Brave steps into the unknown
Cirk La Putyka partly fell back on safe choices by bringing back extremely popular projects to the programme, such as R.I.E. – Rest In Euphoria and Okamžik (‘Moment’) for the big top Azyl78, but they also picked out some challenges on the opposite end of the aesthetic spectrum by scaling back acrobatic virtuosity in favour of authentic being. The autumn newcomer, Hey, Earth!, directed by Belgian choreographer Thomas Steyaert and the performances of eight artists mixed elements of object-movement theatre, new circus, performance, and conceptual art. Cirk La Putyka made this deviation from their more usual dramaturgical framework several times, be it with Dolls, Black Black Woods, or other pieces. This time, they consistently avoided being stuck in their comfort zone. At first glance, the lack of consistent messaging in the work came across like a succession of situations that had been generated either randomly, or through a difficult to comprehend principle. A second look at this specifically crafted universe dispelled the original notion of an ideological vacuum and shifted the view slightly towards the visually-kinetic action founded in tandem breathing and mutual chemistry, like looking at a lab sample of civilization under a philosopher’s microscope. A similar picture of paradox – of the relationship between dystopia and utopia, albeit without dozens of objects on stage, was evoked in part of the show En Masse by director Yaron Lifschitz, performed by Australian ensemble Circa. It was presented at the CirkUFF festival in Trutnov. The author placed acrobats – and thus a certain sample of humanity – in large inflatable cubes with transparent walls.
For the open-air festival season, Cirk La Putyka, went for a quick trip to the swimming pool for inspiration, seeking the fountain of youth with director Charlie Wheeller. The nimble and refreshing comedy SPLASH featured acrobatics, gags with well-timed punchlines, and was packed with carefree joy.
In addition, Losers Cirque Company also sought inspiration abroad. Directed by Firenza Guidi, Stranger was characterised by a spectacular challenge of gender stereotypes through an exhibition of poetic and obscure scenes, a sharp abbreviation accented by the incompleteness of actions and the allusive nature of relationships. A key part of the performance structure was Petr Horníček’s scenographic solution in the form of variable constructions. A lively collage of contemporary dance, physical theatre, and aerial and floor acrobatics evoked the wave of Italian neorealism and both a literal and symbolic underworld. For this ensemble, based in Prague’s Braník suburb, Stranger was a key turning point back to physically intense work within the new circus genre.