{"id":8189,"date":"2025-04-10T12:10:43","date_gmt":"2025-04-10T10:10:43","guid":{"rendered":"https:\/\/www.hessisches-staatsballett.de\/stuecke\/humans-2-0\/"},"modified":"2025-06-12T17:28:32","modified_gmt":"2025-06-12T15:28:32","slug":"humans-2-0","status":"publish","type":"nb_production","link":"https:\/\/www.hessisches-staatsballett.de\/en\/stuecke\/humans-2-0\/","title":{"rendered":"Humans 2.0"},"content":{"rendered":"
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Ten bodies appear in a flash of light. They move in harmony for a fleeting moment and then descend into a sinuous trance. Towers grow and decay, bodies leap and are caught, as physical limits are pushed to their extreme. Can we ever find a perfect balance or is adapting to constant change the only way forward?<\/p>\n

This next chapter of Circa\u2019s internationally acclaimed Humans is a tightly woven choreography of bodies, pulsing with music by composer Ori Lichtik and revealed in Paul Jackson\u2019s dramatic lighting. Created by circus visionary Yaron Lifschitz, Humans 2.0 is intimate, primal and deeply engaged with the challenge of being human.<\/p>\n

Age Suitability: 8+<\/p>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n\t\n\t\t

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(c) Amos Adams & Pedro Greig<\/p>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n\t\t

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Circa <\/h4>\n\t<\/div>\n\t
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Circa Contemporary Circus is one of the world’s leading performance companies. Since 2004, from its base in Brisbane, Australia, Circa has toured the world – performing in more than 45 countries to nearly 2 million people. Circa’s works have been greeted with standing ovations, rave reviews and sold-out houses across six continents.<\/p>\n

Circa is at the forefront of the new wave of contemporary Australian circus – pioneering how extreme physicality can create powerful and moving performances. It continues to push the boundaries of the art form, blurring the lines between movement, dance, theatre and circus. Compelled by the question \u2018what is possible in circus?\u2019 Circa is leading the way with a diverse range of thrilling creations that \u2018redraw the limits to which circus can aspire.\u2019 (The Age).<\/p>\n

Under the direction of circus visionary Yaron Lifschitz, Circa features an ensemble of exceptional, multi-skilled circus artists who have been a regular fixture at leading festivals and venues in New York, London, Berlin and Montreal with seasons at Brooklyn Academy of Music, The Barbican Centre, Les Nuits de Fourvi\u00e8re, Cham\u00e4leon Theatre as well as major Australian Festivals.<\/p>\n

Visit circa.org.au to find a Circa performance near you and discover why Circa has been hailed as nothing short of \u201d… a revolution in the spectacle of circus.\u201c (Les Echos).<\/p>\n

Circa is committed to fostering the next generation of circus artists and runs public circus classes from its studio in Brisbane. Circa also runs regular circus programs with communities throughout Queensland and around Australia.<\/p>\n

As a champion of live performance, Circa was the Creative Lead for the Gold Coast 2018 Commonwealth Games arts and cultural program.<\/p>\n

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Photo credit: Yaya Stempler<\/figcaption><\/figure>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n<\/div><\/div><\/div>
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Cast<\/h4>\n\t<\/div>\n\t
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Jon Bonaventura<\/div>\n
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Holly-Rose Boyer<\/div>\n
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Helga Ehrenbusch<\/div>\n
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Chelsea Hall<\/div>\n
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Samuel Letch<\/div>\n
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Laya Mauelshagen<\/div>\n
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Oscar Morris<\/div>\n
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Luke Pearce<\/div>\n
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Joshua Strachan<\/div>\n
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Christina Zauner<\/div>\n
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Darby Sullivan<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n<\/div><\/div><\/div>
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Credits<\/h4>\n\t<\/div>\n\t
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Director<\/strong> Yaron Lifschitz
\nOriginal Music<\/strong> Ori Lichtik
\nLighting Designer<\/strong> Paul Jackson
\nCostume Design<\/strong> Libby McDonnell
\nTechnical Director<\/strong> Jason Organ<\/p>\n

International representation<\/strong>
Wolfgang Hoffmann \/ Aurora Nova \u2013 Worldwide booking & coordination
\nYaron Lifschitz \/ Circa \u2013 New creations & big dreams<\/p>\n

Circa acknowledges the assistance of the Australian Government through Creative Australia, its principal arts investment and advisory body and the Queensland Government through Arts Queensland.<\/strong><\/em><\/p>\n

Humans 2.0 is a commissioned by the Mondavi Center, UC Davis.<\/strong><\/em><\/p>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n<\/div><\/div><\/div>

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Trailer <\/h4>\n\t<\/div>\n\t
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You are currently viewing a placeholder content from YouTube<\/strong>. To access the actual content, click the button below. Please note that doing so will share data with third-party providers.<\/p>\n

More Information<\/a> <\/div>\n

Unblock content<\/a> Accept required service and unblock content<\/a> <\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n<\/div><\/div><\/div>
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Critics<\/h4>\n\t<\/div>\n\t
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\u201cJaw-dropping, seat-clawing and armchair-exhausting\u201d<\/strong>
\n– ArtsHub, Aus<\/p>\n

\u201c\u2026 spellbinding physical drama, with just the right amount of play, death-defying tricks and whimsical imagery\u201d<\/strong>
\n– The Conversation, Aus<\/p>\n

\u201cHumans 2.0 is a seriously sensational spectacle: as aesthetic as it is athletic, as comedic as it is grave, and all in all, a visceral delight.\u201d<\/strong>
\n– The Conversation, Aus<\/p>\n

\u201c[Humans 2.0] pushes the boundaries of what circus and acrobatics can be\u201d<\/strong>
\n– Time Out, Aus<\/p>\n

\u201c\u202670 minutes of wonder … perfectly timed, perfectly executed, perfectly staged\u201d<\/strong>
\n– Courier Mail, Aus<\/p>\n

\u201cThere is circus \u2013 and then there is Circa.\u201d<\/strong>
\n– Theatre Travels, Aus<\/p>\n

\u201c\u2026impressive and sophisticated contemporary New Circus at its best\u201d<\/strong>
\n– Berlin Morning Post, Germany<\/p>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n<\/div><\/div><\/div>

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Interview with Paul Jackson<\/h4>\n\t<\/div>\n\t
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AS IF BY DESIGN, THERE WAS LIGHT<\/strong><\/h2>\n

As part of our exploration behind the scenes at Circa, we turned the spotlight on esteemed lighting designer, Paul Jackson, at the end of a busy day\u2019s rehearsals. A graduate of the University of Melbourne and RMIT, Paul has designed lighting for The Australian Ballet, Royal New Zealand Ballet, Berlin Staatsballett, West Australian Ballet, Victorian Opera, West Australian Opera, Sydney Theatre Company, Melbourne Theatre Company\u2026 consider this a heavily abridged list.<\/p>\n

He is currently working with Circa to design the lighting for Humans 2.0<\/em>, which premieres at Carriageworks in January, as part of Sydney Festival.<\/p>\n

Paul, what brings you to Brisbane and the Circa studios?<\/strong><\/h3>\n

I work in theatre, dance, opera, ballet, predominantly in Melbourne and Sydney, although I travel quite a lot. Yaron [Lifschitz, Circa Artistic Director] and I have been circling each other for some time, and then Yaron contacted me about lighting Humans 2.0, <\/em>and here I am.<\/p>\n

What can we expect from Humans 2.0<\/em>?<\/strong><\/h3>\n

Yaron is very clear about the work and my job is largely to facilitate what\u2019s in his head and also to read the work and place it in the space. For me, Humans 2.0<\/em> is possibly more existential and more \u2013 and I use the word hesitantly \u2013 serious than Humans<\/em>. Not that Humans<\/em> wasn\u2019t serious, but there is something about the world we live in now, where everything is a little less certain.<\/p>\n

We were just discussing how the acrobatic work has a sense of ethics about it: how we treat each other, how we hold each other, how we balance and encounter each other. All those issues read a lot stronger now than they did [prior to Covid-19].<\/p>\n

How does Circa\u2019s work differ from other performers you\u2019ve worked with?<\/strong><\/h3>\n

Circa is a very particular company. Certainly, it draws on some of the political aspects of Australian circus, but I think of Circa\u2019s work as far more philosophical, more austere, slightly pulled-back. There\u2019s still room for fun, but Circa is less concerned with delivering tricks. There is a thinking and a dramaturgy which makes it more reflective and creating a space where these aspects meet is a quite unique challenge.<\/p>\n

Compared to theatre production Circa has a greater sense of troupe, of ongoing ensemble. My impression is that Yaron is focussed on clarity and being as articulate about an idea as possible. I respect that and find it a fascinating viewpoint.<\/p>\n

Does your approach differ much for Humans 2.0<\/em>?<\/strong><\/h3>\n

Often, in a theatre production you steer the eye around the stage and adopt a more directorial gaze. This feels much more architectural: here is one experience of space, here is another experience of space, defined by the sequence of work. You\u2019re building environments of light for the performance to inhabit.<\/p>\n

Yaron and I discussed where the work was leading, philosophically and emotionally and that\u2019s what I started responding to. Now that the actual work is being developed, we can further explore the emotional registers of humans and begin to interrogate our defined performance space.<\/p>\n<\/div>\n

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Reflecting on your career, there are so many highlights. There must also be a few \u2018show must go on!\u2019 moments?<\/strong><\/h3>\n

[Laughs] There was one very important opening night that springs to mind, when a new theatre company was launching itself in Melbourne and we\u2019d prepared quite an ambitious double bill of work. The first night went beautifully\u2026 the second one, one of the moving lights wigged out and just started to randomly flash. They couldn\u2019t get it to power down and so it proceeded to flash at random for the entire show. The reality is that in some shows the audience might not even notice a minor fault, but there was really no styling this one out.<\/p>\n

Many opening nights can be quite terrifying in their own way. After that incident, I remember going to a show with a friend of mine and a light start misbehaving for a short time, but long enough for me to nearly break my friend\u2019s hand, which I\u2019d grabbed in alarm.<\/p>\n

If I was interested in a career as a lighting designer, how might go about it?<\/strong><\/h3>\n

I often tell people that I\u2019m the last of a generation that could \u2018wander in\u2019, so I didn\u2019t train formally; my degree is in English Literature. I came into theatre via acting and then wanting to be a director. I decided I should first learn about lighting and got hooked.<\/p>\n

There are two paths now, really, depending on the industry you\u2019re interested in. Those that go into live music shows, events and even major musicals often go through lighting hire companies like PRG. Generally, you\u2019d do a Certificate 4 and start working as crew for them, working your way up as either crew chief or head rigger and so on.<\/p>\n

The other path \u2013 and these aren\u2019t mutually exclusive by any means \u2013 is to go through a college course, somewhere like the College of the Arts or NIDA to study production or design, and from there you start building relationships and start making shows. But in Australia there\u2019s a lot of flexibility, compared to the US where the process is set: become an associate lighting designer and then a lighting designer.<\/p>\n

Any tips, or piece of advice, for those climbing the rungs to lighting designer?<\/strong><\/h3>\n

The biggest mistake is to forget that this is the most collaborative artform, so you have to listen. Performance arts are concerned with what matters, what\u2019s meaningful and what\u2019s beautiful and so you need to commit to conversation in order to explore these ideas. A lot of people think that lighting and sound are fundamentally about being technically competent. Yes, that is a requirement, but ultimately you have to be a collaborator.<\/p>\n<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t

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Photo Credit: Yaya Stempler<\/figcaption><\/figure>\n

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Interview with Ori Lichtik<\/h4>\n\t<\/div>\n\t
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\u00a9 Yaya Stempler<\/figcaption><\/figure>\n

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\u00a9 Yaya Stempler<\/figcaption><\/figure>\n

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GOOD VIBRATIONS<\/strong><\/h2>\n

Ori Lichtik is a multifaceted musician, drummer and creative DJ. He is a long-time collaborator with the Israeli-based dance company L-E-V, and its co-founders Sharon Eyal and Gai Behar. Aside from creating the score for Circa\u2019s Humans 2.0<\/em>, he is a frequent cast- member for live works, improvising with fresh layers of digitally manipulated effects to create a unique sound experience for every event.<\/p>\n

One of the founding fathers of the techno scene in Israel, he has created, produced and spinned musical productions, techno raves and various other music and performance events since 1996.<\/p>\n

With Tel Aviv moving into a heightened level of lockdown, we caught up with Ori, just as he arrived in the German city of Mainz, situated near Frankfurt on the banks of the Rhine.<\/p>\n<\/div>\n<\/div>\n

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So Ori, what takes you to Mainz?<\/strong><\/h3>\n

I just arrived yesterday to resume work on a project with Sharon Eyal, which is to be performed here at the Staatstheater Mainz. We\u2019ve worked with them before and we\u2019re taking the opportunity, while they\u2019re still working and there is time, to create a new piece to be performed a fair way down the track. There is a lockdown here in Mainz as well, but it\u2019s not as acute as the present restrictions in Tel Aviv.<\/p>\n

From the other side the world, how did you go about collaborating with Circa for Humans <\/em>2.0<\/em>. Was it a case of seeing the performance and fitting a soundtrack to it, or did you provide a piece which was then performed to?<\/strong><\/h3>\n

Actually in the end, it was a combination of both \u2013 my contribution was both the chicken and the egg. Usually I would be involved in the process, on site, from day one, spinning ideas together as we go along. For this project, I needed a visual stimulus, but at the same time Yaron (Lifschitz, Circa Artistic Director] really needed some music for the acrobatic movement to respond to. We\u2019d worked together on many elements of Peepshow [Circa\u2019s touring production, set to commence a season at the Sydney Opera House in February 2021) and, of course, I watched video of the original Humans <\/em>show, so it wasn\u2019t a complete standing start. We gradually began to develop a common language about the work and, from then, the process was very organic.<\/p>\n

To be honest, I\u2019m not a composer who produces according to a theoretical or written brief, so I gathered all the information I could to understand the atmosphere and the vibrations of the work, and then I\u2019d slightly detach myself and look to produce a piece which reflected the required tone.<\/p>\n

When I sat down to create, I had early footage of the performer\u2019s movements in front of me \u2013 which was crucial.<\/p>\n

This is presumably a very different experience to DJing, where a dancefloor will give you immediate feedback about what they hear?<\/strong><\/h3>\n

Certainly, there are differences. On the one hand you don\u2019t get immediate feedback from the dancefloor but conversely, you don\u2019t need to worry whether people are dancing [laughs]. But it\u2019s a valid point, composing for circus and live performance gives you the freedom to explore new ideas. Back when I first started composing for stage, I was already exploring music outside techno; music I found intrinsic to movement and dance. Whatever the environment, music is music. Through rhythm and harmony, it sets a foundation of time and architecturally frames an experience. Since the dawn of culture, the beat of the first drum, our bodies have reacted to sound. A movement of music and the movement of the body is an interwoven relationship, regardless of the setting \u2013 be it in a club or on stage or wherever you may encounter it.<\/p>\n

DJ nowadays can face boundaries, whether that be through a genre in which they are pigeonholed, or a cultural perception defined by where they play. Knowing there is a guaranteed physical response to my aural contribution offers me the freedom to explore a score much less expected or obvious.<\/p>\n

How did you find your career develop in this direction?<\/strong><\/h3>\n

When I was ten years old, I started out fooling around with double-tape, doing remixes and cutting and adapting hip hop tunes. Then, (I guess I was perhaps twelve or thirteen) I got my first mixer and honestly didn\u2019t really know what it was or what was possible. I just connected it up to my family\u2019s new, exciting video camera that my father had bought from Europe and mixed Sex Pistols \u2013 my favourite band back then \u2013 with my family audio from videos we\u2019d taken [laughs]. It was a fun phonic experiment. I continued to get more into hip hop and then, down the line, discovered acid house, techno, nu-wave, industrial\u2026 acid house parties started popping up in Israel when I about 16 (around 1995), summer of love and all that stuff.<\/p>\n

The first parties we started putting on ourselves covered the full genre-spectrum \u2013 ambient to speedcore. But then I found myself drifting towards techno. I always felt it sounded rough (in the best possible way) but it was packed full of interesting subtleties. It\u2019s very texture- orientated. This wasn\u2019t my view back then, but that\u2019s how I view techno now.<\/p>\n

Our parties and raves in and around Tel Aviv started to gather momentum. My best buddy, then and now, is [co-artistic director of LEV] Guy Behar. Gai was producing most of these early events and he started dating [co-artistic director and choreographer of LEV] Sharon Eyal. He\u2019s a brilliant artist with a great eye and she invited him to the studio to contribute his ideas to a show in development. In 2006 they asked me to join them and make some music for LEV.<\/p>\n

Initially I was quite sceptical. What, make music for \u2018sitting people\u2019? I thought it was weird. But then, as soon as I came to the studio and saw the incredible work Sharon was doing, I thought Yes, ok, I\u2019m in. It was more tribalistic and textural than I could have possibly imagined and I could immediately see how I could contribute.<\/p>\n

And how did the relationship with Circa come about?<\/strong><\/h3>\n

Yaron messaged me two or three years ago, after he\u2019d seen a work called OCD Love <\/em>by LEV, performed in Adelaide. We then worked together on Circa\u2019s Peepshow and soon after he contacted me about creating the soundtrack for Humans 2.0<\/em>.<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div>\n\t<\/div>\n<\/div>\n\n\n<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>\n\n

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

The next chapter of Circa\u2019s internationally acclaimed Humans, created by circus visionary Yaron Lifschitz<\/p>\n","protected":false},"featured_media":8062,"template":"","event-type":[171,12],"event-location-city":[],"event-location-venue":[],"event-tags":[170],"class_list":["post-8189","nb_production","type-nb_production","status-publish","has-post-thumbnail","hentry","event-type-fokus-neuer-zirkus","event-type-gastspiel","event-tags-fokus-neuer-zirkus"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.hessisches-staatsballett.de\/en\/wp-json\/wp\/v2\/nb_production\/8189","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.hessisches-staatsballett.de\/en\/wp-json\/wp\/v2\/nb_production"}],"about":[{"href":"https:\/\/www.hessisches-staatsballett.de\/en\/wp-json\/wp\/v2\/types\/nb_production"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.hessisches-staatsballett.de\/en\/wp-json\/wp\/v2\/media\/8062"}],"wp:attachment":[{"href":"https:\/\/www.hessisches-staatsballett.de\/en\/wp-json\/wp\/v2\/media?parent=8189"}],"wp:term":[{"taxonomy":"event-type","embeddable":true,"href":"https:\/\/www.hessisches-staatsballett.de\/en\/wp-json\/wp\/v2\/event-type?post=8189"},{"taxonomy":"event-location-city","embeddable":true,"href":"https:\/\/www.hessisches-staatsballett.de\/en\/wp-json\/wp\/v2\/event-location-city?post=8189"},{"taxonomy":"event-location-venue","embeddable":true,"href":"https:\/\/www.hessisches-staatsballett.de\/en\/wp-json\/wp\/v2\/event-location-venue?post=8189"},{"taxonomy":"event-tags","embeddable":true,"href":"https:\/\/www.hessisches-staatsballett.de\/en\/wp-json\/wp\/v2\/event-tags?post=8189"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}