Trocos Lucos
Year
2025
Origin
Madrid
Creation and performance
Cira Cavasés Hervella, Ismael Pérez Fandos
The origins of this project lie in the search for a comical and personal language by two Korean teeterboard acrobats and the creation of a first short piece presented at the Circarte 2024 Grand Circus Gala at the Teatro Principal in Alicante and at the Vertical Convention Gala at Cronopis in Barcelona.
The driving force behind the action is a play of contrasts between her innocent and clumsy character, inspired by the figure of the “augusto” in traditional circus, and his solemn presence, the image of a “clown” who completes the classic clown duo… The stage proposal aims to build on these archetypes with such a long history in the circus and turn them into the foundations on which to create a personal and spontaneous interpretation by the artists. In this way, using languages such as gestural theatre, the effects
musicals, slapstick, onomatopoeia… both individuals try to perform a serious and impressive scale act, even if it involves stumbling and laughter in between. The aim of their antics is to bring the audience closer and involve them, through light-heartedness and humour, in the risk and impressiveness of this circus acrobatic technique, often performed from an epic location where the artists have no right to fail.
Trocos Lucos was established in 2019, based on the enthusiasm and professional commitment of three young acrobats from Madrid who specialise in the circus technique of the Korean seesaw. Since 2021, his first show, Tartana, has been touring throughout Spain, and since 2022, he has also begun to perform in other countries such as Portugal and Italy.
El Búho Cafhú, the company’s new project, is now taking its first steps, seeking support for its creation from places and entities that can enrich and nurture this proposal from any field.
The artists’ intention is to develop the short piece already presented, give more depth to the characters, find their own aesthetic and exploit the acrobatic technique of the Korean seesaw from a light-hearted perspective, close to the family audience and without fear of failure. Furthermore, they want to work on risk and error in practice. Is this inevitable in human nature? If so, we might as well take advantage of it to draw poetry in the air and laugh at the crazy things that come up.
The artists’ intention is to develop the short piece already presented, give more depth to the characters, find their own aesthetic and exploit the acrobatic technique of the Korean seesaw from a light-hearted perspective, close to the family audience and without fear of failure. Furthermore, they want to work on risk and error in practice. Is this inevitable in human nature? If so, we might as well take advantage of it to draw poetry in the air and laugh at the crazy things that come up.
