CIRQUE

Michael Church
Saturday 16 December 1995 00:02 GMT
Comments

Your support helps us to tell the story

From reproductive rights to climate change to Big Tech, The Independent is on the ground when the story is developing. Whether it's investigating the financials of Elon Musk's pro-Trump PAC or producing our latest documentary, 'The A Word', which shines a light on the American women fighting for reproductive rights, we know how important it is to parse out the facts from the messaging.

At such a critical moment in US history, we need reporters on the ground. Your donation allows us to keep sending journalists to speak to both sides of the story.

The Independent is trusted by Americans across the entire political spectrum. And unlike many other quality news outlets, we choose not to lock Americans out of our reporting and analysis with paywalls. We believe quality journalism should be available to everyone, paid for by those who can afford it.

Your support makes all the difference.

These are the days of miracle and wonder, Christmas joys and such. Then next month the Cirque du Soleil comes hither, to stretch credulity and extend daylight beyond all knowing. Photographs by Veronique Vial

They say it was conceived in a mystic moment in 1982, in Baie St Paul in Quebec when the aurora borealis hit. And in that circusless terrain was born an idea that has beguiled wherever it has been seen, from Nowhereville to Malibu. It owes something to centuries-old traditions of circus and something else to an impluse that feels as though it started in the Sixties.

The characters, as you see, are fantastical and what they do is fantastic. Beautiful, mystifying and death-defying. There are no animals except human animals. Smooth-muscled myrmidons shinning backwards up Chinese poles, bungee jumpers soaring like birds, Portuguese pocket atlases, a Cuban juggler whose mind seems to be elsewhere. The trapeze artists are silver fish, the Russian acrobats are like slow-moving sculptures. "The trapeze," says Shana Carroll, San Franciscan trapeze artist, "is a metaphor for everything - the pendulum of life, the heartbeat - except when you're doing it. Then it's just the trapeze." Those present at the Royal Albert Hall in the fortnight beginning 5 January will not have to listen to philosophising but they won't feel it's just the trapeze either. Michael Church

Join our commenting forum

Join thought-provoking conversations, follow other Independent readers and see their replies

Comments

Thank you for registering

Please refresh the page or navigate to another page on the site to be automatically logged inPlease refresh your browser to be logged in