Few companies done more to advance the art, and profile of contemporary Circus than Yaron Lifschitz’s Circa. Their work has been seen by more than 1.5 million people across the globe. the company’s newest work, Humans 2.0 will play London’s Southbank Centre from 12th to 16th April, a follow up to the widely acclaimed Humans. Ben Knapton, Associate Director of Circa, was kind enough to sit down for a few questions from The QR, on life, art, and 21st century circus innovation.
Ben, what first drew you into the circus arts? Are Circus arts big down under?
In 2010 I was creating and touring theatre as well as completing a PhD in Directing. I went and saw a Circa show called The Space Between which (to my mind) seemed a beautiful meld of theatre and circus. Not long after that time, the role of Associate Director came upwith Circa, so I applied. 13 years later, I’m still here.
There is a rich history of circus in Australia which we are very fortunate to be part of.
What was left to say in Humans 2.0 after Humans?
Humans focussed on individuals and couples but also had a few big group acts – in some ways it had more of a traditional act structure than Humans 2.0. The group scenes in the first Humans were super exciting and demanded more investigation. So, Humans 2.0 does that, with 10 performers on stage nearly the entire time. The show begins where Humans finished, with a moment of synchronisation. Moments later that harmony is disturbed and the bodies go through a series of scenes where they are consistently seeking, discovering and pushing.
Have circus arts always been so intertwined with profound explorations of human experience? Or is this an emerging innovation?
Circus has always been a unique form of storytelling. One of the great things about the form is that there are so many different approaches and outcomes. When we make work, we are using the artform, the people, and the concepts behind the show to create something that moves people and allows them to see or think or feel something different, something that transforms. It’s essential that the artists in any circa show reveal something about themselves every time they perform.
Do you think the experience of circus arts changes once brought out ‘the tent’ and into theatres?
We have created shows for tents, theatres, cathedrals, cemeteries, parks, town squares and many other locations. The beauty of this diversity is that the relationship between the audience and the artwork is so different in each space. The theatre provides a tight frame where we can control exactly what the audience sees, and dark and light become strong dramaturgical tools, whereas in a park, there is more of a communal experience where the proximity to the performers and other audience members creates a strong sense of community. We love new spaces that change the experience of the art.
Where do the circus arts ‘end’ and ‘dance’ begin? Is that even a meaningful question?
Honestly, I have no idea! Our ensemble is made up of circus artists, and Circa’s Artistic Director and our artistic team work with them to create performance that move people and push the circus art form in new directions. Sometimes that looks like dance.
How central is music to Humans 2.0?
It’s crucial. Ori Lichtik created the music, sending drafts to Yaron Lifschitz, the director, who would test and stress the music with the acrobats and the material he was creating. Humans 2.0 is not an easy piece, and the music is similar in that the bodies and music are in a jazz improvisation session, working together to find an equilibrium and push for a moment of pause, synchronization, or balance. It’s exhilarating to watch.
Will there be a Humans 3.0?
I think good shows always inspire and engage their makers and their audience. Just as Humans 2.0 was an energetic response to Humans, I am confident that there is another piece waiting to respond to Humans 2.0. It may not be called Humans 3.0, but it could be!
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