Tina specialises in Devising. For her, perfection lies in the union between circus and storytelling.

She instigated the first-ever Circus Module at East 15 Acting School and ran it for ten years, guiding students through aerial technique with a purpose. The purpose was storytelling.

She continues to work with professionals and enthusiasts keen to hone their skills in both. Here is a sample of her work over the past few years.

In 2019, Milton Lopes invited Tina back to work on his next Elephant R&D. Working with Raffi and Johnny Leitch she created images with them to test out what might be possible (in 2 hours!). The following day, she became Raffi‘s stunt double, testing out how the images could flow in sequence to form the early stages of a choreography about support and falling. Video Stills.

In 2018, Tina choreographed for Sally and Nix on their new piece, Thrills, Spills and Anti-inflammatory Pills that saw two middle-aged women fight their personal demons to return to the performing arena. We explored aerial movements on low-hung hammocks, and putting my Director’s Hat on, I also guided them in finding meaning in their actions through text and images. Photos by Tina Carter.

In the winter of 2017, Tina worked alongside director Daryl Beaton on Graeae’s youth group, the Rollettes. A small group of Deaf and disabled youngsters, with varying mobility capacity, used aerial equipment, narrative and props to tell the story of Babushka. Photo by Becky Bailey.

Amelia Cavallo was commissioned by Liberty Festival, London, to create a new show. She asked me to direct, and then perform in the piece that became Sailing through the Dark. Alongside comic acrobat Ben Goffe we each created a solo about something important to us: perpetual intrusive photography for Goffe; misreading body-language through blindness for Amelia; being a menopausal aerialist, for me.

In late 2017 Tina was contacted by the drama teacher at Sevenoaks School to work on Margaret Atwood’s The Penelopiad. He had a few key images in mind for the piece which involved his actors suspended on ropes. Assisted by Jessica Urwin, Tina taught and choreographed specific sequences and guided the school in purchasing and rigging the equipment so that they would be safe and ready to work in the show the following February.

In early 2017, Tina was invited to Tokyo by SlowLabel to run an Accessible Aerial Teacher Training and offer ways to begin choreographing with and for disabled participants. She created a bespoke plan in partnership with NCCA, sharing her teaching experience and academic research. Her consultation with NCCA has since fed into their delivery of Accessible Teacher Trainings, and into the creation of a Tool Kit, now headed by Extraordinary Bodies.