INTERVIEW / For Taiwanese circus performer, life on the road not all fun and games

Konstanz, Germany, Sept. 29 (CNA) A man emerges from backstage into the ring, tosses a diabolo high into the air and catches it with a string. Then two, then three, juggling the hourglass-shaped tops with impeccable precision, as if they were extensions of himself.

He is Chu Chuan-ho (朱泉合), arguably Taiwan's most internationally acclaimed diabolo artist and a member of Circus Krone, Germany's largest circus.

The moves, which are seemingly effortless, transfix audiences, but they belie the arduous journey and road life endured by Chu and most circus stars that can be especially challenging for people from different cultures such as the Taiwanese juggler.

Life on the road

He reflected on life on the road as a circus performer and the discipline needed to succeed in an interview with CNA on Sept. 27 while on tour with Circus Krone in Konstanz, Germany.

Chu said life with the circus resembles that of a nomad, often requiring performers to endure harsh conditions.

"You often don't get tap water and electricity," he said.

Once, while touring Canada, there was no heater during freezing nights, and he could only wrap a thick comforter around himself, he recalled.

"It's these challenging conditions that toughen and shape circus performers," he said.

Overcoming language barriers was also a challenge early in his journey.

Chu recalled missing his connecting flight at a German airport on Christmas Eve and having to wait for a later one. At the time, he could only utter broken English and gesture to ground staff.

After that incident, Chu said, he resolved to improve his English. Relying on flashcards and online translation tools, he has made steady progress, which has made it easier for him to communicate with colleagues.

The discipline needed to deal with life on the road carries over to the daily performances, Chu said.

He undergoes a stringent routine before each show to build muscle memory, warming up for three hours before every 15-minute set, he said.

Inner peace is also key to perfecting every toss and every catch, Chu said, describing it as the yin that balances the yang in the art of diabolos.

Though Chu has made the sacrifices required to make it in the circus world, he said he still owed his success to Tigerpalast Variete Theater artistic director Margareta Dillinger, without whom he would not be where he is today.

Dillinger recognized Chu's potential, offered him shelter, and provided emotional support when he was looking for gigs in Germany in 2017.

"If not for her support, I would not have my portfolio and the recognition. Money isn't what a performer treasures most -- it's respect," he said.

Understanding different audiences

As Chu gained experience, he came to discern differences between North American and European audiences -- an ability he said is critical to connecting with spectators.

Most notably, he said, North American circus fans place greater emphasis on entertainment value, applauding after every segment, while Europeans tend to watch quietly, as if appreciating a routine's cultural and artistic value, and then respond with prolonged applause at the end.

This nuance prompted him to make minor adjustments to his North American and European shows, which have been well-received, Chu said.

"Cultural understanding is the key to a successful performance. You have got to know what the audiences want, down to the presentation of the details," he said.

Having performed in more than 100 cities worldwide over a career spanning more than a decade, Chu said he still feels proud every time his name and the words "from Taiwan" are announced over the PA system.

He hopes that one day circus culture will gain a following in Taiwan and make circus shows a more popular family activity.

One possible way to achieve this goal, he suggested, would be to combine shows with dining -- a model that Tigerpalast has adopted since the 1990s.