Ep. 1: Masha Terentieva on Hotel Carts and Hula Hoops

 

INTRODUCTION

After a little pause from these interviews, it feels really special to be back with this one. And in a way, it feels like the perfect place to begin again.

A couple of years ago, not long after having my first baby, I had two of my circus friends over to Ireland for a little reunion. We sat around the table drinking Baileys, chatting about hula hoop, circus, performance, life, and all the stories that seem to come so naturally when circus people get together. I remember saying that I had this idea for something called Bubble Bum Banter, and that I would love for them to be part of it. I even said, wouldn’t it be so cool if I got to interview you both first? At the time, it was just that, an idea floating around in my head. One of those creative sparks you feel excited by, but do not fully know what to do with yet.

It stayed there for a long time. Then after having my second baby, I realised I did not want to keep leaving it sitting there. I was not ready to make it into a podcast, and maybe this is not that yet, but I knew it needed to come out into the world in some form. So this interview series became the place to begin. A way to share stories, celebrate artists, build community, and keep those conversations alive.

When I first started falling in love with circus, and especially when I first found hula hoop, I remember going down endless online rabbit holes, watching artists from all over the world and feeling completely mesmerised by what was possible. Masha Terentieva was one of those artists who really stayed with me. Her work felt original, thoughtful, theatrical, and completely her own, and looking back now, I can see she was one of the very first people who really sparked something in me creatively.

So it feels very full circle to be opening season two with Masha.

In this conversation, we talk about her early life growing up around circus, the creative world that shaped her, the Hotel Cart, originality, performance, wellbeing, and what it means to keep evolving as an artist. What I love so much about this interview is that it goes far beyond technique. It is really about creative instinct, individuality, and building a life around the things that move you.

 

 

(Masha Terentieva @ Cirque du Soleil | Photography: Amelie Leclerc)

EARLY DAYS

Jess: I want to start with a personal one, because at the beginning of my own hoop journey I remember going down a huge online rabbit hole and coming across one of your videos where you were wearing red tights, and it really stayed with me. It felt so iconic at the time. It was so well choreographed and really stood out from a lot of the other hula hoop videos I was watching. I think that was about 11 years ago now but the video is from 2010. What inspired that act, and what was going on in your life creatively at that time?

 

Masha: My pleasure Jess and thank you for the nice words! In 2010, I was working with Cirque du Soleil in a show called Dralion performing a solo aerial hoop act. And it was a backup act, so I had time on the side to work on separate project. And I really wanted to develop a cabaret sort of style for a hula hoop performance, quite minimalistic in movement and geometrical in shapes. For me, it was important to keep the 2D dimension. I used a little mirror backstage as my tool. It was quite narrow, so all of my movements had to fit into this frame. It was interesting as this restriction was also dictating the choreography I was creating. I think what came out from that restriction was a potent direction for the style that ended up on the video with the red tights. I really like to think of my body as a drawing, sort of moving lines on a flat screen, so my body and the hoop were always angled keeping in mind the frontal viewpoint.

Jess: I read that your father was also in circus. What was your early relationship to circus growing up, and how did your family shape that?

 

Masha: I grew up backstage from a very young age, my father, Nikolai Terentiev, is a renown Russian clown. When I was 12, we went on tour with Cirque du Soleil: the iconic production Alegría,. For three years, I lived on tour with Cirque du Soleil, watching my dad perform while I grew up alongside children of all ages, nationalities, and backgrounds.

For us, circus wasn’t something unusual, it was simply what we did for fun, much like kids elsewhere might play baseball or football. It was an incredibly joyful environment, surrounded by inspiring mentors, coaches, and the families of performers who guided and supported us.

That upbringing shaped who I am today. My father was a profound influence, not only through his artistry in clowning and storytelling, but through his work ethic, theatrical approach, and deep passion for the craft. The whole experience showed me that circus is far more than acrobatics, tricks or entertainment; it is a deep and powerful art form.

Jess: At Montreal’s National Circus School you specialised in aerial hoop and also trained hula hoops. What drew you to those circular apparatuses and objects?

 

Masha: I really liked aerials in general because it was so fun to swing and spin. I thought that my body and flexibility was well suited for it, and I’ve always liked to climb and be in the air, play on swings and ride roller coasters. So, it felt like a natural progression to learn aerials. Aerial hoop in particular was something that felt comfortable and enjoyable. Sometimes in the industry, we say as an aerialist, you choose your preferred type of pain: bruises or burns. If it’s silks or rope - burns, whereas trapeze, aerial hoop is more bruises. Straps, you get a bit of both, haha. I preferred bruises, hence aerial hoop.

Hula hoops was my second discipline. I really enjoyed the object manipulation, the flowy, nerdy side of it, and how something so simple and light as a plastic tube could bring out so much creativity. I really loved the circular shape as well and how it frames the body. My original minor at the National Circus School of Montreal was contortion, but I soon realized my back wasn't as flexible as I would have wished it to be, and especially due to some injuries, I had to adjust my expectations, which was not necessarily a bad thing. It pushed me to develop my artistry in different ways. I still do have the most passion, admiration, and obsession with contortion. It's always going to remain my favourite genre in the circus arts.

 

(Cassie Audiffrin @ Lido de Paris)

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ARTISTIC IDENTITY

Jess: I love how your work blends so many different worlds. It doesn’t feel like just circus, there’s theatre in it, character, humour, dance, and something a bit cabaret too. Do you see yourself mainly as a circus artist, or more as someone creating live performance in a wider sense?

Masha: Absolutely the second one, I see myself as a creative artist in a wider sense. For me, circus, in the wise words of Aislinn Mulligan*, has the potential to be the most expressive and impactful genre of live performance, because it combines visual, physical theater, immersive installation, visual art, music, narrative, character, comedy, dance, scenography, theatricality, lights, movement quality, etc. And as a cherry on top, risk and acrobatics – which brings it to another level, a gift of awe to the audience. Awe is very important, and I don't think we have enough of it in the world. It is essential to me that my work blends genres. As inspiration I use everything: from literature to film to contemporary dance to nature. Lately, I purposefully, consciously try and watch as little circus as possible, because I have already seen way too much of it in my lifetime. My purpose is to fuse art forms and genres in unexpected ways to try and keep pushing forward the originality, the innovation, and breaking outside the boundaries, stepping outside the proverbial box. Now I work more and more as a director and less and less as a performer. I want to get inspired & make work that is not necessarily so easily definable as a genre, because that is the most interesting for me to watch as well.

(*rephrased loosely*. Aislinn Mulligan is Artistic Director of the contemporary circus company Circumference, based in the UK)

 

Jess:  When a new piece starts to take shape for you, what is usually the very first thing that clicks? Is it a feeling, a character, a visual world, a bit of movement, or even a piece of music? I’d love to know what that early creative stage actually looks like for you, before the act is fully formed.

Masha: It really depends! As I said, inspiration can come from anywhere. I love to take work with everyday objects. If I'm looking at a hotel cart, or a revolving door, then interacting with it, engaging in play, I start to roam the realm of magical realism. Something super familiar may take on a quality that's just a little bit outside of how one might usually perceive it. Especially objects that haven't been previously overused (like a chair or a table). I like abstract shapes as well. For sure, an idea often comes from a piece of music, if for instance I'm listening to it on a train ride; suddenly, moving images just start forming themselves in my mind. Sometimes an idea even emerges from a random word or conversation.

Then comes “trying that idea on” inside the imaginative space - applying it to a function, to a human body, or to multiple bodies, applying it in different context. Then quite early on, my mind jumps to the technical aspect. Is it possible in practice? How can something like this be constructed? What kind of materials would need to be used? Who do I know who has experience in making something like this? But then I try to keep all of those practical elements to later, and completely let the imagination float. In the beginning of a creative process, it's vital to never shut anything down. Take time to brainstorm, research, just envision what could happen, if there were no restrictions at all. And then once I start to identify the most interesting, impactful, engaging elements within those restriction. What follows is a lot of conversations with people whom I trust and love. Collaboration through  play, thought experiments, dreams. 

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(Masha @ Cirque de Demain | Photography: Geo Kalev)

THE AERIAL HOTEL CART

Jess: I’m so curious about the practical side of bringing something like the Hotel Cart to life, because it’s such a bold and unusual idea. Who did you first bring it to, and were they instantly on board or did it take a bit of convincing? And what was the process of actually getting it made and turning it into something you could perform with?

Masha: I'd love to tell this story. It's exactly how you’d imagine it. I was in a hotel in Montreal with a friend, checking in, riding a hotel card with luggage down this long corridor. As a young acrobat, of course, I climbed on it, fooled around… We were in a mood. All of a sudden, just having my hands on the poles of the cart, I felt a light bulb turn on in my head. What if this thing could be a circus prop? Wait a second, an aerial apparatus! It could swing and spin in the air, and this little parallel bar in the middle could spin independently. My friend laughed it off a little, but I was adamant that it was actually a good idea, and the more I thought about it, the more it seemed like a great idea to me, because there's such a clear, recognizable narrative in it, plus the character of the bellhop and the setting of a hotel. It was something that is dear and familiar to me, because I spent my youth living in hotels, touring the world. All my life feels like it revolves around hotels, something of a transitionary place.

Jess: The Hotel Cart feels so original and recognisable that I can imagine once it was out in the world, elements of it may have started popping up elsewhere. Have you ever had that experience, and if so, how did that feel?

Masha: Yes, definitely, it has been copied a couple of times and reproduced in different shows without my knowledge or agreement. It depends on the situation and on how similar the apparatus itself or the choreography is. I definitely want to stay generous. However, when it comes to plagiarism, it is really when the interpretation feels far too similar. You have to choose your battles. It helps to remember that imitation is the sincerest form of flattery. If people are taking your original work and then performing it somewhere else while making money from it, it is definitely not a great feeling. However, it also exposes a lack of originality on their part. At the same time, it means your creation is strong enough that people want to reinterpret it.

(Masha Terentieva @ Cirque de Demain, Paris)

 

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LIFE AS A PERFORMER

Jess: There’s the act itself, and then there’s the lifestyle that comes with it, the touring, the instability, the constant adapting. What has that side of circus life been like for you?

Masha: Frankly, it's the only lifestyle I've ever known. I've been on the road since a I’m a teen. I've moved continents four times in my life and cities, countless times. The adaptability, the flexibility, the comfort with novelty has been ingrained in me since childhood. I know both the good and the bad sides of it quite well. As I’m getting older, I do feel the need to find a bit more stability. Right now, I'm calling Sydney, Australia, my home and that feels awesome. I also am totally addicted to traveling and I think I never will stop until old age. It's exciting. It's funny to get “the itch” after a few months of staying in one place, as I’m sure lots of circus people might relate to, to just hop on a plane and go to the next destination, but I'm trying to fight it.

Jess: Looking back on your years as a performer, what do you think ended up mattering most beyond the technique itself? Was it mindset, resilience, musicality, stage presence, adaptability, or something else entirely??

Masha: Well, yeah, it's all of those things. Most importantly for me, it's the people. It's the gratitude for connections, friendships, mentorships, relationships I got to experience through this incredible, insane lifestyle. The community - that's what upholds, supports, and inspires me. Without it, I'd be nothing. And I try as much as I can to give back in different ways. More important than the quality of skills, mastery, and technique is being kind, honest, compassionate. Celebrating each other, supporting each other in difficult moments. I believe it's more important than talent or work ethic - authenticity, presence, passion. When your heart is in the right place, everything else aligns, and you become more compassionate to yourself as well. Of course, it's important to work hard, but it's more important to be good.

Another thing I'll mention is, finding and following your own path, outside of comparison or competitiveness. One of the most important advice was given to me by my dad early on in my career. He went “Masha, don't try to be the best. Try to be the most unique and I took it to heart, and I am so grateful for that! Saved me a lot of grief, because according to that narrative, no matter how hard you train or what school you go to, no matter what you achieve, technically speaking, tomorrow a 12-year-old acrobat from China could probably do it better than you (metaphorically speaking of course). No one can be you the way you can be you.

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DIRECTING AND CREATING

Jess:  Your work has evolved so beautifully from performing into creating and directing too. I’d love to know how that shift happened for you. Did it feel like a natural progression, or was there a particular moment when you realised you wanted to shape the work from behind the scenes as well??

 

Masha: I've always been drawn to directing, and the creative process in many of its forms, especially the innovation, concept design, the collaborative nature of it. And “on the floor” actual devising, experimentation & rehearsals. I've always thought that it would be a natural progression for me. I feel like I am one of those lucky performers that is completely okay with leaving the stage. I feel ready to retire as an acrobat. I'm fulfilled to watch my ideas come to life through interpretation of amazing bodies - bodies that don’t have to be my own. Currently I'm in a creation directing 4 artists that are brilliant and stunning, and while I also get on the apparatus and participate in research, I am not part of the performance.

 

Jess: What makes a circus piece feel really complete to you, beyond just strong technique? Is it about storytelling, emotional tension, structure, or something harder to define?

 

Masha: To me, a great piece of art, be it circus or another genre, requires presence from the performer. Soul. Connection to the audience (not necessarily in a direct performative way), emotional intention in the movement. When the audience perceives the storytelling or movement coming from a deeper place, rather than an empty display of skills. I can also enjoy art that is simply beautiful or purely entertaining, but for me, it reaches another level once there's an emotional synergy.

Jess: What do you think gives a circus piece that extra layer, the thing that makes it stay with people?

Masha: Experience makes a big difference. I love to watch a seasoned performer on stage, someone who's been through a lot, you can see it in their work. Depth only comes from life experience, from pain, hardship, challenges, suffering. Young acrobats, who are physically or technically on top of their game, are oftentimes less engaging to me than someone who really knows how to capture the audience's imagination with just their presence - someone who knows how to pause. What takes it to another level is musicality. For me, precision & minimalism are incredibly powerful. Knowing when to hold the pause, when to keep going, when to cut out unnecessary movement.

 

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BEHIND THE SPARKLE

Jess: Circus asks so much of the body and mind, so I’d love to know what taking care of yourself looks like for you these days. What helps you stay feeling strong, grounded and well? Has anything like yoga, Pilates, meditation, or other practices become part of that for you?

Masha:  Yes, all of those things, especially mindfulness and meditation. They’re vital for me now in managing stress, helping me recover, and staying focused. These tools have improved not only my circus practice, but my life overall. Sleep is also the most important thing. When it comes to key factors for wellbeing, people tend to place sleep in the same category as good nutrition, physical exercise, sunlight, or social connection, but the older I get, the more I feel that sleeping well is absolutely essential and the basis for everything else functioning well.

 

Jess: I’m really curious what training looks like for you now. Has it changed a lot over the years, and do you train in a very structured way or more by listening to what your body needs?

 

Masha: Definitely listening to my body. I don't train as much as I used to. Warm up takes longer. Now I also incorporate cool down as well as warm up, rolling out. I exercise at the gym or do Pilates. I don't do that much cardio. And I really like to diversify the way that I move my body, which is I think a key to staying fit mentally as well. So: dancing (any style), rock climbing, roller skating, jump rope, whatever. It's fun to try new things. I think dancing is the best, because it incorporates every single muscle in your body. Stretching with breath slowly, not pushing an injury if it hurts. As an acrobat, I don't have anything more to prove.

 

Jess: Performance takes so much energy, so I’d love to know how you approach food and fuelling your body. Is there a way of eating that feels important for supporting your training, recovery and overall wellbeing?

Masha: Nutrition is important. I make sure that I have enough protein to sustain the pressure. Not too much sugar, especially the first meal of the day. Listening to my body, recognizing when I’m hungry, so fuelling, not restraining or following any specific diet. Fine-tuning the planning of when, how many times a day, and how long before the show I need to eat to feel both energized but not too full to spin upside down. All those things come with experience, trial and error. The basis is just to have generally more fresh fruit and vegetables, and minimal processed food.

(Photography by Rami Kaye)

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LOOKING AHEAD

Jess: Looking ahead, what feels most exciting to you creatively right now? Are there any ideas, projects or directions you’re feeling pulled towards in this next chapter?

Masha: I’m currently in the middle of a creation development residency for the REVOLVER project at the Flying Fruit Fly Circus in Australia. It’s a new apparatus/concept that incorporates revolving doors and talks about being stuck in the cycle of pointlessness. It is a group piece, where I’m serving solely as a director, not a performer. It’s the most ambitious work I've undertaken independently so far and is extremely exciting. I will share more in due time, but right now I'm just so fulfilled and fuelled by the process itself. To me it’s as important as the outcome. The whole idea has so much potential. It can be a whole show - the potent theatricality of it. It blends different circus disciplines such as aerials and pole dance, incorporating also clowning, slapstick, tragicomedy, absurd physical theatre. The people that I'm working with are extraordinary artists, I can't believe I’ve assembled a team like this: Marion Crampe, Thomas Worrell, Guillaume Paquin and Arthur Morel van Hyfte, each of them world-class. I feel extremely privileged and honoured to collaborate with them. I really hope that this piece that we're creating right now which will result in a work-in-progress showing is just the first step in the future of Revolver.

Jess: If circus hadn’t found you, or you hadn’t found circus, what do you think you’d be doing instead?

Masha: I think I would’ve definitely done some sort of artistic profession. There's no way that I wouldn't have worked as a creative. I was drawn to filmmaking when I was younger, as I am obsessed with movies. I dabbled in screenwriting. I find joy in imagination, fantasy, living in multiple universes at once. I think my calling is to inspire awe in people, through whatever medium.

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VELVET OR STRIPES 

Jess: Lastly, my signature question… velvet or stripes?

Masha: Both! Velvet stripes. <3

 (Photography by Caroline Saage)

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OUTRO