The SeeArts Podcast #15 🚀🎭 Fighting gravity 💫 with Manuel Mitasch from Jonglissimo 🤹🏼🎪

Today, I am welcoming juggling artist Manuel Mitasch at the SeeArts Podcast – together with his brother Christoph, he started Jonglissimo a top-notch juggling compagnie from Austria that has won several world records and international prizes. We would have had the pleasure to finally collaborate in a corporate show with DUNDU in Amsterdam but then Corona hit got us as well. After Viktor Kee and Anthony Trahair, it is the 3rd juggling interview partner and I am excited how this new generation approaches juggling, turning points on the journey and their creative routines and visions for this uncertain future in these unprecedented times.

In the episode Manuel reveals his training routines, how he enters the flow state and as well moments of glory but as well some "Fuck-Up" juggling stories that were part of the journey. Manuel shares with you how he combines the technological side and advances of their shows with the business side and obviously the continuous improvement of their juggling skills. Last but not least, there are still a few visions on his bucket list that motivate him to jump straight out of bed each day and beyond that he is a wonderful open human being dedicated to driving the juggling scene forward and giving as well hope to young artists, as there will be work - keep on doing your thing.

Be sure to follow Manuel and his performing arts company Jonglissimo on all Social media channels and hopefully 2021 will bring live moments on stage back to us.
youtube.com/user/jonglissimo
facebook.com/jonglissimo
instagram.com/jonglissimo

Transcript

Fabian Seewald: 0:02

Welcome to new episode of the SeeArts podcast and today we are challenging gravity. We have a wonderful juggling artist with us - Manuel Mitasch - and he's going to take us on his journey into the arts into fighting gravity and into the world of juggling. There we go. Welcome to the SeeArts podcast, we build a bridge between Arts and Business want to inspire you to see art. Today I'm welcoming juggling artist Manuel Mitassch at the SeeArts podcast. Together with his brother Christoph he founded Jonglissimo - a performing arts company from Austria that has won several world records and international prices, we would have had the chance and pleasure to finally collaborate on a corporate adventure in Amsterdam, but then Corona hit us as well. In any case, very proud to have convinced him to join the SeeArts podcast today and after Viktor Kee and Anthony Trahair, he's the third juggling interview partner on our show and I'm excited how this new generation of jugglers approaches this art, turning points on his journey and as well his creative routines to envision the future in these unprecedented times of change. So let's welcome Manuel.

Manuel Mitasch: 1:26

Hello, thanks for having me. Pleasure. Cool.

Fabian Seewald: 1:29

Yeah, well, I'm very happy that you could join on this short notice and or to get started. I was wanting to know how did you get into the arts? Who are you personally in on this journey into the arts, what were possible inflection points to to grow and to become an artist.

Manuel Mitasch: 1:46

So my journey basically started in my family together with my brother. So our dad, he was always interested in traveling, and he learned from a physical education teacher at some garden party. And then somehow, our father really made everybody in the family enjoy tagging so much that eventually Christopher and me would like it would grow into, like our main passion. And I mean, I learned it at a very young age, like I think, eight years. So I can tell you for a long time, and but for many years, it has not been something that we took very serious. I mean, we were practicing. But we did not have a lot of exposure to very good traveling because back then, there were basically no videos online or no easy access to quality juggling. So you really had to go to a circus to watch some good juggler, or to go to juggling convention, which we also did in Austria for many years before we went abroad. And the thing is the Austrian chuckling scene back then, it was quite small. I mean, it's still small. But back then also the technical level was very different to what it is today. So basically, when we started that basically the best juggler that I knew or have seen was juggling five balls. I could not imagine that somebody could do more than that. And this was how for many, many years of my juggling life, I practiced so the goal was five balls. And it was basically I was thinking this is the best juggler and yeah, four balls is kind of easy to five balls that's really hard. And Also in the Austrian traveling, seeing more and more people from abroad coming. I can remember one convention in Vienna where they had all gone into work and chenko as guest artists for the gala. I think it must have been something around 2001 or so. And I mean, my brother and me we were already performing shows at street art festivals and we were doing some good, relatively good club passing. I mean, we were have we had nice eight clubs, and we were trying to do nine So basically, I mean it but yeah, so what went arguably one of the first that we saw that really blew our mind and also they were one of the first released videos online so that they were A big inspiration at that time. And then a couple years later, we met Thomas Dietz at the champion convention in Langford. And he is like one of the, especially back then he was like one of the best travelers in the world. And he was, all of a sudden, there was a person standing in front of us doing seven balls, like nothing doing tricks with it. And our whole view to juggling changed in an instant. And this is really crazy, because just because we have discovered what is possible in shackling. All of a sudden, we were so much more motivated. But at the same time, we were also learning so much faster, just because we had a different goal. Now, the goal was not five balls, it was five, or six clubs on seven or eight balls. So actually, after we met him, very soon, we have broken our first world record, actually in passing with nine clubs, actually breaking it from a movie, and it was fun. And then we continued our journey, we were competing in the IGA in the International Association stage championships. We won those in 2005, and 2007. And from there on, the real journey actually began because then we like our, our group of some listener, which was back then a brother, team of two would grow constantly to more channels. And the reason how that, again, is also very natural. We basically had the opportunity to teach many, many teachers in AP Austria, where we live in traveling. So I think we made like maybe 1000 teachers that we introduced to chuckling. And of course, those teacher or a lot of the teachers wanted us to teach in the school. So we met many motivated young pupils in the school, some of them who could already tackle a little bit. And the first actually, really the first juggling workshop that we gave at the school, we met Dominic and Daniel, we would later become a big part of option lithium, and which is, together with Christopher and me. And now also Julius, like the core members and people that would perform the most fortunately SEMA. And this is kind of amazing, I think long, but also like a very natural development. Like, for many, many years, we were constantly developing a little bit, and then there was more motivation. And then the development got much faster. And yeah.

Unknown: 8:11

Yeah.

Manuel Mitasch: 8:12

What else?

Unknown: 8:13

Well,

Fabian Seewald: 8:14

I love it. And one one point that just came back to my mind when you mentioned like, what were your mentors? What were your idols back then on the one hand, you right now you're challenging them, or actually, you became an idol for so many journalists that are challenging you and make you grow. But also this, this moment, when you see something for me, it was in Mexico, and I saw somebody playing with 3d abalos. And then kind of it blows your mind in a way that our while that's possible, and somehow, through seeing this, it becomes possible for you as well to imagine going even further, I think for running has been this four minute mile, which was a thing, nobody thought somebody could do it, and then the first then hit is hit this time, and then you can do it and for Jilin in the way, it's the art of impossible because there is in a way, there is no real limit, just the limit that you're put yourself on. So it's it's a beautiful story. And also, I love the educational part that you always saw Jacqueline, as well as a community thing that you also it's about sharing. And and so that's that's why I also think that these conventions are so important where you see so many different styles. And from there on you can you can grow and actually build maybe some different things to get to create something on your own. Would you How would you describe what means juggling for you today?

Manuel Mitasch: 9:31

Maybe I want to say something about the charting community because it's something that is very dear to my heart. And one of the reasons why I love traveling so much. I mean, besides, I love the activity itself. I love the visuals. I love the opportunity to create art and put it on stage. But then there is also the tagging community and especially at the beginning it was just such an important part of tagging For us, and the charging community, it's just a bunch of incredible, open minded nice people that all share the knowledge and things. And it's really, really inspiring for me. And this is what I wanted to see. What was your question?

Fabian Seewald: 10:21

Well, I can just acknowledge this because the god community is in a way, it's if the whole world would be like a champion community, this open sharing, I think it could be a better a better road. So let's hope that these judging conventions will be better next year. And the question was very simple, what means jogging for you, but maybe also profound learning for you.

Manuel Mitasch: 10:42

It's very philosophical, I think. I think there's like many sides of channeling that I enjoy or what chuckling means for me there is like this sport, athletic aspect, pushing further in the in the limits of juggling, obviously, juggling more clubs or doing harder tricks, even with less classes. Totally a challenge. And with this, there is also like this thing of like getting into a flow. Keep a mind state where you can just forget about the whole things going on in the world, just especially nice at the moment. And you are just in the moment and and with the objects. And this is something I really, really enjoy. And on the other side, like the artistic side, with regards to the shows, I really enjoy watching traveling. Because it's so visual, and it's something that I have seen. Not nothing that is really comparable. I mean, there is many disciplines that have aspects, I would say, but I think chuckling in like general sense, manipulating objects, it's very visual, and it's in it's just beautiful. For me, it's when it comes together with music, it's it just becomes something something more, and I can really enjoy it. And what I there's one story that I want to share with you. For many, many years, we had this LED juggling act, which was very, very successful. It's called nightlight. So it's for people traveling to like beautiful modern, the valley crossover music. And the first like I have seen it 100 times on video analyzing it over and over. And like we polished it for many, many years. And finally, I think after like five or six years of like a couple 100 shows that we did with this egg. Finally, we had a second team that would perform totally without me. And the first time that I've seen this act in our rehearsal space, from the outside with all the beauty it was it really literally blow my mind it was such a beautiful thing because light, it has such a nice quality and it is reduced it from for me like charging introduces traveling to the most essential part, the movement of the object. And if this is beautifully done, and then also the light has such a such a special quality that you cannot really see when when you watch a video. And when I've seen it for the first time in real life. It was it was really amazing.

Fabian Seewald: 13:58

Yeah, it's beautiful to be able to change the perspective and in a way like I have two kids. So it's a bit like see your kids grow up and at some point they leave but then you see them again. So it's your creation is a bit like like a baby and then you see it grow and somebody will step out. It might be more amazing. You talk sorry. You talked about the state of flow. And I think for me, it was very related to all the flow art, circus hula hooping? Do you have creative routines and creative rituals? How do you get into flow? Does it just happen you take the clubs and then you enter? Are there some certain trigger points that you know how to how to trigger in order to get faster and to flow and become more creative, more productive?

Manuel Mitasch: 14:46

I think there's different levels of flow for me flow and like artistic creation. It's not necessarily the same thing. Or I mean it can come together but what I was describing before with flow is really like the moment when I'm in practice traveling technique, or just goofing around with with the props. And I think one thing that really helps me to get into the flow space is basically music, nice music and give myself the time and space. So if there's a lot people around me, then it's harder if there is a lot of distraction coming from somewhere else, it's harder. So music, give me a room, then I'm all there.

Fabian Seewald: 15:39

And about the focus, do you all as a team have created through tools before you enter the stage once the whole technical setup is there, because once I I was watching nightlight in fly 106 a lot of as well for a live show a lot of technical setups to have everything in place. But before the show, do you have a ritual as well to to get into this space on stage speed with flow without flow?

Manuel Mitasch: 16:02

Yeah, I mean, there's different rituals that come and go. And I think there is not like, a real group thingy going on all the time. I mean, yeah, obviously, we warm up for like, maybe 30 minutes, before we have to get ready to go to the stage. Yeah, but besides that, not really, I think it really also depends on on what kind of acts you're doing. So our acts are very designed to, to have a perfect execution. And to be beautiful, because everybody is very synchronous together. So it helps to warm up together to just practice the routines, actually. But one thing that we have noticed, if you are constantly working together, and constantly working, like we did for the last two or three years before this crazy, Corona, it it becomes quite, quite easy to get into the spot, because your body's so used to doing it. And at some point, actually, your body just takes over and you can enjoy doing it. Sometimes maybe your thoughts even wander to other things. But then hopefully you have found the focus again. But basically, I think when you have performed a routine a couple 100 times in front of audience you know very well what to do, and it becomes very natural for your body. And

Fabian Seewald: 18:01

yeah, that's what the what the audience wants to see that it's, it's actually it you see on the one hand the effort that was put into it, but then once it becomes live once it becomes organic and natural on stage, and the audience can really like lean back and say wow, what a what a piece of art. Yeah, you were mentioning how Corona hit the whole arts and cultural scene. How did you as a team, but also us Manuel cope with the pandemic, what creative ideas came up, maybe some some new things, some new learnings, and what is your outlook built into into this uncertain future.

Manuel Mitasch: 18:38

So at the beginning of Corona, we were very active in like, trying to find activities for ourselves. So basically, we did a lot of workshops, on different topics. For instance, I did a lot of technical things of workshops that I offered. So for instance, about controlling controlling stage lights with a computer, or in general ways by controlling with some some visuals or something with the timeline. And a lot of like, technical things, like object manipulation, so we did some hula hoop workshops, my girlfriend, Inga taught some we did a kabu passing things. We did some anti spin sessions. We invited a friend who is a very nice piano player. Basically, we used the time to have fun with also different props that are not a big or any part of simply simple at the moment to like, challenge ourselves. Yeah, what you We also did is we came back to a very regular training regime, what we had for many, many years, but with being very busy with performing, it gets very difficult. Because if you're constantly traveling and performing, then it becomes really hard to find, actually find time. And also find the energy to keep pushing when you are at home. So this is something that Corona, they definitely got us back to, like least, I'm juggling three, four or five times a week. And very focused also on on getting good results. And mainly practicing with Dominic at the moment. And we are really at our very best level that we have ever had. And it's very fun to see where we can go. And in a way, I think, I'm not sure if we would have reached this level that we have at the moment if Corona would not have given us the opportunity to because, yeah, obviously you are progressing, if you're constantly traveling, also, if it's just for the stage or the rehearsing. But really practicing with a goal, a technical goal in mind, I think it's something that creates a lot more progress, and especially at the level that we have reached now it's like very, very hard to go any further. You need to put constant time into it. And yeah. So that's very happy that we have we can do that.

Fabian Seewald: 22:01

Actually. Well, that sounds sounds amazing. But do you really use this creative pause to grow beyond the your own vision so far, because I know as well from from touring life, we don't do you also experience different things. But in order to grow on one technical skills, it's better to be in one place and focus with a routine and the Traveling is a nice, but a distraction.

Manuel Mitasch: 22:26

What we are very happy or lucky that we have is of our own studio. Because basically during the pandemic, it would have been basically impossible to go into a regular gym or school to to practice. So this make really makes things just very easy. And also for rehearsing it's super important. I think. I could not imagine how how the corona crisis would be for us if we would not have a place to work and rehearse and practice.

Fabian Seewald: 23:07

It's all it's so important to have a creative space. And if you call it your own even even better. What were What do you see as current challenges with the uncertain future with Corona for the art dimension? The talk we had before the intro as well, some some new ideas to be more flexible. What do you think about that? And what new creations can we get can be seen over the next years of embracing Oh,

Manuel Mitasch: 23:33

yeah. So basically, what we have seen is that we are very

Fabian Seewald: 23:41

good

Manuel Mitasch: 23:42

prepared for a certain market. And this is the corporate market and also the theater market. The shows that we normally do, it's very challenging, technical, but like electronic technical, we use a lot of visuals and projections and tracking cameras to create something more, I would say. And this also comes with the condition that the light needs to be basically, you need to be able to shut the light. So what we learned is that in the summer of 2020, there were actually some performance opportunities and we could do something. And one thing that we actually did is in a very short time we created like a best option listener show that we did with three live musicians. And it was basically doing some of the best on Yeah, extent that we have created with different props, and the musicians would interpret the music in a special way. And just this combination was super interesting to work with. And so we decided to create a whole production, the whole show, like maybe 45 to 60 minutes around the theme of juggling and music. And I'm very excited because this, I think, for me, this seems very natural, because tackling in itself, if you like break it down, it's basically rhythmic movements. So there is a very clear connection for me to at least rhythm and music in a in a broader sense. And I think it's very exciting to to explore that a bit more. And there is also a business decision that makes sense in this regard, that this show will have no projections of technology that is really dependent on the light so we can easily perform it also outdoors. And yeah, I think this will be good to have, because it is something that we are currently missing in our portfolio. And then we will have a nice show with many different accent live musician, playing with us and upgrading music. And it's exciting to to hopefully do that. We are still waiting for some funding to get acknowledged. And hopefully, in early 2021, we can start the creation for that. Cool Well, I

Fabian Seewald: 26:37

can't wait to experience your visible in open public public space with this fusion of music. And while juggling without all the technology around like pure pure judging away also you mentioned that like the purest form of juggling to see is the object with like, but yeah, I think it's good to come up with new ideas to broaden the portfolio. And you also mentioned like the business concept, and the SeeArts podcast is all about the bridge between Arts and Business, which on the one hand always seem to be far apart. But I think you mentioned and you master it to to go to combine it pretty well. Can you tell us a little bit how you combine these two heads of the artist, the creative, the visionary, the team leader, but as well like the business leader in a way to also reach these markets to bring this performance around the globe.

Manuel Mitasch: 27:26

Oh, man, that's a difficult one. I think it's I mean, for me, it's really a constant struggle. And as you said, There is so many hats that I'm actually wearing. Like, from a business point of view, I am not doing like a lot a lot, or at least my brother's doing more of the business side. And I'm doing more of the artistic and also technology side of things. But still there is like, I am actually programming things for our visuals. I'm actually creating sequences for our stage lights, I'm actually programming our LED clubs, there's like, so many things and so many things to consider. In in, I mean, chunky Sumo. Yeah, we are doing a lot of things. But still, it's a small team. It's a small company, and especially I am like responsible or I do a lot of things. It's also, I mean, I like to be in control of things and like two things to be done. That way, I think it should be done. But at the same time, it's also something that Corona we were trying to do with Corona is to like, make our team and the people that we work together to to like share the knowledge a bit so that more people can operate the technology behind that. And at the same time, like if we are doing a theater show, then at the moment, I'm not responsible for the stage fright anymore. I mean, I am supporting Danielle who is doing it now. But there is one person Daniel is doing the stage light for our latest theatre show now. So yeah, we are working together. But there is one head that I have put away. And I can hopefully do better with the other hats that I'm wearing. But yeah, I think it's a constant struggle. And obviously if you are a small business doing many different things, and also needing to coordinate many different people. Obviously there's will always be things that you are not able to do as good As you would like to, I mean, there's many options how to solve that. But mostly it's either you working nonstop, which is the case anyways, with doing so many performances, but the better way is to try to have more people help. But at the same time helping many people collaborate, it also means you need to coordinate more. So it's always a bit of a struggle where to go, but I think it's on a good path.

Fabian Seewald: 30:39

Yet sounds good to have this delegation in place also have several, several persons who can do something but one ultimate, responsible person. Let's Let's dive back a little bit what were your favorite moments on stage, maybe one or two that you would like to share from the, let's say, pre Corona time, the time before this pandemic killed us? Tell us about like be the TV show or a social social show that you did, it really gave you goosebumps. And there's still so so much in your mind. You already mentioned the one that you weren't performing. But when you saw nightlight, for for the first time from the outset, that may be one one or two of your favorite moments on stage. So the

Manuel Mitasch: 31:21

nightclub one was just a rehearsal in our studio. It was not actually the performance because I was performing in a different location at that time.

Unknown: 31:31

Yeah,

Manuel Mitasch: 31:32

I mean, there's so many actually, like, I just did my Texas for 2019. So I had a list of all the days where I would be busy abroad. And it just blew my mind how much we worked in this year, like, wow. And also like, I, I almost forgot, like, many, many, many of the venues that we performed. I mean, just like watching the calendar, and seeing what we have done, it has brought back so many things so and a lot of great and big shows, I think, my special at the beginning, there's always, I think many special moments when you like for the first time performing on a proper stage. Like, I think it was in one of the Austrian chuckling conventions. He performed act that we called chuckling computer. It's basically based around the chuckling robot. And, yeah, we were young and very motivated. And I think we actually did a good job. Back then already, but yeah, I can remember that. And from there on. I mean, there is very important stages, like the sixth stage, we did that. I think in 2013. It was actually a bit early in our development, I would say because we have we were not working together with Daniel and Dominic for so long. And basically, we had no real connections to the circus world. And we thought just, yeah, maybe doing a circus festival. That would be fun. And if we do a circus festival, why not try to apply for the biggest one? We did that? They took us and we went there without any clue. And it was Yeah. I mean, it was a very, very interesting and important experience, I would say. But looking back, I would just say I would not start with the biggest or one of the biggest circus festivals, try to understand the scene and go to a smaller one that is less important and learn from that experience. And this is something that I would make different and even thought it was a very special and and crazy festival and the audience reactions were super awesome. It was such a huge stage and the reaction was so loud. It will always stay in my memory. And what else there was a super nice tour that we did with fire back to twin cones. It's actually very, very big but not so well known outside of like the gymnasts circles, I will say it's they have it's basically a Terminus show that has a lot of circus influences. And they are basically I would say, the biggest circus or the circus show tour that in exists in Europe, they really tour for one month, the biggest stadiums in Germany, for instance, we performed at the Mercedes Benz Arena in Berlin, or in the Olympic Hall in Munich. And it's just a very special moment in your career, if you are performing in front of a couple, I don't know, I cannot remember maybe 15,000 or 20,000 people, it's like, it really blows your mind. It's Yeah. So this is some of the things I really like to look back. But obviously, there's already a ton of things. I mean, also, our theater shows, it's something that is like, very different kind of work into the corporate gigs. And except we do. It's, I mean, the philosophy behind it, it's different. It's similar, because we try to make it very modern with a lot of technology. But in a theater show, we have the opportunity to tell a story to to get the audience in a whole different way, at the corporate event, they are not coming to watch you, they are coming to see the CEO talk something they are coming because they are forced to buy the company or whatever I mean, they are not coming to see the channels. And if you are doing a theater show people buy tickets to see you and they take the time to share at least one hour of the life with you. And this is something very special, I will say because the most important value for people, at least from many people that I know is their time, and them sharing the time and like having enough trust that that they will enjoy what they watch. It's very special and very nice way of working. And it's what kept us very much motivated in the last year or last years. I mean, especially last year, it was really, we did so many performances. And at the same time we were developing in 2019, we were developing our new theatre production, which is called vision of hope, which I find the name very fitting at the moment. And yeah, this was really intense. So the theatre shows are always when we've for the first time performed the theater show. It's really nice to do that and see directions.

Fabian Seewald: 38:05

In a startup context, they have these galleries where they have these fuckup nights. Is there also like a story where you feel sometimes you fail? Because this might be the moment that we learned the most Saturday say sometimes you win, sometimes you learn is there any story on this? Almost 20 years of jungbluth, you know, wherever there was like a failure that transformed into big learning,

Manuel Mitasch: 38:28

I must say there is very little shows that I'm not very confident, and I'm proud of the way we performed it. So we really tried to be very consistent and work our asses up to ensure that this is not happening. But obviously, if you are performing so many times then there is things that will happen. And I can remember one TV show, in particular in France, it was called What was it called? The best level limiter artist. And we did a short special version of an athletic there. And we have this moment where we would like have a crossing of our passing path patterns of two teams, each two dues. And there was some timing that was off. And at this moment, all the clubs collided. And the whole car grab its stem stood. I mean, there is no way to recover from this in a beautiful or good way. And this is really something that has never happened before and it has never happened afterwards. And we still perform this trick, but it was really a moment or we thought Why in tower This is what's happening. But yeah, I think you really have to be prepared for many things, and especially on the technology side of things. It's a constant learning and improvement. And but also here, I mean, we had very little issues Actually, we, but also because we were always trying to use technology and equipment that is robust and to have good setups that we can reproduce in, in a good way and quality way. But looking back to when we really started with all this technology things, especially to the first time that we performed our light painting act, where we have like light traces, with from from a tracking camera. It's, it's really crazy how the technology back then works compared to how it works now and also the hardware that we used it was we learn so much from from the first, like trainings and doing that. Yeah, at the moment. It's really robust and very nice. I mean, it already worked back then. But looking back to back then it's kind of surprising that it actually works.

Fabian Seewald: 41:35

Well, thanks for sharing this, this humble moment when something's not working out. But from there on. Even if you said in this mode, there was no mode of recovery. You You kept on going and and look where we are right. Right now. And also the data exporter of this exponential technological change and opportunities come along. Same for me like when I'm looking back, like how we started with the lights and doing new and now it's, it seems like more advanced, it's why wireless DMX and all these things. And we're still like, just at the starting point with so many things to make really like kinetic responsive. And these things, I think there will be amazing things coming up. Also, I enjoy as you said, like sometimes like for public space, you don't need the best technology, you just want to entertain an audience. And maybe sometimes reducing the technology can also helped to refocus on this artistic expression. Yesterday, there was a big award, so many called from IBM awards, they called it simplicity is the new gold and they had the logo of A minus equals plus. And I think sometimes it's really something that we might learn in these times that the simple things are, are actually maybe the really hard things. But the ones that we learn to re appreciate in these in these times. And this is looking back, what are your visions for for yourself, but also for looking at like vision? 2030? Is there anything on your personal bucket list of things? That would be amazing to to do beat a show on the strip in Las Vegas? Or what what is in your mind?

Manuel Mitasch: 43:13

It's a very difficult question in the current situation, because like one year ago, I would have maybe answered very different leads now. But having the situation at the moment in the performance industry makes you a lot more humble, I would say. And yeah, I mean, it would be super awesome. If performing would get back to where it was. This is one thing that would be very nice. And the thing that I would very much enjoy happening fortunately Sumo is if the all this theater productions that we are doing what have more performances and and better footing in the theatre scene basically, because I think it's really something unique and special that not many companies are actually doing. And I think it's the feedback that we always get. It's it's very, very good. And it's where our artists heart really shines. I mean, as I said before corporate gigs are well paid is actually most of the time, very good conditions to work. But with the theatre shows, it's really something different because you can,

Unknown: 44:41

like,

Manuel Mitasch: 44:42

develop so much more as an artist and bring the audience on a journey. And I would like to do that much more often than in the last years.

Fabian Seewald: 44:55

Yeah, well crossing the fingers that both the funding opportunities will work out for us. For this musical judging fusion is where that the theatrical spaces can can open up again for all these audiences mingling together very closely and enjoying these these artistic fusions that you bring on stage. Well to, to almost wrap this up, is there any hint any tips that you could give to young artists that at the moment are are looking at? Is the arts my way to go? is there is there something you could share? Maybe do you have a creative a motto, a theme that helps you even like in harder times to go the next step and stay into the arts?

Manuel Mitasch: 45:37

I think I in for our development, everything was very natural, and it evolved for many, many years slowly. And I think you you cannot get the best in the world. And you should not expect that to be something easy to achieve, or to to create some some beautiful apps. It really takes time it takes experience. And even to find work. I mean, yeah, you need to find work, but the it will be there. I mean, it's just a development. Don't give up believing yourself.

Fabian Seewald: 46:21

Yeah, well, yeah, keep keep on, keep on doing it. If you love it, keep on doing and then the magic will will happen. Yeah. Well, thanks. Thanks a lot. For this wonderful session for your moment of glory for divisions that you take. take with us that you shared with us. And from there, yeah, we're crossing the fingers. That things work out well. And me personally, I really want to make this activity plan for Amsterdam happening at some point and see, see more, bring a whole new level of of light art and heart touching moments out to the audience.

Manuel Mitasch: 47:01

I'm sure it will happen in one way or another, and I'm very confident. Thanks for having me. It was fun

Fabian Seewald: 47:09

to be here. What a treat with Manuel about fighting gravity and keep on doing it. Check out his Instagram @ Jonglissimo and also follow us @SeeArtsNow and keep posted. Tell us what you think about this episode. And yeah, Happy 2021