Can the by-products of a circus trick become the centre piece of circus work?

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This is a practice research project which uses tightwire and balance to challenge the success driven nature of circus practice and performance, and wonders what would happen if instead on aiming to impress with circus tricks, time was instead spent exploring how to use the lesser celebrated elements of circus practice. 

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If we view a trick  as a successful action aiming to impress and resulting from many hours of practice, what other  elements of the circus trick can be developed and used in order to make new circus, that is, through its content still circus? Through the mediums of photography, film and performance I am searching for value and use in the by-products of our circus tricks by exploring such questions as....

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 What happens when you attempt to manufacture and refine unintentional movement? Or develop and practise accidents?

 

Can clumsiness be refined and make new movement? Can tricks rely on failure in order to be successful?

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Can a tightwire performance use the platforms and structure of the wire to walk on as opposed the wire itself?

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What if a balancing routine was all about the movement of the balancing prop not the performer attached to it?

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Can shuffles, adjustments, exits and entrances become the main attraction?

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If you blink and you missed it, what else did you see?

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