Circus: Smashed - Gandini Juggling

SMASHED
Gandini Juggling

Juggler Sean Gandini estimates that 40,000 apples have so far been used during the performances of Smashed. The hour-long juggling spectacle, presented as part of the Hong Kong Arts Festival, requires 80 apples of the right colour and diameter for each of its performances.

"Apples are the perfect juggling fruit," says the London-based Gandini, who formed the contemporary circus group Gandini Juggling with former rhythmic gymnast Kati Ylä-Hokkala in 1992. "They are also full of symbolism [relating to] the loss of innocence, and Newton."

Originally commissioned in 2010 as a 20-minute outdoor piece, Smashed has been reworked into the current indoor version since additional funding became available, and is often lauded as the company's finest title. Gandini Juggling has performed more than 4,000 times in 40 countries.

The different receptions the performers receive in different countries have kept the work interesting, says Gandini. "In Smashed, what is funny in one country is not in the other. Some countries have a juggling culture and some don't, so the second-degree references are not always seen."

There are diverse interpretations of the piece, some of which have baffled even its creators. "In China, someone told us one of the scenes was about abortion," he recalls. "Also, the sexual politics of the piece is read in many different ways."

Although the show has been applauded for its absurdity and energy, Gandini says his creation isn't meant to tell one single story. "It is a collection of images that suggest multiple stories, some of which are about love, desire and power."

While its nine performers evoke an afternoon tea party that quickly turns riotous, Smashed makes its greatest impression with its homage to Pina Bausch: there's a parade scene that opens and closes the show, and there's another in which the male performers bother the female.

After admitting he has admired the late great choreographer's work since his company was started, Gandini clarifies that Bausch's influences came "a lot later" into his own practice.

"Our work used to be more choreographic in nature," he says of his non-narrative roots. "In earlier days we were more influenced by choreographers such as Merce Cunningham. I am fascinated by the inner rhythm of Bausch's pieces, their way of returning to an idea over and over without making it seem repetitive. I am also in awe by the richness of her vocabulary."

Gandini regards juggling and dance theatre as just "labels for the outside world". Counting the Russian juggler Sergei Ignatov as his most important inspiration ("I love him for his classical purity and virtuosity"), he reveals his ambition to show juggling in different lights. "I love the fact that we keep finding different contexts from which to make work. I think we are not scared to go 'carte blanche' and restart."

As he reflects on the changes to his company since 1992, Gandini notes that its infrastructure has grown to allow him to work with a variety of talented collaborators on their projects. "But our main reason for being is the same," he insists.

It remains as thrilling as ever to be able to bring his juggling shows into performing venues that usually cater for "high art". "This is absolutely our objective," says Gandini.

His latest piece, 4x4, which premiered in January at the London International Mime Festival, mixes circus and dance through the choreography of former Royal Ballet dancer Ludovic Ondiviela. "With our new piece, which combines juggling and ballet, this dilemma is addressed quite heavily since ballet is considered 'high art'," he says.

"It amuses me to think of a parallel culture where the people who throw things are in the temples of culture, and the people who stand on wooden shoes are on the street," adds Gandini.

Cultural Centre Studio Theatre, 10 Salisbury Road, Tsim Sha Tsui, March 17-22, 8.15pm, March 22, 3pm. HK$140-HK$340, Urbtix. Inquiries: 2824 2430