With the human springboard, seesaws, trampolines and swings, the acrobat escapes weightlessness.
The contortionist folds himself into his box or wraps himself around a rope in reptilian postures. Disjointed and dislocated, he defies the laws of flexibility to achieve a supernatural expression.
The tightrope walker brushes with death and magnifies his art in urban settings, the towers of Notre-Dame de Paris or the World Trade Center. Suspended between heaven and earth, he walks on the clouds.
The hand-to-hands combines the strength of the carrier and the elegance of the carried. Crocodile board, Mexican balance, angel on the back, banquine… Poetry of words, mastery of gesture. The acrobat becomes a living work of art.
Today, the acrobat transcribes urban life, its frenetic rhythms and its imbalances. At the edge of dance, theater and gymnasium, he amazes, in the street, a place of exchange, an audience up close, and translates the antinomies of the century.
The Italian acrobat Arcangelo Tuccaro, saltarin of King Charles IX in 1570 and author of the first work theorizing acrobatic art, published in 1599, concludes: "because to say well, to jump, are the deeds of an archangel". One could not conquer his letters of nobility more elegantly.
