Viva Brighton Issue #50 April 2017

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CIRCUS .................................... KIN Narrative acrobatics Dance and theatre director Ben Duke has collaborated with acrobatic heroes Barely Methodical Troupe on their new show, KIN. In a general sense, dance is introverted where circus seems extroverted - needing the audience to feed it. A few years back, I made a dance piece called It Needs Horses, about two circus performers. It explored the concept of having no skills or talent and the increasingly desperate lengths the performers would go to to entertain - very direct in terms of contact with the audience. It made me think about how dance deals with a fourth wall; the performers aren’t necessarily pretending to be someone else and it isn’t like theatre, where you’re developing a separate world, but dance tends to have an inward focus. I was curious about how these disciplines, dance and circus, could meet - if an emotional narrative could find its way into this extreme physical language of the circus. KIN is Barely Methodical Troupe’s second show after Bromance - the story of founding members Charlie, Louis and Beren’s relationship. Bromance was a huge hit and they built a kind of reputation and aesthetic; but we’re trying to do something different with KIN, which explores ideas of hierarchy and power struggles. KIN is about people who become close because of the situations they are put in - the families that form outside ‘blood families’; the circus is interesting in that way because of the physical and mental closeness, the trust and danger involved and how that builds connections. This show looks at contemporary ideas of those power and gender roles. This is an exciting time for the circus - it’s got an openness and curiosity about what’s going on and it’s learning how to borrow and steal from other things. There’s something about the idea of entertainment that circus embraces very consciously, which is a great thing. I’m a big fan of dance, but it can have a feeling of inaccessibility or, like with conceptual art, that you need some kind of key to understand it. I don’t think that’s the case, but I think that’s how a lot of people feel. But circus is overtly fun and inclusive, less formal for the performers and the audience. If a trick goes wrong, you can do it again; there’s a kind of humanity in that - we can acknowledge the fact that it didn’t succeed and that gives the circus a kind of relatability. KIN is a kind of experiment in sustaining a narrative in circus. For me it shifts between these moments where there are tricks, while feeling like you’re lost in an amazing world; there’s an atmosphere that carries you through, which creates an emotional and theatrical landscape. It’s interesting to notice the kind of audience that comes to KIN as opposed to a dance performance. It’s got a more relaxed kind of vibe; beer and popcorn, not high-arts stuff. They want to clap and cheer for tricks, and I think that’s how it should be; but that doesn’t mean it can’t be intelligent. As told to Amy Holtz <strong>Brighton</strong> Dome, Wed 19th <strong>April</strong>, 3pm and 7.30pm ....49....
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Viva Brighton Issue #50 April 2017

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