{"id":2893,"date":"2016-10-05T18:32:38","date_gmt":"2016-10-05T18:32:38","guid":{"rendered":"http:\/\/blog.7doigts.com\/?p=2893"},"modified":"2016-10-05T19:05:36","modified_gmt":"2016-10-05T19:05:36","slug":"reversible-interview-with-philip-chbeeb-hokuto-konishi","status":"publish","type":"post","link":"https:\/\/blog.7doigts.com\/en\/2016\/10\/05\/reversible-interview-with-philip-chbeeb-hokuto-konishi\/","title":{"rendered":"R\u00c9VERSIBLE: Interview with Philip Chbeeb &#038; Hokuto Konishi"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" class=\"alignright size-full wp-image-2883\" src=\"http:\/\/blog.7doigts.com\/wp-content\/uploads\/2016\/10\/REV1.jpg\" alt=\"rev1\" width=\"6000\" height=\"4000\" srcset=\"https:\/\/blog.7doigts.com\/wp-content\/uploads\/2016\/10\/REV1.jpg 6000w, https:\/\/blog.7doigts.com\/wp-content\/uploads\/2016\/10\/REV1-300x200.jpg 300w, https:\/\/blog.7doigts.com\/wp-content\/uploads\/2016\/10\/REV1-768x512.jpg 768w, https:\/\/blog.7doigts.com\/wp-content\/uploads\/2016\/10\/REV1-1024x683.jpg 1024w\" sizes=\"auto, (max-width: 6000px) 100vw, 6000px\" \/><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>Philip CHBEEB &amp; and Hokuto KONISHI, from <a href=\"https:\/\/www.youtube.com\/channel\/UCBvK_9uzO2EFIAXN40JnvGQ\" target=\"_blank\">AXYZM<\/a> are Movement Design Collaborators on the show<\/p>\n<p><span style=\"color: #ff0000;\"><strong>How does your own work relate to the work of the 7 Fingers?<\/strong><\/span><\/p>\n<p><em>Phillip<\/em>: What the 7 Fingers does really well is not only capture the human side of a circus performer but, with a kind of minimalist approach, they strip away all the things that are in excess and actually leave the barebones, personal side of a human\u2019s life. The personal side of very simple set pieces can transform into this huge meaning. In a similar way, we like to take everyday objects and things that are relatable to people and transform those things into things that are greater, or more interesting, than they would be. In that way we found a commonality in just transforming minimal things with only eight cast members and three walls, like, \u201cHow can you take this and transform it into something beautiful?\u201d<\/p>\n<p><span style=\"color: #ff0000;\"><strong>What has struck you during this experience?<\/strong><\/span><\/p>\n<p><em>Hokuto<\/em>: Now, especially with the media and the social media and the pace going faster, I feel like the point where [some] give up is a lot quicker. With circus artists of this level, they all have this incredible level of craft and they just have this understanding of, \u201cAll right, you have to do it a million times first before you say anything.\u201d If everyone had this mindset, the dance craft would definitely grow. I really would want dancers and people who haven\u2019t really seen circus to see the 7 Fingers show [to see] the marriage of dance and circus, where it\u2019s not just the tricks and acts, but it\u2019s all the in-betweens.<\/p>\n<p><em>Phillip<\/em>: The way the circus artists of <em>Reversible<\/em> are willing to delve into our craft just as much as with their own is a really rare thing that we don\u2019t always see in the industry. It was really refreshing to see open artists tackling everything we threw at them.<\/p>\n<p><span style=\"color: #ff0000;\"><strong>What are your thoughts on the role of the artists during this creation?<\/strong><\/span><\/p>\n<p><em>Phillip<\/em>: One of my favourite things about the 7 Fingers\u2019 approach\u2014and it seems like such a unique way of approaching theater and circus\u2014was the amount of attention that they bring to the artists themselves. I think very often the artist kind of gets hidden behind this enormous production which I think is great sometimes but what you lose is that fact that audience members are people and that they\u2019re watching other people and having a connection. This is something that I think 7 Fingers does extremely well, so when you\u2019re watching one of these performances you\u2019re not just seeing some creature that does something amazing and jumping through, but you\u2019re also seeing yourself in those people. I think it has that extra inspiration for the audience member to be like, \u201cYou know what? There\u2019s more I can do with my life and what goes on in my life than I thought.\u201d<\/p>\n<p><em>Hokuto<\/em>: The fact that you understand the performers are humans, and just simple things like, \u201cOh, they\u2019re walking\u2014 I can walk! They\u2019re leaning on the wall\u2014I can lean on the wall!\u201d and then when they do the things that are amazing it just enhances it even more because it\u2019s brought the audience down to a human level rather than just going in to see some tricks. Tricks wise all the cast members have something amazing to offer. I love that with the 7 Fingers they\u2019re able to coat that in a very human way.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>&nbsp; &nbsp; &nbsp; &nbsp; Philip CHBEEB &amp; and Hokuto KONISHI, from AXYZM are Movement Design Collaborators on the show How does your own work relate to the work of the 7 Fingers? Phillip: What the 7 Fingers does really well is not only capture the human side of a circus performer but, with a kind of minimalist approach, they strip away all the things that are in excess and actually leave the barebones, personal side of a human\u2019s life. The personal side of very simple set pieces can transform into this huge meaning. In a similar way, we like to take everyday objects and things that are relatable to people and transform those things into things that are greater, or more interesting, than they would be. In that way we found a commonality in just transforming minimal things with only eight cast members and three walls, like, \u201cHow can you take this and transform it into something beautiful?\u201d What has struck you during this experience? Hokuto: Now, especially with the media and the social media and the pace going faster, I feel like the point where [some] give up is a lot quicker. With circus artists of this level, they [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[155],"tags":[],"class_list":["post-2893","post","type-post","status-publish","format-standard","hentry","category-reversible-2"],"_links":{"self":[{"href":"https:\/\/blog.7doigts.com\/en\/wp-json\/wp\/v2\/posts\/2893","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.7doigts.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.7doigts.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.7doigts.com\/en\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.7doigts.com\/en\/wp-json\/wp\/v2\/comments?post=2893"}],"version-history":[{"count":3,"href":"https:\/\/blog.7doigts.com\/en\/wp-json\/wp\/v2\/posts\/2893\/revisions"}],"predecessor-version":[{"id":2896,"href":"https:\/\/blog.7doigts.com\/en\/wp-json\/wp\/v2\/posts\/2893\/revisions\/2896"}],"wp:attachment":[{"href":"https:\/\/blog.7doigts.com\/en\/wp-json\/wp\/v2\/media?parent=2893"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.7doigts.com\/en\/wp-json\/wp\/v2\/categories?post=2893"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.7doigts.com\/en\/wp-json\/wp\/v2\/tags?post=2893"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}