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Welcome to the December 2006 edition of the Artmedia physical theatre newsletter, your e-publication with an Australasian focus and a global perspective, now in its fifth year and reaching over 2,200 subscribers, with a further 5,300 on related Yahoo lists.
With our fifth year of publication drawing to a close, I would like to thank all the sponsors and advertisers who have supported the newsletter this year, and offer best Christmas wishes to everyone on the list. May 2007 bring much growth and success in your work.
In the Sponsorship this month, we welcome back the Dell'Arte International School of Physical Theatre in California, who next year will offer commedia dell'arte as part of their annual workshop series. Students on the commedia workshop will work with Dell'Arte's resident maskmaker Bruce Marrs to develop their own stock characters. Giovanni Fusetti, co-founder of the Kiklos school in Padua, Italy, and former instructor at the school of Jacques Lecoq in Paris, joins Dell'Arte's co-Artistic Director Joan Schirle, and master clown teacher Ronlin Foreman, to continue the legacy of Dell'Arte's founder, Carlo Mazzone-Clementi.
In the Angels Can Fly section we have another of the anecdotes, this time from Australian Performer Daniel Oldaker, who shares his inspiration to work with clown... Why not give a copy of Angels Can Fly to a friend for Christmas, or buy a copy for yourself ? ... For those in Melbourne, Daniel will be performing this Saturday, 16th, 8.30pm at Dantes, cnr of Gertrude and Napier streets, Fitzroy, together with the Birdmann (Trent Baumann), Ruby Rubberlegs, Tobias and Bartholomew, Justin Sane, Miss Judy and Inflatex in a nite of vivacious vaudeville and variety.
And in the Playspace section we still have some places on the February Clown Retreat in New Zealand, and I have now scheduled a new Sydney Clown Workshop in April. "Playfulness is central to clown, which is why we think of clowns as child like, and why they appeal to children. For a clown, it's all a game and the normal rules of life do not constrain the game, and there are no real consequences. This is the truth of it, if we let it be this way, and it is this freedom to play that we love, and sometimes fear, in clowns. Rediscover this play space in this one week intensive."
This month we also have a special report on Professional Training in Circus and Street Arts in Europe by the European network Circostrada, who released these first results of its survey on cultural policies concerning new circus and street arts in Europe last month at the Circus Arts Center of Lower-Normandy in France.
In the networking this month, the 2007 Big West Festival are seeking acts for a multi art-from celebration of contemporary art, multicultural and community events in the city of Maribyrnong, in Victoria, Australia. Also in Australia, Circa is seeking a new Head Trainer to lead its training centre in Brisbane, and Tangentyere Circus, a community Circus for kids living on Town Camps in Alice Springs is also seeking a circus trainer.
We also have a review of Circus Oz, Australia's flagship circus company, which is currently wowing audiences in New York, while elsewhere in America, Double Edge Theatre have information on their Winter Intensive to be held in January in Ashfield, Massachusetts, and Flip-Side Entertainment is seeking multi-talented performers in Nashville, Tennessee.
In the UK we have a call for participation in a project aiming to explore the ways in which music and clowning can interact, while two London based Swedish artists have an agenda of bringing contemporary art by emerging artists to the town of Trollhattan in Sweden through the [Deviant] Art Festival, and finally in India, Asiad Circus are looking for four performers who have a strong dynamic solo or doubles act to join their show.
We aim to provide an avenue of communication for the physical theatre community, so send us information for inclusion in this newsletter, and please also forward this to someone else who may be interested.
Artmedia Network News
On the Artmedia site you can find links to performers, companies, resources and festivals all over the world, and you can also subscribe to this newsletter. The newsletter archive includes all issues for 2002, 2003, 2004 and 2005. Check it out at: http://www.artmedia.com.au/news.htm
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Sponsor:Dell'Arte International School of Physical Theatre
COMMEDIA DELL'ARTE INTENSIVE: JUNE 26 - JULY
21, with Giovanni Fusetti, Joan Schirle, Ronlin Foreman and others
With the historical stock characters as a foundation, we will use traditional and contemporary models to explore the actor in the space, improvisational theme development, ensemble play, and the concept of mask as character, partner and object, requiring the actor to invest body, voice and mind.
Students will work with Dell'Arte's resident maskmaker Bruce Marrs to develop their own stock characters. Giovanni Fusetti, co-founder of the Kiklos school in Padua, Italy, and former instructor at the school of Jacques Lecoq in Paris joins Schirle and Foreman to continue the legacy of Dell'Arte's founder, Carlo Mazzone-Clementi, who was uninterested in "the gospel of commedia" but saw the Italian spirit of improviso as the key to the actor's spontaneity and creativity.
This workshop is geared toward professional and student actors, teachers, directors and all performing artists. Taught by commedia specialists and master teachers, this workshop will be a unique opportunity to explore 'the art of the skilled ones.'
Dell'Arte's annual Mad River Festival runs concurrently with this workshop, presenting the Dell'Arte Company in Tartuffe, as well as The Greatest Story Ever Told, a commedia-inspired tale of two rogues hoping to cash in on the birth of Christ.
The DELL’ARTE INTERNATIONAL SCHOOL OF PHYSICAL THEATRE is the North American center for the training and performance of the actor-creator. This year we celebrate 32 years in Blue Lake, where students from around the world study amidst the majestic redwoods and rugged beauty of California’s North Coast. We are the only institution in the U.S. offering a full-time professional actor training program in physical theatre, through a one-year certificate program, and an accredited three-year MFA in Ensemble-Based Physical Theatre. We also offer summer workshops, open training sessions, and Study Abroad programs in Bali and Denmark.
Dell’Arte international is an extraordinary community of artists. The combination of our training programs, research, the original touring productions of the Dell’Arte Company, our summer festival, our youth education programs in public schools, and our work in economic/community development makes us a destination unlike any other on the American theatre map.
Feature: Angels Can Fly, a Modern Clown User Guide, by Alan Clay
Why not give a friend a copy of Angels Can Fly for Christmas, or buy a copy for yourself ? You can find the paperback on Amazon by following this link: http://tinyurl.com/9nrwj .
This month we continue a series of excerpts, with another of the anecdotes, this time from Australian performer, Daniel Oldaker:
42. Anecdote: Hey Clown
Whilst training at CircoArts in Christchurch, New Zealand, a
realisation occurred that I didn't want people just to be amazed by my
skills but laugh and have wisdom arise from the various performances I
created. At that point I decided to explore the art of clowning.
Daniel Oldaker was born in Ballarat, Australia, and is
currently based in Melbourne. He began performing professionally at the
tender age of 18 as part of a double act, winning first prize on Red Faces,
Australia's premier TV variety show. Daniel then spent two years perfecting
his abundant physical skills at CircoArts Circus School, Christchurch, New
Angels can Fly includes a mix of fiction which follows the adventures of ten clown characters, some personal clown anecdotes from clowns from around the world, a total of 50 practical clown exercises, and some theory on the nature of modern clown. The book is available on order through bookshops and online stores in New Zealand, Australia, America and England. Order your copy today.
"Clown is a fascinating, diverse, complex and exciting art form, which has existed around the planet for thousands of years. Like any art form it has to evolve to stay relevant to the culture nurturing it, and at the same time, and by its very nature, clown teases and turns upside down the cultural patterns and boundaries around us."
Playspace: New February Clown Retreat with Alan Clay in Sandy Bay, New Zealand
February Clown Retreat - Tuesday 6th to Saturday 10th February 2007 (5 days), 10am to 4pm each day.
The Clown Retreat will be held in a secluded studio by the beach at Sandy Bay, at the top of the Coromandel Peninsular, about four hours drive from Auckland, New Zealand. The fees include six nights accommodation with kitchen facilities. The Clown Retreat is timed to be held just after the World Buskers Festival in Christchurch for those coming for the summer season in New Zealand. The Retreat will provide an opportunity to reconnect with that playful, inquisitive, cheeky, clown spirit in a beautiful outdoor setting.
Earlybird NZ$620 (by 8th Jan 2007), NZ$720 (full) - A NZ$100 deposit is payable to hold a place. These fees include 6 nights accommodation.
2007 Sydney Clown Workshop Program
Alan Clay's Sydney workshop series for 2007 has been themed for greater targeting of individual preferences, however each workshop will essentially cover the same ground work in clown, with a good physical warm up, and exercises to develop emotional expression and clown communication skills.
April Clown Intensive - Playspace - Monday April 2nd to Friday 6th, 2007, 10am to 4pm each day. $400 Price Buster (by January 15), $500 Earlybird (by March 19th) $600 Full
For a child everything is play, and when we grow up we start to take things seriously. This means we know more and more about the world and how it works, and we understand that some actions are frivolous and others are worth effort. What do we lose in this maturing process? We often lose our spontaneity, our ability to find the joy in each moment, which is what guides the playing process. We begin to understand that there are consequences to our actions, and that some outcomes appear more desirable than others. This means that we are less and less inclined to take risks, and more and more we want to play it safe. But risk is important in life, because we expand our world and learn new things by taking risks. It is common wisdom that if nothing is ventured, nothing is gained.
When we play games, we suspend the 'real world' and allow interactions within defined rules, from which we can learn, and from which there are no real consequences. Games give us an opportunity to take risks in controlled ways. Through the experience of repeated attempts to achieve a goal, we refine our strategies, and thereby learn to evaluate the world, so the long term consequence of play, is knowledge.
Play is a natural part of the growth process, so natural it is instinctual when we are young, and forms the bulk of our learning experiences. As we get older this natural process gets ritualised into sport, or recreational activities, or lost altogether in the knowledge and experience of life.
Playfulness is central to clown, and this is why we think of clowns as child like, and why they appeal to children. For a clown, it's all a game and the normal rules of life do not constrain the game, and there are no real consequences. This is the truth of it, if we let it be this way, and it is this freedom to play that we love, and sometimes fear, in clowns. Rediscover this play space in this one week intensive. email: email@example.com to hold a place or make enquiries about this workshop. More information at:www.artmedia.com.au/playspac.htm
"In the best clown tradition Alan held up a window-mirror for us to step through and reflect on the patterns, habits and rituals of our days... It was funny, moving and excellent theatre." NZ Herald.
Special Report: Professional training in Circus and Street Arts in Europe
The training situation in circus and street arts reflects, unsurprisingly, on one hand, the lack of general recognition of these sectors and, on the other, a distinct difference in recognition between the two sectors. While circus develops, as best it can, schools and diverse training structures for varied publics, street arts are still in the experimentation stage.
Street Arts: from experimentation to training
Globally, in Europe, there are very few training centres for street arts that are institutionalised or at least recognised by the State that would allocate funding. This unequivocal observation may however be nuanced. If there are almost no public or State-recognised training centres, private structures, often the companies themselves, periodically create a few training sessions. For example, in Portugal, Chapitô is one of those rare private structures that offer training sessions from time to time. In Croatia, we can mention the following companies and associations: Autonomous Cultural Centre Attack, Daska Theatre’s Daskalište and Small Performers’ Scene. Local educational and cultural centres, as in Zagreb, the Maksimir Cultural Centre, can also set up training sessions. In Hungary, the respondents also mention more modest, free training formulas, “free training like get-togethers”, which are held in the parks in Budapest. Most of the time, the training sessions, workshops or seminars connected to street arts are organised in the framework of festivals. In Spain, however (Barcelona and Valladolid), the Netherlands (Terscheling) and Romania (Sibiu), discussions have been underway for the last three years to create specific training programmes in street arts for professionals or university students.
In general, due to the lack of specific training programmes in street arts, professionals turn to circus training programmes, which are more developed and can meet certain specific aspects of their needs, or to theatre training programmes that are recognised to a much greater extent by the State and lead to a State-approved diploma.
France, a pioneer in the political landscape in the recognition of street arts, stands out. Eagerly awaited for years, the first national higher educational institute for street arts opened in Marseilles in 2004: the FAI AR (Advanced and Itinerant Training for Street Arts). It is based on the principle of the nomadic school and came into being thanks to privileged partnerships with creation structures, schools and programming and production venues in France and elsewhere in Europe. This training programme is intended for young artists who have already received artistic training elsewhere or professional artists who wish to take advanced training and exchange their know-how. The programme is 18 months long. Another training programme may be mentioned that is directed at street arts, this time for future project designers and administrators: the professional “Master 2”, “cultural projects in the public space”, at the University of Paris I. In France, there is also a series of organisations that aim at heightening awareness of and/or providing training in street arts, in particular for culture professionals (mediators, administrators, technicians) and regional staff… Notable among them are the Atelier 231 (Sotteville-lès-Rouen), the Avant Scène (Cognac), the Fourneau (Brest), the National Centre of the Regional Civil Service (Paris and regional delegations), the Higher Institute of Theatre Arts and Techniques (Lyon) and the National Federation of Regional Administrations for Culture. Lastly, in the framework of the “Temps des arts de la rue”, there is a working group called “Training Programmes and Professions”, which notably lists the existing training programmes in this sector.
Circus: between national schools and schools for amateurs
Training in circus arts is much more developed. It is true that the circus came out of a much older tradition than street arts (a family tradition that ensured the training of young artists directly in circuses) and that the amateur practice of circus arts is fairly widespread. We may note that the countries of Central and Eastern Europe developed public circus schools before Western Europe. Starting in the 1970s and 1980s, the latter created curricula and diplomas recognised and funded by the State in order to meet the needs of this sector, “firstly because young people who did not come from the traditional circus milieu wished to become circus artists and secondly, because the content of circus shows was changing rapidly.” It was at this period, in fact, that the contemporary circus came into being. “In this context, we must make note of the importance that professional training in circus arts takes on in the sector’s development and innovation.”
The Report to the European Parliament of 2003 gives an account of a few professional schools whose training methods have been accredited. These programmes lead to State-approved diplomas and are funded by the State. The Report mentions the National Centre of Circus Arts in France, Accademia del Circo in Italy, the Staatliche Ballettschule Berlin und Schule für Artistik – Fachbereich Artistik in Germany, the Higher Institute of Circus Arts (ESAC) in Belgium, Circus Space, Circomedia, Skylight Circus Arts and Zippo’s Academy in the United Kingdom and lastly the theatre arts programme of the Turu Polytechnic School in Finland. We will add that HorsLesMurs, in collaboration with the European Federation of Professional Circus Schools (FEDEC), has published a recap of professional and preprofessional circus schools around the world.
In each of these countries there are also other private schools certified and funded by the public authorities. They are directed firstly to young artists. But they also provide ongoing training. There are nine of them in France, but French-speaking Belgium, Finland, Sweden, Ireland, Italy and Portugal also have this type of school. The situation is changing rapidly in the Netherlands as two State-recognised diplomas (Roc Friese Poort in Drachten and Codarts in Rotterdam) are being created and a third programme (Fontys University in Tilburg) is planned for 2007. In the United Kingdom, many community schools stress a more social aspect of circus training by developing pedagogic activities for young people and the communities.
As for subsidies and scholarships given to students, the French system seems to be unique because it proposes subsidies for circus schools, aid for research, study grants and aid for ongoing training. Moreover, France appears to be the only country to have a recognised specialised diploma for circus arts instructors, the BIAC, but similar plans are underway in other countries. The United Kingdom also offers subsidies and scholarships to students wishing to enter a circus school. In Finland and the Netherlands, all students benefit from a general scholarship system that is very generous.
On the other hand, countries like Spain, Denmark and Austria and Norway, Croatia and Hungary have many fewer circus schools that, moreover, are not recognised by the State. The circus milieu in these countries, however, is demanding the creation of such schools that appear “essential to the development and the survival of the national circus.”83 In Spain, there is therefore no circus school, “indispensable,” however, “if one wants to improve the quality and ensure the future of the circus.” The Spanish cultural actors then observe that the professionals who work in Spain come from other European countries such as Italy or the Eastern European countries (“For the moment, we are examining the possibility of setting up a circus school that functions in parallel with the future permanent circus of Madrid.“). This being said, for other reasons, the Belgians also make the same observation, whereas they have an institutionalised circus school in the French-speaking Community. In Norway, there are circus courses for children and young people established by national, regional or local public institutions in charge of education and culture for children and a few circus schools such as the Circus school on Grav, the Circus Bits, Brasirkus and Sirkus Onkolo. Circus World Theater is currently supporting a circus school project for children and young people in Oslo for 2006/2008.
In these countries that have no professional training structures, two trends may be noted. On one hand, the artists themselves create and fund training programmes for professionals and semi-professionals, as in Oslo where weekly training programmes exist. This is also the case in Croatia where training possibilities, initial as well as ongoing, are limited, even if certain festivals, companies and associations occasionally organise them, such as the New Contemporary Circus Festival.
On the other hand, initiatives are taken to prepare students for other schools located outside the country: this is the case for the AFUK in Denmark, which has created an educational programme permitting students to look for a job as a circus artist or to be admitted to a training structure abroad. AFUKPRO is not recognised by the State but The Danish Artists Union believes this training programme is valuable and therefore helps it. These two structures are currently working towards recognition by the State.
In France, Belgium, the United Kingdom and the Netherlands there is a policy of support for circus schools and even for a few training programmes in street arts. Logically, the political recognition of circus and street arts goes hand in hand with a policy of support for training programmes and schools (even if we are only at the very beginning of the establishment of professional training programmes for street arts).
But a general overview also shows that this conclusion is not without a few exceptions. A policy in favour of street and circus arts is not systematically correlated with a policy of support for and recognition of schools. This is the case in Spain. Conversely, school may be funded and recognised by the public authorities without nevertheless the circus being really considered an artistic discipline. This is the case in Germany. There are two possible explanations. First, if culture in Europe is sometimes the province of regional jurisdictions (regions in Spain, Länder in Germany, etc.), education generally is taken in charge on the national level. This may explain a gap between cultural policy and schools. Secondly, it should be recalled that the circus, notably, is very widespread in terms of amateur practice. This explains why there are so many circus schools for amateurs (primarily for children and young people), as well as those for professionals.
Public Policies regarding street arts and new circus in Europe
The European network Circostrada released these first
results of its survey on cultural policies concerning new circus and street
arts in Europe on November 16 th at the Circus Arts Center of Lower-Normandy
(France). This study was carried out in partnership with the Center of
Research on Culture, Museums and the Spread of Knowledge (CRCMD) at the
University of Burgundy, and allows us to take stock of the current state of
these artistic disciplines in terms of their education, practice and
recognition, and lets us compare the different policies put into place by
local and national authorities.
"The Big West Festival 2007 will run from 23 November - 2 December 2007. Big West is a biennial arts and cultural festival running over 10 days in every uneven year. Based in the city of Maribyrnong, in Victoria, Australia, the festival is a multi art-from celebration of contemporary art, multicultural and community events designed to reflect, engage and energise the west and excite those participating in, or attending the festival - wherever they are from. In September this year, Big West appointed Karen Hadfield as Festival Director for Big West Festival 2007. Karen most recently directed the 2004 and 2006 Adelaide Fringe to great critical and public acclaim. If you have an idea, a project or maybe just a flying fancy and are interested in participating in Big West 2007, please visit our website and send an expression of interest." Find a link to the Big West Festival under Festivals at www.artmedia.com.au/links.htm
"Circa is seeking a new Head Trainer to lead its growing training centre in Brisbane, Australia. The position is full time, starts at $40,000 pa + super and is based in the Judith Wright Centre in Fortitude Valley, Brisbane. The key duties of the position are: Program Coordination: The Head Trainer is responsible for coordinating the delivery of Circa’s Training program. Teaching : The Head Trainer will undertake the core teaching functions of the Training Centre including teaching adult and children’s classes. Learning: The Head Trainer promotes quality educational outcomes throughout Circa’s training activities. Strategic Development: The Head Trainer assists in the overall strategic planning, review and development of Circa’s Training Centre. For full position description please contact: Jo Thomas or Chelsea McGuffin." Find a link to Circa under Circus at www.artmedia.com.au/links.htm
"Circus Trainer, Tangentyere Circus, Tangentyere Youth Services. Tangentyere Circus is a community Circus for kids living on Town Camps in Alice Springs, Australia, and works with 4 to 18 year olds. We run a regular training program after school and with the learning centers during school terms, and holiday programs during school holidays. The kids perform 'in house' shows for family and friends, and do shows at public events. We have recently started performing shows at Town Camps, which is something we want to build on. The hours worked during school term usually finish at 7pm during term time because of after school programs. Split shifts are not expected. In the school holidays it is a normal working day. There is occasional weekend work if there is a show. You would be working alongside Sarah Gosling, Circus Trainer and Coordinator if the Tangentyere Circus Program. Position available February 2007." Sarah Gosling, Tangentyere Circus, Alice Springs. sarah.gosling@
"Circus Oz, New York show runs through to Dec. 31 - Theatermania
"Double Edge Theatre¹s 2007 Winter Intensive , January 2 - 8, Ashfield, Massachusetts, USA. This January, be one of 12 emerging and continuing artists to spend one week training with the International Double Edge Ensemble. Double Edge uses a highly rigorous physical training in order for the actor to engage with presence, awareness, risk, energy, improvisation, discovery and imagination. Double Edge Theatre has trained hundreds of students from around the world in its 25 year old original physical, object and vocal training practice and method of devising original theatre performance. Participants will live and train at Double Edge Theatre¹s International Center for Performance and collaboration and develop original mini - performance pieces, both as individuals and as a group, under the direction of the core members of the Double Edge Ensemble. This winter, do what you have never done before; do what you never knew was possible. The Winter Intensive Includes 10 12 hours daily of: Physical and Object Training, Vocal and Music Work, Group Improvisation, Ensemble Building, Individual and Group Etude Creation, and Performance Structuring. Tuition: $750, including room, food, local transportation and materials." Richard Newman, Find a link to Double Edge Theatre under Training at www.artmedia.com.au/links.htm
"Flip-Side Entertainment is seeking multi-talented performers in Nashville, TN, USA, to form the core of a new character driven experimental performance troupe that will fuse music, comedy, dance, and magic with other multi-media. Open-minded creative personalities, and larger than life characters wanted who are ready to be a part of something new, original, and exciting! Some pay, weekly rehearsals, performances in multiple venues. We will be auditioning performers on Monday Dec 18th at 6 PM at Richland Baptist Church located at 5701 Robertson Ave, Nashville, 37209. We are looking for multi-skilled, multi-talented performers who have a desire to be a part of an ongoing creative project. We are seeking people with a desire to create, grow, learn, and expand their our performance repertoire and portfolio, while helping other performers accomplish the same goal. This is a team environment similar to Second City, but with a broader vision and focus. Please be prepared to perform your strongest material first, IE dance, music, comedy, magic, etc. Be prepared to perform additional material showcasing other performance skills. If singing, a piano will be provided, but tracks are acceptable. If you will need an accompanist please let me know." John Pyka, Find a link to Flip-Side Entertainment under Resources at www.artmedia.com.au/links.htm
"Calling all musical clowns in the UK! Our vision is to put theatre clowning and music together in a spectacular and hilarious musical show. Our aim is to explore the ways - tragic, comic, absurd, physical, metaphysical... - in which music and clowning can interact. The plan is to hold an intensive week of research and development in early April 2007, with the short-term aim of devising a show and putting on a performance at the end of the week. Equity minimum rate fees will be paid for this week of work (dependent on funding). Our long-term mission is to form a lasting company and tour the show on a wider scale. We are looking for up to 3 new members of the team and we will be holding auditions during the second week of January 2007. All applicants should have experience of clowning/physical comedy to a performance standard and ideally should already have a clown act of your own. You should also be able to play one or more musical instruments to a high standard. You should be able to read music and also improvise, and you should have a taste for a wide range of musical styles, including classical, 20s swing, jazz and klezmer. If you are interested in applying for an audition, please send your cv with a recent photo and a covering letter stating why you are interested. Deadline for applications: 18 December 2006." firstname.lastname@example.org
"The [Deviant] Art Festival began in 2006 as an ambitious project by two London based Swedish artists, with the agenda of bringing contemporary art by emerging artists based in the UK to the town of Trollhattan in Sweden. The festival, which ran for 2 weeks in July, comprised an exhibition of installation, sculpture, video and painting in the Pumphouse Gallery, and a program of site specific performance art. It was a huge success, attracting national press coverage and, crucially, an invitation to return next year, with an enlarged venue, and budget. The festival's objective is to bring new and challenging work to this relatively sleepy town, giving an insight into the current young British art scene, and consequently building networks between young and emerging artists. According to the nature of the proposals received the artists may be required to attend the festival in person, therefore, a certain level of commitment to the project will be essential. You are invited to submit proposals for the festival; Deviant is the word. We require: A proposal for the festival, including detailed description, dimensions/duration etc. An artist's statement. A brief CV. No more than 3 low resolution images of previous work, or a link to your website. A completed application form... To download an application form please visit the festival's website." Find a link to the deviant Art Festival under Festivals at www.artmedia.com.au/links.htm
"Asiad Circus in India are looking for four European circus performers to join their show. You must have a strong dynamic solo or doubles act to be performed in a four pole circus tent. Duration From around 3/4 Jan to 3/4 May. The circus here will buy the tickets and send them out via courier before the departure date. The artist will be responsible for collecting his or her own business visa. The money for the visa can be sent to the artist in advance. Wages of rps400 per day will be paid on a weekly basis. All equipment, costume, medical and artistic expenses will also be paid. More than 3 shows per day pays an extra rps200 per show. Moving day when there is no show, no wages are paid although food and accommodation is still provided through means of a hotel if necessary. Food is provided 3x daily. Any extra/ speciality foods are also paid for on production of a receipt. Comfortable accommodation is provided - fridge, fan , carpet, running water, steel beds cupboards etc . The majority of the artists train every day between 6am and 11am. The flying rig goes up most days. There is a wide range of equipment and plenty of height - 14m to capola. The artist is expected to sign a contract which states that they will refund the price of the ticket if they choose to leave earlier than the required 4 months. It also provides fully comp medical care." email@example.com
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Last updated 14th December 2006