In recent years I've been learning circus skills (in the UK). I'm moving to Fukuoka in November and would love to keep learning. But I can't find much circus going on. I can only find a pole studio that does a little bit of hoop (or lyra) and silks - which is great but I'd like to learn some manipulation techniques too. Does anyone know of any circus skill share meet ups? Or is there anyone out there who has some skills and would like to start one?
I’m auditioning for circus skills. I’m an aerialist, but a decent manipulations person too. I can comfortably juggle 3 and 4 balls and I’m working on 5. I can do diabolo, 2D, vertax, and working on 3. And I know how to do the basics of almost all other general manipulations (I played with toys growing up because I had no friends)
As an aerialist and seeing the requirements, I see ‘back handspring’ and ‘back tuck’ and ‘front handspring’ and ‘front tuck’, but no juggling requirements or if there are it’s like ‘3 ball cascade for as long as you can’. I don’t feel like that lines up. Asking someone to do a back handspring is like the equivalent to asking someone to do mills mess in my opinion. A front roll is like a 3 ball cascade (I’d argue a 3 ball cascade is much harder than a front roll, but they’re both basics so yeah)
It feels like, unless you’re a juggler or manipulations artist, you can have no juggling skills whatsoever and be a perfect candidate because schools will teach you how to juggle. If schools can teach you how to juggle them they can teach you how to do a back handspring.
I feel like tumbling skills are important, but shouldn’t bar you from first cuts. If someone put their time into manipulations and aerials, but not tumbling and handstands I don’t think they should be penalized.
Thoughts?
"I have but one question," said the recruiter, a burly man with a physique to impress an ox, "how did you find us?"
An excellent question, thought Rita. As a matter of fact, it felt ridiculous. She worked in the circus all her life as a contortionist, agile and slender. Her father was a strongman, her mother a light technician to help put the focus on the scene where magic happened.
Romantic at heart, she loved the life. Going from town to town, performing like a dream come true for children, poor in coin but rich in love. All members were strange in their own way, the beastmaster had a better relationship with lions than with sapient beings, the clown battled chronic depression and the leader such a calm man that his blood pressure had never known how it felt to rise.
Crew, family, emotions, beauty. Rita's heart longed to go back there, but she couldn't, not anymore
Show after show, she recognized the same faces in the crowd. Salarymen, she thought, people with steady jobs and sedentary by nature.
They stalked her at times, just a shadow in the corner of her eyes or a strange remark. Not sexual in nature, just... weird. The police did not know them, her friends never spotted them either, she wondered if she was goggn mad or not.
One evening, one of the stalkers handed her a paper and bailed. A love letter, probably, until she read it. These were links to internet webpages pertaining to demon-hunting. A joke of course, yet the description felt true. Stalking, faces appearing again and again, invisible followers... out of curiosity and boredom she e-mailed one of the websites administrator. To her surprise, he proposed to meet up.
"And here we are," he said, "I'd like to hire you. You will be paid a base fee every month because we are a serious business and will receive a bonus for every demon spotted, convinced or saved."
"How does the workday look like?" Rita still felt this was a joke, a damn good one.
"For you it would start with going back to the circus."
There was a moment of silence.
"So let me get this straight," she said, "I'm to go back to the circus, perform for a public that scares me..."
"...Study the public, find the weird ones. Not the perverts, nobody likes these but they are humans allright. But you my dear seem like the kind to attract trouble rather than going for it. And what better place than a performance in front of a crowd to attract the most of it?"
If, and that was a big if, it was true
... keep reading on reddit ➡
Title. I have been playing BC for a while today with a HWM, every time I opened with a Duelist's Advance, the game would desync. No other hero or ability caused me to desync in tonight's session, or ever before.
For debugging purposes, comp is (left>right):
Antiquarian (Black Diamond Mirror, Exotic Snuff)
HWM (The Finisher, Rancid Cure-All)
Grave robber (Monkey's Paw, Carnival Masque)
Man At Arms (Rancid Cure-All, Pitfighter's Helm)
So, my group sat down tonight to play our first game of PF2E and we're playing through the Extinction Curse AP.
When we got to the section where we needed to order the acts and take the Perform the Trick action, we wondered what the point of having multiple skills to use with the action was. Like, why wouldn't you just use the skill that gives the highest bonus? Is there something there I'm not seeing or does this factor in later when the circus/acts have leveled up?
Long time juggler of balls and clubs, and cigar box enthusiast here. I've been asked to run a circus skills extra-curricular club for one hour a week at my school (I'm a music teacher).
It's 11 and 12 year olds. There's a budget for equipment. Problem is, I can teach someone to juggle, and I can obviously teach whole classes generally speaking, but what do you do with them for 39 sessions across a school year?
Any ideas for how to extend the sessions or fun activities to do beyond juggling?
