WORKSHOP
The course is for experienced jugglers (5 ball jugglers and / or with a 3 minute routine already prepared), or for people with both extensive body work skills and a good level with 3 balls.
CIRCLE WORK
A form conforming to a specific logic, working with balls to begin with
At the heart of the ball juggling work I’ve been doing for several years now, I realised that many of the figures I’ve invented have spontaneously taken a circular form. A realisation which has led me to study in depth this increasingly fascinating trajectory : the circle, and from that the ellipse, develops fluidity and continuity of movement, as much for the arm as for the object it’s manipulating.
The absence of a break point allows maximum use of gesture energy through continuity : for the receiving hand this means adjusting to let your arm go down to the lowest possible point on the circle, with a certain abandon, then re-throwing the object with purpose and precision. The sensation of perpetual motion that you get from it is appropriately enthralling.
Using a logical theory, which takes account of juggler geometry and its possible rotational axes, the application of the basic circular form opens up an enormous field of possibilities. This step gives the juggler access to a more innovative and complex , inviting the juggler to an even greater awareness of the space around him.
IMPROVISATION
A form allowing jugglers to express their individuality, based on the skill and practice necessary for public performance
I love improvisation for the immediacy of the pleasure I get from it, but also because within it you find the same rules apply as to all ‘stage’ experience. Apart from mastering the manipulation of your objects and body, a juggler must develop a particular kind of consciousness and awareness, which will then enable him to apply these stage rules instantly to whatever he is doing.
This requires development of a relationship with your music, a relation with others, to develop a dynamic and be capable of initiating, likewise understanding when it’s time to lower the intensity of performance when the need arises, develop a temporal awareness of both your performance and its effect on the audience, how to use the working space, to know how to exist separately from the objects you manipulate…
Maximum number of students : 16
The course is for experienced jugglers (5 ball jugglers and / or with a 3 minute routine already prepared), or for people with both extensive body work skills and a good level with 3 balls.
CIRCLE WORK
A form conforming to a specific logic, working with balls to begin with
At the heart of the ball juggling work I’ve been doing for several years now, I realised that many of the figures I’ve invented have spontaneously taken a circular form. A realisation which has led me to study in depth this increasingly fascinating trajectory : the circle, and from that the ellipse, develops fluidity and continuity of movement, as much for the arm as for the object it’s manipulating.
The absence of a break point allows maximum use of gesture energy through continuity : for the receiving hand this means adjusting to let your arm go down to the lowest possible point on the circle, with a certain abandon, then re-throwing the object with purpose and precision. The sensation of perpetual motion that you get from it is appropriately enthralling.
Using a logical theory, which takes account of juggler geometry and its possible rotational axes, the application of the basic circular form opens up an enormous field of possibilities. This step gives the juggler access to a more innovative and complex , inviting the juggler to an even greater awareness of the space around him.
IMPROVISATION
A form allowing jugglers to express their individuality, based on the skill and practice necessary for public performance
I love improvisation for the immediacy of the pleasure I get from it, but also because within it you find the same rules apply as to all ‘stage’ experience. Apart from mastering the manipulation of your objects and body, a juggler must develop a particular kind of consciousness and awareness, which will then enable him to apply these stage rules instantly to whatever he is doing.
This requires development of a relationship with your music, a relation with others, to develop a dynamic and be capable of initiating, likewise understanding when it’s time to lower the intensity of performance when the need arises, develop a temporal awareness of both your performance and its effect on the audience, how to use the working space, to know how to exist separately from the objects you manipulate…
Maximum number of students : 16
Equipment required :
5 juggling balls
Clothing allowing freedom of movement
