Apparatus in contemporary circus

Chapter 1, Apparatus in Contemporary Circus, explores new understandings of what may constitute circus apparatus, and the ways in which the idea of mastery over the apparatus is being problematised. An array of new forms of apparatus are being developed ranging from the traditional, to the bespoke, to the mutable, to the sculptural, and the virtual. Alongside this expanding notion of what can con- stitute circus apparatus, the notion of physical mastery over objects is being called into question. A newly emerging emphasis on more complex forms of interaction is allowing more nuanced readings of the work. ‘Unjugglable’ apparatus for jugglers, such as cacti and heavy tyres, are being used to call into question the notion of the performer’s mastery over the apparatus; in the same way mutable forms of apparatus, made from materials such as ice and soft clay that change form as they are handled, also contest notions of mastery. Different forms of interactive or vir- tual apparatus allow the performer to work with invisible forces such as infrared beams, air currents, or electricity, and in other instances control of the apparatus is being handed over to audience members and ‘democratised’ in new ways.
In Part 2, the Voices section, conversations are included with the following nine creators, all of whom are noted for their distinctive approaches to working with apparatus: Philippe Petit (High Wire Artist), Shana Carroll (The 7 Fingers), Tina Koch and Charlotte Mooney (Ockham’s Razor), Elizabeth Streb (STREB Extreme Action), Johann Le Guillerm (Cirque Ici), Phia Ménard (Compagnie Non Nova), David Clarkson (Stalker), and Adrien Mondot (Compagnie Adrien M & Claire B).