{"id":35150,"date":"2025-04-22T13:02:58","date_gmt":"2025-04-22T10:02:58","guid":{"rendered":"https:\/\/cirks.lv\/news\/trauslums-ir-skaists-ta-ir-cilvecibas-pazime\/"},"modified":"2026-02-10T16:21:48","modified_gmt":"2026-02-10T14:21:48","slug":"trauslums-ir-skaists-ta-ir-cilvecibas-pazime","status":"publish","type":"post","link":"https:\/\/cirks.lv\/en\/news\/trauslums-ir-skaists-ta-ir-cilvecibas-pazime\/","title":{"rendered":"Fragility is beautiful\u2014it\u2019s part of being human"},"content":{"rendered":"

<\/h2>\n
\n

Interview with Pau Portabella<\/a>, who is leading a circus dramaturgy masterclass for professionals this spring, and whose performance “Languages”<\/a> will be shown at R\u012bgas cirks in just a few days.
\nWe spoke about the differences between circus and theatre, what to expect from the show, and how the performance creation process in the circus unfolds.<\/h4>\n

The Path to the Circus<\/h3>\n

Una:
\nHow did you decide that the circus would be your way of creating and talking creatively with the world?<\/p>\n

Pau:
\nGood question. Sometimes I ask myself the same\u2014whether I made the decision, or if life just put me in the right situations. Of course, we make decisions, and we have some awareness, but I like to believe that I chose this path.<\/p>\n

I started with theatre. One of the first reasons was that I had a hard time understanding traditional schooling and the way of life they try to teach you as a child. I wasn’t a good student\u2014not because I couldn’t be, but because I wasn\u2019t interested. I felt from a very young age that I was different\u2014not better or worse, just different.<\/p>\n

When I was lost and unsure what to do in life, I had two close friends\u2014one in dance and one in theatre. Something about what they were doing attracted me. I didn\u2019t fully understand it, but I felt drawn.<\/p>\n

I looked into theatre and dance schools in Barcelona, and when I visited one, I loved the atmosphere. I signed up for the basics, and the next year I went straight into actor training. It felt like I had found people who were closer to my way of being.<\/p>\n

There was a feeling of freedom\u2014doing things that made me happy and laugh. I didn\u2019t question it. I just started, and I loved it.<\/p>\n

Later, the circus came naturally. As a child, I was always into sports, climbing trees, jumping everywhere, teaching myself acrobatics on the beach. The body was already a central part of me\u2014I just didn\u2019t know that it was a \u201ccircus.\u201d<\/p>\n

As for dramaturgy and directing\u2014I think it came from having a creative mind that I wasn\u2019t fully aware of. Creating gives my life meaning. So yes, maybe I didn\u2019t realize it back then, but there were always reasons.<\/p>\n

What is circus?<\/h3>\n

Una:
\nI always thought theatre, dance, and performance were part of the circus. But what does circus have that the others don\u2019t?<\/p>\n

Pau:
\nI think it comes down to two aspects: community and dramaturgy.<\/p>\n

Circus comes from a tradition of families traveling together in tents. That creates a strong sense of belonging. Even today, in places like Catalonia, people train together, share, collaborate\u2014even if they\u2019re working on different projects. The circus community is incredibly welcoming.<\/p>\n

On the dramaturgical side, the circus is evolving. It started with a clear distinction\u2014\u201cwe\u2019re doing circus\u201d and \u201cwe\u2019re doing theatre.\u201d But as time passed, and through my experience studying and working in France, I started to see that the circus has its own way of speaking, a unique dramaturgy.<\/p>\n

I\u2019m still learning it, but I think it\u2019s rooted in technique\u2014how the circus body and movement communicate on stage. And often, in earlier shows, theatre and circus wouldn\u2019t align; the theatrical message was strong, but the technique would pull in another direction. We\u2019re now learning to make the technique part of the storytelling.<\/p>\n

Una:
\nThat sounds like you\u2019ve discovered something new\u2014because usually, the circus focuses on physical features, and the story is told through words.<\/p>\n

Pau:
\nExactly. That\u2019s why the show is called Languages. I\u2019m fascinated by the different channels we have to communicate\u2014not just with words. We often forget that we\u2019re sharing emotions and stories with gestures, silences, rhythms, tones, facial expressions, body language\u2026 everything. And at the same time, it can feel like nothing. It\u2019s what you feel, what you think, what happens inside you.<\/p>\n

\"\"<\/p>\n

What is the language of circus?<\/h3>\n

Una:
\nIf circus is a language, how would you describe its grammar or syntax?<\/p>\n

Pau:
\nWhen I teach or create, I often talk about textures\u2014ways of moving that go beyond physical technique. A texture carries energy or emotion. I also speak about dynamics\u2014how rhythms and qualities of movement express something more than just the skill.<\/p>\n

A soft, slow acrobatics routine feels completely different from one performed with wild energy. When I build a routine, I think about it like composing a musical score. The movements are notes. They need to work together in rhythm, plasticity, and emotion.<\/p>\n

Una:
\nHow does circus help you explore the body and non-verbal communication?<\/p>\n

Pau:
\nCircus performers often have a hard time speaking on stage because their physical language is so developed. But I believe those two shouldn\u2019t be separate.<\/p>\n

Once you realize you\u2019re already communicating through your body and technique, you can use words to complement it. That\u2019s what we do in life too\u2014I\u2019m moving my hands as I speak to you right now. That adds emotion and clarity to my words.<\/p>\n

Circus is a tool to provoke and transmit, and when you mix it with light, sound, words, and theatrical elements, it becomes a full experience. In the end, the audience creates their own meaning from what you give them.<\/p>\n

\"\"<\/h3>\n

Una:
\nI\u2019ve noticed circus people are very different from other artists. Do you agree?<\/p>\n

Pau:
\nYes, definitely. If not, I would\u2019ve stayed in the theatre.<\/p>\n

Circus people have a need to explore danger\u2014not necessarily physical danger, but emotional and creative risks. I love how we use danger not just in technique, but also in our dramaturgies.<\/p>\n

Circus artists are strong and fragile at the same time. They look inside themselves and share their vulnerability with the audience. Fragility can be beautiful\u2014it\u2019s part of being human. Living fully means accepting that.<\/p>\n

Una:
\nI think circus people embrace their weirdness more. In other fields, you\u2019re supposed to fit in. But in the circus, you show exactly who you are.<\/p>\n

Pau:
\nAbsolutely. Circus has roots in nomadic communities, often on the edges of society. Even now, there\u2019s more freedom\u2014more space to just be who you are, and to share that openly.<\/p>\n

Una:
\nHow do you approach the emotional or poetic potential of the body and risk in performance?<\/p>\n

Pau:
\nGreat question. In one part of our show, two characters stand on a balanced structure. It becomes a metaphor for their relationship\u2014if one moves, the other\u2019s world shifts. That\u2019s how circus can speak, through metaphor.<\/p>\n

Yes, we use risk to provoke feelings. But we don\u2019t always know how the audience will respond. It\u2019s an ongoing research. Sometimes, I fall in the show. People worry I\u2019m hurt, or they feel my character\u2019s despair. These moments are expressive\u2014not just spectacle.<\/p>\n

\"\"<\/p>\n

Una:
\nLanguages is part of your \u201cEvolutions\u201d trilogy. What themes are you exploring?<\/p>\n

Pau:
\nIt\u2019s a journey from the self toward society. It begins inside\u2014the personal universe of a person\u2014and moves toward relationships, collectives, and finally society.<\/p>\n

It also speaks about being lost. When your reality changes, it can feel overwhelming. But if you accept that change, you can find freedom in it. The show itself evolves\u2014we created it with the idea that future performances will include improvisation and be different every time.<\/p>\n

Una:
\nYou talk about getting lost a lot. Do you have a method for navigating chaos?<\/p>\n

Pau:
\nNo method, but I have tools\u2014and experiences.<\/p>\n

I remember a time when everything seemed perfect\u2014my company was thriving, I was respected, things were good. But I felt deeply lost inside. I isolated myself, stayed in my caravan for weeks. I felt darkness, like a shadow.<\/p>\n

One day, I realized I had to accept it. We easily accept joy, but we reject sadness. That day, I chose to live the sadness, and something shifted. The darkness became a kind of peaceful melancholy. Accepting all emotions makes life richer.<\/p>\n

Una:
\nHow personal is Languages?<\/p>\n

Pau:
\nIt\u2019s very personal\u2014for me and for the whole team. I asked everyone to bring their own stories and creativity. I think all art speaks about the artist, even if they don\u2019t realize it.<\/p>\n

I was inspired by Fight Club, Mr. Robot, books about time and reality, and especially The Man Who Mistook His Wife for a Hat by Oliver Sacks. These explore different ways of perceiving reality. And of course, my team inspired me daily.<\/p>\n

Una:
\nIt feels like collaboration is especially important in a circus.<\/p>\n

Pau:
\nYes. In the circus, we\u2019re all creators. In theatre or film, there’s often a hierarchy. In the circus, I work with the team. I don\u2019t want to direct from a distance. I want to live the process together.<\/p>\n

My current project was supposed to be a solo. After one workshop, I knew I wanted to create with people. That\u2019s what I love most\u2014sharing and understanding others.<\/p>\n

Una:
\nHow important is communication in your work and in today\u2019s world?<\/p>\n

Pau:
\nIt\u2019s essential. We are social beings. Languages is very much about communication and how it shapes our reality.<\/p>\n

Social media has made communication more frequent but less sincere. We wear more masks. Honesty is becoming rare. But it\u2019s vital.<\/p>\n

In life, when you speak openly\u2014even about difficult things\u2014everything gets better. Art is one way to reach that honesty.<\/p>\n

\"\"<\/p>\n

Una:
\nBut the circus is still a show. Is honesty possible when you\u2019re performing fiction?<\/p>\n

Pau:
\nThat\u2019s the paradox I love. My work is based on honesty, but I\u2019m also lying to provoke reactions.<\/p>\n

A performance is fiction, yes\u2014but how we live it can be completely real. I like to use real emotions on stage. The character becomes a mix of myself, the audience\u2019s projections, and the fiction we\u2019ve built.<\/p>\n

Una:
\nWhat role do objects play in Languages?<\/p>\n

Pau:
\nThey carry metaphors. A balancing structure represents human relationships. Objects move and create chaos\u2014a metaphor for a world falling apart. Juggling becomes a personal moment. We even play with the idea of magic to disrupt reality.<\/p>\n

The scenography evolves too. It helps these different universes converge into a shared, collective reality.<\/p>\n

Una:
\nIs body language universal?<\/p>\n

Pau:
\nMore universal than spoken language, but still influenced by culture. For example, head gestures mean different things in different countries. But posture, gestures, and energy also come from personality and social context.<\/p>\n

So yes, body language is both universal and culturally shaped.<\/p>\n

Una:
\nWhat kind of relationship do you want to build with the audience in Languages?<\/p>\n

Pau:
\nI want to open a window into who we are on stage. I want them to connect\u2014to ask themselves questions about their own lives and feelings. More than just watching, I want us to share an experience together.<\/p>\n

Welcome to opening of the window!\u00a0 Tickets<\/a><\/h4>\n
\n

The performance “Languages” at the R\u012bgas cirks is supported by:<\/p>\n

\"\"<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

Interview with Pau Portabella, who is leading a circus dramaturgy masterclass for professionals this spring, and whose performance “Languages” will be shown at R\u012bgas cirks in just a few days. 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