Both outdoors and indoors, the Montreal Completely Circus festival is in full swing. Among the indoor offerings, we find Duck Pondby the Australian company Circa, presented from July 9 to 13 at the Tohu. Inspired by classical ballet Swan Lakethis contemporary circus creation borrows elements from theater and dance, all wrapped in humor and reflection on identity.
“I’m expecting a great Circa, as usual, with artists who will push themselves to the extreme, performances that feel good, and with the inspiration of Swan Lakeit will add even more beauty,” explains Stéphane Lavoie, general and programming director of Tohu, when he talks about Circa’s new creation, Duck Pond. Indeed, for over 20 years, Tohu has had a special relationship with the Australian company. It is also the most programmed foreign company, both in season and in festivals. “The artistic director, Yaron Lifschitz, is truly prolific and very creative. He has a great culture of operas, classical music, contemporary dance and acrobatics. It is this mix that makes the company unique and explains why it is one of the most programmed in the world,” continues the general director.
The dance and theatre aspects have also been further developed for the show. Duck Pondsince it is not only inspired by the Swan Lakeby Pyotr Ilyich Tchaikovsky. “I think the circus should be allowed to explore authentic beauty, sumptuous textures and a little bit of glamour. I didn’t just want to do the Swan Lakebut mix it with The ugly Ducklinga story of identity, discovery and birds,” explains Yaron Lifschitz. It was, however, an avenue little-known to performers, particularly Kimberley Rossi, an artist for Circa since 2011. “We don’t usually play people in our creations, but for Duck Pondwe got closer to the theater,” adds the one who plays the black swan. However, she enjoyed the experience, because, according to her, the circus, and in particular Circa, allows her a free and ever more advanced expression. “The company nourishes the fact of being oneself on stage. Having this role to play was certainly a challenge, but a great challenge,” she concludes. “To be able to play a well-known role and weave parts of myself through it was a lot of fun.”
As in some other pieces, Circa also incorporates humor into this new creation, begun last year. “We use humor occasionally, and only with a very clear intention. Swan Lake “It’s a play that takes itself very seriously and I thought it was good to add a little humor to it,” says Lifschitz. Lavoie says Circa’s approach is very “playful” and that’s what audiences like. “We’re going to smile a lot when we see the show. They don’t take themselves seriously, they have this very Australian, very britishwhich allows us to give a lightness to the subject, to create a bond with the public, while showing that nothing is done lightly on a technical level.
Of endearing acrobats
Simplicity is also the trademark of the Circa company. Indeed, it does not offer a multitude of apparatus or large sets. On the contrary, it specializes in acrobatics and generally keeps a simple scenography. “The company has developed a school in Brisbane that focuses on very physical acrobatics, really very strong. It already existed, but the company has brought back to the forefront of the stage women who carry men on their shoulders, for example,” says the general director of Tohu. Strength is thus one of the qualities of the artists who make up the company. “But they are not athletes, it is not done mechanically, but organically. The artists offer fluidity on stage, with bodies that intertwine, circulate. There is roundness in Circa’s proposals,” continues Mr. Lavoie.
In addition to physical performance, Circa artists also demonstrate “strong personalities and sensitivity.” “That’s what it takes to work with Yaron, but also great agility to welcome others, but also lifts, throws, etc. They take us into extreme forms and are always reinventing themselves. They play on acrobatics, but the charisma of the artists also makes them very endearing,” adds the circus enthusiast.
The scenic composition, although elementary, remains developed and “very interesting,” according to Stéphane Lavoie. “The lighting effects make you think that the scenery changes regularly. Music is also very important for Circa. Its soundtracks always get noticed.”
This bodily and scenographic anthology makes Duck Pond a show not to be missed, according to the general director of Tohu. “The artists of Circa, [avec] Their tolerance for pain, their risk-taking, are impressive. It’s done with taste and class. Ballet lovers will find romanticism there, but revisited with gestures that no dancer can do. It pushes further. People will come out of there dazzled, amazed, will say: “Wow, this is incredible!”