Most people are familiar with toss juggling. Maybe they’ve even attempted it themselves, taking three balls and trying to keep them in motion, or maybe they’ve seen something a little more spectacular like a juggler tossing knives, fire torches, or chainsaws. But the most spectacular juggling actually occurs when the juggler never loses contact with their props—that is, when they’re contact juggling. Though a centuries-old practice, it was brought to prominence by Michael Moschen with his performance of “Light” in the ’80s.
As the video shows, he’s capable of palm-spinning up to eight crystal balls simultaneously, as well as making a single ball appear to float over his hands and arms. This act was met with much praise from the international circus community, eventually earning him a MacArthur Fellow Genius Grant in 1990. Prior to that, it also landed him a gig with David Bowie ...
As the video shows, he’s capable of palm-spinning up to eight crystal balls simultaneously, as well as making a single ball appear to float over his hands and arms. This act was met with much praise from the international circus community, eventually earning him a MacArthur Fellow Genius Grant in 1990. Prior to that, it also landed him a gig with David Bowie ...
- 7/29/2016
- by Becca James
- avclub.com
Before you bid your final farewell to 2010, you may want to check out three highly educational dance items that came out during the latter half of the year: "Understanding Pina," an insightful DVD about the work of the pioneering dance-theater choreographer Pina Bausch; "Ballroom!," an entertaining book about what goes on behind the scenes in competitive ballroom dance; and "Mirrors & Scrims," a noteworthy volume of serious ballet criticism.'Understanding Pina'With its hefty price tag, the edifying new DVD "Understanding Pina: The Legacy of Pina Bausch" (Insight Media, 2010, 38 minutes, $199) may be affordable only to library and institutional purchasers. Yet it would be unfortunate if it did not become widely available to dance enthusiasts.An analytical, thought-provoking look at Bausch's work, "Understanding Pina" is a superb teaching tool. It can serve as a suitable introduction to Bausch for those unfamiliar with the key elements of her work and the significance of...
- 12/16/2010
- backstage.com
Alexandra Cheney Michael Moschen moves across the stage as he flips and twirls a baton and silver ring simultaneously.
His fingers resembled short, fat sausages, his hands wrought with thick calluses. He wore black and spoke softly. He refused to define himself, his craft, and his methodology.
He is Michael Moschen, the street performer-cum-MacArthur Fellow-cum-illusionist-cum-juggler. This weekend, Moschen appeared before a sold-out crowd at New York University’s Skirball Center for the Performing Arts.
Kids leap-frogged down the auditorium stairs as all 860 spectators took their seats. The lights dimmed and Moschen sauntered onto the stage.
“Hello,” he said, pausing, “I want to make new things.”
Over the course of the next 90 or so minutes, Moschen drew gasps and claps from the crowd. He opened his act with a story about his history in juggling with his next-door neighbor in Connecticut, Penn Jilette, of Penn and Teller. He tapped his white...
His fingers resembled short, fat sausages, his hands wrought with thick calluses. He wore black and spoke softly. He refused to define himself, his craft, and his methodology.
He is Michael Moschen, the street performer-cum-MacArthur Fellow-cum-illusionist-cum-juggler. This weekend, Moschen appeared before a sold-out crowd at New York University’s Skirball Center for the Performing Arts.
Kids leap-frogged down the auditorium stairs as all 860 spectators took their seats. The lights dimmed and Moschen sauntered onto the stage.
“Hello,” he said, pausing, “I want to make new things.”
Over the course of the next 90 or so minutes, Moschen drew gasps and claps from the crowd. He opened his act with a story about his history in juggling with his next-door neighbor in Connecticut, Penn Jilette, of Penn and Teller. He tapped his white...
- 4/19/2010
- Speakeasy/Wall Street Journal
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