Teeterboard in the Context of New Circus

Teeterboard is a kind of oversized seesaw where at least one person stands on the board and is catapulted into the air by the counterforce of other performers, executing acrobatic figures, somersaults, and twists while airborne. The interaction between the jumpers on the board requires utmost precision, trust, and timing.

Teeterboard is one of the oldest and at the same time most impressive circus disciplines. While it has traditionally been at home in classical circus, in recent years it has gained increasing significance in New Circus. But what makes this discipline so special? What challenges does it bring? And how could Teeterboard receive more attention in New Circus in the future?

To explore these questions, we spoke with Sam Letch, an experienced Teeterboard artist from England. Sam is part of the Australian company Circa and just performed in the recent season of Wolf at the Chamäleon.

Photo: Billie Wilson-Coffey

Hi Sam! Would you say there are certain physical requirements to become a Teeterboard artist, like a minimum height or a particular body type?

I don’t think so — at least not when it comes to physical capability. You can do Teeterboard with all kinds of physical builds. I think it’s more about mentality. You need a certain fearlessness and an awareness of your own abilities. If you’re someone who tends to get scared, Teeterboard probably isn’t for you, because you also need to know what to do when something goes wrong. Especially with this discipline, you can immediately tell whether things are going according to plan or not, and you have to react instantly. So I think the mental requirements are more important than the physical ones.

How was it for you in the beginning? How and why did you start with Teeterboard?

I started jumping Teeterboard at my circus school, the National Centre for Circus Arts in London. It just looked like fun and excitement—I thought it was cool. And it’s a discipline where I have control over what I do. It kind of depends on me, even though more than one person is involved. It’s the other person’s responsibility until I leave the board, then I’m completely alone in the air, and once I come down again, the responsibility shifts back to them.

There are different kinds of Teeterboard, right? Can you tell us a bit about them?

Yes, exactly. Traditionally, there are two types: the Hungarian and the Korean. With the Hungarian style, two or more people jump onto one end of the board and the person on the other end is launched into the air, landing on a mat.
The Korean style is the one I do, where you jump on both ends of the board. You land back on the board, and the person opposite to you is immediately launched in the air again. There’s also a Person who is doing solo Teeterboard, where he jumps using a weight on the other end of the board. And there’s also a group called Scandinavian Boards who work with three boards, jumping from one board to the other.

And how do you actually find a Teeterboard partner? What factors were important for you, and is it hard to find someone?

I found my Teeterboard partner because we were in the same year in school and got along really well. We’re quite similar, with a similar mindset. We started Teeterboard on the same day and both instantly fell in love with it. We were also both good at trampolining, so it just fit perfectly.
If I were looking for a partner today, trust would be the most important factor. I need to feel comfortable. I need to feel that this person puts my safety above their own, and vice versa. You really have to get along, and in my opinion, also be friends. I wouldn’t want to do Teeterboard with someone who isn’t my friend.
Finding a partner is very difficult, especially as you get older and the physical risks increase, and it takes time to trust someone with your life. Plus, the world of Teeterboard is very small, so finding the right person can be challenging.

What are the disadvantages of Teeterboard?

Definitely the availability of it. It’s really hard to transport a Teeterboard. It can be expensive because it’s so big and bulky. It also needs proper storage. And you have to keep in mind that it’s a dangerous discipline, so you should be able to charge more money for it. Sometimes I feel like people try to undercut the price, but in the end, it’s up to Teeterboard artists to set a fair rate for their work.

If it’s so hard to access a Teeterboard, how can you train without one?

The closest thing to Teeterboard is a trampoline. Right now, I don’t have access to a Teeterboard, but whenever I get the chance, I train on a trampoline.

What does it actually feel like to be catapulted meters into the air? Can you describe that feeling?

For me, I always think there are three points in Teeterboard: First, there’s the push. That’s scary because you feel all the force in your feet and you have to hit a perfect position to get the right trajectory. But as soon as your toes leave the board, everything freezes for a split second. Then you come down, and the same thing happens again. As soon as your feet hit the board, it’s that same wow-feeling, and it’s incredibly fun.

For me, it’s pure excitement. It’s also a constant dialogue with yourself—you’re enjoying the sensation of taking off and being in the air, but at the same time you’re already thinking about the next jump, because you know this is going to happen again in two seconds.

I still remember my first time on a Teeterboard. The difference between one meter and three meters, it feels like being shot out of a cannon. Our teacher would make us then jump for three minutes and jumping teeterboard for three minutes straight with two people is exhausting for your calves, hips, glutes—basically everything in your legs. Once we got comfortable with that, we reached heights of five or six meters. That’s when it really became fun because it truly feels like flying.

Teeterboard has its roots in classical circus, where it has been performed for over a century. Traditionally, it was often used as a grand finale to shows, thrilling audiences with spectacular jumps and daring tricks. It has always been a symbol of courage and acrobatic virtuosity.

Despite its long history, the discipline has never stood still. On the contrary, today Teeterboard is being reimagined—not just as an action-packed show element, but as a form of expression that can tell stories.

Sam, how do you see the potential for Teeterboard to gain more recognition in New Circus?

I think it’s seen as an old-school discipline because, well, it is an old-school discipline. But I can think of a few shows that have put Teeterboard in a contemporary light. The one that stands out the most to me is Ghost Light, a duo show about the lives of two Teeterboard artists. It’s about their relationship, their relationship with the Teeterboard, their trust in each other, and the companionship between two guys. That’s probably the best example of a contemporary Teeterboard show I know.
Most shows still end with Teeterboard acts to finish on a high. Even in contemporary contexts, that still feels traditional to me. But Ghost Light didn’t do that, which I liked. There’s also a solo Teeterboard show where the performer incorporates much more movement and even rotates the board so it becomes like a seesaw they can play with and interact with.
I think it’s slowly getting there. It will always be a traditional discipline, but there are examples of it being pushed into a contemporary light, and that’s a direction I’m excited to explore.