CONTEMPORARY CIRCUS IN THE BALTIC STATES
In each Baltic state contemporary circus is following a different path of the development. Even though Latvia was the first country in the Baltics, that had the pleasure to know the genre, contemporary circus is developing very slowly since there is no focused work carried out in this direction. In Estonia, contemporary circus is developing using circus pedagogy and guest performances don’t have much importance, while in Lithuania dedicated work is being done for the development of the contemporary circus. The common experience of three countries shows, that the most important is artists own personal initiative and yearning for the genre advancement.
LATVIA
Circus tradition in Latvia is very old and strong, and because of the government support traditional circus is in privileged position comparing to both Lithuania and Estonia as well as the contemporary circus. Contemporary circus here is mainly known thanks to guest performances organized by “Jaunais teātris” Institute. In 1997, Latvia was first of the three Baltic states to receive foreign contemporary circus artists. The contemporary circus performances have mostly been part of the “Homo Novus” Contemporary Theatre Festival. Subsequently, audience encountering contemporary circus, generally was the one with increased interest in the theatre. Workshops for professionals in various fields have been held at the time of some guest performer visits, but have failed to evolve into lasting contemporary circus projects.
A contemporary circus youth studio “Beztemata” in the city of Liepaja has disciples of different ages performing shows and engaging in the social circus. It is the only organization, that focuses and works on the promotion of Latvian contemporary circus, but its field of activity is limited geographically and the number of students is relatively small.
In Latvia, where traditional circus field has a broad study infrastructure and there is no shortage of circus professionals, lack of initiative and willingness to engage in contemporary circus can partly be explained by the lack of information and often negative attitude towards the contemporary circus by the traditional circus artists. The most visible activity of contemporary circus here have been between 2006 and 2009, but, in recent years, activities and artists optimism for the development in this field have become exhausted.
Circus Studio “Beztemata”
LITHUANIA
Lithuania, as well as Latvia, has a long and strong circus tradition, but has much less of the state support. In Lithuania, currently there are no professional contemporary circus companies, but in recent years there have been a lot of interest and more people are experimenting in this field. Dedicated work has been carried out for the contemporary circus development. Since 2006, an International Contemporary Circus Festival is being organised with guest artist performances, lectures and workshops for artists, who are trying out in this field. In recent years, the festival has given more opportunities to young Lithuanian artists. At present, three traditional circus studios operate in the country enabling young people to learn various circus techniques. Lithuania’s experience has shown, that inviting artists from abroad and working with interested people makes promotion and development of this genre possible and encourages the activity of local artists. Both traditional and new circus artists are optimistic and believe in the advancement of the genre in Lithuania.
Circus Artist Mantas Markevičius
ESTONIA
Circus development in Estonia is completely different, since the circus tradition here is far less prominent as well as state support. Contemporary circus is developing mainly with the help of education. In Estonia there is only one traditional circus studio, but two contemporary circus studios and disciples of older groups are able to prepare and perform 40 shows a year.
The studios have cooperation partners abroad (other youth circuses, representing a contemporary circus scene), this enables young artists to expand their horizons and enrich their experiences. Estonia’s contemporary circus representatives say they are not interested in a cooperation with Latvia and Lithuania, because they relate more to the Nordic culture, Finnish in particular. Although Estonia’s contemporary circus movement is not professional, it has created a whole new generation of artists wishing to associate their lives with it at the professional level. Estonia have had very little guest performances which makes it difficult to analyse their potential impact. Estonia’s experience has shown, that in addition to personal initiative, education plays a great role in the development of the contemporary circus.
Circus Studio Folie
Circus Studio Omatsirkus
Is there a future for the contemporary circus in the Baltic States?
3 countries, 3 artists, 3 opinions
“We think that there is. However, optimism is much less than a few years ago. In 2009, we thought, that Liepaja would become the contemporary circus centre in the Baltics. However, there is lack of Latvian activists, lack of initiative and funding. We also have not established contacts with either Lithuanian or Estonian artists. We have tried to get in touch with the French troupes, but it also is not so easy. We are trying, but first, we are in Liepaja, where there are far fewer people than in the capital, and secondly, we are a non-governmental organization and dependent on funding. If we had the professional resources and great artists as have “Rigas cirks”, it would be a completely different matter.”
Solvita Sudmale, Contemporary Circus Studio “Beztemata” , Latvia*1
“Contemporary circus in Lithuania is a very new form of art. And I can tell it will evolve. For sure! I hope, that one day we will show professional contemporary circus performances. In my opinion we are on our way there. Everything is happening step by step. From street to the stage, from small workshop to the professional circus stage.”
Mantas Markevičius, Circus Artist and juggling workshops organiser, Lithuania*2
“It will take another 10 years. It is important to educate the general public. “Cirque du Soleil” shows here were hugely successful, and people do understand a little better, that the circus can be great even without the dancing bears. But still, major steps must be taken for a better understanding of circus arts(..)
In order to develop Estonian circus, a successful work in schools is necessary. The relationship between art and circus should be made clearer, so that the younger generation growing up perceived it as the norm. There should be circus workshops at schools (especially juggling as it develops the brain and forms a bridge between the two hemispheres of the brain) (..) We still have long, long road ahead.”
Terje Bernadt, Circus Studio “Folio”, Estonia*3
Text author: Māra Pāvula
Photo: circus studio “Beztemata”
1. Māra Pāvula, Interview with Solvita Sudmale on 2012/16/02. Interview transcript from Māra Pāvula’s personal archive.
2. Māra Pāvula, Interview with Mantas Markevičius on 2012/15/05. Interview transcript from Māra Pāvula’s personal archive.
3. Māra Pāvula, Interview with Terje Bernadt on 2012/8/02. Interview transcript from Māra Pāvula’s personal archive.
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