Interview with Angela Wand

The Brothers Grimm's fairy tales often bring back childhood memories, yet their original stories reveal a much darker world. These tales are at the heart of “Grimmaces”, a contemporary circus performance created by Kanta Company and Teatronas.

Sweden-based clown and contemporary circus artist Angela Wand joined the creative team as a mentor, bringing decades of experience in physical theatre, clowning and audience interaction. We spoke with her about the performance, the changing world of contemporary circus and why art should sometimes make us uncomfortable.

How did you become involved in “Grimmaces”, and what is your role in the creative process?

I've known Gildas Aleksa, the director and dramaturg of the performance, for many years. We first met when I came to Vilnius in 2018. He approaches the project from a theatre perspective, while I bring my experience in circus and clowning.

My main focus is audience participation. Three volunteers will be invited on stage to read the Grimm stories, and that comes with great responsibility. If you invite someone on stage and don't take care of them, the audience starts worrying about that person.

I want the readers to feel safe and become the real stars of the performance. Ideally, I'd like the rest of the audience to feel a little jealous of those who agreed to participate.

What makes this interpretation of the Brothers Grimm's stories different?

We all know the Brothers Grimm's fairy tales, but the original stories can be incredibly cruel, particularly towards women. In “Grimmaces”, classical literature meets contemporary circus, dance and physical expression.

Each performer has chosen a text and transformed its elements into physical movement. They don't illustrate the stories literally but respond to the impulses the words create.

The performance isn't linear. It moves between the spoken text and physical expression, almost like a carousel. Ultimately, it's less about understanding everything intellectually and more about experiencing it emotionally and physically.

Could the performance be uncomfortable or even shocking for the audience?

I hope so! I believe every good performance should be a little uncomfortable, because that's often where the truth lies. Art should disturb the comfortable and comfort those who need it.

Here, you hear terrible words while watching something extraordinarily elegant. I find the contrast between the grotesque and beauty fascinating. It's like two sides of the same coin – a beautiful rose and the thorns that can hurt you.

You've spent more than three decades in contemporary circus and clowning. How has the field changed, and what do you see happening in Lithuania?

I often say that I didn't choose clowning – clowning chose me. When I entered the contemporary circus scene in Sweden, nobody really knew what they were doing. We were constantly experimenting and asking ourselves: “Can this still be called circus?”

Today, contemporary circus is a recognised art form, but the system has also become much more structured. One of the biggest challenges now is decreasing public funding. More and more artists are expected to depend on private sponsors, but it's difficult to criticise those who pay your bills. Culture is about freedom of speech and expression. People come to the theatre or circus to question the world around them.

As for Lithuania, I feel that contemporary circus is at an important turning point. There may not be many artists yet, but they are very strong. Many have studied abroad and returned with valuable experience. I can see the field growing.

You're also developing a new performance, “I Did Knot”, which audiences will encounter at Cirkuliacija. What is the story behind it?

In 2019, I had a near-death experience while sailing alone. I fell out of my boat, which continued sailing away, and spent 45 minutes in the Baltic Sea before being rescued.

Like many artists, I try to transform traumatic experiences into art. But because this story is so personal, creating the performance has been much harder than I expected.

The piece is still developing. It explores darkness, but I've also introduced a playful character. I believe a performance needs both light and darkness. If everything is dark, it becomes too heavy for the audience.

What advice would you give to young circus and clowning artists?

First of all, just do it. If I were young today, I would enter this field boldly, ready to fight. We need artists, poets and writers because they ask uncomfortable questions and challenge established norms.

But always have a Plan B. Learn how to build things, repair things, make your own scenography. As an artist, you should understand the entire creative process.

And one more thing: be kind to the people who usually remain invisible. They are the ones who have all the keys. Respect everyone you work with.

And always leave your dressing room clean!

Interview by Viktorija Roževič