Meet The Artist: Jarrod Takle
Jarrod is an Australian raised, Montréal based circus artist, currently engaged as co-artistic director and ensemble member with the collective People Watching. With a special passion for creating work through an interdisciplinary lens, he fuses physical theatre with movement and acrobatics to create a visceral new hybrid of contemporary circus.
Jarrod is currently on stage at the Chamäleon for Play Dead and we wanted to find out more about him and his work in our interview so – let’s Meet The Artist!
Photo: Fred Gervais
Hi Jarrod, you joined People Watching in April 2023, how did it come about? What appealed to you most about working in a collective that organises itself?
People Watching is comprised of some of my closest friends, so there had always been a desire to collaborate in some form or another. I think the seed was planted when the pandemic hit and they began experimenting together in a loft in Montréal – I would often video-call from my own lock-down in Australia and we would exchange ideas and inspirations for when the world would open up again. The collective approach evolved more as a result of shared vision and mutual artistic respect rather than a conscious decision to found a collective this way. It’s a very special process to see what emerges when you are in a room with artists whose ideas and approach inspire you.
Photo: Cecilia Martin
As you were part of a larger company before and are now part of a self organised collective, what differences do you notice?
Administration definitely takes up more space in my life, the phone and computer are constant companions. In contrast I have found that carving out time for physical creation is even more of a pleasure now that the business side takes such a large share of our time.
This experience has also given me a greater understanding of all of the moving parts of a tour, and getting to meet and coordinate with the diverse spectrum of people who make it happen (presenters, technicians, freight drivers, costume assistants etc).
What role do you play backstage for People Watching?
I’m usually focusing on grant writing and tour management. In general, we do have separate roles but there is a decent amount of fluidity too. Often one of us will spearhead a task, for example last year I project managed the rebuild of our Play Dead set with a French scenic design team, to have a version in Europe as well as our existing North American set. I’m constantly in awe of the work ethic and optimism this gang brings to every aspect of the work.
Photo: Amie Patching
It is special that the artists are also the co-directors. In your opinion, what are the advantages/opportunities from this way of working?
Creative liberty! As the directors and performers we are constantly able to question the work we are performing, making changes as it feels necessary and following our own instinct and vision for the company. This is hugely satisfying as an artist.
Inherently this company structure also means that it’s less likely for decisions to be made which disadvantage the artists. Since we are often involved in the performances ourselves we would not impose conditions that we aren’t willing to endure.
Being a fairly small company with the artists at the helm means we are able to oversee certain business aspects directly (like media and marketing) to more accurately convey the style and intention behind our work.
Photo: Fred Gervais
Are there disadvantages?
It is of course a decent workload to maintain and evolve as physical performers as well as run a company which is touring this extensively, but the benefits far outweigh the challenges.
In the collective decision-making is often a democratic process and sometimes this can take a little longer, but also the ability to divide the workload amongst these very capable individuals is very helpful (this group can hustle!).
Can you share some of your favourite memories from your time with People Watching?
There was the gut-wrenching fear and excitement of our first public performances of Play Dead in Montréal as well as the delirious zoom calls with each of us in six different countries and time zones to coordinate upcoming tours and grant applications.
Another highlight was the entire groups’ seven day obsession with a rollercoaster park on tour in Groningen, Netherlands.
What inspires you in general?
Seeing live performance, exploring new cities, driving in the Australian outback, the 3am internet deep-dive and the books of Anne Carson, Joan Didion, Ocean Vuong, Milan Kundera, Ottessa Moshfegh and Patti Smith.
Photo: Brin Schoellkopf
What do you do when you’re not on stage? Can you share some hobbies?
I’m from a family of book lovers so I’ve always read a lot, I try and escape the city to hike, bike, swim whenever I can and I try very hard to figure out where in the world my friends are going to be so that I can collide with them at moments during our touring. Aside from that, this Berlin season has me addicted to the sauna after seven shows a week on loop.
You’ve already experienced a season at the Chamäleon before. What were you most looking forward to about coming back to Berlin?
Besides being back amongst the gorgeous team who work at the Chamäleon, I missed the galleries and museums, the Mauerpark market, the coffee at Ben Rahim and the sandwiches from Bahn Mi Stable.
