TOTEM Resource Pack

CIRQUE DU SOLEIL TOTEM

TEACHER’S RESOURCE PACK Key Stage 3, 4 & 5 Written by Circus Space For Mousetrap Theatre Projects 23 – 24 Henrietta Street, Covent Garden, London WC2E 8ND © January 2011

TOTEM Resource Pack. Key Stages 3, 4 and 5

Contents Introduction …………………………………………………………………………………………………………………4 Show Overview…………………………………………………………………………………………………………..5 Pre-Show Activities 1.

What is Circus?

Have a circus-themed debate…………………………………………………………………………6 Subjects: Key Skills:

2.

English, Performing Arts Verbal reasoning, debate, speaking & listening, presenting, teamwork

Developing a Circus Vocabulary Categorise the different circus acts found in TOTEM…………………………………8 Guess the nature of circus skills students may be unfamiliar with………….8 Subjects: Key Skills:

3.

P.E., Performing Arts, Dance Verbal reasoning, analysis, creative thinking, understanding of body and movement

Dramatic Tension in Circus The role of the act……………………………………………………………………………….......... 9 Track the tension in a circus act……………………………………………………………………9 Subjects: Key Skills:

Performing Arts, Drama, Music Analysis, evaluation, understanding dramatic devices

Post-Show Activities 4.

Evolution Moving through evolution………………………………………………………………………………..11 Where do we go from here? ………………………………………………………..………………..12 Who’s at the top? …………………….……………………..………………………………………………14 Subjects: Key Skills:

5.

PSHE, Environmental Science, Human Geography, Drama, Performing Arts Imaginative thinking, verbal reasoning, expression through movement, Improvisation characterisation, consideration of cause and effect in society and nature

Characterisation and Symbolism Representing People, Cultures and Nationalities………………………………………..15 Symbolising Seasons…………………………………………………………………………………………..15 Subjects: Key Skills:

PSHE, Current Events, Anthropology, Human Geog, Performing Arts, Dance, Music, English Verbal reasoning, speaking and listening, non-verbal communication, characterisation and representation

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TOTEM Resource Pack. Key Stages 3, 4 and 5

6.

Communication in Circus Don’t Speak!…………………………………………………………………………………………..….……17 Trust Me……………………………………………………………………………………………………………17 Subjects: Key Skills:

7.

P.E., PSHE, Performing Arts, Dance Non-verbal expression and communication, trust, movement, team work, sensory perception, active listening

The Creative Process Write an extra scene for TOTEM……………………………………………………………………19 Subjects: Key Skills:

8.

English, Drama Literacy, creative thinking, critical thinking

Reviewing Circus Write a review for TOTEM………………………………………………………………………………21 Subjects: Key Skills:

English, Drama Critical thinking, analysis, literacy

Resources………………………………………………………………………………………………………………………22 Further Resources……………………………………………………………………………………………………..27 More about Circus Space………………………………………………………………………………………..28 More about Mousetrap Theatre Projects………………………………………………………… 29

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TOTEM Resource Pack. Key Stages 3, 4 and 5

Introduction Cirque du Soleil is often hailed as the archetypal ‘contemporary’ or ‘new’ circus. Where traditional circus may focus on individual acts and the big tricks, contemporary circus aims to integrate circus into performance through the use of narrative or character. It also differs from traditional circus in other ways, for example, by not using animals or performing in a big top.

However the lines are blurred and there are often crossovers. Some UK-based contemporary circus companies include No Fit State in Cardiff, Ockham’s Razor, Albert & Friends Instant Circus and So & So Circus Theatre in London.

Founded in 1984 in Quebec by a group of street performers, Cirque du Soleil now reaches audiences across the world with its distinctive style of shows. It is a truly international company with performers and creatives coming from all over the world. One of its key features is the use of a mixture of art forms including circus, theatre, dance, costume and set design.

TOTEM is Cirque du Soleil’s latest show and this is its first run in London. It uses the theory of evolution as its starting point and employs this to celebrate the biological influences that have shaped us as human beings. The physicality of different creatures is explored and represented through costume, set design and movement. Other nationalities and cultures are also represented throughout the show.

This pack is designed to encourage students to think about how circus is used in TOTEM and how it explores themes and creates dramatic tension. It includes exercises to explore circus and how it relates to other art forms. Other activities explore the themes in TOTEM about evolution and symbolism, and there is a section focused on team work and developing trust, essential qualities of a circus performer. There is a mixture of activities, some are drama and movement-based; others are discussion-based or written. I have included additional discussion points throughout the pack as well as relevant quotes to inspire and provoke. The first three sections have been designed as pre-show activities, but they can be used as post-show activities effectively. Although recommended Key Stages are given, many of the activities can be adapted for different ages. There may be circus-related vocabulary that students are unfamiliar with, particularly regarding the names of the acts. Activities are included to explore this vocabulary and there are also photos of the acts on pages 21 and 22 for reference. Signposting on further resources can be found on page 24.

The activities in this pack do not contain exercises for teaching circus skills, as without experienced circus teachers, this can be dangerous. Circus training for young people is available across the UK via the many youth circuses and juggling clubs. For example in London, circus skills are taught by Albert & Friends Instant Circus, Circus Space and So & So Circus Theatre.

Lydia Ashman

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TOTEM Resource Pack. Key Stages 3, 4 and 5

Show Overview TOTEM is an exploration of evolution, Cirque du Soleil style. ‘Totem’ here means the ancestors of people and refers to the traces of species past that we continue to carry in our bodies.

Throughout the show the audiences is taken to worlds with different creatures at various stages of evolution. The show is linked by the character of the Scientist who travels through the worlds, guided by the Tracker, and observes their inhabitants. On the way, the audience encounters weird and wonderful creatures which represent the plethora of nature’s creations; cavemen and primates, two lovers meeting for the first time, business men with extraordinary talents and a community of amphibians, to name but a few.

Other characters include the Crystal Man, a figure from space embodying the human desire to fly who ‘sparks life on earth’ and closes the show by swimming into a lagoon and the Ameridian Dancer who enlivens the show by dancing energetically with his rings.

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TOTEM Resource Pack. Key Stages 3, 4 and 5

Pre-show Activities: Exploring Circus 1.

What is Circus?

‘Circus’ can conjure up all sorts of stereotypes about clowns with red noses, ring masters and elephants. Whilst this is an important part of the art form, it has moved on significantly! Before seeing Cirque du Soleil, a pre-show discussion centred on students’ perceptions of circus will enable them to form expectations of the performance which they can compare after seeing it.

Lesson: Have a circus-themed debate Aim: To get students thinking about their preconceptions about circus and their expectations of TOTEM Lesson Length: 60 minutes You will need: Images from TOTEM to stimulate debate (See Resources). (You could also use quotes and exerts about from various sources for example, the media, the Arts Council and circus companies) Lesson Preparation: Gathering material to stimulate debate Key Stage: This activity can be used for all levels Decide which statement your class is going to discuss (see next page for statements).

Explain to the group that they are going to have a debate about circus. You could ask them at this stage what images and words come into their heads when they hear the word ‘circus’.

Divide the class into two groups and present them with the statement. Group 1 will affirm the statement and Group 2 will negate it. Explain to them how the debate will be structured.

Give them time in their groups to construct arguments in preparation for the debate.

Conduct the debate. Afterwards ask the class to close their eyes and vote twice: a) for the group who constructed the most convincing argument b) according to their personal belief

An example structure for a debate: Group A presents their argument (5 mins) Group B questions (2 mins) Group B presents their argument (5 mins) Group A questions (2 mins) (Both Groups have a few minutes to prepare their argument) Group A rebuttal (3 mins) Group B rebuttal (3 mins) (Both Groups have a few minutes to prepare their argument) Group A conclusion (2 mins) Group B conclusion (2 mins) OR You could keep it simple by having one presentation from each group and a question and answer session after each presentation.

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TOTEM Resource Pack. Key Stages 3, 4 and 5

DEBATE 1: Cirque de Soleil is not a proper circus because it’s not staged in a tent and doesn’t include animals.

Cirque du Soleil is often cited as the archetypal example of what is considered to be ‘contemporary circus’, which is opposed to ‘traditional circus’. One difference between these two types is the fact that contemporary circus does not use animals and relies on pushing the human body to the edge of its limits to produce thrills. Another is that contemporary circus will include a narrative which is told through circus whereas traditional circus will be focused around the trick within the acts. The acts will often be linked by a compère or ‘Ringmaster’ whereas this may not happen with contemporary circus. The reality is that these lines are blurred and one can see aspects of both in a Cirque du Soleil show. For example, TOTEM uses animals as a starting point for the show, with Robert Lepage stating that ‘I thought it would be interesting to bring animals back to the circus as the memory of animals we have within us’. Clowns pop up in TOTEM to provide humour, and perhaps a break for the other performers. We also see standalone acts in TOTEM which is linked to traditional circus.

DEBATE 2: Circus is no longer an art form in its own right.

It is evident that circus performers are not the only people that go into producing a Cirque du Soleil show. You can see dancers, actors, musicians, and athletes in TOTEM, all contributing to the spectacle. Behind the scenes, the costume, make up and set designers all work hard to create a visual feast. Director Robert Lepage is a modern day Renaissance man, involved in film, theatre, opera, dance and now circus, and other creatives from the show have backgrounds in film and music. And, don’t forget the technical crew of over twenty people who ensure that the lighting, sound and rigging are all spot on. What makes circus special and different from, for example, theatre? Should it be considered as its own art form? Or is it the glue that connects a plethora of performing arts and related discipline? * EXTENSION ACTIVITY: Ask students to write a statement according to their beliefs, using arguments from the debate.

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TOTEM Resource Pack. Key Stages 3, 4 and 5

2.

Developing a Circus Vocabulary

A key feature of circus is the variety of performers and equipment it encompasses. This means that different types of people are required for different kinds of acts. Broadly speaking these come under the three categories of ‘aerial’, ‘acrobatics’ and ‘equilibristics’ but these are interlinked. For example, you could class the Antipodism (Crystal Ladies) act under both acrobatics and equilibristics (see pages 21 - 22 for pictures of the acts).

* ADDITIONAL/EXTENSION ACTIVITY After the show choose some acts for students to focus on, perhaps the more unfamiliar ones, and ask them to brainstorm words to describe the acts in groups or individually. This should help the students to remember and distinguish between the different circus acts.

Lesson: Categorise the different circus acts found in TOTEM Aim: To familiarise students with circus-specific vocabulary before the show Lesson Length: 15 – 30 minutes You will need: Photocopies of the Venn Diagram (See Resources). Pictures of the act (optional, see Resources). Access to the Internet would be an advantage as it has pictures and explanations of each act http://www.cirquedusoleil.com/en/shows/totem/show/acts.aspx Lesson Preparation: Photocopy Venn Diagrams, print copies of pictures (optional) Key Stage: 4 & 5 Ask the students what kind of circus skills they already know about. Discuss the three categories of circus skills, and ask them to give examples for each one.

Hand out copies of the Venn Diagram and ask students to categorise the acts from TOTEM. When they have finished, ask them to discuss their reasons behind their decisions in small groups. You could ask them to discuss what skills they think performers require for each discipline and which ones they think require the highest skill level or are the most spectacular.

Lesson: Guess the nature of circus skills they may be unfamiliar with Aim: For students to form expectations of circus skills Lesson Length: 15 – 30 minutes You will need: A list of the acts found in TOTEM (see resources) Lesson Preparation: N/A Key Stage: 3 Find out which circus skills your class is familiar with. Are there any students that are going to see in TOTEM that they have not heard of Cirque du Soleil before? Ask student to guess what they might involve just by looking at the names.

Ask them to write down some of their predictions and then compare them to what they saw after the show.

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TOTEM Resource Pack. Key Stages 3, 4 and 5

3.

Dramatic Tension in Circus

Lesson: The role of the act Aim: For students to explore and identify the different types of circus acts Lesson Length: PART ONE: 15 - 30 minutes. PART TWO: 30 minutes.

You will need: A list of circus acts within TOTEM for the second part (See Resources) Lesson Preparation: N/A Key Stage: This activity is suitable for all levels

PART ONE TOTEM contains a variety of different circus acts; each designed to provoke different reactions from the audience and create different ‘states of tension’ These include: • Bizarre or intriguing acts (Platform Rollerskaters) • High level, breathtaking acts (Acrobalance and trapeze) • High skill (Hoops, juggling, unicycles) • Large group acts (Russian Bar, finale) • Acts which contain characters and narratives • Clowning You could discuss the role of the acts in creating and relieving dramatic tension and what the effect of each one might be on audience members. i.e: High tension, mid tension, low tension or tension relieving.

Image: OSA Images

Compare and contrast the dramatic devices and tension created in another performance, film or television show that they have seen recently.

PART TWO After the show you could match the acts with their category and purpose.

NB: Acts can be classed under one or more categories. Which ones did the students find the most effective in fulfilling their roles?

Lesson: Track the tension in a circus act Aim: For students to interpret the tension in a TOTEM circus act and then translate it into another method of performance Lesson Length: PART ONE: 15 minutes. PART TWO: 45 – 60 minutes.

You will need: Photocopies of the Tension Tracker graph, a list of circus acts within TOTEM (See Resources for both) Lesson Preparation: Photocopy Tension Tracker graph Key Stage: This activity is suitable for all levels

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TOTEM Resource Pack. Key Stages 3, 4 and 5

A circus act can contain a number of big, high risk tricks. The trick in a circus performance is often performed at the peak after a build up of tension, when audience members gasp after holding their breath. In TOTEM, lighting and sound are employed to contribute to and build the tense atmosphere.

PART ONE Ask students if they have ever been to a circus performance. Can they describe how it feels to watch a circus trick? What happens to the atmosphere before and after the trick is performed?

Explain to the class that they are going to ‘track the tension’ of one circus act in TOTEM. Put students into groups and ask them to choose one circus act to focus on. Good acts for this exercise are the Perches and Antipodism (Crystal Ladies) because they contain big tricks with build ups.

Show them the tension tracker graph and fill one in as a class based on what might happen before, during and after a big trick.

PART TWO After the show, ask students to look at their diagrams and fill in the tension of the act that they focused on. Put them in groups and ask them to think of a way to express the rise and fall of the tension they tracked in the circus act in a non-circus medium. How do you translate ‘the tricks’ into a non-circus based language? This could be through voice, movement or music, for example.

Ask the students to share their interpretations with the rest of the class.

If this is for a music class, you could use this quote from a creative to inspire and consider how the soundscape influences the artist as well as the audience members:

‘Each acrobatic number has its own respiration, its own rhythm, and its own arc. The music has to take that into account – not only in the interests of the audience, but in the interests of the artists too.’ Bob & Bill, Composers and Musical Directors for TOTEM

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TOTEM Resource Pack. Key Stages 3, 4 and 5

Post-show Activities 4.

Evolution ‘What is it about the circus that so captivates us? It’s a discipline in which the performers must always go beyond. We witness the transfiguration of the human being. In the short time they are in the air, or performing acrobatic feats, circus artists become more than men and women—they are demigods, and we are transported into a world of mythology.’ Robert Lepage, Writer and Director

Image: OSA Images

The circus arts harness the power of science to perform breathtaking tricks which give the illusion that they are breaking the rules of gravity, and as the director states, are super human.

Evolution is an important theme in TOTEM, as the show draws on it for inspiration; this influences the characters and set design and we see the transformation from amphibian to man represented by movement and costume.

‘Inspired by the foundation narratives of the first peoples, TOTEM explores the birth and evolution of the world, the relentless curiosity of human beings and their constant desire to excel’ Robert Lepage, Writer and Director

Movement is an integral way through which performers in TOTEM demonstrate creatures’ physical characteristics. The following activity is aimed to help students consider how they can use movement to represent growth and evolution.

Lesson: Moving through evolution Aim: For students to explore ways of moving to represent evolution and growth Lesson Length: 45 - 60 minutes You will need: N/A Lesson Preparation: N/A Key Stage: This activity is suitable for all levels

To lead in, you can use this activity which is designed to get students to think about the growth and evolution of movement and cause and effect. Every student has one person they are watching. The whole class stands in a circle, not moving and in silence. The aim is to keep still and quiet. If the person you are watching makes any movement at all (such as wiggling their fingers or shifting their weight), you imitate them but exaggerating it by 10%. The person watching you then imitates you but with an extra 10% and so on until the whole class is moving.

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TOTEM Resource Pack. Key Stages 3, 4 and 5

Put students into groups. You could start with something straightforward, like a seed growing into a tree. Ask students to think about how they can represent growth through movement and their bodies. Each person could represent one stage and ‘tag team’ or they could move through the stages all together as one group. Tell them to consider the size and pace of the movement.

You can give them a limited amount of space and time to frame the activity.

Move on to focus on the evolution of different creatures such as man, horses, fish into landbased creatures, or birds. Remind them of how performers in TOTEM represented different creatures by using their bodies and imitating their movement and physicality. There are lots of images on the Internet which you could bring as a starting point for students, and the Natural History Museum website has images of ‘morphs’ which show how certain species of birds have developed. (http://www.nhm.ac.uk/nature-online/evolution/index.html). You could set up the room so there are different levels to move through with benches, chairs or PE equipment. * EXTENSION ACTIVITY Tell an interactive story to enable students to think about the cause and effect of the environment on the evolution of creatures. Have students walk around the room to start with and then describe a change in the environment, such as it starts raining. Students then react to this through mime and movement. Develop this so that, for example, the land eventually becomes flooded. Students need to react and show how they will adapt to the changing environment.

Lesson: Where do we go from here?

Aim: For students to consider how we could evolve as a race Lesson Length: 30 – 45 minutes You will need: N/A Lesson Preparation: N/A Key Stage: 4 & 5

The human race has achieved so much including the development of language, medical advancements, a rich cultural life and the ability to travel to space, to name a few! But there is still room for improvement and further development. Cirque du Soleil claims the ultimate aim of man’s evolution is to fly, embodied by the Crystal Man from space who glitters and shines light on Earth. What other ways could we evolve to improve as the human race?

Discuss how the theme of evolution is manifested in TOTEM with your class and how the Crystal Man embodies man’s ultimate aim in evolution with his ability to fly. Elicit the basis of evolution as ‘the survival of the fittest’. You could decide on some challenges that the human race faces that might influence evolution such as: • climate change • obesity in western society • the impact of technology, such as the rise of social networking on our social skills 12

TOTEM Resource Pack. Key Stages 3, 4 and 5

•

uneven economic development across the world.

Split the class into groups to suggest ideas about how we might evolve. You could allocate groups the following categories to help them focus their work: • Scientific and technological advancements • Biology and physical abilities • Mental abilities • Behaviour Share ideas and discuss which evolutionary direction they think will benefit the human race the most.

* EXTENSION ACTIVITIES •

Set up a role play with a human from the future, an interpreter and a panel of scientists or journalists asking questions to find out about their lifestyle. The ‘future human’ speaks a new language so the interpreter has to ‘translate’ the questions to the ‘future human’ and then ‘translate’ his or her responses to the panel. The panel could write a report based on their session.

•

Create characters using the different evolutionary directions as a basis and get students to debate why their world would be superior in terms of human progress.

•

Ask the students to create fact files of their future worlds thinking about: • How people communicate with each other • How people work and the kind of jobs they do • How countries and the world are governed • Where people live and with who • What the arts and entertainment are like

*Additional Discussion Point: Are we still evolving?

With the medical and social advancements we have achieved, some believe that evolution has slowed down or stopped because we have overcome the challenges that we face. However, scientists have contested this stating that there are big challenges ahead, such as cataclysmic effects of climate change. Others say that we have not conquered nature but simply created different ‘selection pressures’ for us as a race. Do you think we’re still evolving? If so, how and why? What are the challenges ahead that we need to evolve to meet?

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TOTEM Resource Pack. Key Stages 3, 4 and 5

Evolutionary Hierarchy TOTEM traces the connections between man and other species. The typical evolutionary hierarchy has humans at the top and rests on increasingly sophisticated intellect. Is this hierarchy presented in the show? If so, how? What other criteria for hierarchy are there?

Lesson: Who’s at the top?

Aim: For students to think about hierarchy Lesson Length: 30 – 45 minutes You will need: N/A Lesson Preparation: N/A Key Stage: This activity can be used for all levels

Discuss the idea of evolutionary hierarchy in nature and ask if you think that it’s reflected in the show. You could use this quote as a starting point: ‘Usually a circus is about clowns, acrobats, magicians and illusions, and about man’s superiority and power over other species but animals are a part of the human story’ Robert Lepage, Writer and Director

Choose a selection of acts and characters to look at with your group. A good choice might be: • The Scientist • The Crystal Man • The amphibian creatures in Bars (Carapace) • Perches • The Tracker • The cave men and monkeys • The characters in Rings Trio In groups, ask students to order these in a hierarchy and explain how they did this and the criteria of their order.

Image: OSA Images

If it was based on intellect, perhaps the Scientist, a Darwinesque character, would be near the top, and the amphibians at the bottom. However, it could be based on physical abilities or how robust a creature is which would change the order of hierarchy.

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TOTEM Resource Pack. Key Stages 3, 4 and 5

5.

Characterisation and Symbolism

Symbolism is a major theme in TOTEM. For example, the unicyclists represent autumn, the Bars act represents early life through amphibians, and the Scientist evokes Darwin. It is interesting to explore students’ opinions about how these things are represented. Are they accurate? Are they inspiring? How might things be represented differently?

Lesson: Representing People, Cultures and Nationalities Aim: For students to decide who is represented in the show, and how this is done Lesson Length: 30 – 45 minutes You will need: N/A Lesson Preparation: N/A Key Stage: 4 & 5 With your class, list who is represented in TOTEM. For example: • • • • • • •

Italian man (as a tourist) The Scientist Surf dudes Bollywood woman Chinese women Businessmen Native American

Discuss how they are represented. Is it positively, negatively or neutrally? Why do you think the directors chose these characters to represent certain things?

What would students want to find out from these characters? You could devise questions to ask them and then enact role-plays. Would they want to change how they have been represented?

Lesson: Symbolising seasons Aim: For students to explore different ways of representing seasons through movement Lesson Length: 45 – 60 minutes You will need: N/A Lesson Preparation: N/A Key Stage: This activity can be used for all levels Discuss how seasons are symbolised in the show - the unicycles and bowls act represents autumn through the golden colours of the costumes, props and make up. The beach scene evokes summer and the cool colours of the roller skating act are wintry.

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TOTEM Resource Pack. Key Stages 3, 4 and 5

Are these colours accurate? What colours would students choose to represent the seasons throughout the year and why? In groups or individually, ask students to think of one movement to represent the each of the seasons. For example, winter could be someone curled up on the floor, whilst spring could be waking up and growing tall.

Develop this so that students connect the movements, creating a cycle of seasons. They could also add sounds.

Once this is established, talk about the effect of climate change and human life on the cycle – will winter get much warmer? Will summer get much wetter? How could this be represented through movement?

You can adapt this activity for a music lesson by creating soundscapes for the cycle of seasons.

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TOTEM Resource Pack. Key Stages 3, 4 and 5

6.

Communication in Circus

Lesson: Don’t Speak!

Aim: Exploring non-verbal ways to work in groups Lesson Length: 30 – 45 minutes You will need: N/A Lesson Preparation: N/A Key Stage: This activity is suitable for all key stages Much of the communication between the performers is non-verbal. This communication is essential for the success of the act and the safety of the artists. This is the case with large group acts such as Russian Bars and the Perches where everyone has specific roles. There are the bases who support the equipment and the artists, the flyers who climb on the equipment, and the spotters who make sure that they are on hand if something goes wrong.

Put students into groups and assign them tasks to do without speaking. Here are some ideas: • Standing in order of house number from lowest to highest.

• Rearranging tables and chairs into a different formation.

• Creating an object out of people, such as a car or an elephant.

You could reflect on how the students found it and find out what might make it easier (without speaking!), for example, by assigning people roles.

Image: OSA Images

Lesson: Trust me Aim: For students to experience relying on each others’ sensory perceptions. Promoting and developing trust between students.

Lesson Length: 45 – 60 minutes You will need: N/A Lesson Preparation: N/A Key Stage: This activity is suitable for all key stages

Ask students what essential qualities of circus performers are. Elicit that they have to be good team players, and have to trust each others’ judgements and sensory perceptions in order to perform the biggest tricks.

To lead in, put students in pairs. One of them closes their eyes whilst the other describes the room they are in and what is happening. Descriptions should include everything; the colour of the walls, the weather outside, the layout of the room etc.

After this, one student closes their eyes whilst the other leads them around the room.

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TOTEM Resource Pack. Key Stages 3, 4 and 5

Set up an obstacle course around the space. This could just be with chairs, or using equipment, such as a bench, to create different levels. The final stage is having students lead each other around the room in pairs or threes.

Reflect on the experience as a group. What was the most difficult part? What did students notice about their other sensory perceptions when their eyes were shut?

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TOTEM Resource Pack. Key Stages 3, 4 and 5

7.

The Creative Process ‘…Cirque still retains a way of creating that is all about vertigo. They don’t want to see what has already been done before. What the people at Cirque are after is a leap into the void.’

Robert Lepage – Writer and Director of TOTEM

Images: ISA Images

There is a large and diverse team of creatives behind TOTEM. Three key members of this team are Cirque du Soleil’s founder, Guy Laliberté, writer and director, Robert Lepage and costume designer, Kym Barrett.

Guy Laliberté started Cirque du Soleil in Québec in 1984 with a team of street performers. At that point, Laliberté was a skilled accordionist, stilt-walker and fire-eater. He has gone on to develop and cultivate the connection between artistic excellence and acrobatic ability, which has become the hugely successful hallmark of Cirque du Soleil. Laliberté has gone on to win awards for his creativity, innovation and entrepreneurship. He also travelled to space in 2009 as the first Canadian space tourist.

Canadian Robert Lepage has an impressive background in theatre, as an actor, writer and director. He has also worked in the worlds of cinema and opera. He has won many prestigious awards including the Governor General’s Performing Arts Award for his contribution to Canada’s cultural life. He has an international reputation as a theatre maker and has been described as ‘one of the most imaginative and engaging theatre-makers working anywhere in the world today’.

Kym Barrett is an Australian born costume designer who has worked on films including Baz Luhrmann’s Romeo + Juliet and The Matrix trilogy, which went onto inspire fashion designers world-wide. She has been nominated and won awards for her design. She was inspired by documentary-based reality in Totem, using images and patterns from real life as a basis for her costumes.

Lesson: Write an extra scene for TOTEM Aim: For students to think about how to integrate circus in performance Lesson Length: Two sessions You will need: Paper and drawing material Lesson Preparation: N/A Key Stage: 5

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TOTEM Resource Pack. Key Stages 3, 4 and 5

What were some of the key themes and features of TOTEM? Ask students to think about a scene from the show. How were circus, costume and set used to tell a story or to communicate what the characters symbolised? How is this presented differently during, for example, the Italian clown, the Scientist or the troupe who performed in the Bars (Carapace) act?

Ask the students if there is anything that could have been expanded within the show. Is there anything that they would like to know more about or that they felt was missing from the show?

You could draw on the theme of evolution here. Would they have liked to see a depiction of the dinosaurs? Or more about the evolution of man from primates?

Explain to the students that they are going to write an extra scene from TOTEM that has not been performed.

This could be an individual or group activity. If you run it as a group activity, you could take it further by giving students different roles such as the set designer, the choreographer, the circus performer, the costume designer. You could ask them to think about the different priorities that the creatives would have when devising a scene. For example, thinking about the requirements and limitations of costume design for circus performers - it has to be stretchy. It can’t have too many bits coming off it that could get tangled with equipment or other performers. You could even make it a role-play activity.

When devising the scene, students need to think about: - What happens in the scene - Where the scene fits into the existing show (before the show, during the show or after the show) - The circus equipment that will be included and how this will help to tell the story of the show - How the set is adapted for the scene, and where the audience should look - How many performers are in the scene - Whether any existing characters are in the scene or whether it will be new characters In order to devise and visualise the scene, the students can use a storyboard format. You could set a minimum number of stages for them to include.

You could set up a role-play where they have to pitch their ideas to a panel of Cirque du Soleil directors who are looking to develop TOTEM. This would help students explain and justify their decision making process. * EXTENSION ACTIVITY Much of the costume and set use photographs from the natural world to create patterns and images. Students could design costumes and set features for the extra scene they write using this idea as a basis. They could take close-up photos of the natural world around them, such as tree bark, leaves and blades of grass, as a starting point.

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TOTEM Resource Pack. Key Stages 3, 4 and 5

8.

Reviewing Circus

‘We are celebrating evolution, starting with a glittering, primeval swamp and moving onwards and upwards.’ Kate Kellaway, The Observer ‘The evening looks beautiful, thanks to a set by Carl Fillion and projections by Pedro Pires, in which a titled disc reflects either turbulent waves or shimmering waters. There is a stunning moment at the end when cast members float across the disc's apparently solid surface.’ Michael Billington, The Guardian

‘Dazzling in Swarovski crystal-encrusted costumes, identical twins Marina and Svetlana Tsodikova present their scintillating and skilful foot-juggling number. Looking exquisite, their moves are precise and elegantly performed as they spin glittering mats on upturned hands and feet.’ Liz Arratoon, The Stage

Lesson: Write a review of TOTEM Aim: For students to think about how you review a circus performance Lesson Length: 60 minutes You will need: N/A Lesson Preparation: N/A Key Stage: This activity can be used for all key stages

With the class, brainstorm criteria which you would use to review a theatre or dance performance. These might include: acting, narrative, set, costume, lighting, sound and also the overall experience (for example, what the atmosphere was like, whether the venue had an impact).

What might you include/exclude in these criteria when reviewing circus? For example, do you include the quality of the tricks and the range of circus acts? Is the narrative or quality of acting as important to a circus performance as it is to a theatre performance?

Brainstorm/present to the students some elements of a review. For example: - What you saw and where - Context e.g. Who Cirque du Soleil is, something about contemporary circus - A brief description of the performance - The highlights - What you didn’t like - What impression the show had on you - Overall conclusion

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TOTEM Resource Pack. Key Stages 3, 4 and 5

Recent reviews of TOTEM can be found here if you want to use them for examples of language used to review circus performances: The Guardian: http://www.guardian.co.uk/stage/2011/jan/06/cirque-du-soleil-totem-review The Observer:

http://www.guardian.co.uk/stage/2011/jan/09/cirque-du-soleil-totem-review

The Independent:

http://www.independent.co.uk/arts-entertainment/theatre-dance/reviews/cirque-dusoleil-royal-albert-hall-london-2179615.html

The Telegraph:

http://www.telegraph.co.uk/culture/theatre/theatre-reviews/8244398/Totem-RoyalAlbert-Hall-review.html

The Stage:

http://www.thestage.co.uk/reviews/review.php/30900/totem

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RESOURCES

TOTEM Resource Pack. Key Stages 3, 4 and 5

CIRCUS VOCABULARY

Aerial

Acrobatics

Equilibristics

Some of the acts you will see in TOTEM: Bars (Carapace)

Hoops Dancer

Roller Skates

Devil Sticks

Manipulation

Russian Bars

Antipodism (Crystal Ladies)

Perches

Unicycles and Bowls

Fixed Trapeze Duo

Rings Trio 23

Images of Acts

TOTEM Resource Pack. Key Stages 3, 4 and 5

Unicycles and Bowls

Manipulation

Hoops Dancer

Fixed Trapeze Duo

ALL IMAGES: OSA Images 24

TOTEM Resource Pack. Key Stages 3, 4 and 5

Antipodism (Crystal Ladies): Foot Juggling

Russian Bars

Rings Trio

Perches

ALL IMAGES: OSA Images Roller Skates

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TOTEM Resource Pack. Key Stages 3, 4 and 5

Tension

Tension Tracker

What happens before and after the trick?

How does the music and lighting contribute to the tension?

How many big tricks are there in the act?

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TOTEM Resource Pack. Key Stages 3, 4 and 5

Further Resources Cirque du Soleil & Totem Websites www.cirquedusoleil.com – The Cirque du Soleil website contains information about the history of the company and all of the Cirque du Soleil shows http://www.cirquedusoleil.com/en/shows/totem/default.aspx - The TOTEM website has information about the show’s circus acts and characters. It also contains profiles on all the creatives behind the show http://www.circusland.com/favorites/eng/glossary.html#b – A Glossary of Circus terminology

Newspaper Articles An interview with Robert Lepage from the Daily Express: http://www.express.co.uk/posts/view/221955/Cirque-du-Soleil-Taking-circus-to-new-heights An Interview with Robert Lepage from The Metro: http://www.metro.co.uk/lifestyle/851618-robert-lepage-happy-for-people-to-walk-out-of-his-evolutioncircus-show An Interview with Robert Lepage from The Telegraph: http://www.telegraph.co.uk/culture/theatre/theatre-features/8229765/One-giant-leap-into-thevoid.html Interview with Kym Barrett from The New York Times: http://tmagazine.blogs.nytimes.com/2010/04/22/costume-drama-under-the-big-top-with-kym-barrett/

Books Cirque Du Soleil: 20 Years under the Sun by Tony Babinski (2004) – A History of Cirque du Soleil

Contemporary Circus Websites Some contemporary circus companies in the UK: www.nofitstate.org www.ockhamsrazor.co.uk www.soandsocircus.com

Some circus training organisations in the UK: www.circusspace.co.uk www.circomedia.com www.greentop.org

Sources on Evolution Giles Newton and Penny Bailey, 29th September 2006, ‘Are humans still evolving?’, Wellcome Trust, http://genome.wellcome.ac.uk/doc_WTX034686.html Ian Sample, 11th December 2007, ‘Humans are still evolving - and it’s happening faster than ever’, The Guardian. http://www.guardian.co.uk/science/2007/dec/11/evolution

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TOTEM Resource Pack. Key Stages 3, 4 and 5

Circus Space Circus Space is devoted to enhancing, protecting and advancing the circus art form and has been enabling the creation of excellent and innovative circus for nearly two decades. Every year Circus Space involves thousands of people in the physical challenges and artistic pleasures of Circus Arts. We run the UK’s first BA [Hons] degree level education in Circus Arts and provide professional development opportunities for aspiring and established performers. We run highly regarded workshops, away days and teambuilding events for the corporate community.

Participation and Outreach Participation and Outreach (P & O) provides opportunities for young people and adults to get involved in Circus Arts in a range of ways. Circus Space runs recreational classes, starting with courses for children from the age of 2 years 9 months up to adulthood. We work with aspiring artists across our programme, providing a structured progressive training programme for under 21’s ultimately aimed as a pathway into the profession, and working with adult students on act development. We are expanding our programme to include specific circus training opportunities for older people.

Working with Schools Circus is a fantastic way of engaging young people physically and creatively. It’s brilliant at building confidence among young participants and also encourages team working in groups. We have worked with schools to deliver progressive circus training programmes incorporated into the PE National Curriculum.

We have also linked circus skills into other parts of the curriculum, such as physics and numeracy.

We run school trips in our magnificent space which is based in the heart of Shoreditch. A tour of Circus Space involves seeing professional circus artists and students on our BA in Circus Arts as they train in our world class facilities, whilst learning about the history of this fascinating building. Email Lydia@circusspace.co.uk for more information about working with schools.

Work Experience We run a flagship Work Experience programme for young people aged 14 – 21 years old which aims to give our placements a taste of what it is like to work behind the scenes at an arts organisation. We schedule our placements to coincide with some of our most exciting P & O projects such as our end of year ensemble production and our Summer School so that the young person gets a chance to assist on these projects. Students apply for one or both of our set placements by submitting their CV and Cover Letter.

Find out more on our website www.circusspace.co.uk or by emailing Lydia@circusspace.co.uk.

Aerial: National Newsletter for Youth Circus in the UK We produce Aerial, the quarterly national Youth Circus newsletter, including news about youth circus or reviews of circus-related shows. We’re always looking for young people who are interested in writing articles for us, Submissions should be sent to: aerial@circusspace.co.uk.

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TOTEM Resource Pack. Key Stages 3, 4 and 5

Mousetrap Theatre Projects offers young people with limited resources and access, the opportunity to engage with the best of London’s live theatre. We are an independent charity, working with theatres in the West End and across London. Since 1997, we have taken nearly 100,000 young people to the theatre.

We create innovative and exciting theatre access, education and audience development programmes.

Young people take part with their school or youth group, their family or their friends.

Mission Statement We believe that all young people should have the opportunity to attend outstanding theatre, irrespective of their cultural, social or economic background. Our mission is to increase young people’s access to the best of live theatre in London (particularly those young people with limited resources, opportunities or support) and to enable them to engage creatively with that experience.

As an independent charity, Mousetrap Theatre Projects is in a unique position to select the appropriate or relevant theatre productions in and beyond the West End that stimulate and inspire young people. We devise programmes that use theatre as a catalyst to explore ideas, learn new skills, develop creativity and offer new perspectives. At the heart of our education and outreach work is the desire to open doors to young people who might otherwise consider London’s rich cultural heritage closed to them.

Areas of Endeavour Access:

To provide young people with limited resources, support or a disability, the opportunity to attend London theatre, often as a first-time experience: The London Theatre Challenge for Mainstream Schools, Theatre Journeys for Special Schools, StageXchange, Family First Nights and Envision

Education:

To enable young people to engage actively with their theatre experience and to use theatre as an educational resource in and out of the classroom to stimulate creative work and to develop theatre-related skills: TheatreWorks, Play the Critic, Insight Sessions, WriteThinking, TechTaster, PowerPlay, StageSong and Stage Business

Audience Development:

To encourage a legacy of theatregoing among young audiences by reducing barriers and enhancing their knowledge and understanding of theatre: C145, West End for £10 and Mousetrap Mondays.

Creating Links:

To develop collaborations with young people, schools, teachers, artists, arts organisations, youth groups, community organisations and social service agencies with the theatre industry: Teachers’ Advisory Group, Teachers Preview Club, Youth Forum, Family Forum and training opportunities.

Mousetrap Theatre Projects 23-24 Henrietta Street Covent Garden London WC2E 8ND www.mousetrap.org.uk Tel. 020 7836 4388

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