Institut Ramon LLull


PSIRC: ‘Our technique is based on making the movement, even though it entails a good deal of risk, seem safe, peaceful and smooth so as to convey emotions’

Performing.  Avignon, 10/07/2014

Since 2011, PSIRC, a trio of circus artistes, have been reinventing the language through an intimate and spectacular mix. Acrometria, the show the company is presenting at Avignon à la Catalane, is a disturbing but hopeful encounter. In  few minutes, the trio transport us to their spectacular, amusing, light yet profound universe. Acrometria studies the distance between the psyche and infinite realities. An emotional, metaphorical and abstract triangle, where they can play at creating new human geometries. It is an embrace between physical risk and the ingenuity of the spirit, it is a geometry of emotions.

What are you trying to convey with Acrometria?

With Acrometria we want the audience to feel and share with us the emotions we feel on stage. We want to convey different feelings and emotions from an abstract story that brings us a hopeful message of life.

Yours is a very physical and demanding project. Does it require any specific preparation? Was this your initial idea?

We didn’t have a very specific initial and closed idea of the show. We knew we wanted to use circus techniques as a means of expressing emotions and feelings. So we did an investigation of movement and circus techniques and this is the result. Concerning the special physical preparation, all the circus techniques need that, the body has to be trained and strong to investigate, do and try out movements with risk and do them as safely and comfortably as possible. Our investigation of circus movement and technique is based on that premise; to make the movement, even though it entails a good deal of risk, seem safe, peaceful and smooth so as to convey emotions without always have the risk in the foreground. And to do that you need training.

The show is part of the project “Autopistes: Circus dissemination”. How do you assess this international circus project partly promoted by the IRL?

We find the project positive. It’s a project that can really help companies to work on international circuits and become known abroad.

How do you assess the situation of the circus sector in Catalonia?

We don’t have any bookings in Catalonia. By that we mean quite a few things. We’re an emerging company that fortunately, at this time of crisis, we’re working quite a lot, but everything comes up outside Catalonia and Spain. We find it sad that after a season when it seemed that people were trying for the Catalan circus and it seemed that cultural policies were helping the sector, we’ve gone backwards in this way because of the tiny budget invested in the circus today. We’d like to be able to work more here at home and show our society everything the circus is for us, we’d like to feel we have a cultural policy that accompanies us as artistes, we’d like there to be more festivals around Catalonia. Because in Catalonia, although the conditions for devoting yourself professionally to the world of the circus are complicated, there are many artistes who keep struggling and believing in culture and the circus, and all of them have to leave and/or perform away from here to feel acknowledgement of what they do.

What are your expectations for Avignon à la Catalane?

We’re pleased to be going to Avignon because the show will have a lot of exposure. For us, as an emerging company, it’s a great opportunity to make ourselves known and be able to enter the French circuits.  

They are presenting the show Acrometria at Avignon à la Catalane

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  • Generalitat de Catalunya Govern Illes Balears Ajuntament de Barcelona
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