Q&A: EDINBURGH 2024: Remi Jacques on NOVA

BWW caught up with Remi Jacques, Artistic Director and founder of Les Foutoukours, about bringing Nova to the 2024 Edinburgh Festival Fringe.

How did you first get involved in the world of circus?

Through a mix of encounters and related interests, life led me to the circus. My body had been prepared for this path through a background in sports, specifically in acrobatic diving during my teenage years. However, my artistic soul drove me to study theatre. At university, my classmate, a former Cirque du Soleil artist, asked me if I could put my butt on my head . . . I tried, and it was a success. This prompted me to resume training in acrobatics and contortion.

I sought to blend these skills with theatre, initially finding my answer in commedia dell'arte, where masked characters express themselves partly through physicality and acrobatics. Naturally, commedia dell'arte evolved into clowning, allowing me to fully express my artistic visions on stage. Without words, relying on physical performance and circus skills, my ongoing challenge has always been to tell stories with emotions and sensitivity.

What inspired the creation of Nova? 

I always look for a specific aesthetic and atmosphere for a new show. For Nova, I had the image of an old alley made of brick walls with a magic door in the centre. A space evoking children playing imaginary games, but what kind of child? I was deeply affected by childhood poverty, the lack of resources that fostered a vivid imagination and a necessity for solidarity. It was here that similarities with The Little Match Girl became apparent. 

How did you choose The Little Match Girl as an inspiration for some of the themes in Nova?

I was inspired by the conflicts in this tale: cold versus warmth, the hope for a better world, childhood facing life's challenges. While nothing from the story itself was kept, references can be found in Nova such as the presence of cold, candles, a matchstick; even the books nod to the literary aspect of the inspiration. From a rather tragic tale, I wanted to speak of perseverance, solidarity, and hope.

What has the creative process been like for Nova?

Long! As always for our productions. The initial research began in 2021 with a group of six artists. Nova marks our first show with new artists in twelve years, during which Jean-Felix and I were the clowns on stage. Therefore, the creation process involved testing and auditions to find a new duo. There was much learning for them, as the clown technique of les Foutoukours is precise, based on strong principles and ideas. In 2023, we initiated a new phase of creation with five artists, which allowed us to solidify the themes and acts of the show. In 2024, the actual production process commenced with the chosen duo, involving the music composer, light designer, costume designer, set designer and others. We spent over 100 hours in the rehearsal studio and conducted four weeks of residencies in four different theatres to finalise the project. The final adjustments were made on July 20th, and now we are ready for the Fringe!

How do you combine storytelling and clowning/acrobatics to make a show?

First, I aim for the circus to blend into the scenery. In Nova, books and bricks become juggling props. Next, I use circus skills as solutions to problems: using body percussion to keep warm, climbing onto each others’ shoulders to reach greater heights. Finally, with music and lights, I envelop circus acts with emotion and feeling that help express concepts: handstands echo the beauty of candle flames and hand-to-hand balancing exemplifies teamwork and bonds the characters together.

Can you tell us about Les Foutoukours and its emphasis on “gentleness, audience interaction and emotional clarity?” 

Today, the clown is often misunderstood and unfairly judged. I have made it my mission to change this. Gentleness is the first step in connecting with new audiences and dispelling the fear perpetuated in popular culture. Audience interaction breaks down the fourth wall - it is the strength of the clown! The audience reacts to what they see on stage and the clown responds in kind. Even with a storyline, clowns are influenced by the audience's experience and engage directly with them.

Ultimately, emotional clarity allows us to demonstrate that the clown represents not just joy and laughter but a diversity of emotions that resonate with the audience. With gentleness, this becomes gentle fear, gentle sadness and gentle anger. This is real life - it enables us to tell more complex stories that reach a broader audience.

What is it like bringing a show up to the Edinburgh Fringe from Canada?

A lot of work, obviously, and to be honest, a lot of money. But it remains a unique experience, an opportunity to connect with the audience like nowhere else. The interaction with the audience is broader because you see them on the street during flyering, you see them in the venue, you see them afterwards for photos, you learn their impressions through social media and the press — it's enriching. And this goes on for a month! It's a lot of information that allows you to fully reveal your show and evolve it completely.

What do you hope audiences take away from Nova?

To open up to others, look around with more empathy. And hopefully renew their love for clown.

How would you describe Nova in one word?

Enveloping. You are drawn into a magical, warm, and comforting universe.

Nova runs from 1 to 25 August (no performances on 12 or 19 August) at Assembly Roxy - Upstairs at the 2024 Edinburgh Festival Fringe.

 

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