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Stuart Christie's corde lisse act [May. 7th, 2011|11:27 pm]
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I don't think that this group gets used much any more, but I wanted to share this. I've been watching a lot of flashy, swingy rope acts lately. This is not one of them. This guy is wonderfully fluid. He has lots of really beautiful transitions, including glissade/back balance/front balance at 1:06. And, as if to demonstrate that he has plenty of strength left over, he finishes with paperclip to planche.

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trapeze upholstery fabric [Feb. 21st, 2011|11:13 am]
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hi, circus people! I am buying a trapeze and have a chance to choose the fabric for its upholstery. I'm planning to cover the ropes with fabric all the way up to the rigging. Does anyone have advice about what fabric will have a nice grip, wear well, and not sag?

I'm currently less interested in velvet because I've seen that with heavy use it looks really patchy, and microsuede and corduroy have both felt too grippy for my preference. Of the trapezes I've used as a student at other people's studios, the one I have liked best has been undyed canvas, which has gotten a little bit slippery with heavy use but still felt easy to grip. My main reservation with that fabric is that with use it also became discolored, presumably from sweat. I know that canvas can be dyed, but I don't know if that dye weakens the fabric too much. I'm also just not sure what would be a good color for hiding sweat over time!

In researching all this what I found myself wanting was just a collection of various people's opinions and histories and preferences. Have any of you made or commissioned your own trapezes? Do you have biases or tips for any particular fabrics or color choices?

Thank you in advance!
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Inverting, again. [Feb. 3rd, 2011|11:52 am]
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I posted about my struggles with straddle/tuck-up inverts from the air a little while ago. My frustration now is that I still can't invert, even though I've gained a LOT of strength and am zipping through learning curves on other types of tricks. I can invert from the ground, but not from the air. People in my class are beginning to tell me they think it's a mechanics issue rather than strength, and I believe it because I see people who are weaker, and can't hold their bodyweight from a bent-arm position as long as I can, tucking into an invert with ease.

Nobody seems to be able to give me any advice on this, and I'm hoping you guys might have advice from experience. I know it's really hard to describe exactly what to do, but here is my problem: I can hold the bent-arm position, and tuck my knees up tightly. I just can't seem to manage to figure out how to tip over. My teachers told me to straighten my elbows slowly, but all that does is bring me back towards the floor still in the tucked position. It's incredibly frustrating. Basically I can't figure out how to bring my butt up to the ceiling so I tip over--I remain with my head facing the ceiling and my toes facing the floor.
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Seattle? [Dec. 28th, 2010|04:49 pm]
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Hello fellow circus peeps! My aerial partner are sitting at Espresso Vivace and where wondering if any local aerial geeks wanted to hang out and talk shop :)
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New aerialist seeks help! [Dec. 13th, 2010|11:01 am]
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Hey guys, I've just started learning aerial acrobatics and am LOVING it. I'm a former gymnast/dancer with contortionist flexibility (and concurrent dislocations/injuries/lack of strength in the joints) and take circus classes 2x a week for 1.5 hours each.

Here's the problem. I want to move up from beginner A to beginner B but the only thing that I have trouble with is inverting. (For example, inverting to a straddle from the floor for silks and corde lisse). I know that other people in the class who are about as strong or not as strong as I am can invert, and it frustrates me. I think it's both a strength issue and (a lot more) a balance/figuring out which muscles to use issue. For now I can easily jump and use my foot on the ropes to invert, but I need to be able to cleanly invert so I can start learning to do it from a dead hang.

Any help and advice would be incredibly appreciated, especially help with body positioning getting into inversion.
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Fernanda Monteiro- Back to Black [Dec. 12th, 2010|03:27 pm]
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Hi y'all, just wanted to introduce myself and share one of my favorite lyra performances. My name's Misha, I'm an aerialist-in-training currently hailing from Sao Paulo, Brazil. I studied aerial in Olympia, Washington for the past year or so, and last month I picked up and moved to Brazil with my partner (not the least of which because Sao Paulo has seven circus schools). It's been a bit rough finding a circus community here as a newcomer, and if anyone has any experience doing aerial arts in Brazil I'd love to hear about it!

So this isn't just an introduction post, here's one of my favorite lyra pieces- Fernanda Monteiro doing Back to Black. I love her work because she's got such a great economy of movement, all of her actions are very deliberate and it results in a really clean overall piece.

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Les Coquettes [Sep. 20th, 2010|04:41 pm]
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I've been spending a lot of time trying to put together acts that are little three-minute stories instead of a series of tricks.

This. My plan is to one day move like this. There is nothing at all difficult about this routine except for the performer's meticulously thought-out quality of movement. I like it a lot.

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Sandy on Tissu: Hallelujah [Feb. 10th, 2010|02:55 pm]
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If you know the song, you know it's a real gut wrencher.

I think she does an amazing job of embodying the emotions in the music, and of never ever losing that emotional quality in her movement. I also love how she moves organically from one place to the next. It feels thoughtful, like the song.

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Sequencing, What's Your Approach? [Jan. 27th, 2010|10:06 pm]
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After biting off more than I could chew in my first attempt at assembling an act, I'm finally getting around to trying again. I've heard of a few different ways that people go through the process of creating an act, which got me wondering if any of you would be will to share your thoughts on the matter? For example, one approach I've heard often is...
1. Pick your music.
2. Pick some tricks.
3. Fill in the transitions.

Another approach I've heard of is...
1. Find a character
2. Find some music the character can move to
3. Using improvisation, fill in the sequencing.

From my experience I've observed a gradient between trick oriented "build" acts where the performer works up to ever more complicated and risky stunts, to "character" acts, where the performer tells a story.

Anyone care to share their thoughts and experiences on the subject?

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