Volume 1 Number 10


Hi Folks,

A little bit of fun this week as we have a quick look at the use of Circus Skills in the Drama class (and beyond).

LESSON/ACTIVITY IDEA

I was going to write a few simple ideas about teaching kids to juggle, ride unicycles and do some basic acrobatics, but as I did my research on the web I discovered there are many wonderful resources out there that tackle the technical aspects far better than I ever could.   It was interesting as I sat down to write this article this morning.  I was just reading my morning paper and spotted a small article that reported on a school that was required to pay $61,000 compensation to a student who was doing hand-stands and flips as part of an acrobatic routine.   This of course raises the increasingly contentious issue of how the fear of litigation is limiting what we offer in schools.  Childhood has always been a risky time and I think as long as we are aware of the risks and take "reasonable" precautions then we have demonstrated our requisite duty of care.  However, don't think quoting me on that will help you should a lawyer working on percentages decide to go for the jugular when one of your students trips over their own shoelaces and falls and breaks their nose in your classroom - you should have foreseen that this was possible and positioned impact absorbing flooring to avoid the break!  

Despite the current concerns I believe their are many good reasons to incorporate Circus Skills at some stage in your students Drama education.  I would also suggest that this could be the ideal time to collaborate with our Physical Education colleagues.  The benefits I've witnessed are

Not all circus skills need to be of the high risk variety.   Juggling balls or scarves is far less hazardous to person (although sometimes property might take a beating) than unicycling, fire breathing or trapeze work... however once you start teaching the kids to juggle Queensland Cane Knives, machetes, chainsaws, fire brands or the neighbours cat you start to leave yourself open to lawsuits.   

I am a juggler myself and find that it is good exercise, a great stress reliever at times and also a heap of fun.  The meditative (or concentration) benefits are also well documented.   Teaching a class to juggle 3 balls is a delight and most students find it very motivating because it is something they can see and feel that they have achieved.  If they all succeed in juggling three balls you can then up the ante by teaching them how to create "juggling machines", where several students juggle and pass their juggling balls between themselves with varying degrees of complexity.  I remember once having 10 students juggling a total of 30 balls passing them initially around a circle and finally had balls flying in all three planes of space.

But to get things underway I recommend you check out these sites - each has clear diagrams and step-by-step instructions on how to start juggling:

Go ahead, give it a try.   It will be good for you as well as your students.   And as has happened with every class I've taught juggling there is always at least one student who will surpass the teacher... and isn't that what we're there to do - to make our function redundant in the lives of our students!

RECOMMENDED WEBSITE

This site has a wonderful collection of circus related lessons.  A well laid out site that will appeal to teachers and students alike.

An interesting article that makes some claims about the merits of teaching circus skills.

PROFESSIONAL NEWS

The School of Physical Theatre is a full-time professional School devoted to the training of physical theatre artists - writers, directors, and actors. The School offers a focussed program - a voyage from the complex everyday world to its created reflection in the theatrical space. In the School the dynamic aware body bridges the gap between life and art.

Founded and operated in Canada since 1978 and now in London since 1999 by Ron East, with a mandate to foster creativity in the Physical Theatre and stimulate the growth and development of the physical theatre repertoire, participants are welcomed from all countries and cultural backgrounds. This cross-cultural resonance provides a dynamic opportunity to re-create the world in a theatre of Human Nature.

Founded in 1975, the Dell'Arte International School of Physical Theatre remains the only one of its kind in the U.S., offering full-time training in physical theatre, the creation of original work and related skills. The School's intensive one year Professional Actor Training Program, its summer workshops and Dell'Arte Abroad program offer dynamic training in the work of the actor / creator. In addition, we are pleased to announce the recent approval of our long awaited MFA in Ensemble Based Physical Theatre. We are now accepting applications for 2003/2004 for both our one-year Professional Actor Training Program program and our two and a half year MFA. Please check the section to your right--"Professional Actor Training Program" for additional information, or contact director of admissions Peter Buckley at Omword@aol.com.

Playspace Studio, directed by Alan Clay, was first established in Auckland, New Zealand in 1983, and reestablished in Sydney, Australia, in 1998, where the studio has pioneered a very successful mix of circus and clown training. Training with a physical focus, a theatrical approach to circus, and an irreverent approach to clown. Most graduating students are now working professionally, in many places in the world.

RECOMMENDED RESOURCES

Skills for Actors - Circus Skills
More Circus Skills

These two videos offer a clear introduction to some basic circus skill that an actor may be called upon to demonstrate as some stage in a career.  A useful resource also for Drama and Dance teachers.

Check out the Dube Juggling Catalogue

 

 

Pathways in Juggling: Learn How to Juggle With Ball, Clubs, Devil Sticks, Diabolos, and Beyond
by Robert Irving, Mike Edwards (Contributor), Mike Martins

Robert Irving has worked for "More Balls Than Most" for three years and runs their UK operation. Although his passport describes him as an International Accountant and his wife describes him as a "typical bean counter," he is actually a very interesting person (he says) and has been juggling for over 10 years. He has just managed to grasp the Three-ball Cascade and now considers himself and expert.

Mike Martins is the head demonstrator for "More Balls Than Most"'s corporate team. When let loose from this role he enjoys maintaining his street performance and is a regular in London's Covent Garden. He is also a leading performer in the Sci-Fi Circus Cabaret "Conspiracy" and his own performance troupe have supported such international acts as "Archaos."

 

Kim Flintoff

Copyright © September, 2004