Autocannibal: Interview with Masha Terentieva & Mitch Jones

AutoCannibal

Addiction, obesity, corruption, over-consumption. Why do we do things that we know are bad for us? On all fronts, Homo sapiens seem to be intent on wiping themselves out.

Well known and much lauded by lovers of bizarre and provocative performance, Mitch Jones (aka Captain Ruin) brings Melbourne audiences a premiere Australian work this July at Theatre Works. Joined by international emerging Director, star Cirque Du Soleil aerialist and character performer, Masha Terentieva, AutoCannibal heralds a powerful new evolution in Jones’ creative practice, drawing on years of experience making avant-garde performance art for fetish clubs and art installations.

I sent Mitch & Masha a bunch of questions to find out more about the show, their process, how they deal with the dark times and what its like creating with your partner. Under the pump and in the midst of their creation time they were gracious enough to answer my questions.

Thank you for taking the time and sharing your stories and process candidly with us you two,

Enjoy this insight folks,

Peace

Hamish

To set the scene and for those who don’t know you both: Can you tell us about your backgrounds and the pathway that has led you to where you are now?

Masha: I was born in St. Petersburg, in Russia. My father is a clown, I grew up backstage of Russian clown-mime theatre “Litsedei”, founded by Slava Polunin. Moving to Canada at age 12, we went on tour with Cirque Du Soleil. Later on I graduated from the Montreal circus school and joined Cirque as well. Afterwards I worked as a circus performer in Europe a lot and now I’m going back to my physical theatre roots. I‘ve always been drawn to visual theatre (like Pina Bausch, Robert Wilson, NDT, James Thieree). I’m really into stories that are told without words, simply by body language and lighting. I’ve spent a lot of my life on stage, it’s exciting to be sitting in a director’s chair this time.

Mitch: I started taking circus classes at Circus Oz in Port Melbourne when I was about 14. I discovered my love of physical performance there, and have since formed several companies, travelled the world with shows and made lots of crazy ideas come to life. In 2009 I took a performance workshop with Younes Bachir, director of La Fura Del Baus, and that began my interest in experimental and provocative physical theatre, which has lead to this work. 

Your new work AutoCannibal premiers next month. Can you explain the show, how it came about and what themes you are exploring in it?

Mitch: AutoCannibal was born from a sense of frustration and despair that I felt while dealing with grief and depression a few years ago. I had been wanting to make another solo show for a while, and when the idea of using self-harm as a metaphor for environmental destruction came to me, I could vividly see it as a space in which to explore what I was experiencing, while also connecting it to what I saw as a larger social pattern. The show is about the loss of our natural environment as a result of overconsumption, as told through the story of one human who has survived a social collapse. The dominant theme is about the absurdity of destroying our ecosystem, as well as the apathy and cynicism that allows this to happen. We’ve had funding from Creative Victoria to develop the show, and now we are in the final stages of rehearsal before it premieres at TheatreWorks next month.

What drew you to explore the ideas of resource consumption, environmental exhaustion, social collapse and humanities impulse towards self-destruction?

Masha: There is a pressing urgency and desperation that comes with the feeling of helplessness. For me, one of the greatest ways of dealing with it is to make art. 

Mitch: We both feel that these issues are urgent – they are an existential threat to human life on this planet, and we want to contribute to social debate about it in artistic way. 

Mitch – You’ve said that performing in fetish clubs and exploring acts of self-harm was part of your inspiration for AutoCannibal looking at ‘self – harm’ as a larger social pattern. What drew you to exploring extreme physical performance and self-harm?

Mitch: Nihilism I guess. The body is this weird meat puppet controlled by a bunch of chaotic and impulsive electrical signals that we call consciousness. I love making work that revels in the absurdity and filth of it all. I have found fetish clubs are one of the best places to experiment with physical performance because they are a space without limits where you are encouraged to try things. Also the people who go there aren’t afraid of blood!  

Masha – You’ve performed in a lot of big shows and created acts. What draws you to directing others? And how do the roles of director or performer differ in what you gain creatively from each of them?

Masha: I have always been interested in directing. One aspect of the transition from performing to directing is that, to be honest, I‘m starting to get tired of doing acrobatics. My body hurts. I also feel like I’m past the stage of being just an interpreter. Now I need to challenge myself and grow as an artist. I don‘t need to be on stage to be one. 

As a performer I can be intuitive and express myself through movement and physical acting, but as a director it has to be a lot more verbal. I have to get a clear message across, so that Mitch understands what I want and makes the action his own. 

It’s also very interesting to find a “key” to each person I work with, what approach to take and how to get the best out of them. Adaptability is one of the director’s most important qualities, I believe, and I’m really still learning.   

Masha – You come from a family of artists and performers, how has your upbringing affected how you approach creating work? What is your process like when you are directing and what particularly interests you?

Masha: Watching Slava SnowShow a million times (where my dad still performs) has had a great influence on me. That show is so full of poetry, subtle gestures, melancholy, and beauty.  I’m inspired by extreme attention to detail. 

In my work I strive to draw inspiration from all types of kinds of media and art. I’m curious to experiment, to mix genres in order to create new languages. 

I think it’s important to note that Autocannibal is not a circus show, but a physical theatre piece with elements of circus, clown, performance art, and dark humor.

What has it looked like ‘On the Floor’ for the creation of AutoCannibal? Can you talk us through the creative process to date?

Masha: There are so many ways to create… We are still discovering our process together. In this creation we’ve been brainstorming ideas, co-writing scenes, researching them, improvising and coming up with abstract, weird and sometimes totally unexpected material. 

Mitch: We were really fortunate to have support at an early stage of the project from Rob and Antonella at Circus Oz, who helped us while we were applying for funding and doing the initial creative development. For the final development and rehearsal we have been using the Snuff Puppets’ space in Footscray, and it has been amazing to have a warehouse full of materials, tools and inspirations at our disposal.

On The Floor right now while I’m typing are

• A pile of bungee cords
• Tubes of flesh
• Rusty Scaffolding
• Bones
• Halloween toys
• Sewing needles and thread
• Coils of old hemp rope
• A childs tricycle
• Old saws
• Garbage bags
• Rubber Gloves
• A gigantic lobster puppet (not from the show!)
• Hot glue guns, and more…

You are together ‘romantically’ as well as collaborating on this project: How has this been for the creative process?

Masha: It’s really interesting (working with a partner), and of course, challenging at times. We’re both learning a lot from working together. Communication is key. Sometimes I feel like ideas in my mind are too abstract and I lack theatrical terminology to express myself. I’m so used to just “showing”, where it’s not always beneficial, because you don’t want the performer to “copy” what you’re doing. Mitch’s been really helping me to improve with this. 

Mitch: Working with a partner is both difficult and incredibly rewarding. On the one hand you’re able to support someone through the process of trying something new, but on the other hand you can become so entwined in the work you are making that it can carry over into your relationship. The main benefit for me is a sense of excitement at developing a creative language with someone who has similar aims but a different background, and the idea that we will take this shared experience into our next projects.

Do you have any tips or tools for people working creatively closely with their partners?

Masha: Patience, communication. Outlining the common goals early on in the project. These goals will guide you like a lighthouse in a storm. 

Mitch: Am I the storm? Haha.
Quite early on we decided that we would try to separate work from our personal time, and have limits on when we talked about the show. This has been key to helping us unwind and not get stuck thinking/stressing about stuff. Another thing which has been invaluable has been engaging an amazing production manager (Ewen Pendreigh!) which takes a lot of the stress away from us in running the project, as I have a tendency to try and do EVERYTHING myself. 

We are interested in the therapeutic connection between work and self. What about what you do feeds your inner self? If at all?

Masha: Creation is a human necessity. We are lucky when we are able to make a living from our art. However, it is important to remember, I think, that work does not define identity. It is just an expression, a human activity. 

Mitch: I have a very busy mind – I need to stay engaged, and making shows is my favourite way to do this, because it is a positive activity that contributes to the world in a non-destructive way. 

If you get ‘stuck’ creatively or have dark times emotionally/mentally, What ‘tools’ or habits have you learnt to get yourself out of it?

Masha: Getting drunk, lol. But seriously, for me, talking to friends really helps. People on the outside who’s opinion I trust. Get out in the nature. Take breaks, create distance, and manufacture “new starts”.

Mitch: I see a really amazing counsellor here in Melbourne, usually once a fortnight. We do a lot of work about how to stay centred and focused, able to experience strong emotions without becoming destabilised. In terms of being stuck creatively, my current preference is to engage really excellent collaborators so that there is always a diversity of voices and ideas. If I am stuck, I usually ask for help from someone else to break through that problem and keep moving. 

We think there’s bravery in revealing our ‘shadow self’, particularly on stage or in your work. What do you think about that?

Masha: I think that it’s important to stay mentally healthy, and clearly separate the work from identity, as in the “shadow self” is a character. The character can manifest itself in ways that you personally may never be able to. 

Mitch: I am finding AutoCannibal pretty challenging with regards to this. We are literally trying to represent parts of the world/society that I consider to be awful and unhealthy. Being able to sit in that character without becoming consumed by it involves a lot of acting technique. Before I begin a project like this I try to think deeply about what my aims are, and why I am doing it, so that when I feel concerned about the darkness I am dancing with, I can remember that there is a rationale behind it. I feel like it is really important to reflect on and hold space for difficult emotions through art, and that it is healthy for society to confront these things and explore them in safe situations – like in a theatre.  

This lifestyle and Artfom can be all-encompassing – What does your down-time/relax time look like and how do you personally ‘switch off’?

Masha: I love to get a Thai massage. Get drunk with friends. See live music. Be in nature. 

Mitch: I’m trying to drink less these days, so I find it really helpful to have activity based hobbies that involve intense focus, because this takes me away from my work and I come back to it refreshed. My favourite thing at the moment is rock climbing (outdoor and indoor), but I’ve also found skateboarding and riding motorcycles does the trick! 

Mitch – You are based in Melbourne, what’s it like living and working there?

Mitch: I love Melbourne, I always will. It is the perfect mix of different things for me – art, music, graffiti, great food, amazing venues, vibrant and diverse communities, creative humans. 

Masha – you’ve spent a lot of time in different circus communities and ‘tribes’, how do you feel the Australian scene differs from others around the world?

Masha: It’s special. I have a lot of respect for the Australian circus scene, it’s got a lot of “balls”. I love how strong and often times dominant women are in the circus scene here. 

Masha – And what are some of the commonalities about the circus community worldwide?

Masha: It might sound like a cliche, but… Circus people are oftentimes far away from their families for long periods of time, so we are in constant need of creating our own little families when on tour, so as to avoid loneliness. When we travel, we find circus family everywhere, that sense of belonging – acceptance, understanding and hospitality. 

Do you feel that Physical Theatre/Cabaret/Circus/Sideshow as artforms have the capacity to create positive social change?

Masha: I like it when art is political without being literal about it. I prefer to insinuate things, and respect the audience’ intelligence. 

Mitch: Yes I definitely feel that art can create change – artists work with their imaginations. This creative power allows us to shape reality. I feel that social justice is served and driven by the ability to see things from different perspectives. Artists can re-imagine the world and show it to audiences in new ways.

What’s one positive development you would like to see in the future of the Australian (or worldwide) Physical Theatre/Cabaret/Circus/Sideshow scene?

Masha I’d love to see more things that are radical, surprising, weird, original. I want to be surprised, I guess it’s been a while… I would like to see more attention paid to the quality of movement and less to tricks in mainstream circus shows. 

Mitch: Is a total revision of how work is funded and presented too much to ask for? I think I have too much to say on this for one interview… 

What are your hopes for AutoCannibal going forward?

Mitch: We want to tour the work and are hoping to bring it to a few different places in Australia, as well as putting together a European tour over the next few years. 

If you could go back ten years and give yourself advice, what would it be?

Masha: Don’t party so hard.

Mitch: Stay out of trouble.  

And what advice do you have for people just starting out in the ‘scene’?

Masha: Get creative. Do a lot of research. Don’t be lazy with looking for music. Explore, play, push yourself out of your comfort zone, dare to make something new, even if you’re not sure it’ll be any good. That’s how you grow. You should ignore any advice that tells you to do anything to fit in in order to make it “in the industry”. We are creating our own industry. There are so many different companies around the world, so many opportunities. Widen your horizons!

*In the last 5 years what new belief, behaviour or habit has most improved your life?

Masha: I’m a lot calmer, a lot more settled. I’m partying a lot less than I used to, and that’s making me a lot more disciplined and productive. 

Mitch: I find that parenting my daughter (who is about to turn 8) is the most rewarding and ever changing lesson about how to go through life with a  positive outlook, open to learning new things.

Mitch – As a patched #ClownPirate (Carnival Cinema Member) How does Carnival Cinema fit into your sense of community?

Mitch: I love the worldwide carny tribe. One day I wish I could have a massive party/festival/event somewhere central and fly all the incredible people I’ve met to be in the same place. In the meantime, I think that Carnival Cinema and the newsletter are playing a vital role in keeping people connected and informed.

AutoCannibal runs from the 10th to the 21st of July at Theatre Works 14 Acland Street, St Kilda – TIX & INFO HERE

Special starving Carny offer: Use promo code HUNGRY for $30 tickets.

Show Credits:

Created and Performed by Mitch Jones – Directed by Masha Terentieva – Set Design by Michael Baxter – Lighting Design by Paul Lim – Sound Design by Bonnie Knight – Production/Stage Management by Ewen Pendreigh – Promo Photography by Chris Bennett

This production is proudly supported by Australia Council Catalyst, Creative Victoria, City of Port Phillip, and Circus Oz.

Mitch Jones aka Captain Ruin
15.05.1987
Mitch Jones is a physical performer and artistic provocateur with over a decade
of experience in creating shows that are thought-provoking, playful, electrifying,
authentic, dynamic, disturbing, fierce, beautiful, queer and dangerous.
He has worked across a range of forms, including in traditional and musical theatre, giant puppetry, punk music, sideshow, street performance, live art, physical theatre, clown and circus. As professional unusualist and daredevil Captain Ruin he has toured and performed around the world, including hosting the main circus stage at the Glastonbury Festival of Contemporary Performance (2015/2016). Jones has also worked with La Fura Dels Baus director Younes Bachir (Andante Project 2009-2012), as a core member of Snuff Puppets (2010 – ongoing), and is recently performed the lead character in Circus Oz’s touring production of Model Citizens (2017 – ongoing). With a strong interest in collective devising and collaboration, Jones has formed a series of influential and prolific independent companies that focus on creating experimental and genre defying physical work, including; Caravan of Dooom (2008-2011), The Syndicate Sideshow (2012 – ongoing) and Glitch Productions (2012 – ongoing). He has directed several works of physical theatre, including the large scale promenade piece Just Us (2014), and Bunker (2015-2017). These endeavours have seen him perform extensively across Australia at fringe festivals, fetish clubs, music festivals and cabarets. Jones studied Social Theory at Melbourne University, and wrote an award winning honours thesis in Theatre and Performance at Monash University. In 2015 he received an ArtStart grant to research physical and immersive theatre techniques in Europe and the UK. He is an enthusiastic proponent of using popular forms of performance to explore conceptual and topical ideas, thus broadening and deepening social debate on a range of issues.

MITCH LINKS :- WEBSITE –FACEBOOK – INSTAGRAM

Masha Terentieva

(born St.Petersburg, Russia, 1987)

Masha is a contemporary circus artist, innovator and creator whose work
explores character, movement and emotion on stage. Her inspiration is
drawn from performance art, physical theatre, clowning, contemporary
dance and world music.

Masha has showcased her acts on the stages of Sydney Opera House, Radio City Music Hall of New York, KremlinState Theatre in Moscow, the Hippodrome Casino in London West End, underground clubs (The Box, NY and London), Adelaide and Edinburgh Fringe Festivals, Chamäleon Theatre and Wintergarten Variété in Berlin, as well as Spiegeltents, big tops, arenas and cruise ships. Coming from a family of artists, she graduated from the National Circus School of Montreal (2008), specialising in hula hoops and aerial hoop. With a family background in clown-mime and physical theatre, she is especially interested in the theatricality of circus and blending various genres together. Her acts are sensual in their simplicity and daring in their attitude. As a director she is focused on refining visual narrative and dramaturgy to produce sublime and poetic images that fuel character development.
Masha’s list of artistic credits includes performing with Cirque Du Soleil shows Dralion and Zarkana (2008-2013) and acting as an invited concept designer for a solo act in Kurios (2018). In 2013 she played on Broadway in an acclaimed run of the Tony Award Winning musical Pippin, with a circus concept directed by 7 Fingers. After moving to Berlin, she began collaborating with Base Berlin and Birdmilk Collective, appearing in shows such as Soap (2010) and dUmmy lab (2013, 2015). In 2015 Masha directed her first show in San Francisco, CA in an intimate collaboration with Circus Automatic. She has also acted as assistant director with Brix Productions (2014), and dance captain with Short Round Productions (2016). In 2013 Masha began designing a unique apparatus called Aerial Hotel Cart, performing it first with Base Berlin in Denmark (2014), then in the dinner theatre Pacha in Dubai (2015) and finally appearing with a polished version in Strut N Fret’s Blanc Du Blanc (Sydney Opera House, West End, Adelaide Fringe, 2015-2017). In January 2017 she competed with Aerial Hotel Cart in the prestigious Festival Mondial De Cirque Du Demain, and was awarded 5 prizes including the overall Bronze medal, and the Cirque Du Soleil prize for Performance and Artistic Vision. She is currently featured in the Lido De Paris spectacle Paris Merveilles (directed by Franco Dragone) on Champs Élysée, as an invited guest act.

MASHA LINKS :- WEBSITE – FACEBOOK – INSTAGRAM

*A couple of these questions were stolen from the excellent interviewer & Podcaster Tim Ferriss.He is well worth checking out!

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