Are you an experienced circus performer or aerialist looking for a space to express yourself? Look no further! We are planning a special circus edition of our regular curated scratch night, FRINGE FUSE in partnership with The O’Reilly Theatre and guest curated by the brilliant performer, maker and Fringe hero, Emily Aoibheann.
We are looking for circus performers or aerialists with proposals on aerial, dance, acrobatics, clown, puppetry, juggling and so on, but also with new, unconventional ideas. So do you have any crazy notions you’ve been mulling over? Do you work with unseen and unusual elements that could bring something new to the table? Join us for a night of exploring the Irish contemporary circus as a multidisciplinary art form!
Selected participants will have approximately 5-15 minutes to show their work. We provide the space and necessary equipment for acts that need to be plugged in, projected or rigged. FRINGE FUSE is a place where constructive feedback takes the forms that suit you best, so submit your proposal to firstname.lastname@example.org. The deadline for the applications is Friday, 11 August, 5pm.
The application must include: an outline of your idea, proposed duration, technical requirements (aerial, rigging, music, etc.), a short introductory bio including web links to previous work (if applicable).
As artists, there is the work we manifest in the world, and there is the work that goes on, unseen, under our skin. The work that exists under our skin often has no home in the real world, it has no platform, it’s complicated because it exists in the underworld.
As entrepreneurs, an activity closely linked to creativity, especially in circus, our resourcefulness and strong instinct of self-preservation is finely tuned. We like to make the rules for our lives. This leaves little room for fear, vulnerability and the unknown, although we dabble in this as part and parcel of our commitment to leading unusual lives, surrounding ourselves in surreal environments, with strange people, doing strange things.
Circus is a broad term. It encompasses entire cultural histories and anthropologies. Despite our diversity, it is circus – whether embraced, rejected or reinvented – that has helped us form our associations and networks. In this exciting moment we have come almost from nothing, but suddenly emerging into a new, highly innovative and largely underground cultural, entrepreneurial and creative moment. We all feel the vibrancy of this emerging thing and some of us enthusiastically agree that this raw creative energy remains largely unseen, explored only in private.
We want to find our audience, but I want to see what’s going on in your head. You, circus artist, who negotiates between personal preoccupations and what you presume an audience wants to see. In this unformed, buzzing landscape that can be described as an emergent Irish contemporary circus style, how do we connect together in productive and exciting ways, in attempt to share and articulate the energy of the unknown?
Is it always about the punchline? Is it about the trick?