Page 7 March 1982
American
street
jugglers in Europe The
dream of many a juggler is to fill a backpack with props, pocket
with travelers' checks and spend the summer street juggling in
Europe.
But
inertia sinks most of our dreams, and we
continue to play at the local elementary school or church supper.
But take heart! The dream lives, and it has lived in several IJA
members. They've done it, enjoyed it, and lived to tell their tale.
This article is for all you armchair jesters out there.
Paul
Burke (Waldo) Los Angeles,
CA "I
didn't know what would happen over there, and I sure didn't think
I'd make any money. One day I finally put eight clubs, three
torches, five balls and a fire devil stick in my bag and left. It
was during the off-season, in December, and I stayed until May.
Germany
was a good place. Germany and Switzerland were good for money. But I
went to Paris and started juggling in the Centre Georges Pompideau
plaza. There are a lot of fire eaters and magicians there
performing, too. They team up on you and try to scare you away, but
no spaces are reserved and they' II let you be if you keep coming
back.
"I
found out quickly you have to be able to speak French or do mime
that time of the year, and I learned some of both. The money wasn't
that good, but it was always there. The
audiences appreciate a good show; too many of the performers do
nothing for ten minutes. Another thing they do is pass the hat
before the show. Some people won't begin a show until they've
collected 100 francs!"
''Things went pretty well for me, and I really liked the city. Then I met Didier (Dupin) who was in Fratellini Clown School. We put together an act for the street and ended up getting parts in the French production of Barnum. I had a great experience and plan to go back. " Michael
Davis "The
audience wants to like you and they don't know anything else about
you besides what you do on stage. "
Mr.
Davis also stressed that establishing a strong character helps to
carry any line: "The thing about juggling on stage while
talking is that you are doing something. It is much easier to talk
with a natural motivation. I create all my lines from the action.
Judging
from the audience reaction to his act, Michael Davis is a juggler
whose advice should be heeded. As far as the future is concerned,
Mr. Davis seems to have many options and opportunities awaiting him.
He
is now directing much of his creative energy to songwriting and
guitar playing. Juggling seems to be his vehicle, but not his
destination. A look at his wry smile makes one wonder if Michael
Davis might be secretly working on a way to play guitar while
juggling. Whether or not he masters that novel task, Michael Davis
has earned his success with a sharp wit and a lot of hard work. He
handles his sudden popularity with a graceful ease and gives the
impression that the best is yet to come.
Nick
Newlin Cambridge, MA "I
took a year off from Harvard between the Amherst and Fargo
conventions and went to Europe with my girlfriend. I didn't have
much performing experience, but heard about the Pompideau Center in
Paris. I got an apartment nearby and wrote this poem in French about
rabbits and hunters. I started performing that, along with rings,
torches and knives. I also played a little melodica, which helped.
"I
met some French guys and we started performing in front of cafes at
night. At Christmas, my girlfriend and I and a French companion
started traveling on Eurail passes, asking as we went where we could
perform. It worked well because she's a dancer and mime. We went
through Austria, Italy and Germany and found super hospitality
everywhere. People almost always offered a place to spend the night.
"In Italy and Greece we didn't speak the language at all, and I think it's important to know a few words. But the most important thing is to look positive while you're doing the act. If you're having a good time, the visual nature of your juggling can hold the audience. The balance of sexes helped our act also. It was good to have a girl included.
"Good
places? Well, I'd say Rome, in the Piazza Navona, then this little
Italian town named Laspezia. We didn't say a word there, but they all
said 'Bravissimo!' Heidelburg was best in Germany, we were there for
10 days in the spring. Any
tourist or student town can be good. Munich, at the Marianplatz, was
good. "We
were just moving on impulse from town to town, having a great time.
The only trouble we had was in England, where the bobbys will tell you
to move on. We had to conduct some hit-and-run guerrilla theatre
there. But they're always polite when they kick you out."
Robert
Peck Philadelphia, PA "I
did it for a year, mostly in Ireland. That was fun, but not lucrative.
London was terrible, but Canterbury was a gold mine. They say
Brighton's good, too, because there're a lot of tourists. In general,
you ought to go where the tourists are, but in Switzerland I didn't
and it was very lucrative. One day in Heidelburg I made $500. That was
the best day of the year.
"I
performed at night in front of cafes in Paris. You have to watch it in
Paris, because it's rigidly sectioned off as to where you can and
can't perform. But from St. Germain des Pres to St. Michel, you can
juggle in front of cafes. The politics of performing at the
Pompideau Center are strange. You have to break in slowly. Other
performers are very territorial, and will shoo you away. As you get
to know people, though, you get better space and time.
When I worked alone, I did ten acts a day. Then I got a partner, and we developed a 30 - 45 minute act we did four or five times a day. " |
Peck (l) and Burke practice street strategy at the IJA convention. |