“The beauty in the unknown forms makes us who we are”
Brin Schoellkopf is an amazing multidisciplinary artist who is specialized in the circus arts, while continuously researching dance and the connection between dance and circus. He worked in Jacob Jonas The Company and The 7 Fingers.
-First of all, what is the strict connection between dance and circus?
“Dance and circus both strongly encompass the ties between our body and mind that allow us to push the possibilities of our physical extremes.”
-You started performing when you were really young. What did you learn from this experience?
“I was thirteen when I joined Circus Smirkus, which is a youth circus troupe based in Vermont. We would create the show in three weeks, then tour for two months around New England, performing a total of 70 shows each summer. This was an incredibly special experience that showed me the joy and discipline that comes with being a performer. It also taught me that the magic of the show lived within the community that was created and our mutual respect and love for one another. It wasn’t just about being good. This was a significant lesson to learn at that age and something that I am still working to hold on to.”
-And what gave you the strength to do it?
“Leaving to go my first summer was terrifying in many ways because I really had no idea what to expect. But after the first year, it was never a question of if I would go back or not. I was completely magnetized by the community that I was a part of. I feel like this was a really wholesome introduction to the life of a performer, and allowed me to blossom personally in so many ways. I am incredibly grateful to have had this sort of self-awakening at such a young age because I never really questioned the path that I wanted to take after that.”
-You started combining circus with movement and dance. How did you start combining the two? What fascinates you about the connection between these two arts?
“I started taking dance classes when I attended the National Circus School in Montreal. What really attracted me to the dance world was being in a city that gave me access to seeing so many incredible dance companies including Akram Khan, Batsheva Dance Company, Hofesh Shechter, NDT, Kidd Pivot, and the list goes on.
Moving forward, I spent a lot of personal time improvising since it was a practice that I was really inspired by, and not as comfortable doing. I started finding ways to apply this research to my work on the tight wire since I already had strong fundamentals for the discipline. I think it was at this point that my perspective of circus and how I would approach my work really changed. It was no longer about quantity and doing the highest level tricks, but really about the qualities that I wanted to master. I realized that listening to how my body chooses to balance on the wire is movement in itself. It’s important to me that I don’t ignore this because it helps me to stay more present in what I’m doing and allows my body to guide me.
For a long time, I was seeing dance and circus as two separate things. It took me a long time to realize that what I am doing can be a circus, but it can also be a dance. That is the beauty of combining these two forms of movement. There is such a large grey zone to explore, and maybe the need to define everything that we are doing is not necessary. Humans in general have this urge to define, and I think there is a lot of beauty in the unknown forms that make us who we are.”
-How can you define a technique in the performative world?
“I try to differentiate the fundamental techniques and personal techniques that I carry. The fundamentals are where you need to start to create a strong understanding of the practice. Once you're at a place where these techniques come more naturally, it gives you the capacity to focus on the intention behind what you are doing. This is where these personal techniques help in finding one’s individualism as a performer. Improvisation is one tool I use to find these ideas and patterns that live in me, and that I can express while I am performing. But I think personal techniques also come with stage experience and learning about the instincts that we have when performing. Finding a balance between these fundamental and personal techniques opens up so many possibilities from there. I remember one of my first coaches ever would always repeat to me over and over “The technique sets you free.” The technique does set you free in many ways. It is what supports me in accessing those deeper intentions.”
-How were you able to develop your artist and reach the next level?
“I always continue to question myself. This can be a blessing and a curse at times, but I am really grateful for where it has brought me in my creative exploration. I never see the work as a final product. Being fully content with where I am it makes me feel like I have lost my curiosity in the work, which is what allows it to evolve. But it is still important to know how to make decisions when coming to a crossroads. Otherwise, if I start to question everything, I can get very lost. Even right before a performance sometimes, I will be making minor adjustments to the piece if it’s what feels right at the moment. And sometimes when I present a piece for the last time, I continue to think about where I could have gone with it. I feel alert and conscious of my observations this way, which brings a lot of inspiration to my life.”
-What is the importance of the process of improvisation and researching?
“Improvisation is the most authentic way for me to approach the creative process. I use improvisation as a form of meditation and self-exploration by finding physical concepts that make sense to me. These ideas are often difficult for me to describe in words, but they are a part of me. And like in my everyday life, these ideas come and go. And some stick with me longer than others. But it always continues to keep me curious which I think is a very important quality to hold onto as an artist.
Improvisation in a creation process allows me to take in the information or boundaries of a concept that is being explored, and continue to add layers until I get to a place where it feels right. It requires accepting that sometimes my original idea is not good, and I need to do a bit of trial and error in order to get to the right place. Improvisation works as a tool to create a relationship with the people you're working with. Trust is not something that can be forced. It takes time to understand how somebody moves and the rhythms and routines that they hold with them. But once you find how to combine these perspectives, it opens up entirely new possibilities.”
-You are also a visual artist. How did you discover this passion of yours?
“I have always had a strong love for visual arts. My dad is an architect, so I think as a kid I was fascinated with his passion for designing and creating. In school, I always loved art class because I had much more freedom than the rest of my classes. I think I am still drawn to the visual arts because it feels like a time when I don’t have to take myself so seriously. Being an artist for a living comes with financial stress for many people at times. I think the dynamic between loving what we do, but still, have to pay our bills at the end of the day can create a weird relationship with the work sometimes. Especially if there is confusion about the intention or the goal of why you're doing it. I think this is why visual arts have always been a creative outlet for me that feels less stressful than being a performer. I do it because it helps me to slow down and be more patient with myself.”
-How would you like to mix this with dance?
I see a lot of crossovers between visual and performing arts. I have found that exploring in both mediums has enhanced my work in each. Being able to use my friends as subjects, and witness their creative process as well has impacted the way I approach my work as a creator. My passion for photography and filmmaking has taught me how to see the full image while recognizing details that I wouldn’t have necessarily seen as a performer who is usually inside of it. This includes elements like lighting, colors, angels, space, music, timing, costume, architecture, set design, and movement. I believe inspiration can be found anywhere when you allow yourself to be more present in the mundane moments.”
-What is a dance for you today?
“For me at this time, dance is a new understanding of my body and mind. It allows me to challenge the physical routines I already hold and explore in a realm where there are fewer confinements. Dance also allows me to be really present with myself because, with my acrobatic training, many things have become so instinctual that I have to think a lot less about what I am doing. Because dance is less natural for me, it requires a lot of me to be present in the work.
Dance is joy, and happiness that comes from a place inside me that feels very authentic. These euphoric moments fill me with so many great memories. Dance is the freedom to be myself. Dance is my moving and grooving in the kitchen while making dinner. It is a constant in my life."
-Describe yourself as an artist in 3 words.
“Curious, Abundant, Paths”
-Can you give some advice to young dancers?
“Stay patient. And don’t get stuck in the “trying to be.” It takes time to understand what direction feels right for you. There are times when it’s not fun, and you question why you are doing it. This progression comes in waves, and you have to allow yourself to ride the highs and the lows in order to really understand the beauty in it all.
And always listen to your body, and be kind to your body.”
Thank you for this opportunity, Brin! It was such an honor for us.
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