PRO Talks are live virtual events led by industry influencers and experts, focussed on career-building topics. PRO members will gain new insights, meet fellow professionals, and keep their career connections strong.  In keeping with our mandate to provide a means to connect talents and talent seekers, our 2022 virtual conversations will feature talent seekers from different sectors within circus and the performing arts. Don’t miss your opportunity to meet and engage with talent seekers online.

Tune in to the first episode, a very special hour with Pascal Jacob, artistic director, designer, author, teacher and historian… and above all, circus fan.

Pascal recounts his fascinating career path and then dives into details about the Festival Mondial du Cirque de Demain’s selection and casting process. Curious to know who evaluates the applications? Seeking insight into just what a discerning artistic director responds to in an act? Don’t miss this one-of-a-kind exchange with an esteemed industry pro.

After the talk, participants asked further questions from Pascal, that we share here:

Alex asked:

I know there is technically an age limit of 26 to participate in the festival. Some exceptions are made if the artist began training later in life. How is it determined if an exception will be made? Is the age limit followed very strictly? And what is the intention of the age limit?

Pascal replied:

I know the question of age limit is sometimes crucial and we try to never say no, only because of it. This limit is a part of the Festival DNA since the very beginning in 1977. The reason is quite simple: the Monte Carlo Festival has been created in 1974 on purpose to glorify a long and amazing career. So, when our Festival has been elaborated and created it was obvious to make something completely different. Our founder, Dominique Mauclair, was always thrilled by the talent of the young performers he was seeing in many occasions around the world. So, when he put together the first edition, it was clear for him the best thing to do was to enhance young talents in offering a « platform » to be seen, appreciated and… hired!

When we receive an application with an exceeded age limit, we are always considering the quality of the act before any other consideration, but it’s also clear we challenge the act with other of the same level (if it’s possible) in the expected age limit. At the end of the day, if the act is definitely amazing and the performer not deeply too old, we will make an exception. But, again and again, we try to maintain the age limit as a « tribute » to our history.
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Alex also asked:

Does it matter how much professional experience an applicant has? I’ve seen some participants in the festival having abundant professional experience, and it seems others are coming straight out of school. I did not have the opportunity to attend a circus school, and I’m just now beginning to get professional experience (hindered largely with the pandemic). Will not having attended a school and not having ample professional experience be a disadvantage?

Pascal replied:

It doesn’t matter if an artist has already a real professional experience when he send his application: sometimes some performers are working since they are 10 or 12 years old… It was even more obvious a few years ago when more people were coming from families or traditional circus. Today, sometimes, some former students, on the market since two or three years have already a strong experience when they decide to apply. But, in many cases, it doesn’t change so much the perception of the jury: an artist just straight out of the school is as well prepared as a performer working since two years… There is no rule in this field! I saw strong professional completely destroyed by stress and pressure and « first of May » presenting their act without any doubt about their ability to be there…

We receive many applications from self-taught performers and it’s clearly not a disadvantage.

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Leah asked:
On the application form it says that you sometimes make exceptions for older artists – could you please give some examples of older performers that have participated in the festival in the past? And what qualities do older applicants need to have in order to be considered?

Pascal replied:

So far, I think the « oldest » performer was 42, he was Ukrainian, doing an aerial act, a kind of metallic sphere, but it was before we (Alain Pacherie and I) took over the Festival. I believe Masha Terentieva was also over 35 when she did the Festival a few years ago. Regarding Masha, I will say the originality, the technical level and the spirit of the act were clearly an obvious reason to hire her beyond her age. When we are facing such a situation, we always look at the act by itself before any other consideration.

Leah also asked:

Out of all of the circus acts you have watched, which one is your favorite? And which one is the most memorable? And why?

Pascal replied:

It’s a very difficult question! I saw so many acts during my life… It’s not really a « top list » and definitely not an order, but I could say: David Shiner, Dai Wenxia (one the first Chinese acrobat I saw), Anatoly Zalievski, Irochnikov Brothers, Emma Henshall, and so many more!

And, if we do not consider the context of the Festival, the stupendous Pas de Deux from the Guangdong Military Troupe and a young guy, Louis Ragot, former brief student from ENC I saw on the occasion of a first year presentation and I have to say I was amazed by both of them!

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Lynn asked:

Going forward, and looking at the bigger picture, I feel we are at a major crossroads and circus needs to address the challenge of climate change. Perhaps it isn’t sustainable to continue touring on such a large scale and the carbon footprint of flying performers around the world is an unforgiving ecological cost. I am sensing a return to smaller, local performances and/or hybrid festivals using the access of the internet.

Has Cirque de Demain considered making itself a hybrid event? Live streaming the festival? Streaming from other venues around the world?

My thought is more performers and viewers would be involved from around the world. I realize the infrastructure of internet access is uneven, but if the demand is there it will be brought up to speed, literally.

Pascal replied:

We totally understand these new parameters and we share deeply this vision, but I am also convinced than the real presence of the performer, the contact with the audience, are crucial element in the perception of an act. The carbon footprint is a strong question regarding our collective future and we started to take in consideration this point since a few years, but we didn’t find a right solution so far. It’s, for sure, a part of our reflection for the next editions.

And for anyone who noticed Pascal’s library in the background… he adds:

If it’s a question of titles, my first library is on line on the ENC website… If it’s a desire to dig into a list of rare and/or quite unique books, we could imagine a special session where I will choose a few titles and I will present them…

Stacy Clark

CEO of CircusTalk, Casting Director, Career Coach -Canada

Stacy is a seasoned professional in the circus and performing arts industry. A former gymnast and circus artist, Stacy worked in marketing and communications before leaving it all behind to perform and teach circus worldwide on stage, at festivals, and on screen. Today she is a freelance casting director, career coach, and artistic advisor. In 2021, Stacy joined the small and dynamic team at the international online platform CircusTalk as CEO. Previously, Stacy was a talent scout and then the Director of Casting at Cirque du Soleil.

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