“I have felt at home in both worlds”

Nadja, what were the most memorable moments for you and what impressions do you take away from the two festivals?

The most impressive thing for me was experiencing the circus in two completely different worlds. It was overwhelming to discover them so close together at the two events. It was as if I was moving from one universe to the next – and yet I felt at home in both worlds. I also realised once again that tradition is often country-specific – in France and other Western European countries, for example, circus is very progressive, whereas in South America or Asia, for example, it is much more classically influenced.

Where do you see similarities between the two festivals, and how do they differ?

Both festivals present artistry at the highest level. The physical performances and skills of the artists are outstanding at both festivals – that’s the common ground. But then the differences begin: Monte Carlo has a traditional atmosphere. Everything is colourful and cheerful, there are animal acts and the classic circus traditions are honoured. Paris, on the other hand, favours innovation and contemporary art – traditions are deliberately broken up in order to create something new. It was a particular challenge for me to be on the jury in Monte Carlo to judge the animal acts, as I had rarely had to apply these criteria before. But I was always aware of the world in which I was currently operating and tried to adapt my judging criteria accordingly.

How does the YOUNG STAGE Circus Festival position itself between traditional and modern circus?

The YOUNG STAGE Festival is somewhere in the middle, and that’s what makes it so exciting. We try to combine the best of both worlds: We are innovative and respect traditions at the same time. Our aim is to show the entire spectrum of circus. Because in my opinion, circus should be seen as a whole and the more you do this, the more possibilities open up.

Both French festivals are international meeting places for the circus industry. Were you asked there about the fact that the YOUNG STAGE Festival is taking place for the last time this year?

In Monte Carlo, the topic was only mentioned in passing, whereas in Paris it was mentioned by almost everyone I met – it’s just that our community is more at home there. The reactions were consistently positive. Many are sad that we are planning the last edition, but everyone really understands. YOUNG STAGE has carved out a special place for itself in the circus world, and that is also appreciated.

Are your colleagues looking forward to the Grande Finale in September?

Yes, absolutely! An incredible number of people said they would be coming. I think it will be a real ‘class reunion’ once again. Our last edition will certainly be very emotional, and of course we will also be nostalgic. At the same time, I can sense a lot of curiosity: the community is wondering what will come next. Tickets for our Grande Finale can be purchased from 21 March – if you want to be there, you’d better hurry!

After your intensive dialogue with artists and industry experts: Where do you think the circus world is heading in the coming years?

Experiencing these two different circus worlds so close together got me thinking. I don’t have a magic crystal ball, but I do have one wish: both extremes should open up more and learn and benefit more from each other. I hope that we move a little more towards the centre in the future and that the audience and their needs are not forgotten. In difficult times like these, people need positive emotions – light, accessible moments that bring them joy. The tension between art and consumption, between the sophisticated and the entertaining remains a challenge. But I firmly believe that these poles do not have to be mutually exclusive, but that they can even complement and inspire each other.