These responses were produced as part of the #CircusVoices scheme for developing critical practice around circus arts.
Response from: C South, Edinburgh Festival Fringe; 13th August 2018
The conversation began in person, then was formalised into some succinct sentences on Facebook…
R: WireDo Facebook chat review. One sentence at a time continuing on from each other…
I think it was interesting how she had explored her equipment and utilised all of its parts.
J: I agree. It was interesting to see an artist treat her apparatus as a partner in the performance.
D: I too agree. The performance showcased her depth of research of the tightwire with shibari practice.
L: I was enjoying the crossover between circus and installation art
J: The act of self-tying was mesmerizing to watch. I found it hypnotic to watch her weave her knots, never once looking at her hands.
L: I found her stage presence really calm and powerful – she was in control the whole time, not giving anything away (except for the moment with the breathing when she shows vulnerability)
D: I also agree regarding her harness construction. Her precision and mastery of tying herself up was one of my favorite moments.
F: I thought her relationship with the tightwire was interesting. As shibari often involves tying up somebody else, it allowed me to see the tightwire as another person.
Some of the group members then formulated further responses individually…
An elaborate rig, entwined in rope, stands still in a dark room. Hanna Moisala enters, her bright blonde hair pierces the darkness. She wears a mask of concentration, her hands busy at work tying each knot precisely, Shibari. She comes alive on the tight wire, dancing with herself, the wire, and her ropes. The dance ends, leaving me wanting more, some sort of closure, a tying up of loose ends.
by Jackie Houghton
Before we saw the show, we also had a discussion with Hanna and her producer Teemu about the process of creation and production.