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How to Book a Circus Artist: A Guide for Event Planners

Hiring a circus performer without surprises

Looking to book a circus artist for your event? Great choice. Circus arts create moments guests talk about long after the evening ends, and they work without words, for any audience.

If you rarely book acrobatics, though, you will face questions that never come up with a band or a DJ: How high does the room need to be? What is a rigging point? Why does the floor have to meet certain requirements? And which taxes or levies apply? This guide takes you through the booking step by step, from the first enquiry to the applause.

What to include in your first enquiry

The more complete your first enquiry, the faster you will receive a reliable quote. If something is missing, that is fine; it just takes one more email. These details help the artist assess availability, technical needs and effort straight away:

Date and time (approximate is fine)
Location: city, venue, indoors or outdoors
Occasion: gala, corporate party, client event, trade fair, conference, themed evening
Audience: approximate number of guests, language(s), seated or standing
Stage: dimensions (width × depth), floor surface, stage height
Ceiling height and rigging point: is there a certified hanging point, and how high is it?
Lighting: can the room be darkened, is there stage lighting and a lighting technician?
Slot in the programme: opening, highlight, transition, late evening; planned show length
Number of performances per day
Requests: branding, music, costume colour, theme
Budget range (a rough one is enough)
Contact person with phone number

Sharing a budget range is not a weakness in negotiation. It helps the artist suggest the right format straight away, for example one act instead of two, or one show instead of three.

What makes up the fee

There is no price list for acrobatics that fits every event. A single evening in Berlin looks different from a run of several weeks or a performance that involves international travel. These elements shape the fee:

The show: the performance itself, meaning the act, its length and the number of artists
Rehearsals: for a single show, a rehearsal on the day is usually enough. Dedicated rehearsal days, for example for a fully staged opening ceremony, are charged separately.
Travel and accommodation: travel, flights, luggage for props and, for events away from the artist’s home city, usually one night in a hotel
Branding and customisation: custom music, costume colours, a theme or, with the LED Cyr Wheel, the company logo in the light programme. This needs preparation and lead time.
Several shows per day: at trade fairs or long events, multiple performances are common. Each extra show adds to the fee, though usually not as much as a second booking.
Several acts: booking more than one act from the same artist often comes with a package price, since travel and organisation happen only once.
Usage rights for filming: a recording for your internal archive is different from a commercial, a TV broadcast or clips for social media. What will be filmed and how it will be used belongs in the quote.

Between businesses, fees are usually quoted net, plus VAT. Depending on the case, levies may apply on top that are not part of the fee (more on this under “Levies many organisers forget”).

Understanding the technical side

Technical requirements are where most misunderstandings happen, yet the questions are manageable.

Stage size

Every act needs clear floor space. Clear means free of lecterns, microphone stands, decoration and flowers. A classic Cyr Wheel, for example, needs about 5 × 5 m, while the LED Cyr Wheel works on a round stage of 2.8 m in diameter. Some distance from the audience is part of it, and for a whips act this is a safety distance.

Floor

Floor-based acts need a level, solid, non-slip surface. Carpet, loose panels or a wet terrace will not work. A stage built from platforms must be firmly connected and must not bounce.

Height and rigging point

Aerial acts hang from a rigging point: a certified hanging point on the ceiling or on a truss. What matters is height and load capacity. Aerial straps, for example, need a point from 5 m with a load capacity of 250 kg, while an act like The Flying Gentleman works from 2.8 m. The venue’s in-house technicians will know whether such a point exists. In halls and theatres, a rigging service often installs it.

Freestanding rig

No rigging point does not mean no aerial act. Some artists bring a freestanding rig. The rig used for the aerial straps and The Flying Gentleman, for example, stands on a footprint of 5.1 × 5 m and is up to 5.4 m high. The room therefore needs enough height, and the area has to stay clear.

Lighting

Stage lighting makes acrobatics visible. LED acts have one special requirement: the light in the prop only works at dusk or in the dark. In a bright room, in daylight or under full house lights, very little of the light show comes across. For an outdoor event, that means scheduling the act after sunset.

Music and sound

Most acts run to a fixed piece of music. The artist sends the file in advance; on site you need a sound system and someone to start the track on cue. Live music is often possible but needs to be agreed with the band and rehearsed.

The technical rider

A technical rider is a short document listing everything the act needs: floor space, surface, height, rigging, lighting, sound, dressing room, set-up and strike time. It is the checklist for the venue and forms part of the contract. Pass it on to the venue’s technicians early, so any gaps show up while there is still time.

What belongs in the contract

A written contract protects both sides. It does not need to be long, but it should clearly cover:

Performance: which act, how many shows, how long
Times: arrival, set-up, rehearsal, show time, strike
Rehearsal: when, where and how long, with which lighting and sound
Cancellation and illness: what happens if the artist cannot perform? Is there a second cast or an equivalent replacement? What applies if the organiser cancels?
Weather for outdoor events: rain, wet surfaces or strong wind make acrobatics outdoors unsafe. The contract should state who decides on moving the show, where it moves to and what happens to the fee.
Insurance and liability: does the artist have liability insurance? Is the event covered by the organiser’s liability insurance?
Payment: amount, due dates and deposit. A deposit on signing is common, especially for a first collaboration.
Travel, accommodation, catering: who books and who pays
Photo and video: what may be recorded and how it may be used
Taxes and levies: whether the fee is agreed net or gross and who bears which levy

Levies many organisers forget (events in Germany)

If your event takes place in Germany, a few obligations apply to the organiser that have nothing to do with the fee itself. They are often noticed only during an audit.

Artists' social security levy (Künstlersozialabgabe, KSK)

Companies in Germany that engage self-employed artists often have to pay the artists’ social security levy on the fee to the Künstlersozialkasse. This applies not only to event agencies and promoters, but also to companies using acrobatics for their own purposes, such as a corporate party, a client event or a trade fair stand. For such companies, the obligation applies once payments to self-employed artists exceed the annual threshold, which is 1,000 euros from 2026. The rate is 4.9 per cent in 2026 and has been set at 5.0 per cent for 2027.

Good to know:

The levy applies whether or not the artist is insured with the KSK, and also to artists based abroad.
It is calculated on the total fee including expenses. Separately invoiced VAT and travel costs reimbursed within the tax-free limits are excluded.
Private celebrations such as weddings or birthdays are exempt.
The levy may not be deducted from the artist’s fee. Such agreements are void.
If an agency contracts the artist in its own name, the agency is usually liable. If it acts only as the artist’s representative, the obligation stays with the organiser.

Withholding tax for artists from abroad (Section 50a German Income Tax Act)

If an artist has neither a residence nor a habitual abode in Germany, the organiser must withhold tax from the fee for a performance in Germany. The rate is generally 15 per cent of the fee plus a 5.5 per cent solidarity surcharge on that amount. The organiser files and pays it to the Federal Central Tax Office (BZSt) by the 10th of the month following the end of each quarter. This also applies to artists from other EU countries. No tax is withheld if the fee does not exceed 250 euros per performance.

If the deduction is missed, the organiser is liable. An exemption under a double taxation treaty is possible, but only if the BZSt exemption certificate is already in hand when the fee is paid; an application alone is not enough. If the fee is agreed “net”, meaning the artist receives it in full, the organiser bears the tax on top and a higher rate applies. That is why this belongs in the contract.

VAT: reverse charge

When an artist based abroad invoices a business in Germany, the business usually owes the German VAT rather than the artist (reverse charge, Section 13b German VAT Act). The invoice is then issued without German VAT and with a note to that effect.

Note: this section gives an overview as of October 2026 and does not replace tax or legal advice. Binding information comes from the Künstlersozialkasse, the BZSt and your tax adviser.

Sources: Künstlersozialkasse: who is liable, KSK: assessment basis, KSK: information sheet no. 4 for organisers, Federal Ministry of Labour: rate for 2027, BZSt: withholding tax rates, BZSt: FAQ on withholding tax, Section 13b German VAT Act

The day of the event

On the day, organisation decides whether the performance lands the way it was planned.

Arrival: the artist usually arrives a few hours before the show. Set-up takes 20 to 60 minutes depending on the act; aerial acts take longer because rigging and safety checks are part of it.
Rehearsal: on stage, 15 minutes is often enough to align lighting, sound and cues. Aerial acts and acts with a prop on a rigging point need more, around an hour. What matters is that the lighting and sound technicians are present.
Dressing room: a heated, clean room to change and warm up, ideally lockable, with a mirror and good light. Water and a light snack are customary. A toilet without a mirror or a storage room will not do.
One contact person: someone on site who knows the schedule and can make decisions. With a mobile number, not just an email address.
Time buffer: speeches run long, dinner is served late. Artists warm up before they perform and need a reliable start time. Announce delays early, ideally with a new fixed time.
Running order: a written schedule with times, the host’s introduction, music and lighting cues and the moment the stage must be clear. Share it with everyone involved: technicians, host, catering and the artist.

Common mistakes

Most problems with acrobatics at events are predictable. These five come up most often:

The stage is too small. It was big enough on the plan, but on the night it holds a lectern, flowers and a grand piano. Clear floor space means clear.
The act runs at the wrong time. During dinner, guests sit with their backs to the stage, waiting staff walk through the picture and cutlery clatters. Better moments are between courses, after the main course or as the highlight of the evening.
The lighting is too bright. An LED act under full house lights or in daylight loses its effect. Check in advance whether the room can be darkened.
No rehearsal planned. Without a rehearsal, the technicians do not know the cues and the artist does not know the stage. A short rehearsal saves a lot of nerves later.
Height and rigging not checked. A ceiling “of about 6 metres” is not clearance for an aerial act. What counts is a certified point, its load capacity and the clear area below. Ask the venue’s technicians early, or plan for a freestanding rig.

Book the artist directly or through an agency?

Both have their place. Which suits you better depends mainly on how many acts you are looking for.

Directly with the artist

For one or two acts, booking yourself works well. You talk to the person who will be on stage, technical and scheduling questions are settled without detours, and there is no agency fee. Many artists also advise on choosing the right act and will say honestly when another act would suit better.

Through an agency

Once several acts, a host, music and technical production need to come together, communication becomes demanding: many quotes, many contracts, many riders. An agency takes on this coordination and has a network of performers it works with reliably. For a complete show programme, that is often the easier route. The agency’s service is included in the price.

A simple rule of thumb: one or two acts directly, a full programme with many people involved through an agency.

Frequently asked questions

How far in advance should I book a circus artist?

As soon as the date and venue are fixed. For galas and corporate events, a few months’ notice is common. Short-notice bookings are possible if the date is free; only branding, custom music or a new light programme need more time.

How much does it cost to hire a circus performer?

It depends on the act, the number of shows, travel and technical requirements. A reliable quote follows an enquiry with date, location and occasion. Flat price lists rarely fit, because events differ so much.

Do I have to pay a levy when booking an artist in Germany?

Often, yes. Companies in Germany that engage self-employed artists usually pay the artists’ social security levy (4.9 per cent in 2026) once payments exceed 1,000 euros a year. Artists based abroad may also trigger a withholding tax. The Künstlersozialkasse or your tax adviser can give binding information.

What is a technical rider?

A list of all technical requirements of the act: floor space, surface, height, rigging point, lighting, sound, dressing room and set-up and strike time. It forms part of the contract and should reach the venue’s technicians early.

Can acrobatics take place outdoors?

Yes, on a level, dry and non-slip surface. In rain or strong wind, a performance has to be moved or postponed for safety reasons, so always have a plan B. LED acts only work outdoors after sunset.

What happens if the artist falls ill?

The contract covers this. Some acts have a second cast who can step in at the same level. Ask about it when booking and put the arrangement in writing.

Planning an event and want to enquire about an act? The contact form below is all you need to start: date, location and occasion are enough, the rest can be clarified afterwards. To find the act that suits your event, read Which Show Act Suits My Event?. For trade fairs and conferences, see Show Act for Trade Fairs, Expos and Conferences, and for corporate events and galas, Show act for corporate events and galas.

Show Act for Trade Fairs, Expos and Conferences: Acrobatics That Stops People in Their Tracks

Acrobatics at Trade Fairs, Expos and Conferences

At a trade fair, every stand competes for the same few seconds: the moment visitors in the aisle turn their heads. Brochures, screens and coffee bars are everywhere. A person spinning inside a glowing ring or flying five metres up on two straps is not. At trade fairs, expos and conferences, acrobatics creates something that is hard to buy: a shared moment people talk about afterwards.

Oscar Kaufmann has performed at major trade fair events, from a vehicle premiere on an exhibition stand to an opening ceremony attended by the German Chancellor. This article shows which acts suit which format and what organisers should plan for.

Opening of Hannover Messe 2019

Hannover Messe is one of the world’s leading industrial trade fairs. On the evening of 31 March 2019 it opened with a ceremony for around 2,500 invited guests. In the front row sat German Chancellor Angela Merkel and Swedish Prime Minister Stefan Löfven, as Sweden was that year’s partner country.

Oscar Kaufmann was part of the opening show with the Cyr wheel. The act was embedded in a fully staged show with music, lighting design and large screens showing the themes of the fair. At the end he stood in the wheel beneath the words “Welcome to Hannover Messe 2019”. For that one evening there were several rehearsal days in February and March, plus run-throughs in the days before the opening. This level of preparation is normal for opening shows of this size, because acrobatics, technology and speeches have to mesh to the second.

Mercedes-Benz at the IAA: Cyr Wheel on the Exhibition Stand

At the IAA Commercial Vehicles show 2016 in Hanover, Mercedes-Benz presented the Vision Van, an electric concept vehicle with a fully automated cargo area and drones for parcel delivery. Oscar Kaufmann was part of the show on the exhibition stand with the Cyr wheel, performing on the stage area directly in front of the vehicle, together with dancers and live percussion.

What makes visitors in the aisle stop is the energy of the wheel. It spins, tilts and rolls across the floor in wide arcs, sometimes low to the ground, sometimes upright in a fast spin. The movement catches the eye from a distance, and anyone who looks once wants to see what happens next. The stand fills up without anyone having to advertise.

One detail suited the brand particularly well: when the artist stretches out inside the ring with arms and legs extended, the figure in the circle is reminiscent of the Mercedes star. Next to the illuminated star on the stand wall, the acrobatics became part of the brand presentation.

More about the act: Cyr Wheel

LED Cyr Wheel on the Exhibition Stand

The LED Cyr wheel is built for brand presentations. The lights in the ring are programmable and run in sync with the music. A brand’s logo, colours and patterns can be written directly into the light programme, so the show does not happen next to the stand but becomes part of it.

What the stand needs:

a level area of at least 2.8 m in diameter or 4 × 5 m, with some distance from the audience
dimmed light in that area: in bright halls the LED light only works if the area is darkened or framed by a lighting truss
music through the stand’s sound system

A show lasts about 5 minutes. At trade fairs, several shows a day at fixed times are common, for example on the hour. That has a side effect: visitors come back specifically for the next performance and stay at the stand in between. The equipment weighs around 20 kg and fits in one bag, so setup and breakdown are straightforward.

More about the act: LED Cyr Wheel

Aerial Straps: Power at Height

Exhibition halls have what many venues lack: height. The aerial straps make use of it. Held only by two straps and body tension, the artist flies above the visitors’ heads. The act is powerful and fast, and can be experienced up close. It works in an exhibition hall as well as in a theatre: in 2021 Oscar Kaufmann performed it in La Clique, which played at the Sands Expo & Convention Centre in Singapore.

Technically, it needs a rigging point at least 5 m high with a load capacity of 250 kg and a clear area of 2 × 2 m below. In most exhibition halls such a point can be set up on the hall ceiling through the venue’s rigging service. Where that is not possible, Oscar Kaufmann brings a freestanding rig. It needs a footprint of 5.1 × 5 m and is up to 5.4 m high.

More about the act: Aerial Straps

Conferences and Congresses

At conferences, stage and technology are already in place. A show act adds moments that speeches cannot:

Opening: An act of a few minutes brings the room together before the first keynote.
Transition: After a long session, a short show brings the energy back.
Evening event: At the gala or evening get-together, the show can be longer and more emotional. More on the page Show Act for Corporate Events and Company Galas.

For a stage with lighting design, the LED Cyr wheel is a good fit. If the hall is high enough, the aerial straps bring movement into the space above the audience. The classic Cyr wheel is the most flexible act and works on small stages and in daylight.

What to Clarify in Advance

Space, height and floor on the stand or stage
Lighting: can the area be darkened (for the LED Cyr wheel)?
Rigging: is there a point on the hall ceiling, or will the freestanding rig be used?
Schedule: how many shows a day, and at what times?
Branding: should the logo be part of the light programme?
The fair’s setup and breakdown times and access for the equipment

Important for planning: all acts are stage acts that need a fixed area. They are not designed as walking acts that move through the aisles.

Frequently Asked Questions

Can a show act perform directly on the exhibition stand?

Yes, as long as a fixed area stays clear. The LED Cyr wheel needs 2.8 m in diameter; the aerial straps need 2 × 2 m below a rigging point or the freestanding rig.

How many shows a day are possible?

Several shows a day are common, for example on the hour. The exact number depends on the act and the fair’s schedule.

Can the company logo be built into the show?

With the LED Cyr wheel, yes: logo and colours are written into the light programme in advance and run in sync with the music.

Do the aerial straps need a hall ceiling with rigging?

Not necessarily. Without a rigging point, a freestanding rig comes along. It needs a footprint of 5.1 × 5 m and is up to 5.4 m high.

For trade fairs, expos and conferences, the best way to get in touch is the contact form below, with date, location and stand size.

What Is a Cyr Wheel?

What is a Cyr Wheel, how do you pronounce it, and what does a professional act look like. Explained by

Hamburg and Basel: How an Act Prepares for a Season

Oscar Kaufmann as The Flying Gentleman on the flying hat stand

This winter, The Flying Gentleman can be seen in two places at once. I perform the act from late October at the Hansa Theater in Hamburg. In Basel, Yura Kharchenko presents The Flying Gentleman and the LED Cyr Wheel in the Rhypark Dinner Show from 19 November, in his own interpretation. On stage, an act lasts a few minutes. The preparation starts months earlier.

Technology: long before anyone rehearses

In The Flying Gentleman, a hat stand flies through the air, and I fly with it. That requires a rigging point with the right height and load capacity. At the Hansa I work with a programmable motor rated for 250 kg. The technical director got in touch in September, and since then we have been coordinating the rigging, flight paths and safety. In Basel, the production solves the same task with a circus winch. Every stage is built differently, and in the end the act has to be equally safe everywhere.

The Flying Gentleman: Oscar Kaufmann on the flying hat stand

Music: a band is not a file

At the Hansa, a live band accompanies the programme. The musical director receives my music in advance so the band can play the act. That changes the timing: a band breathes with you, a recording does not. In Basel, the show music runs as a studio track, which the production already received in May.

Props in two places

When an act runs in two places at the same time, it needs two complete sets: hat stand, Cyr Wheel, LED wheel. My props are therefore stationed in several locations. This already worked in early 2026, when Yura performed The Flying Gentleman in Adelaide while I was on stage at the Sydney Opera House.

Rehearsals in Hamburg

I travel to Hamburg on 25 October. Four rehearsal days follow, previews from 30 October and the premiere on 2 November. Rehearsals are about lighting, entrances and exits, transitions within the programme and working with the band. Until the final performance on 14 March 2027 there are 148 shows, with two a day at weekends.

A season of 148 performances is a long stretch physically as well. Training and recovery therefore have a fixed place in the daily schedule, so the act is just as precise in March as it was at the premiere.

Yura in Basel

Yura (Iurii) Kharchenko is a circus artist based in Berlin. His credits include the Wintergarten Varieté Berlin, the Tollwood Festival in Munich, the Adelaide Fringe and the Festival Mondial du Cirque de Demain in Paris. He performs The Flying Gentleman with his own stage presence, not as a copy. For Basel, the LED Cyr Wheel is added: the light programme runs in sync with the music, and every rotation has to match it.

Since spring, Yura has been training with the LED wheel in Berlin and fine-tuning his sequences to the light programme. An LED wheel feels different from a classic Cyr Wheel, so it takes dedicated training time. The Rhypark Dinner Show runs from 19 November 2026 to 10 January 2027.

LED Cyr Wheel with light programme at a gala event

What this means for event organisers

Because the acts can be performed by two artists, they remain bookable for double bookings and during long runs. For a gala or corporate event the preparation is shorter than for a season, but the questions are the same: How high is the room, is there a rigging point, how big is the stage, is the music played by a band or from a track, and when is there time for a rehearsal on site? Clarifying this early means no surprises on the night. Which act suits which event is explained in Which Show Act Suits My Event?

If you are planning an event this winter, you can see The Flying Gentleman live beforehand: in Hamburg from 30 October, in Basel from 19 November. Send me a short message in advance and we can arrange a conversation after the show.

Booking enquiries: info@oscar-kaufmann.de

October 2026

Which Show Act Suits My Event?

The short answer: three things decide it, in this order. First the room, meaning ceiling height, free floor space and whether a certified rigging point exists. Second the occasion and the role the act is meant to play in the programme. Third the audience and the time of day. Anyone who knows these three can narrow the choice down to two or three acts within minutes.

Aerial acrobatics needs height and a load-bearing point, but rewards you with an intensity that works best up close. Ground acts such as Cyr Wheel work almost anywhere and are the most flexible choice. Character and comedy acts carry an evening dramaturgically, including with mixed audiences. Visual acts with light only come into their own after dark. Juggling and walking acts are the right call when there is no stage at all or the audience keeps moving.

Five questions to settle beforehand

Anyone who knows these five answers will get a solid quote from any artist instead of a follow-up question.

How high is the room, and is there a structurally certified rigging point?

How large is the free area available for the performance?

Is the event indoors or outdoors, and how bright will it be at performance time?

Should the act open the programme, deliver the highlight, or lighten the mood in between?

Is the audience local or internationally mixed?

The act categories at a glance

Which show act suits which event: act categories, use, minimum requirements and duration
Category	Suits	Minimum requirement	Typical duration
Aerial straps	Galas, theatre, venues with height	Rigging point from 5 m, 250 kg working load	4 to 6 min.
Character act on a hat stand	Themed evenings, dinner shows, galas	Rigging point from 3 m, 250 kg working load	4 to 8 min.
Cyr Wheel	Almost any format, indoors and outdoors	Level surface from 4 x 4 m	4 to 6 min.
LED Cyr Wheel	Evening events, brand moments, arenas	Area from 3 m, dusk or darkness	4 to 6 min.
Whip artistry	Cabaret, themed events, late-night slots	5 x 5 m area, 3.5 m height, safety distance	4 min.
Juggling	Receptions, stage programmes, street formats	Little space, often no stage needed	5 to 15 min.
Walking acts	Receptions, trade fairs, moving audiences	No stage required	Several sets

Which act suits a gala?

A gala calls for an act that fits into an existing evening programme without dominating it. The audience is seated, attention is focused, expectations are high.

Aerial acrobatics and character acts work best here. Straps deliver the emotional peak, because the alternation of power and stillness creates a tension that is immediately palpable up close. A character act works better as an opener or as a moment between two programme points, because it draws the audience in rather than overwhelming them.

What often gets underestimated at galas: the role in the running order matters more than the discipline. The same act can work as an opener and fall flat as a finale. If in doubt, send the running order, not just the date.

Which act suits a 1920s themed evening?

Themed evenings in twenties style live on characters, not disciplines. A purely technical act, however good, remains a foreign body in that setting.

Character acts are the obvious choice here, especially those with costume, posture and a recognisable figure. A gentleman in a suit losing his grip on gravity at a hat stand tells a story in seconds that fits the evening. Whip artistry works similarly well, combining elegance with controlled danger and slotting easily into the era stylistically.

A practical advantage of both: the humour comes from movement and timing, not from language. With an internationally mixed audience, that is decisive.

Cyr Wheel can also be adapted through costume and music, but remains the visually more modern act. For a vintage evening it is the second choice.

Which act suits a sports event?

Sports galas, awards evenings and gymnastics festivals bring an audience that can judge body control. That is both an opportunity and a risk: weaknesses show, but genuine technique is genuinely appreciated.

Cyr Wheel is the strongest choice here. The discipline grew out of wheel gymnastics and has its own world championship, so it connects naturally with a sporting context. It also works on large surfaces, which sports halls and arenas usually provide.

Aerial acrobatics works too, but requires a load-bearing rigging point, which sports halls do not always offer. If no point is available, a freestanding rig can be brought along.

For arena formats with lighting design and darkness, the LED Cyr Wheel is the most visually effective option, because it reads from a distance. That is an important difference from theatre stages: in an arena part of the audience sits far away, and fine detail is lost there.

Which act suits a modern event or brand moment?

At product launches, kick-offs and brand events, every programme point competes with the actual message. An act should therefore not only entertain but reinforce the brand.

Visual acts with programmable light are best suited to this. With the LED Cyr Wheel, colours, patterns, lettering and logos can be built directly into the wheel’s light programme. What the audience sees then does not look like a bought-in programme point, but visibly belongs to the presentation.

Two conditions apply: it needs to be dark enough, otherwise the effect loses its impact, and the enquiry should come early, because individual programming needs lead time.

If daylight is unavoidable, an act that works without light is the better choice, such as Cyr Wheel or juggling.

Which act suits receptions, trade fairs and formats without a stage?

Not every event has a stage, and not every audience stays seated. For receptions, exhibition stands and formats with ongoing activity, stage acts are the wrong choice, however good they are.

Walking acts and juggling have the advantage here. Walking acts move through the room, need no stage and no fixed start time. They create attention in waves rather than in a single peak. Juggling works in a small space, stays clearly visible and can be performed as a short stage number or in a walking format.

These are categories I do not offer myself. If your event calls for them, that is the more honest recommendation than a stage act that gets lost in the room.

What if the technical setup does not fit?

The most common obstacles and what can be done about them.

No rigging point available: for aerial acrobatics, a freestanding rig can be brought along and set up on site. The act then works independently of the ceiling structure.

Less than five metres of height: often still feasible. The character act on the hat stand needs only three metres, classic straps five. A quick enquiry with the exact measurements settles it faster than any table.

Small stage: Cyr Wheel has been performed on 2.40 metres in diameter. With adapted choreography, far more is possible than the technical ideal suggests. The only thing that matters is naming the measurements in advance, so the choreography can be adapted rather than improvised.

Unsuitable floor: carpet, large gaps and a noticeable slope are problematic for Cyr Wheel. Stage flooring, parquet and dance floors work well.

Outdoors: possible as long as the surface is level, dry and non-slip. In rain or strong wind the performance has to be moved or rescheduled for safety reasons. A backup plan therefore belongs in every outdoor plan.

Several acts in one evening

When an evening needs several programme points, combining different categories works better than three numbers from the same discipline. A ground act, an aerial act and a character act create three different kinds of tension.

There are practical arguments for booking several acts from one person: less coordination, one point of contact, one journey, and a common thread through the evening, because the same signature remains recognisable. Package pricing is available for multi-act bookings.

Frequently asked questions

Which act is the most flexible?

Cyr Wheel. It works in daylight and in the dark, indoors and outdoors, on large and small surfaces, and needs no rigging point.

Which act works best with an international audience?

Acts whose effect comes from movement and timing rather than language. Character acts and aerial acrobatics work regardless of the audience’s linguistic background.

How long does set-up take?

Between 20 and 60 minutes depending on the act. Ground acts are quicker, aerial acts need more time for rigging and safety checks.

How far in advance should I book?

A booking can be made at any time. The earlier the enquiry, the more likely your preferred date is still free. For individual logo programming, allow more lead time.

What does a show act cost?

Costs are in the four-figure range. The main factors are travel, the number of performances and technical requirements.

You know your occasion, your room and your audience. Send me the date, location and event format, and I will recommend the right act and get you a concrete quote promptly.

Enquire about an act

The Best Cyr Wheel Artists – How to Spot a Great One

The Best Cyr Wheel Artists. What Makes a Great Cyr Wheel Show?

At first glance, Cyr Wheel looks simple: a ring, a person, a bit of momentum. Anyone who has held the apparatus themselves knows how misleading that first impression is. The difference between a solid act and an outstanding one is often hard for outsiders to spot, but for event organisers choosing who to book, it matters a great deal. The following article explains which elements are most important and mentions the most significant names of the scene.

A few criteria that tend to separate a genuinely good Cyr Wheel artist from the rest:

Technique.

Clean lines, controlled transitions, no visible strain exactly where the movement is supposed to look effortless. Technique shows most clearly where something could go wrong and doesn’t.

Stage presence.

Technique alone doesn’t fill a room. An audience knows within seconds whether a performer is truly present or simply running through a routine.

Choreography that actually uses the stage.

A strong Cyr Wheel programme uses the full available space, not just the centre — diagonals, changes in level, deliberate closeness to and distance from the audience.

Flexibility between the smallest and largest stages.

An act that only works under ideal conditions is impractical for most real booking situations. The ability to adapt a choreography to 2.5 metres just as confidently as to 10 metres separates professionals from amateurs.

Professional communication.

Clear agreements before the event, a reliable technical rider, a point of contact who’s actually reachable on the day.

Solid preparation.

A well-thought-out sound check, a realistic schedule for set-up and rehearsal, and a backup plan if something doesn’t go as expected.

But whats a Cyr Wheel and where does this prop come from?

What Is a Cyr Wheel?

What is a Cyr Wheel, how do you pronounce it, and what does a professional act look like. Explained by

Anyone who brings all of that is worth watching

— and the international Cyr Wheel scene has a handful of names known for exactly that.

Oscar Kaufmann

has been performing internationally for over ten years, including with Cirque du Soleil (Amaluna), at the Sydney Opera House, and at Wintergarten Berlin. His approach centres on choreography consistently adapted to whatever stage he’s given, from 2.5 metres in Manchester to large arena stages. Alongside the classic Cyr Wheel act, he also performs an LED version and The Flying Gentleman, a character act he developed himself. What sets him apart for organisers: consistent technical reliability across entire runs, clear upfront communication, and the ability to adapt to almost any stage situation, demonstrated through engagements at the Sydney Opera House, in Cannes, and currently at Hansa Theater Hamburg and Rhypark Basel.

Hauke Narten

is widely regarded as one of the most technically skilled Cyr Wheel athletes in the world. A multiple-time Cyr Wheel World Champion (including 2018 and 2022), he currently serves as IRV Head of Cyr, overseeing the discipline’s international development. His focus lies primarily on competitive Cyr Wheel, with striking technical command across large surfaces.

Lea Toran Jenner

has built one of the best-known careers in the scene over the years. Trained at the renowned circus school in Montreal, she was hired at the Moulin Rouge in Paris in 2017 and has returned there repeatedly ever since. She’s especially known for “Duo Unity,” her Cyr Wheel duo act with Francis Perreault, as well as, more recently, her own solo career and a substantial social media following. In 2024, she also became Cyr Wheel World Champion.

Marica Marinoni

represents a very different, contemporary approach to the Cyr Wheel. A graduate of CNAC, France’s renowned national circus school, she has notably advanced the apparatus’s movement vocabulary, with unusually fluid transitions and a physical expressiveness that often deliberately departs from the classic show format. Rather than the usual five minutes, her pieces frequently run considerably longer, following the logic of contemporary dance theatre more than a traditional variety number.

Daniel Cyr

can’t be left out of this list — he invented the apparatus in the early 2000s and gave the Cyr Wheel its name. He no longer performs actively today, but without his work, the entire scene as it exists now simply wouldn’t be there.

Looking for a Cyr Wheel artist for your event? Oscar Kaufmann performs the classic Cyr Wheel and the LED Cyr Wheel with your logo in the light programme. How booking works is explained in the guide How to Book a Circus Artist. Enquiries are welcome via the contact form.

What Are Aerial Straps?

What are aerial straps?

Aerial straps are two long fabric straps hanging from the ceiling or a rigging point. The performer wraps their hands and wrists into the straps and performs elements powered entirely by upper body strength — spins, balance holds, and transitions supported solely by the arms, with no additional bracing.

What is aerial acrobatics in general?

Aerial acrobatics refers to any acrobatic discipline performed above the stage from a rigging point, including straps, trapeze, aerial silk, and rings. What unites them all is the combination of strength, balance, and the visual impact of height.

How are aerial straps different from other aerial disciplines?

Unlike trapeze or aerial silk, where you can wrap or brace against fabric, straps rely almost entirely on grip technique and pure upper body strength. This makes it one of the most physically demanding forms of aerial acrobatics, since every movement is held directly through the wrists.

What does a professional straps act look like?

A strong straps act lives on contrast: fast, powerful spins alternate with slow, almost weightless holds. Music and lighting play a central role in building and releasing tension throughout the piece.

Who am I as a performer?

I’ve performed aerial straps internationally for over ten years, including at the Sydney Opera House, Wintergarten Berlin, and GOP Varieté productions. Alongside solo performances, I also offer creative development, from first concept through to a stage-ready act. [Learn more →]

15 +

Years performing internationally

1 Signature-Akt, One of a kind

30 +

Countries on stage

5 Distinct bookable acts

Frequently Asked Questions

Do you need particular strength for aerial straps?

Yes. Straps is one of the most strength-intensive aerial disciplines, since nearly every position is actively held through grip technique.

What's the difference between straps and trapeze?

Trapeze has a fixed bar to rest on. Straps has no fixed structure at all — everything is held through the straps themselves.

Can you learn straps?

Yes, I offer Workshops for beginners and advanced artists. [See workshops →]

How high does the ceiling need to be for a straps act?

A minimum 5-metre rigging point is recommended with 250 kg working load.

Is it hard to learn?

An act with many dynamic and strength based tricks might take years if not centuries to master.

Looking for an aerial straps performer for your event?

I perform internationally for galas, theatre, cruise ships, and corporate events. [Enquire now →]

Reach or Real Connection — What Actually Matters on Stage?

Reach or Real Connection — What Actually Matters on Stage?

As a circus artist, I perform on very different stages. Two of them this week made me think.

Last week: Italian television. Beautifully lit studio, professional crew, everything running on schedule. Millions of people watching — somewhere out there, behind a camera lens. No eye contact. No reaction. No connection.

This week: Fete Magique in Belgium. Beautiful chaos. Sweat, laughter, artists sleeping next to their props, audience close enough that you can watch their faces change mid-act. Exhausting, alive, intimate.

Two worlds, one profession

A television appearance as a circus artist is a different discipline. The camera replaces the audience. You perform into a room without feedback, without energy coming back. What counts is the image — precision, timing, visual impact. The rest is editing.

A festival like Fete Magique is the opposite. The act starts before you reach the stage. Guests are standing a metre away. When a child in the front row stops blinking, you feel it. When someone comes backstage afterwards just to say thank you, that isn’t a comment on social media — that is a moment.

What stays with you

Reach has real value. A TV appearance finds people who would never walk into a variety theatre. That matters. But depth is something else. The question isn’t which format is better — both are part of the work of a professional performing artist. The question is what you take home with you afterwards.

I think longer about the moments when something actually happened. They were rarely on the biggest stages.

Oscar Kaufmann is a circus artist and Cyr Wheel performer based in Berlin. He performs internationally — on television, at festivals, in variety theatres, and at corporate events. Booking enquiries: info@oscar-kaufmann.de

Cannes, Summer 2025: Six Weeks of LED Cyr Wheel at Annex Beach Club

Annex Beach Club in Cannes is not a typical venue. A luxury outdoor restaurant on the Mediterranean, golden-hour sunsets, guests who are used to the finest things. Exactly the kind of environment where an act either delivers — or visibly doesn’t.

It was my first extended run with the LED Cyr Wheel. Multiple shows per week across six weeks. I knew the wheel worked technically. But sustained back-to-back performances are a different kind of test: would the equipment hold up night after night?

It did. Not a single failure across the entire season. Every show ran in sync with the music and stage lighting — on a stage just three metres across, the technical minimum for this act. You learn quickly to own every centimetre of the space.

Timing was everything. The evening programme opened with sunset, but the LED act always closed it — waiting until dark enough that the light truly lands. Too early and the contrast is gone, the effect disappears. Patience is part of the performance.

What surprised both the venue owners and the guests: building the Annex logo and custom graphic patterns directly into the LED programme. Not as a gimmick, but as a statement — this act belongs to this evening, to this place. Guests who are used to seeing world-class entertainment still said they had never seen anything like it.

My intention from the start was to use light as a design tool rather than decoration. No flashing for the sake of flashing. Cannes confirmed that the approach works — and that the act is ready for long-term contracts at the highest level.

Booking enquiries: info@oscar-kaufmann.de

September 2025

“Pink Rabbit” in Zürich

From October to November, Zurich became the stage for the dinner show “Pink Rabbit”. In three and a half hours, we offered a mix of acrobatics, choreography, and immersive theater – a feast for all the senses.

At the entrance, we welcomed guests in elaborate costumes, ready to transport them into another world. Our talented cast presented sophisticated, sensual choreographies that captivated the audience.

I opened the show with aerial straps, later performed as the hat stand, and amazed in the finale with the Cyr wheel. The grand finale was delivered by our drummer Ivan, who thrilled the crowd with his energetic performance.

After the finale, the show seamlessly transitioned into a party, where guests celebrated and enjoyed the unique atmosphere. “Pink Rabbit” was more than just a show – it was an unforgettable journey into another world.

The Link to the Show!