CULTURE
Artists at the WUK will be presenting contemporary circus without animals until November 26th. On the occasion of the experimental circus festival, the IG Freie Theaterarbeit draws attention to the poor working conditions in the circus industry.
With the “On the Edge” festival, the WUK is presenting contemporary circus for the third time. On November 19, visitors can admire the artistry – when Sandra Hanschitz dances in a large hoop. On November 20th and 21st, dancer Viktor Cernicky even uses 22 conference chairs as a means of depicting the “infinite construction, deconstruction and reconstruction of the universe”.
Feminist circus invites to discourse
The duo Verena Schneider and Charlotte Le May only need their own bodies. Acrobatics, dance and text come together in their performances on November 24th and 26th. They are also responsible for Handstand Memories, one of the short films shown in the foyer, while Contortionist Elodie Guezou and aerialist Chloe Moglia are also contributing films.
In the networking and discourse format “coffee & circus” by the feminist circus initiative, one of the things to be answered on Sunday is who is visible in the circus scene.
More funding for circus arts required
According to Ulrike Kuner, managing director of IG Freie Theaterarbeit, it is difficult to estimate how big the circus scene is in Austria. It is still under construction, many artists are “on the threshold of professionalism”. On its own website, there are 128 entries from circus artists, collectives and actors.
Event notice:
Experimental circus festival “On the Edge”, until November 26th at WUK Vienna
The interest group, which evaluated 33 questionnaires as part of a survey, highlighted the financial situation of the artists and the lack of availability of training and further education opportunities as well as of rehearsal and performance venues in Austria as the biggest problems. The scene lacks money and resources.
The interest group therefore calls for the art form to be included in the project and annual funding for performing arts. Training and further education programs are also needed. Many interested people are being trained in France or Canada and would not come back, says Kuner.
