The solo act tight wire act consists of three separate combinations
Tightwire act with separate tricks and how to learn them
This is a basic version of a possible circus act on a tight wire. The most interesting part here is to see that act as separate tricks combination, such a system makes it easy to build your act out of training routine and place tricks from easiest to most difficult.
On the other hand, there are so many variations for the act and different styles right now, that this system might look outdated, but building sequences and then making separate combinations of tricks and movements will definitely help to achieve and systematize your work over circus act.
This type of action sequence you can find in traditional circuses, in different genres just with different specifications and tricks bases. As an example, this sequence just with other tricks can be used in hand balancing acts, for example, such acts can be slow or fast, gracious, or with specific dancing techniques.
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The first combination.
The performer runs onto the stage after the equipment is installed or he starts from the spot already on stage. Climbing to the bridge and picking up a fan, the performer runs big steps on the wire.
Having reached the end of it, he makes a 180 ° turn and runs in the opposite direction to the bridge. Then, turning a second time, the performer reaches the middle of the wire, makes an arabesque, sits quickly, then lays sideways on the wire and rests on his hand. Having risen, the performer makes a batman, then gets on one knee, takes a scarf out of his pocket, hangs it on the wire, knees up across the wire, pulls his scarf out with his teeth, rises, and runs along the wire to the bridge, jumps to the bridge and, taking out the scarf from his mouth, bows viewers.
The second combination.
The performer takes a skipping rope, goes from the bridge to the wire, and, jumping at a pace through the rope, moves forward to the middle of the wire. Stopping, he jumps high so that the jump rope has managed to make two turns. This trick can be repeated twice. Then the performer runs to the opposite bridge, jumps on it, throws the rope aside, and bows to the audience.
The third combination.
The performer, moving from the bridge to the wire, jumps over an obstacle, for example, through three barriers that are held by two assistants. The distance between the barriers should be such that they do not prevent the performer from jumping.
After jumping over all three barriers, the performer jumps back, that is, being with his back to the barriers. Having finished this trick, the performer jumps forward in length through all three barriers at once (the assistants must bring them so close to each other so that the performer can overcome this distance).
A long jump can end the performance (pic. 102). But for the finale, a more interesting trick is possible. After jumping over three barriers, the performer runs two or three times along the entire wire, and then stands in the middle of it on both legs, left in front of the right. During the run of the performer and after he stops, the assistant unscrews the screw tightening the wire, and it turns into a weakly stretched one. As the wire is weakened, the performer swings it with his feet, holding the case in the center of the amplitude and thus maintaining balance. The hands of the performer should be spread apart.
Swing the wire first & slowly, and then gradually accelerate the pace of the buildup. Having stopped the wire after swinging, the performer turns and stands across the wire. Now he again begins to swing the wire, but in this case, his hands will be in front.
Bringing the buildup of wire to a climax, the performer unexpectedly jumps from it and, bowing to the audience, runs away backstage. Girls can also perform with a solo number on a tightly stretched wire, especially if they can dance. Then their entire number can be built only on the performance of three or four dances on a wire, and the last dance should be performed at a very fast pace. Two performers, a girl, and a young man, can demonstrate dancing on a wire.
In this case, support from the classical ballet * can also be included in the dance drawing. There is also the plot decision of the number. For example, such a scene for two performers -boys and girls.
The equipment is supposedly part of the ship. The design of the stage and the costumes of the performers recalls the sea. To the merry music, for example, from the operetta “Free Wind” by I. Dunaevsky, a steamship cook comes out, slightly eccentric in appearance. He has a bucket in his hands and a mop on his shoulder. Suddenly he is caught by a mop on a cable that throws him back.
Tightwire act creation with various scenarios.
Surprised, he looks around and sees a stretched cable. He puts a bucket on the floor, throws a mop, removes a striped vest from a bucket, squeezes it and hangs it on a cable for drying, holding it with special clamps. At this moment, a girl runs out onto the stage, but the cook does not notice her.
The girl climbs the bridge and runs along the wire. She steps on the clamps and the vest falls to the floor. At this time, the cook, who never noticed the girl, takes a mop, and a bucket and is about to leave. Suddenly he sees that his vest is lying on the floor. He looks around and notices the girl who is standing on the bridge.
Then he picks up the vest, shakes it, and suddenly drops it under his feet. Entangled in a vest, he falls on his stomach (cascade) and looks at the girl. The performer invites Cook to climb the wire. He runs after the ladder and tries to put it to the wire. But the ladder was short.
Artist understands how to put a ladder to the wire, and notices hooks at the ends of the ladder. He, pleased with his discovery, hangs a ladder on a cable. Raising his leg to put it on the step, the cook suddenly sees that lace has loosened on his boot. While he bends down and ties it up, the girl runs down the wire to the ladder, takes it, and puts it with the lower ends, in which the grooves are grooved, on the cable.
Balancing, it rises along the steps of the ladder (pic. 103).
Having tied the lace on the boot, the cook straightens up and sees that his ladder is gone. Raising his head up, he makes sure that a girl is standing on her. Having finished balancing on the ladder, the girl runs away to the bridge, and the falling ladder catches the cook and carries it away. Returning, the cook saw a chair.
He sat on it and decided to light a pipe that hangs on his chain instead of the boat swain pipe. The girl asks him to give her a chair, he releases the chair and invites the girl to sit, but she asks him to put the chair on the wire. He fulfills her request, and the girl sits on a chair. Having established balance, she gets up on the chair seat and balances on it in this position (pic. 104).
When the girl sits down and then gets up on the chair seat, she holds him by the leg. The chair is placed on the legs running vertically of the seat. Grooves cut through these legs so that the chair does not slip off the wire. Having finished the trick, the girl runs away to the bridge, and the cook catches the falling chair and then sits on it. The girl invites the cook to climb the bridge. He begins to climb onto it, but his legs slide off at the cook, his hands break off, etc.
The girl, laughing, runs off the wire to the opposite bridge. After several failures, the cook nevertheless breaks into the bridge. He wants to go through the wire and tries to step on it at first with one foot. But his leg breaks, as the coca enters the wire without looking at it.
Then cook takes a pole (it is painted in the same way as the poles are painted to measure the depth of rivers) and, pretending to measure the depth, rests the pole against the floor, gets up on the wire, and walks along it. After taking several steps, the cook takes the pole with both hands, as the tightrope walkers do (pic. 105).
While moving along the wire, he steps on his foot, puts his foot past the wire, but then, feeling confident, runs to the end of the wire and turns 180 ° (during the turn, the pole should be thrown up and turned to catch it).
Having reached the center of the wire after turning, the performer sits on it, puts a pole behind his back, leaning it against the wire, and lights a pipe. At this moment, the girl, having decided to play a trick on the cook again, slowly approaches him, takes the pole, and quietly carries it away.
Having lit a pipe, the cook wants to take the pole but does not detect it. The performer begins to search for the pole with his hands behind him, but at that moment tobacco flashes in his pipe. Cook, from surprise, loses his balance and, having torn off the wire, falls to the floor – there is a cascade. The girl quickly runs across to another bridge and looks at the cook with a sneer, fanning herself with a fan.
Cook having risen from the floor, shakes himself off, and suddenly he feels that something is tickling him. He climbs his hand behind the collar of his shirt and takes out a “live” fish (it is made of soft rubber, pressing it with your fingers, you can create the impression of a lively trembling fish).
He was surprised for a moment, and then rushed backstage and brought out a frying pan and two hot gas stoves. He put the fish in the pan and put the pan on the chair. Then the cook ignited both burners of the stove. The girl asks him to put the stove on the wire. He grabs the stove by the legs and lifts it above the wire. At this moment, the light goes out in the hall, and the girl, having run along the wire, jumps through the fire of the stove.
With this trick, you can finish the number. Then the girl jumps off the bridge, and the performers run off backstage. The light on the stage should be turned on as soon as the girl reaches the bridge. Such a final trick is also possible: jumping over the fire, the girl runs to the bridge, and her partner, freed from the stove, untwists the screw and loosens the wire tension to the limit. The girl begins to swing the wire, first standing on it sideways, and then across.
If both performers know how to dance on the wire dance called “Yablochko”, then they should demonstrate this in the finale of the number. The plot of the number can be anything – it all depends on the ingenuity and imagination of the performers.
Basically all of the above is the view on how to build an act and to perform from the past. Now we have all kinds of genres, old and new, mixed, traditional and contemporary.
This information will be useful in creating a pattern of the act, everything else can be added in regard to our modern art views.