Inside the Producer–Artist Dialogue

My path into producing contemporary circus did not begin, I suppose, the way it does for many: by being part of the community or having a deep, long-standing relationship with the field. My feet were quite firmly planted in the visual arts, design and photography. Ever since I can remember, I never really considered any other career path than being a visual artist. Mixed media always fascinated me, and growing up surrounded by artists from different domains – photography, dance, music – it appeared as the most natural direction. Life, however, is a funny thing. Through a series of fairly random twists and turns, I eventually landed a job in the central marketing team of a large international technology corporation, away from my home country.
There I worked in sales, marketing and communication roles and learned a lot about how organisations function, how people communicate, and how ideas are translated into something that can actually reach others. I also learned how to reach people online, and how collaboration between different stakeholders can create something bigger than any of them could alone.

After disappointing my parents, who probably never thought they would see me walking around in public wearing a black business suit, I eventually made my way back to the arts and culture sector and started wearing my 501’s and a jumper again. Slightly traumatised perhaps by my unsuccessful attempt at becoming an artist myself, I realised that my newly acquired organisational and corporate skills, combined with my love for the arts, might actually be quite useful in cultural production.

Over the years, circus had quietly found its way into a corner of my heart, and perhaps was even a little more fascinating because it was one of the art forms I had not been closely connected to before. I became an avid audience member and a frequent visitor of what my hometown Prague has to offer, but I never imagined I would end up working in the field. A few more twists and turns later, in 2024, I found myself working with Sisus Sirkus, which we all know and love.

In contemporary circus, and probably in most art forms, the role of a producer quickly turns out to be broader than the title suggests. Some days the work involves negotiating tours and communicating with presenters. Other days it might mean preparing materials, coordinating logistics, or solving practical problems that inevitably appear along the way.

In many ways, the producer becomes a kind of generalist within the process. The Finnish expression yleismiesjantunen comes to mind: someone who steps into whatever role is needed at a given moment.
While much of this work happens outside the rehearsal space, the theatre or the circus tent, it still forms part of the dialogue around the artistic work. Over time, I have realised that producing contemporary circus is less about one clearly defined role and more about navigating the space between artistic ideas and the many practical realities that allow the work to exist and circulate. Working as a producer often feels like a kind of balancing act. The work moves between intense periods of activity and quieter moments where the next steps are still uncertain. The realities of funding structures and project-based work bring their own instability, and the position of a producer is rarely fixed or clearly defined. One simply learns to navigate this uncertainty while remaining present in the process. Thankfully, this uncertainty is now paused for the next three years – thank you, Taike.

At the same time, the dialogue with artists remains a constant element. Even though the work itself happens outside the rehearsal space, the connection to the artistic process is always there. Conversations about touring, production decisions, communication materials or future opportunities all circle back to the same central question: how can the work continue to exist, travel and meet audiences in different contexts?
Despite the practical nature of much of the work, there is a deep sense of fulfilment in being close to the artistic process. The producer may not be the one creating the artistic material, but still participates in shaping the conditions that allow the work to become reality.

For me, artists play a crucial role in society. Especially today, in a society increasingly driven by efficiency, money, power, hate and rational structures, artists have a rare and important position. Their work not only captures the present moment for the future but also helps us reflect on who we are and how we live.
The philosopher Friedrich Schiller wrote about the tension between our sensuous impulses and our rational structures, suggesting that art allows these forces to meet in a state of balance. Perhaps this is one of the reasons why the arts continue to matter so deeply. They create spaces where thought, emotion, skill and imagination can come together in ways that touch audiences.
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To be even a small part of this process feels like a privilege. As a producer, my role may often lie on the practical and organisational side of things, but it still connects me to a larger conversation. One that moves between ideas and realities, between artists and audiences, and between the many elements that allow a work of art to take its place in the world.

Thank you for reading. Take care of yourself. 
Vilma