top of page
34583173_10156007824852107_7256824198415253504_n.jpg
Training

Although performance is an essential element of contortion, contortionists spend the majority of their time refining and building their strength and flexibility through hours of dedicated training. Here is a detailed description of how a contortionists practices a certain skill known as classic, a type of chest stand:

​

"From standing, she arches back until her hands are flat on the floor, placed as close to her heels as possible. Then, while her feet remain firmly planted on that beige carpet, she lowers herself even further until her chest and chin are resting on the floor. She pauses there, with her chin placed on a small handkerchief she brought so as to avoid a rug burn on her chin. From there, she can see herself in the mirror perfectly as she looks forward through her legs. She brings her arms out from below her, wraps them around the front of her ankles, and places them daintily under her chin, her ankles now hooked in the crook of her elbows”(Ward, p. 2).

​

​

Performance

Contortion is not only an impressive physical feat but also “is a performing art, meant to be experienced visually through live theatre…”(Ward, p. 2).Performance of contortion can range from very informal background character ambience to an act in a full on Cirque Du Soleil show. Performers express themselves through their movements and typically their facial expressions and music selection as well, although COVID and face masks have slightly altered that on occasion. Costumes are also a very versatile aspect of this art and can be another way that the contortionists are able to express themselves. Some costumes can be very elaborate and showy while others are actually quite simple and minimalistic. The material is usually something that is easy to move in and stretchable to allow the contortionists to bend and fold. Unlike some other circus performers, a contortionist is a “...performer whose freakishness is not readily apparent until it is demonstrated.”(Nickell, 165). 

3U8A0512.jpg
bottom of page