2 x Flat black smothers
1 x Black French action
Rigged from Upstage (USTG) 1 smother 2 lines down French action, 2 lines down
2nd smother. Out dead of second Downstage (DSGT) smother is border height
for USGT cloths.
Circa Supplies:
• Acrobatic mats
• Velcro strips to join acrobatic mats
Venue Supplies:
• Black dance floor and tape
• Masking
Rigging
The performance features a trapeze and a corde lisse (rope). Both are hung from
static points on truss or from the grid.
Circa Supplies:
• Circus aerial equipment
• Lines, carabiners, pulleys and other rigging hardware
Venue Supplies:
• Rated point from grid or stable truss
• Any additional hardware required to achieve these points
• Circus rigger
22
October 2011
Control Position
The Circa Production and Tour Manager operates lights, sound and video for the
performance. Our preference is to be at the back of the stalls and not in a control
room. Control rooms with glass windows are not suitable. Please ensure that
tickets are removed from sale to accommodate an audience control position.
Circa Supplies:
• Control equipment for lighting and sound
Venue Supplies:
• Rear of Stalls position (not control room). Ensure appropriate tickets have
been removed from sale for this purpose
• A 2 meter table and 2 chairs
• 1 x 110V or 240V power supply for lighting control equipment
• 1 x 110Vor 240V power supply for audio and vision control
• Talkback to Stage Manager/Rigger on stage
• Microphone for pre show announcement
Lighting
Lighting:
Fixtures:
• 7 x Microphone stand happy tubes
• 12 x Mini strips with foot plates
• 24 x happy tubes or 1m Versa tubes in 12 banks of 2 running horizontally
• 8 x VL 3500 Q spots – 2 x FOH, 6 over stage, 4 corners + 2 x central.
• 10 x Booms with 4 x Source 4 profiles + 2 x Source 4 pars on each. (4
circuits) 5 booms per side.
• 1 x upstage run of vertical black box truss min 300mm 8 - 9m high. 24
pars rigged in pairs side by side from .5m from base to 8m
• The upstage vertical box truss that has 24 par 64’s rigged on it has two
positions - vertical and 45 degrees. The truss moves during the
performance. This truss can be rigged to a fly bar or chain motor and
needs to be cabled in such a way as to facilitate this movement. The
move happens USTG of the black french action tabs and is not visible to
the audience.
Colour:
Boom colours
• L195 + L242 in S4 par circuits
• L343 + L200 in 2 profiles per boom
Mini strips:
• Side units get 2 x circuits of open white (OW) + 1 circ of L711 each
• Rear units get 1 circ each of L195, L106, OW
Circa Supplies:
• Lighting desk
23
October 2011
Venue Supplies:
• All lanterns and colours as specified above and data cable and splitters as
required
• DMX 512 feed to dimmers and intelligent fixtures from control position. 1
DMX universe Channels 1 – 512. Happy tubes will be a further 3 universes
from a Ethernet to DMX Hub
• House Light control from control position
• 1 clean 240V or 110v power feed (separate from audio)
• Suitable blue work light in side wings and upstage crossover (must not
spill onto stage)
Audio
Circa tours with its own laptop based audio system outputting to a sound card.
The sound card outputs 2 XLR lines L & R patched to the house desk. As a
backup, Circa uses an Ipod with 2 XLR lines L & R patched to the house desk. The
venue should supply cabling from Circa’s outputs to the house desk. The PA
should be rigged and tuned prior to Circa’s arrival.
Circa
•
•
•
Supplies:
Laptop based audio system
Ipod for backup
1 x Handstand Theramin
Venue Supplies:
• FOH PA with even distribution to all parts of Auditorium rigged and tuned
prior to Circa’s arrival
• Onstage foldback minimum 1 per side mid stage on separate send post
fader
• 4 x XLR input lines from Circa’s equipment
• 1 x vocal microphone at control position for rehearsals and performance
• 1 x vocal microphone at side stage for pre-show announcement
• 7 x vocal microphones Sure SM58’s for Happy tube stands.
• 1 clean 240V or 110v power supply (separate from lighting)
• 1 x 240V a/c from audio power source to DSTG centre – For Theramin
• 2 x DI lines to DSTG centre – For Theramin
• All cables and connectors
W ardrobe
Circa requires daily wardrobe maintenance. 28 costumes need to be hand
washed and air-dried on a needs basis.
Circa Supplies:
• All costumes
Venue Supplies:
• Wash, dry and return to dressing room if in season
• Wardrobe facilities in venue including Washing Machine/Dryer and
Iron/Ironing Board
• In season maintenance and minor running repairs as required
24
October 2011
General Equipm ent
•
•
•
•
Elevated work platform with a 10 metre reach for the lighting focus,
rigging of circus apparatus and focus of projector
Mops and brooms
Cable (240v/110v)
Table for Front of House
Perform ers Rider
To ensure the performers are in peak condition to deliver the best performance
possible, Circa requires the following:
•
•
•
•
•
•
•
Ice available near stage to immediately treat injury and for warming down
7 clean towels per performance
2 large dressing rooms, one male and one female to accommodate 4 and
3 performers respectively with showers
Ample filtered water for each performance
High energy snacks such as muesli bars, dark chocolate, fruit and nuts
2 litres low fat milk (1% or 2% fat - not skim/not whole milk) per day
Air‐conditioning/ Heating set and running between 21-23 degrees Celsius
for 4 hours prior to performance to the conclusion of performance
Additional Requirem ents
•
•
No personnel are allowed in the wings during performance or warm up
without the approval of Circa’s Technical Director.
Access for Circa’s van/truck and parking for 3x cars if performances are
part of a road tour.
25
C
L
access to back dock
access to back dock
LED DETAIL
Each of these symbols denote a unit comprising a straight microphone stand, with
a vertically mounted Led "happy tube" and a SM 58 vocal microphone. Detailed rigging and patching
diagram will be supplied.
LED "Happy tube"
Source 4 Par (mfl)
Each Ministrip has 2 x LED "happy tubes" mounted in
Front of it. These form a visual border to the acrobatic mat.
Detailed rigging diagram will be supplied.
GOBO/IRIS
COLOUR
Mini strip
black drape track
CHANNEL
Par 64 MFL
4000
62
61
60
59
58
57
56
55
54
53
52
51
50
49
48
47
46
45
44
43
42
41
40
39
38
37
36
35
34
33
32
31
30
29
28
27
26
25
24
23
22
21
20
19
18
17
16
15
0
L343
15
14
34
4
24
0
L343
L195
33
L242
13
3
23
0
L343
L195
21
L200
L343
L200
31
14
13
12
11
10
343
L242
11
21
22
2
1
303
305
304
27
L343
L200
7
17
9
8
L195
17
37
g
askin
false pros header
46
50
26
38
37
rtain
r
pe
up
36
+
cle
ci r
50
58
ry
lle
ga
37
0
05
+9
36
38
37
36
39
44
32
31
35
35
34
34
35
34
33
33
32
32
33
saf e
t
31
29
30
30
31
28
28
A
27
26
25
25
2
24
4
22
2
23
3
21
20
19
18
17
16
15
14
B
27
26
25
25
24
2
23
3
22
21
21
2
20
0
1
19
9
18
17
16
15
14
13
11
12
13
11
12
9
10
56
55
29
28
26
27
25
D
57
24
58
22
2
23
3
2
21
1
2
20
0
59
19
18
60
16
17
15
61
14
12
13
9
10
11
28
27
26
25
24
23
2
22
2
21
2
20
0
19
18
17
16
15
13
14
12
11
F
30
29
28
27
26
25
2
24
4
2
23
3
22
21
2
20
0
1
19
9
1
18
8
17
16
15
14
13
12
11
8
9
10
perm
ane
7
5
6
1
2
extreme side circle sightline
2
3
4
1
1
10500
41
back cove, top rail +14500 (not true position)
42
1
1
back cove, bottom rail +13500
OP F/S
C F/S
43
L201
L201
PS F/S
L201
L201
L201
1
gallery +10370
301
44
47 50
47 51
48
52
49 53
302
54 49
1
upper circle +8325
47
48
pass door
to auditorium
1
10500
49
g
1
41
48
nt m
askin
1
2
3
4
5
6
7
8
9
10
rtain
3
4
5
6
7
8
E
29
16
5
6
7
8
9
10
y cu
8
front cove +12420
31
32
40
30
29
6
green bridge above +7550 clearance
safety curtain
30
36
45
No Live Fly 2
No Live Fly 1
31
26
0
16
Boom # 1 PS
black drape track
ty cu
saf e
6
L200
L195
L242
false pros legs (widest position)
L343
L200
L343
7
6
43
Boom dimensions are to Boom arm from floor.
All Source 4's on booms require R132 frost
as well as indicated colour.
Boom # 2 PS
Line 19
(narrowest position)
+
cle
ci r
pass door
to auditorium
L200
18
Line 13
green bridge lower rail +8710
green
42 bridge upper rail +10210
m
8
38
Boom # 3 PS
orchestra pit lift
33
extreme side circle sightline
0
41
nt
ane
perm
18
L242
7
L200
L195
L343
black drape track
Boom # 1 OP
1
12
32
0
L195
11
2
12
L242
28
0
corde
L343
0
L2
42
L343
8
19
90
5
Boom # 2 OP
L200
L242
Line 35
9
39
L200
L343
Trapeze
19
29
er
y+
L200
9
Boom # 4 PS
ga
ll
Boom dimensions are to Boom arm from floor.
All Source 4's on booms require R132 frost
as well as indicated colour.
308
L195
58
50
3
13
0
L343
307
exit to
dressing rooms
L200
ci r
cle
+
Boom # 3 OP
L200
L242
306
L343
L200
L343
up
pe
r
L200
0
ck
L242
20
t ra
4
14
L343
40
Boom # 5 PS
e
L200
L195
Boom # 4 OP
0
10 30 20
10
ap
L343
L200
5
25
L195
dr
exit to
dressing rooms
35
L242
L200
k
6
15
ck
t ra
L242
L343
L200
L343
ac
bl
k
ac
bl
e
ap
dr
L195
L343
0
26
50
Boom # 5 OP
L200
1t
ci r
cle
+
L200
67
66
65
64
63
46
47
45
46
47
46
44
45
45
circle rail +6025
43
44
42
43
44
43
41
42
42
40
41
Q
39
38
37
36
35
34
33
32
31
30
29
28
27
26
25
23
24
22
21
20
19
18
17
16
15
13
14
12
11
9
10
R
40
39
37
38
36
35
34
33
32
30
31
29
28
27
25
26
24
23
22
20
21
19
17
18
15
16
14
13
12
S
41
40
39
38
37
36
35
34
33
32
31
30
29
28
27
26
25
24
23
22
21
20
19
18
17
16
15
14
13
12
11
10
9
8
7
6
5
4
1
2
3
4
5
6
7
8
9
10
11
6
7
8
5
2
3
4
1
3
2
1
T
41
40
39
38
37
36
35
34
33
32
31
30
29
28
27
26
25
24
23
22
21
20
19
18
17
16
15
14
13
12
11
10
Projection Box
Sound Box
Translation Box
Video Box
LX Box
SM's Box
C
L
Rigging detail
1t
1t
1t
600
1200
3000
Two guy lines per side.
2t ratchets the preferred method.
Trapeze hung on 2
adjustable straps
Corde dalaise
Hung on adjustable strap.
PRODUCTION: WUNDERKAMMER
VENUE: BARBICAN THEATRE
DIRECTOR: YARON LIFSCHITZ
LIGHTING DESIGNER: JASON ORGAN
OCTOBER 2010
TECHNICAL ENQUIRIES TO JASON ORGAN
[email protected]
Circa will supply all the rigging required for the aerials, adjustable straps, tape slings and carabiners.
Circa tour a lightweight pullout system for the aerials this can either operate "standalone" or can be attached to venue fly lines.
All equipment required to rig and stabalise the truss is the responsibility of the venue.
September 2011
CIRCA RISK ASSESSMENT
SHOW: WUNDERKAMMER
AREA OF RISK
TYPE OF RISK
IDENTIFIED
RISK
LEVEL
(L, M, H)
CONSEQUENCES
1 -5
RISK MANAGEMENT STRATEGIES
L
2-4
Suitably trained and ticketed riggers with circus
experience;
Gear checked pre-tour and on weekly basis;
All venue equipment is rate and/or engineer certified.
M-H
1-3
Ensure adequate warm up and safety/technical under
lights;
Appropriate levels of training;
Appropriate management of fatigue, minor injury
management and nutrition.
(1=minimal,
5=catastrophic)
Rigging
Equipment breaks
Falls from height
Physical/Acrobatic
Physical injury due to
acrobatic mistakes
Electrical
Electrocuted
L
4-5
All equipment is coded;
All operators are experienced/licensed;
Water is kept away from equipment;
Emergency procedures are in place.
Bump in/out
Falling equipment
Trips
General accidents
Asphyxiation
Electrocution
L
2-4
Ensure appropriate safety equipment including
helmets and harnesses;
Healthy and rested crew with appropriate breaks;
Well-lit and ventilated working conditions;
Safety barricades for working at height;
No unauthorized personnel in space;
Safety briefing;
First aid kits;
Fire extinguishers;
Experienced Technical Director and Production
Managers.
For further information contact: [email protected]
27
September 2011
Fire
Electrical
Chemical
Open Flame
L
1-5
No open flame in show
Regularly check cables and other electrical devices
Ensure proper clean-up of chemicals where used by
venue;
No smoking in building;
Alarms;
Smoke detectors;
Well-promoted evacuation procedures and training;
Material data safety sheets, equipment registers and
fire retardant where appropriate.
Audience
Trips
Medical Emergency
Terrorist or other Act of
God
L
1-5
Ensure appropriate briefing and touring;
Adequate first aid;
Appropriate evacuation and emergency protocols;
Venue compliant with relevant codes and standards;
Cables secured;
No public access to stage or backstage areas;
Appropriate venue and security staffing.
For further information contact: [email protected]
28
October 2011
M ARKETING EXAM PLES
Marketing Examples
P27 – P33
Flyer, Barbican
P28
Program, Barbican
P29
Flyer, Chamaleon Theatre
P30
Flyer, Chamaleon Theatre
P31
Poster, JWCoCA
P32
Program, LeGrande Scene
P33
27
19 – 24 Jul
Barbican Theatre
Circa
Wunderkammer
‘Faster, stronger,
more extravagant...’
The Australian
The Australian circus
troupe returns with
a cocktail of new
circus, cabaret and
vaudeville.
Tickets from £16
barbican.org.uk
The City of London
Corporation is the
founder and
principal funder of
the Barbican Centre
Judith Wright Centre presents a Circa production
cIRcuS
A sophisticated
cocktail of new circus,
cabaret and vaudeville.
This is your only chance
to see Wunderkammer
before it heads to Berlin
for an eight-month
run at the renowned
Chamaleon Theatre.
ourbrisbane.com
Tue 14 – Sat 18 June
7.30pm
BACK BY
POPULAR
DEMAND
THE HIT OF
BRISBANE
FESTIVAL
2010
“…fantastic entertainment:
shocking at times, thrilling,
sexy, beautiful, moving and
captivating throughout.”
Tickets from $25
Circa acknowledges the assistance of the Queensland Government through Arts Queensland and
the Australian Government through the Australia Council, its arts funding and advisory body.
Sat 6 November
7.30pm
judithwrightcentre.com
07 3872 9000

wunderkammer

Transcription

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