Our Guest Today: Sabine Van Rensburg and Brin Schoellkopf
We met these two talented young artists through the artistic director of Passagers from 7 Fingers, Shana Caroll, who appeared in an earlier episode of Feisworld. Passagers (or Passengers in English) is opening in Boston on September 25th, 2019 and leaving the city on October 13th, 2019. Make sure to check out the show with your friends and family!
Darren DeLuca, a public relationship consult at Arts Emerson, helped connect us with Sabine and Brin. I interviewed them both inside the Emerson Cutler Majestic Theatre.
Sabine, originally from South Africa, is an aerial silk artist. Her parents founded a circus school where she learned to perform as a circus artist, the rest is history. Sabine embraced the opportunity before enrolling in the Montreal Circus School. Soon after graduation, she found herself busy working for 7 Fingers.
Brin was born and raised in Vermont, a jack of all trades type of Circus artist, he’s got a few impressive skills under his belt. He also works as a visual artist and videographer to promote other artists like himself.
What Is 7 Fingers Passengers About?
Departure vs. transit vs. arrival. Chance vs. choice vs. destiny. Stillness vs. acceleration. Reflection vs. transparency. Familiar vs. foreign. Private vs. public. Confinement vs. border-crossing. Bright headlights vs. tunnel-darkness. Past vs. future…
Our fascination with trains is both a nostalgic one — dreams of another era, another land — and a symbolic one: life happens along this track of sorts, twisting and turning through valleys and plains. We speed through lands all the while staring out the window, at the reflection of our very own eyes superimposed upon the shifting landscape. Tearful goodbyes, anticipatory reunions. Fateful encounters inside the cabin. A community of strangers with one thing in common: we all have somewhere to go. Our reasons for leaving may differ but we are joined in a moment of suspended limbo between two lives, as we say goodbye to one and prepare for another.
The National Circus School in Montreal has prepared generations of artists for a very high level of achievement. Sabine and Brin share their schooling experience studying as college students inside this unique institution that is unlike any other college experience you’ve heard.
In this episode, we give you the insider’s view into the life of young circus artists, the relationships they built, how they navigate work, life, travel and beyond.
Special thanks to ArtsEmerson, Boston’s leading presenter of contemporary world theatre dedicated to engaging all communities through stories that reveal and deepen our connection to each other.
Sabine van Rensburg and Brin Schoellkopf: The Faces Behind 7 Fingers PASSAGERS – powered by Happy Scribe
Feisworld podcast helps independent creators live their creative and financial freedom. I’m your host, Fei Wu, and I’ll be taking you through a series of interviews with creators from around the world who are living life on their own terms. Each episode is packed with tactics, nuggets you can implement, origin stories to make listening productive and enjoyable. We’re not only focused on the more aspirational stories, but relatable ones as well. We also have non-interview based miniseries releasing throughout the year to help deep dive into topics such as freelancing marketing, even indie filmmaking that will benefit creators like you. Show notes, links and ways to connect with the guests are available on Feisworld.com. Now on to the show. Hey guys, this is Fei again and welcome to our podcast. Today I have a very special interview podcast to bring forward for you guys. Meanwhile, keep in mind that we also have miniseries launching at the same time, and it’s called how to Freelance, which helps you, if you are a creative entrepreneur artist, will help you level up so that you can thrive in your financial and creative life. Today I welcome two new circus artists, Sabine van Rensburg and Brin Schoellkopf to Feisworld.
How do we find ourselves to Sabine and Brin, you may be wondering? Well, the Circus Network is quite a fantastic one through the artistic director of Seven Fingers. Her name is Shayna Carol, who has appeared on episode 137 of the Feisworld Podcast. So Shayna recently created another show called Passenger, and that happens to be premiering an opening in Boston on September 25, 2019. So I decided to reach out to Arts Emerson, the host of this show and an incredible venue, oneofa Kind in the United States. So check it out. Arts Emerson is Boston’s leading presenter of contemporary world theater. They’re dedicated to engaging all communities through stories that reveal and deepen our connection to each other. I reached out to Darren DeLuca, a public relationship consultant at Arts Emerson. Darren selected two artists from the show. So special thanks to Darren, who made this interview happen not just anywhere, but inside the gorgeous Emerson Cutler Majestic Theater. The Majestic Theater was converted to accommodate this type of shows with shows in general in the 1920s and eventually into a movie house in the 1950s. I know there’s so much history, so many different stories in Boston, I couldn’t help myself.
Okay, now let’s talk about Sabine. She is absolutely lovely, and she’s originally from South Africa and she’s an aerial silk artist. Her parents started a circus school where she grew up, and the rest is history. Sabine certainly embraced the opportunity she was born into and ended up at the Montreal Circus School. If you guys remember, we interview the executive director of the Circus School, and his name is Eric Long Gua. Soon after graduation, Sabine found herself busy working for the Seven Fingers. Brin was born and raised in Vermont, a jack of alltrades type of circus artist. So he is a circus artist as well as a visual artist, where he produces video to help promote other artists. Every time I talk to young circus artists about their schooling, I can’t help imagining Harry Potter. The reality of their life really isn’t far from fiction, but there’s real work. They train from 08:00 A.m. To five or 06:00 p.m., followed by your short break, and then homework, academic homework. If that isn’t discipline, I don’t know what is. The National Circus School prepared them for a very high level of achievement while allowing them to continue to grow as artists.
In this episode, we give you the insider’s view into the life of young circus artists. The relationship they build, how they navigate work, life, travel, and beyond. Shayna Carroll, the artistic director, has been interviewed on this podcast. And the funny thing is, the two artists, Sabine and Brin, speak so highly of her, not just an artistic director, but as a sister and as a friend as well. So thank you so much for listening. I know your time is precious, but I promise you, you enjoy this conversation. And if you could, please stop by. If you live in Boston, please come check out the show at Arts Emerson and follow other shows that they have available for this amazing company at this incredible venue. And if you’re not in Boston, I highly encourage you to either go alone or find a family member or friend and check out a circus show for the first time in your life. It will change your life forever. So, without further ado, please welcome Sabine and Bryn to the Feisworld podcast.
So I am here with Sabine and Bryn, and please teach me how to say your name, especially your last name.
Both of our last names are a.
Little complicated, so I’m Sabine Van Rensburg. It’s a Dutch origin, so that’s why it’s a little complicated to say.
And my name is Bryn Shulkoff, and it’s German. German descent.
Where are you guys from? What’s your origin?
Well, I’m originally from South Africa. My dad’s South African, and my mom’s French, and I was born and raised there until about four years ago. I moved to Canada to do the National Circus School there.
And I’m from Vermont in the United States. I lived there until I was 17, and then I also went to Montreal to attend the National Circus School five years ago.
Wow. Both of you speak French. You sound like you speak French.
So being fluent in French because her mom is French, I’ve learned it throughout the years living in Montreal, but I would not say that I’m fluent.
What is it like to attend the National Circus schools in Montreal? Because we had the pleasure to interview Eric Longwa, and he’s wonderful. I know he’s still there. What is it like to go to a circus school? Because it sounds very Harry potter to this.
It’s actually rather intense. It’s a really well developed system that integrates you very quickly. So it’s high level training. We train from about eight in the morning until four, five p. M. And then we have academic classes that go on until 09:00 p.m. At night. What’s?
No, I mean, yeah, it’s very full on, and I think the schedule is not designed for everyone and it takes time to get used to it and to learn how to take care of your body as well, because your body is not. I mean, I was just self training before coming to school, so to go from kind of zero to 10 really took time for me to understand how to take care of my body, what I needed to do. Also, it was the first time I was living alone. Alone. So how to cook for yourself, how to just care for yourself as a person?
I hate so many oreos, mostly cornflakes.
And it definitely takes time to adjust. But I think when you find that flow in the school and also the motivation, then it’s a really great program to grow and blossom not only as an acrobat, but also as an artist.
The community becomes family, and that is what really transports you through those tough street years.
Yeah. There’s so many gems to what you just talked about, and I think it’s so interesting now you guys are grown ups and you’re performing, you’ve graduated. And I know that I find each of your journeys to be really unique. And I love the videos that you produced.
Thank you for all the acrobats.
I started watching yours and then I was like, I wish Brent talks a little bit more about himself. Like, where can I learn more?
I’m just the man behind the camera.
You said you have to basically kind of take care of yourself, cook for yourself. Is it because you literally you’re 1718 that you move into a dormitory or.
Do you just apartments?
You find roommates through the school. Some people. The school provides a residence.
Yeah, there is a residency program. Usually it’s for the high school students.
That are under 18.
Yeah, we’re under 18. But often the college students will just go off and find their own apartment and live together.
What was the first year, first six months like? Because your body’s going through such a transition.
Yeah, the workload becomes really intense. And so I developed, like, a lot of muscle, for example, because I was training so intensely. But I think emotionally it’s a bit of a different journey for each person. It’s really particular to person to person.
I find when you first get there, it’s a lot of overwhelming excitement. And I remember being so distracted in my classes because I just wanted to watch everyone. I had never been surrounded by such talented people. And we’re training in these huge rooms where you can just watch everyone and I would just be trying to do my thing and then I’m just like looking for them, like, oh my God, that’s amazing what they’re doing.
Especially the years above. You really admire artists and I really developed a style totally.
So over the years, you get used to it, you find your flow. But I would say at the beginning, it’s very overwhelming. And also, I mean, I come from Vermont and it was the first time living in a city as well where you have everything at your fingertips to go see shows, to do anything.
Also for me, in South Africa, there’s no public transport, really, that’s either safe to take or accessible. So having independence and freedom to go to the cinema on my own or to do things like that, I was.
Not have to listen to your parents.
It was incredible.
It was really, really freeing to be there.
Montreal has this incredible scene in Montreal. We were. Adam and I attended the Montreal Complete Circus this year.
Realized to actually make this art accessible to people, they make it so cheap and affordable, and therefore, literally, we’re among local people and people travel internationally. For me, it’s difficult to comprehend. What is it like for you to also come from a place perhaps that’s not accessible? I don’t think there’s shows in Vermont every day.
I did Circus Marcus as a kid, so that was only two months of the summer. And if I did the camp before that, I did the camp, which was two weeks of the summer. So that was really my moment to just push. And other than that, I was training gymnastics, but there wasn’t anybody pushing me in that field. So it took a lot of self motivation and watching videos and kind of just also understanding, like, is this really what I want to do? At a certain point when I was questioning if I auditioned for the school because I didn’t have the environment around me. So I think once you step into the environment, just coming from kind of nothing most of my year, it really became this exactly like I said before, overwhelming, like wanting to do everything and experience everything at the same time.
And Montreal is really an epicenter and a hub for circus arts. There’s so many companies, so many artists that circulate through there during the summer, we met a bunch of artists from Europe, which is also such a beautiful exchange to happen.
And I think what’s also cool is that the art worlds in Montreal kind of intertwined. So there’s a big dance scene as well, of course. And actually there’s a program called Adizam in Montreal which connects all of the art schools. And so we’d have different events where each school kind of presents something and then there’s kind of meet and greets after. And I’ve made so many friends just through that as well. So I think that there is a really strong art scene in Montreal, and especially for young people as well, and that makes it very motivating and inspiring to create with different people.
So I think it could be a very distracting place. I find Montreal to be distracting when it comes to food, culture, theater, and obviously shows. And you guys, you said I have to go back to it real quick, which is you train physically from 08:00 A.m. To four. That’s a lot because when I go to a dance class, like a summer class for an hour, I’m like, if we go like twice a day, we’re heroes. But then you have to go do all the academic curriculum. Is that possible? Or like.
Somehow I don’t think I could do it now, honestly. But in the moment, we made it work.
I mean, the academics are definitely hard in a different sense, I think, because it’s so physical all day, there’s kind of this you’re wanting to also use your brain, stimulate your brain in a sense, because often you’re just in a totally different mentality when you’re training. So I think it is hard and it’s very exhausting at the end of the day, once you’ve trained all day to go and sit down, but it’s important and you need to be there and you’re happy to be kind of still growing in that sense, or learning something.
And some of the classes are really applicable to what we do. For example, we did anatomy and like, music and rhythm, and there’s also like.
Circus history, class history, where the teacher’s changing often every like three or four weeks, and it’s focused on something different each time.
And then we have the basics like English and French literature, philosophy, and I.
Think that’s it, yeah, mostly taught in English or French or both.
So we’re split into two groups. There’s the French group and the English group. But the French people have to take English second language, and the English people have to take French second language.
But some of the classes are taught French generally. Philosophy was taught in French anatomy.
After the first year, they give you kind of like a leeway, they’re nice to you, and then straight from the second year, they really speak nice to you.
And you speak French fluently because you’re your mom.
Yeah, so she raised me speaking French.
It helped a lot.
But I think in that context, it’s a good push because Montreal is so bilingual that often I feel like it is hard to learn French if you’re not pushing yourself. So actually I really appreciated when teachers would just speak to me in French and not go easy and say, oh, you don’t understand, I’ll accommodate to you, because then you don’t learn. Then you’re never put in that environment of needing to push yourself. And so I feel like the first year I lived in Montreal, I was kind of nervous and shy to speak French and would go out and I would start to speak French, but they would be like, dude, I speak English and oh, yeah, yeah, sorry. So you don’t learn. And it’s nice for the people that really put you in that situation. Okay, we’re going to do this together. I’m not attacking you.
And have the patience to teammate.
Yeah, exactly. And have the patience.
Hi, guys. This is FEI Wu, and you’re listening to Faze World today. I have Sabine and Bryn from seven fingers. They’re circus artists who recently graduated from the National Circus School in Montreal and joined one of my favorite circus companies called Seven Fingers from Montreal. They are touring their new show directed by Shayna Carroll called Passenger, and the show is premiering in Boston. If you live in Boston or happen to travel here in the near future, please come check it out. Mark your calendar, September 25 through October 13, 2019. It will change your life. Now back to the show.
I’d love to talk about the transition from school to being on stage because I know as a student at National Circus School, you get to perform as part of the Montreal Circus Festival, but as well as other events. So how well prepared and conditioned do you think you are?
Well, we were pretty lucky. We were both performing as kids. My parents have a circus school in South Africa. So my first show, I must have been about six years old, so I kind of went from the stage to the school and then back onto the stage, which was a really, actually great experience because you have this huge baggage of performance skill, and then you kind of slow down with performance skill and really focus on the technical aspect of what you’re doing physically. And then you come back on stage and you’ve got like a whole new level and a whole new dimension to your performance.
Yeah. In school, I think there’s a lot of times where you’re exhausted in your training and it’s easy to forget why you’re doing it. And I think having the experience before or performing throughout school really reminds you why you’re there and why you’re training and what it’s for. And so to finish each year, do the end of the year performance, or perform in Leh Minute over the summer, or just in whatever context, it really gave me affirmation every single time, like, okay, yeah, this is why I kind of maybe pushed through the year. And it was hard at times, but it was worth it because I’m getting to where I want to get to.
And the transition for us, straight from school into a contract, we were super fortunate. Not everyone has it so easy. Some people struggle a little bit. Basically, from our end of your shows, we had a few weeks off, and then we started the creation of the show, which is four and a half months that we did in full creation, nine to five.
Was it the passengers?
What’s the show?
Yeah. So that was last summer that we did The Creation starting in July and then we premiered in November. But for me as well, I think the school often becomes very you have all these people who are supporting you and your creation and your development as an artist. And for me, what was also really interesting to start the creation of Pattage was to kind of switch that mentality of really being again in the group dynamic and as a team player and also creating for someone else’s vision as the director and really following her. And I think that definitely took a moment for me personally to switch that and be like, okay, I’m not going to necessarily approach this the way that I would approach if I was making a number for myself in school. But this is like a group context. And even though we’re creating, we need to think about it in that sense, in the global sense, of what the purpose of the show is and what really kind of dive into Shana’s head of what she’s seeing, which is really interesting, but it definitely takes the acknowledgement to just say, okay, yeah, we’re not in this same context now.
I love Shana Taro.
You know, I love her too.
I know. First of all, what is it like to work with her? I’m curious because I want you to listen.
She’s such a passionate woman and she’s able to transfer her ideas that are in her head so well verbally, that I feel like we really understand everything she’s trying to get across. And she’s so supportive of letting us speak and letting us put our input in the show as well. And it’s really a collaboration with her.
Yeah. For me, what was really special was almost the first month of our creation. We would go in each day and we would just sit down for at least an hour and just talk and tell stories, and you could really tell. I think it was honestly one of my first experiences where you could really feel that the director cared about us as person and who we are and not just our skills and what we’re there to do, kind of. And I think that really created a sense of just community and safety and trust and feeling comfortable with each other. And some of us had gone to school together, so we already had that comfort, but just kind of in this new group, in this new context, really creating that sense of trust that made the whole creation just like first when.
You should be trickortreating for the first time. When I was 20 years old, the culture doesn’t exist in South Africa. And so I was like, I’ve never been trick or treating. So her and her daughter were like, oh, you have to come with us.
And we went to the lantern festival as well with her and her daughter.
Yeah. She really has adopted us into the family. And she’s not only our director, she’s a friend and a mother and a sister. It’s amazing.
And I think that’s kind of the mentality of the whole company as well. It’s this really family oriented, really creating that sense of community which I think is really special.
It’s tough for them to do because the company is growing and it’s so successful.
Yeah. But that for me is even a motivation to just do the show consistently. I know that I’m working for really good and special people and that makes me want to do my job well. Yeah.
We also get to be with the people that are pioneers in our field. Like, for example, a doctor will never really meet the person who invented the X ray or anything like that. Whereas I get to meet the person who pretty much pioneered my discipline. So is it better to stay with the person who pretty much started Aerial Silks and I’m working with her every day. It’s really, really amazing.
Yeah. And that’s another thing that’s special about the company is often other circus companies have directors or choreographers come in to create their shows. But The Seven Fingers, I’m pretty sure every single creation has come from the founders of the company. Shayna and Gypsy have directed a lot of the shows and Zeb and Pat and ESA and Sam, like they’ve all done the creation. So I think that that’s really special as well.
Yeah. It’s so intimate and the reason why, in addition to the fact that your art is so interesting and we’re going to get into that. About your particular styles, I know you have multiple skills and trying to learn how to say them last night. I love the culture and I remember touring The Seven Fingers new headquarters on Trail very recently, like two weeks ago. It’s surreal because I think about these women independently. I mean, there was some men involved as well and really were very instrumental to the foundation. But it’s like think about just a few people and they’re literally back then in their living room trying to figure out how this all work together. And then you walk into this majestic place. How does that make you feel as such young people in your early twenty s to realize that back in the day, very little. So 17 years ago there were social media, not as much. And you could probably imagine a few women get together with, you know, young women and later in life that children and whatnot probably there are people not being super supportive about your Seven Fingers. Like the oh, please.
You know what I mean?
I think that’s what they said in their party. That some people were like, oh, seven people collaborating. It’ll never work.
Oh, yeah. Yeah.
I think there’s seven people who really know how to speak their mind. And each week they still have meetings, the seven of them, to make sure they’re all on the same page.
Yeah. And they’re so involved in the company and all the decisions all the time. Of course, as the company is growing so fast and with this new building and everything, it’s hard to stay on top of everything. But I think they really are there and present in all of the decisions that are being made, which is really cool. Yeah.
So for you guys, how does that change your perspective on success or fulfillment or the trajectory of your creative life?
I mean, I think for me personally, when I was in school, this was like, this is the goal. This was the goal. I saw all these seven finger shows while I was in school, and I was so inspired. And it’s a reason that I wanted to pursue circus, for sure. And so to be given that opportunity so early in your career is very I don’t even know. It’s just very special. And I remember going into the building for my first meeting, and I walked in, they offered me a coffee, and I’m just like and I’m still in school at this time, and I’m just like, what’s happening? It feels like you’re a new person.
I think we’re still riding that wave. That’s why we’re like, we’re just going to enjoy this while it’s here. We’ll think about the future maybe a little bit later.
No, but it definitely makes you very grounded in the sense of, now we really understand these people and we understand why we’re here and what the goals and motivations of the company are.
But for sure, it does kind of spark this fire to want to create something not equivalent to that, but inspired from it and seeing these people that it is possible and I can do it, too kind of attitude towards it.
I think we all do have that and just waiting for that opportunity to share your own story. And I think people have to ask you those questions and give you that space and time to actually think through it.
Hi, guys. This is Fawu, and you’re listening to Faze World Today. I have Sabine and Bryn from seven fingers. They’re circus artists who recently graduated from the National Circus School in Montreal and joined one of my favorite circus companies called Seven Fingers from Montreal. They are touring their new show directed by Shayna Carroll, called Passenger, and the show is premiering in Boston. If you live in Boston or happen to travel here in the near future, please come check it out. Mark your calendar, September 25 through October 13, 2019. It will change your life. Now back to the show.
I would love to talk about your art. So we’ll maybe start with Sabeen, who is an aerial silk artist. So tell us what that is.
It’s basically two pieces of long material. It’s polyester, actually, what it’s made of and it hangs from the ceiling. You could do about, I don’t know, in feet here, right? 36ft 32ft is the length, generally. And basically you can intertwine yourself and tumble down it. And I’ve started kind of developing not a new way, but a different way to use it. Instead of wrapping and tumbling down, I tried to do release moves where it means that using a tempo, I kind of let go and recatch myself with my hands mostly, which is really difficult. And so I’m really enjoying pursuing that kind of direction. I’m following that and seeing where it takes me and I’m meeting a lot of incredible artists through that avenue. So it’s quite challenging because when you catch and catch release something, it’s not always successful. So to put it in a show context is quite a challenge. So when I perform, I generally don’t perform all of my highest level tricks. I try to push myself as much as I can, but also in the show, I have no safety mat under me. So definitely I limit myself in terms.
Of the difference between doing a number and doing a 90 minutes show.
Exactly. So when you have to conserve your energy for an hour and a half at 100%, you obviously have to calm down and be on reserve a little bit. Kind of where I’m going. I’ve also recently started working in a duo with Serena, who’s in the show in duo Tropes, which I’m absolutely loving. He’s such an incredible human to work with and really we’re on the same wavelength. So, yeah, that’s kind of my projects at the moment. And I also think it’s really important to have personal goals within the show context, but also outside the show context. So I keep trying to work and create, whether it’s for the show or for myself in the future.
What is it like when you hear that applause and when people talk to you about your work?
Oh, man, it’s such a boost of adrenaline. When I finish the show, I’m not able to tie a shoelace or write a sentence. I’m, like, shaking with energy. And for sure it’s that feeling of gratification, but also a feeling of we call it French passage. So a sharing moment between the public and the performance. We’ve kind of bombarded them with information for an hour and a half and it’s finally their turn to kind of reciprocate that energy with applause. And it’s actually great. We’ve kind of been discovering in Moscow, there was this culture that they would buy flowers before the show and they would give the flower to their favorite performer. And so it kind of is like a way to develop taste. And so the kids kind of choose and they point at you and they give you the flower. And then in France, they give like, a rhythmic clap in Montreal to standing ovation. Immediately, it’s like all these different cultures of how to. Show appreciation. And it’s been so interesting traveling and learning about it.
That’s incredible. So Brian will move on to you. I know you have free things going on, like tight wire.
Lots going on. In my life in school, my main discipline was tight wire, which is what I graduated with, and I started doing that. I started as an acrobat mainly, and throughout my experience of performing in circus, Marcus, they would always have a backstage wire just kind of set up that people could play or train on or for the people to warm up for the number. And so I kind of just started going back there and playing on that and trying to learn the tricks that the people or my friends were doing in the show, and through that just decided to get my own little rig, and I kind of just never stopped. I just was really motivated to keep improving. And for most of the year before coming to school, I would just have to watch videos on YouTube of tricks.
How do you guys fall in love with that’s my thing. That’s my jam.
You’re going to try everything. I definitely am not a juggler. I know that.
No, I think at first we both come from you circus, which is great, where you’re really involved. You really have that opportunity to try everything and see what fits for you. Not everybody who comes to the school has that experience. If they come from dance or gymnastics and the school kind of leads them in the past. And maybe if you’re a dancer, you’d fit in this. You’d fit in sear wheel or tight.
Wire, depending on body type and flexibility and strength, you kind of fit into a different category.
Yeah, exactly. But I auditioned for school on Taiwan, so at that point I was really confident that that’s what I wanted to pursue and go for and felt like it just fit right for me. I think that I changed a lot. My mentality of the discipline changed a lot throughout school in terms of what my goal was. I think for most people, when you get to school, you’re kind of like, I want to be the best. That’s the goal is. I want to have the best tricks and the highest skills, and I just want to be the best. And I think that that really changed for me throughout school of finding my relationship with tight wire and my discipline and what was important to me. I didn’t have any dance background before, but I got really inspired by dance when I moved to Montreal and would just go to see the best dance shows in the world that were coming and at our fingertips. That motivated me to really take the time to improv a lot in school and to just dance on my own. And we had dance classes as well, but I found there was a really strong connection for me between that sense of movement and finding my body and what tight Wire was becoming for me.
And so there’s obviously this really technical aspect of needing to stay balanced and stuff, but I started to go into this direction more of the intention and the movement quality. So there is that really technical aspect that every step, you have to be there and you have to be really present. So I think that that’s what’s really interesting about the discipline for me.
Yeah. So tell us maybe a bit about the show. I think I need to let you guys go in a few minutes. So what’s your feeling like, I don’t know whether it’s even possible to give things away. If there’s a plot, we weren’t told anything.
Well, basically, the story, I guess, of the show isn’t exactly linear, but it’s really a global sense of reasons why people travel or leave a country or go towards a place. And we really kind of try to touch on all the themes that are surrounding traveling. So, for example, there’s my favorite scene in the show just before Bryn’s act. We’re playing with our reflection in the window of a train, and I find myself doing that in real life and not just on stage. I always look at my reflection of the train and kind of superimposed on the background of the landscape that’s moving. And I really think it’s like a thing that people can relate to that are watching the show. They’re like, if they’ve ever taken a train, they know exactly that moment.
And I think that’s where a lot of these ideas came from because, I mean, for Shana, she had a whole career of performing and traveling and touring. And us as well, have experienced it in little bits or have our own personal experiences of traveling. And so a lot of these ideas come from that experience of, okay, what is traveling for you? Or going to a new destination, and you don’t necessarily know what it’s going to be, and there’s that anticipation of leaving something that you love and kind of going into the unknown. So I think that it is kind of this whole metaphor for life in a sense of what we experience and what everyone experiences. And I think that Shana’s goal is really for everyone who’s watching in the audience to take their own thing out of it, of, like, what that means for them and what traveling is for them, and to kind of reflect on all of that, and then there’s a bunch of acrobatics involved thrown into it. But that’s just like a general synopsis of what the show’s about.
Thank you so much for joining us. I really appreciate it.
I’ll keep you posted.
Yeah. Thank you so much for having us.
This episode of the Face World podcast is brought to you by Phase World, LLC, our marketing service agency created for independent creators and businesses. We offer website development, video production, marketing, mentorship to people who want to tell better stories, level up and create a profitable brand face feisworld podcast team, our Chief Editor and producer, Herman Sevillos. Associate producer Adam Leffert. Social media and content manager. Rose De Leon Transcript Editor Alina Ahmadova. And lastly, myself, the creator and host of Faze World. Thank you so much for listening.
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