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How did the collaboration between circus performance and digital art come about, and what inspired you to blend these two worlds?

We’re both fascinated by what happens behind the scenes — the things the audience never sees, like the subtle creases on the back of Natalie’s hand during a handstand, or the thoughts that run through an acrobat’s mind while performing. Natalie Inside Out delves into the physical and mental experiences of an acrobat while also exploring the broader theme of how self-image is constructed in today’s image-driven world. Circus and videography were natural mediums for this investigation — circus for its raw, unfiltered physicality, and videography for its ability to visually manipulate, alter, and amplify specific aspects or perspectives.

We started working together eight years ago, when we were awarded the National Centre for Circus Arts / Jacksons Lane Lab:time2 award, along with a Transmission residency which gave us time and space to play together, and some money to invest in digital toys. Following this we were invited to join The Lowry’s “…developed with” family to devise and create our first show, which premiered at Jacksons Lane as the closing show of the last Roundhouse Circus Festival. Since then we’ve been part of the Another Route fellowship, which has enabled us to add an international element to our work, with residencies in Rotterdam and a very successful pitch last summer at Montréal Complètement Cirque which we hope will take us on a north American tour.

Can you talk about how you use humour and poetry in the show to examine the ways digital media can interpret the human body?

The humour in our performance naturally emerged from what we personally find amusing, as well as from our playful interactions with each other. We love incorporating humour because it helps build a connection with the audience — if they’re having fun, then we’re having fun too. And vice versa! Humour and poetry are powerful tools for exploring the unseen and making sense of things that might be new, unsettling, or unexpected. After all, the most memorable moments are often created through laughter and beautiful words.

I’m sure Mark would want to quote Groucho Marx here: “I’m not crazy about reality, but it’s still the only place to get a decent meal.” We aim to explore those in-between realities with a blend of straightforward, “bread and butter” comic acting.

The connection with the audience is very important to us. We’re circus performers. There is no fourth wall for us. We are all part of the same shared experience, living and breathing together. From the moment the audience enters they know they’re involved.

What challenges did you face when merging live acrobatic performance with extreme close-up slow-motion video and interactive technologies?

We aim to create two distinct streams of consciousness throughout the performance: the live physical performance and the videography. Balancing these elements is a challenge, as one can easily overshadow the other. The key lies in understanding the interplay between the two and avoiding the temptation to use a “trick” simply for its own sake — this applies to both the acrobatics and the technology. We only incorporate these elements when they serve the story. For instance, in our new performance, The Unheimlich Maneuver, we’ve minimized the use of handstands, shifting the focus more toward the double meanings in the visuals.

The key is to concentrate on the overall artwork and not get distracted by trying to showcase skill or cleverness. Natalie would like to quote Martin Heidegger here, who interpreted the Greek word “techne” — the root of our word “technology”— as “to make something appear that changes the world after its application.” To create something truly new, you need a process that transcends the tools themselves, which is what we strive for in our work.

What can audiences expect from your performance and why should they come to see it?

The show could be best described by The Reviews Hub quote: “picking through the bones of performance, experience, physicality, memory, and imagination in a relaxed and thoughtful way, making use of comedy, theatre, lecture, poetry, and memory, as well as circus.”

In terms of sound, I would describe it as a blend of colourful electronic soundscapes with rhythmic beats, paired with a soft, soothing voice — like the comforting smoothness of fabric softener. It’s a mix of storytelling and laughter, creating an auditory experience that’s both vibrant and calming. 

You can catch Natalie Inside Out on Friday 11 October at 7:30pm. Book your tickets here.