Do you know if they adapt the shows to the countries they're in? I'm wondering how universally understood clowns are.
The people I know who worked in CWB have very different styles of clowning, they all work to adapt their acts to the local culture, it's really important for CWB volunteers to understand and cater to the local culture, they do research to avoid anything that could be remotely offensive, etc.
Just to source this a bit: my girlfriend is a circus artist here in Sweden so I have some insider view into it, it's actually a very fascinating part of the performing arts.
I know many musicians, and also Marketing folks that do demos.
This type of thing is a lot more commonplace than people think.
Interestingly enough (although not surprising) he is friends with a close friend of my girlfriend, an Australian aerial straps, swinging pole, and Chinese pole artist :)
> More work than software, I'd say.
Living around many of these performers really put that into perspective to me. Working in the arts is such a completely different game than whatever white-collar job we might have, more akin to scientists in STEM (in the sense of how much passion they have while not being well paid).
There's so much that goes into what looks like a simple show that really made me appreciate much more any form of entertainment or art the past years.
It's a surprisingly small community!
> There's so much that goes into what looks like a simple show that really made me appreciate much more any form of entertainment or art the past years.
I also grew an appreciation for much I was willing to pay to see good art being performed when I learned of the effort going into it. Sometimes if a musical or play doesn't quite hold my interest, I still find it highly enjoyable due to the sheer skill and work involved in just DELIVERING the content, regardless of the content itself.