2.1. TRAINING
Since diversification in circus practice began, a number of different
training structures have developed. Training in traditional circus has
generally been in-house. This has always been an important undertaking
for circuses like Ashton�s Circus, where training begins in childhood.
This circus places importance on correct training methods and remains an
important, if untapped, resource for newer circuses. The focus of training
for nontraditional circus has been the Flying Fruit Fly Circus in Albury/Wodonga.
They also have a practice of training from childhood that has developed
considerably since 1979. From early training led by Mickey Ashton, to the
two Nanjing Training Projects, to the foundation of the Acrobatic Arts
Community School, this town has been the focus for the training and development
of young circus performers. Apart from Albury/Wodonga and traditional circus,
training of performers in this country has been sporadic. Other training
opportunities consist of drop-in workshops conducted by Circus Oz, informal
groups such as the many juggling clubs around Australia, occasional community
projects, and informal sessions between people who have had some exposure
to training and are desperate to maintain their skills. For this reason,
the Australian National Circus Association proposes the establishment of
a national training school. The idea of the school is to bring together
the few trainers, with sufficiently high skill to train at a level appropriate
for professional performers, into the one institution to provide the ongoing
skill development
lacking in Australia at the moment.
2.1.1. Training at Ashton�s Circus
In traditional circus it is very difficult to distinguish a training
program from the everyday running of the circus. Lorraine Grant (First
National Circus Summit Report:1990:32) considers that strict timetables
for circus training are not possible for traveling circuses, and due to
such a life style, training �never starts and it never stops�. Training
sessions usually occur after evening shows or between matinees, when the
equipment in the tent is set up:
| "no one forces the kids after we have worked to go in there and practice. Soon as the people are out, the kids are in swinging on the net, wanting to get up, or doing handstands, or we have a trapeze that hangs out the back. They swing on that.� (Lorraine Grant: Lines 303-308) |
These sessions are intentionally informal, with the children regarding
training as a game, imitating what they see performers doing in the ring.
Gary Grant (Lines 310-311) sees this as �an initiation into what they will
eventually do.� As part of the training, the circus encourages �fledgling
performers to appear before an audience as soon as possible to gain confidence�
(First National Circus Summit Report:1990:32). Ashton�s Circus stresses
the importance of self-motivation for individual students, and regards
this to be a key attribute of successful performers. As a result the training
process can be quite slow:
| �If a child shows no immediate interest, we are prepared to wait (years if necessary) and slow down the process of learning.� (First National Circus Summit Report:1990:32) |
It is important for the motivation to learn to come from the student
because this is a crucial attribute in both training and performance (the
latter of which will be discussed later in this chapter). It is of great
importance also in the continual process of development of the professional
performer:
| "you see something that you want to do and you focus on that and you
try to get it done. Now you learn everything else but there could be one
thing you want to learn, so when you learn that you are going on to something
else.� (Lorraine Grant:
Lines 328-332) |
Respect for the audience is also a key feature of training at Ashton�s
Circus. As Lorraine Grant (First National Circus Summit Report:1 990:33)
says, �One of the worst things is self satisfied smirks on young faces.�
Humility is important also as an aspect of safety in circus. �Overconfidence
is a real danger and where trainees of all ages and ability can get hurt�
(First National
Circus Summit Report:1 990:33).
Safety is an important feature of training. This includes an intimate
knowledge of equipment and apparatus:
| �Checking on your own gear and not relying on anyone else should be a part of training, learn how to repair and maintain. Don�t blame anyone else if things go wrong.� (First National Circus Summit Report:1990:33) |
The importance of equipment maintenance and rigging knowledge is a unique feature of circus training. While training in other performance disciplines often includes some basic training in technical aspects of production, in circus such knowledge can be a matter of life and death. Furthermore, responsibility for equipment must reside with the performer, as it is unacceptable that anyone else be held accountable for equipment in a potentially life threatening act.
Principally as a matter of safety, Ashton�s Circus also stresses the
importance of correct teaching methods. Lorraine and Gary Grant have seen
other shows where performers have displayed the results of poor training:
| �You look at [the act] and go ohhh, like this because we can see the
timing is off, the gear is not right, there are all these little subtle
differences that you can see and it is only
through lack of experience and starting the wrong way.� (Lorraine Grant: Lines 430-433) |
Not only can poor training compromise the safety of the performer, but
it can also delay the learning process and make further development of
skill more difficult. Lorraine Grant (First National Circus Summit Report:1
990:34) considers that good teachers can show �how to avoid bad habits
and correct small mistakes before they become bad habits.� She uses the
example of her own experience in learning to crack double stock whips:
| �I had to learn to use these new whips by trial and error, it took a long time before I learnt the timing, body control necessary to even throw the whip forward, let alone make them crack. It is different ... for the other people I teach ... I have made it faster, easier and more painless for them to learn - to avoid my mistakes.� (First National Circus Summit Report:1990:34) |
Although Lorraine Grant (Lines 350-351) supports public circus workshops
(Ash ton�s Circus has conducted its own community workshop programs (First
National Circus Summit Report:1990:37)) as an important way to foster support
for and interest in circus, she stresses the importance of correct training
of workshop leaders for the reasons outlined above. It seems, however,
there is a lack of highly trained teachers to meet the demand for public
workshops. This is discussed later.
Not all of Ashton�s training occurs in-house. The circus has participated
in a formal overseas trainee exchange program for about twenty years (First
National Circus Summit Report:1990:3 5). Nevertheless, it is felt that
training sessions should be coordinated between the traveling circuses
to further improve the standard of performance and to share best practices
in approaches to training and development.
2.1.2. The Development of Training Infrastructure in
Albury/Wodonga
Since the first Flying Fruit Fly Circus production in 1979, Albury/Wodonga
has been developing as the epicentre of nontraditional circus training.
The philosophy behind such training has been influenced by community theatre
practice (discussed in Chapter 4) and by traditional methods. In 1980,
Mickey Ashton was discovered by artistic director, Bomber Perrier, working
on a fairground and invited to be a trainer with the Flying Fruit Fly Circus.
Ashton had performed with Australian Family Acrobatics and Risley, and
at this time was retired (Bolton:1987:34). The circus was already displaying
some resemblance to the extended family structure of traditional circus.
With many of the young people coming from broken homes the circus was serving
as a �substitute extended family� (Bolton:1 987:34). This family atmosphere
was enhanced by the involvement of Ashton:
| �He would scold them, threaten to smack them; he would leave them hanging on the harness if they hesitated on the third back somersault, but they loved him. In fact I�ve rarely seen such infectious and all pervasive affection as I saw at Albury/Wodonga.� (Bolton:1987:3 5) |
This atmosphere is still very much a part of the Flying Fruit Fly Circus today, with artistic and support staff, kids and parents contributing to a happy atmosphere of organised chaos.
In 1983/4, Albury/Wodonga played host to the First Nanjing Training
Project, which would prove to be pivotal in the development of contemporary
circus. Observing a meeting of children from the Flying Fruit Fly Circus
and performers from the Nanjing Acrobatic Troupe backstage at the Palais
Theatre almost four years earlier inspired Carillo Gantner, who was instrumental
in organising the event:
| �I remember the two sides trading tricks all without the use of language. Many of these children were at the age that the Chinese artists themselves start training for a professional career in acrobatics, between 7 and 10.� (Gantner in The Great Leap Forward program:1984:24) |
While the project was of particular significance for young people, the undertaking eventually included groups and individuals from all over Australia. Participants included the Flying Fruit Fly Circus, Circus Oz, the Leapers (a troupe of ex-Fruit Flies), plus members of the Wimmin�s Circus from Melbourne, and Street Arts from Brisbane amongst others. The list of participants includes all of the most recognisable names in the development of contemporary circus in Australia. Many of the trademark acts of contemporary Australian circus including group bike, hoop diving and the tower of chairs are of Chinese origin and first introduced to Australian performers during the course of this project.
The project culminated in a final performance which represented a:
| �synthesis of the larrikin element of the Australian theatre and the skills of a 2000 year old performing tradition.� (The Great Leap Forward Program:1 984:14) |
The show juxtaposed the more esoteric Chinese acts such as hoop diving
and jardinière spinning, with such �larrikin� acts as
Broadway�s baby act. The act is reviewed in �Fruit Flies - No Sting�(l984:348):
| �she is a baby as she leans backwards, and the mother is a dummy held before her ... the baby misbehaves as never before and the audience roars and claps as it does all through the evening.� |
This first project was followed by a Second Nanjing Training Project in 1 985, which was concentrated on providing advanced training for members of the Flying Fruit Fly Circus and Circus Oz. A special focus of this second visit by the Nanjing Acrobatic Troupe was to provide �training of trainers� (Fruit Fly program:1985), and as such remains unique in recent Australian circus history.
The excitement generated by the initial project was due in part to the advancement in levels of skill achieved by the participants in such a relatively short period of time (the project lasted three months). Such excitement bolstered �a long cherished ambition to have a national acrobatics school run by practitioners (The Great Leap Forward Program:1 984:14). The success, and public profile of this project (it was the subject of a documentary by Mike Willisee aired on national television) also helped support the establishment of the Acrobatic Arts Community School (AACS) almost three years later.
In November 1987, AACS was opened by Victorian Minister for Education as an annex of Wodonga High School. It is a �composite primary/secondary special interest school, with multi level age groupings and a fully integrated curriculum� Cato:1 987:81) Further examples of curriculum and other aspects of the school are provided in the 1990 Parent/Student Handbook reproduced in Appendix C. Although there is a great deal of contact between AACS and the Flying Fruit Fly Circus, in Albury on the New South Wales side of the border, the two operate separately. There are no auditions for AACS, and although a commitment to physical activity is required, students do not necessarily have to join the Fruit Flies. Likewise, members of the circus are not required to attend the school. Nevertheless, most of the students at AACS are also members of the circus. Training sessions are conducted at the Flying Fruit Flies� rehearsal space, and training staff at the school and circus are often current Fruit Fly performers too old to attend the school, former Fruit Fly performers, or former Circus Oz performers. Together, they provide a circus training infrastructure unique in Australia. While there is the potential for AACS to become a national circus training centre for young people, the school maintains a commitment to young people from the local area.
The Flying Fruit Fly Circus has also been involved in a number of other training initiatives, including an international training project in 1987 (including Doug and Sally Ashton as trainers), the visit to the Guangzhou Acrobatic Troupe in China by eight members of the circus, and the Moscow 1 Training Project in 1992, the latter being open to guest artists.
While the record of the circus, the school and the town is impressive and indeed unique in terms of training, its ability to provide opportunities beyond the surrounding area are limited due to both funding and meeting immediate community priorities. For those outside the Albury/Wodonga region who require more training support than the few general public programs the Fruit Flies are able to provide, opportunities are extremely limited.
2.1.3. Other Training Opportunities
The only other permanent circus training centre in Australia is at
the Circus Oz building in Port Melbourne, as discussed, Chapter 4. These
workshops are inadequate for professional performers for a number of reasons.
Firstly, the workshops are designed to teach skills to a certain level.
Once this level is reached there is little opportunity to receive more
advanced training. Secondly, they are secondary to the company�s primary
objective, which is to maintain the performance ensemble. Trainers are
often drawn from the company�s performers, and as such workshops are secondary
to performance commitments. Thirdly, due to both of these reasons, the
workshops are conducted on a drop-in basis, so there is no structured course
for students to follow, apart from a basic separation of beginner,, intermediate
and advanced students. The workshops conducted by Circus Oz, however, are
invaluable for anyone who is looking for an introduction to circus training.
Circus skill workshops are often organised by community arts organisations, which are also useful in providing an introduction to circus skills. These workshops, however, are usually short in duration and sporadic, with little opportunity to provide any training beyond the most basic. Even so, it is often the case that the demand for places in such workshops can not be met by these organisations, due to a lack of both resources and competent trainers.
Private tuition, clubs and regular meetings cater for some disciplines, especially those that are found in the circus but are not exclusive to circus, like juggling. These are often organised by performers and provide valuable training and networking opportunities.
Once a performer reaches a level where these opportunities are no longer
sufficient, there are few options. Many performers meet and organise their
own sessions, and struggle with a lack of guidance, venue and equipment.
Some companies organise overseas training programs for performers, such
as Rock�n�Roll Circus�s three month visit to the Shanghai Circus School
in 1991. While such programs are valuable in terms of cultural exchange,
they perhaps also serve as an indictment on the state of circus training
in this country.
2.1.4. National Circus School
For this reason, the Australian National Circus Association advocates
the establishment of a national circus school. Circus has
been one of Australia�s largest and highest profile cultural exports
since May Wirth and Con Colleano found international recognition at the
turn of the century. Presently, Australia has many circuses that travel
or send members overseas including Stafford Sullen, Circus Royale, Sole
Brothers�, Ashton�s, Circus Oz, the Flying Fruit Fly Circus and, recently,
Rock�n�Roll Circus. This does not include the many individuals who have
traveled overseas to work with circuses overseas. Mullet (Lines:575-576)
feels that circus is used to promote Australia, �but there is no acknowledgment
that the art form itself needs nurturing.�
It is particularly the case with non-traditional circus that there is no career structure once performers "are about thirty and can no longer or are no longer interested in climbing up ropes.� (Mullet: Lines 579-580) It is ironic that these are the very people responsible for the upsurge in interest in circus, converting it into a viable and contemporary form.
Mullet (Lines:593-597) believes that a single national school is needed
because there is not enough talent in Australia to support circus components
within a number of existing performer training institutions:
| "in terms of high level skills, there is not that many people so you need a centre that can disseminate that, the skills devolve, you know, your Chinese trainer teaches it to your Circus Oz person, your Circus Oz person teaches it to someone..." |
This is what Lorraine Grant (Line 355) calls a �photocopy of a photocopy�, which neither Grant nor Mullet considers necessarily bad, except that it causes concern in terms of safe teaching methods, and again does not help a performer who is looking for more advanced skill development.
While circus is generally a collection of a diversity of performance disciplines, the conventions that have developed around circus performance have led to the evolution of a unique form that differs from other traditions of performance. The diversification in circus practice that has taken place in contemporary circus has contributed further to this uniqueness. It is a commonly held belief that the distinctive nature of circus performance lends weight to the call for a national school.