Professional Level Training Program

The Circus Maine Professional Level Training Program is now accepting video applications for the 2017 year.

Please upload a 3-5 minute video either Vimeo or Youtube and send the link into corytabino@circusmaine.org  Video criteria below:
Dress Code: Students must wear close fitting gym clothing allowing them to perform movements easily and safely.
Presentation: Students must stand directly in front of the camera and state their first and last name.  Please perform movements sideways to the camera. Students are not required to perform movements that they are not proficient at.
Content: Please follow this link for audition content.

FOUNDATIONS & FUNDAMENTALS PROGRAM

FFP is a program designed for adults and select teenagers who are interested in developing a foundation in the Circus Arts with the intention of becoming professional circus performers.  Ideal candidates are those with a prior history in physical disciplines such as Circus, Gymnastics, Parkour, Martial Arts, and/or Dance. A minimum commitment of six months is mandatory for this program at which point evaluation will be made of the students abilities. Based upon the evaluation the student can apply to specialize in a discipline in the Apprenticeship Program

This program runs three days a week, four hours a day. Daily classes in the following disciplines are offered:

  • Trampoline/Tumbling
  • Physical Theater
  • Handbalancing
  • Pair Acrobatics
  • Conditioning
  • Flexibility
  • Dance

APPRENTICESHIP PROGRAM

The Apprenticeship Program is designed for talented students who have committed at least 6 months to the Foundations and Fundamentals Program. In addition to attending the FFP program three days a week, another 4 hours of private lessons per week will be added with a coach in their discipline of choice.

Currently we have the following Apprenticeships available:

  • Aerial Straps
  • Handbalancing
CLOWN

In this CLOWN intensive, students will learn how to create characters through movement, improvisation, mask, imitation, costume, and memory. As students investigate character, the search for their own, personal clown(s) begins. In working with variety skills (juggling, magic, mime, etc.) and with Slapstick or Physical Comedy skills, we find the tools of the Clown that will enable performers to present an altered or skewed reality which is conducive to presenting the Clown’s perspective to an audience. Think of these skills as a fun-house mirror. The Clown’s mask, generally a red nose, is a powerful tool in the same manner as the hard-earned skills. Much time will go into training the body in using masks of many kinds. What starts as a tool in teaching actors to move, becomes the portal through which the clown is exposed. The Clown Nose is as mystical as any religious artifact, and as difficult to comprehend, and as easy to abuse. We will consider Costume as well, with an understanding that Costume is an extension of the Mask.

Class activities will be drawn from the following:

  • Warm-ups. Stretching, strengthening, tumbling, loosening joints, and rolling on the floor.
  • Skills. Balancing, juggling, magic, mime.
  • Slapstick. Stage combat for clowns. Physical Comedy has a language all it’s own.
  • Character. Movement improvisation designed to help create physical characters.
  • Timing. What’s the secret of Comedy? And more importantly, how do I develop mine?
  • Mask. Neutral, body, Commedia, found, character, make-up, and many other forms of Mask will be explored through trial and error and success.
  • Props. Students will learn about the use, selection, creation, and care of Props.
  • Research. What was funny? What is funny? What will be funny?
  • Creation. How do we create a “clown” routine or act?
  • Improvisation. The ability to improvise varies among all people. Anyone who remembers how to play can improvise. And like most skills, practice will lead to an increased ability. The improvisational skills that we focus on are based in movement. By taking the voice out of the equation in trying to convey a thought or idea, the actor’s constant tool, the body, must invent and improvise in ways that are not unknown, but perhaps unfamiliar. Move like a squirrel. Stand like a tree. Tell me what your day was like.

Contact Michael Trautman at michaeltrautman@circusmaine.org for more information.