This was quite a challenge, considering that these two types of nets have opposing qualities. It is by adding a flap made of resistant fabric that we have succeeded in obtaining the right combination between absorption and rebound.
Now let’s move on to Zarkana, where a large reception net was deployed under a flying trapeze number. Adjustments had to be made because the net gave artists too much rebound for what was planned on this act. But the idea of a large rebound net remained in their minds.
It was during the conception of Kurios that this idea resurfaced.
We thought about taking the problem observed on Zarkana and amplifying it to create a spectacularly high number. For that, we had to go to Las Vegas to pull up the net and measure the original tensions.
Back in Montreal, we also did tests with different mesh shapes. Square meshes gave even more bounce than honeycomb-shaped meshes. But as a result, the net tore down and broke a concrete slab in our studio. That’s a lot of tension…
So we went back to the honeycomb mesh. After four prototypes, the acro-net was born.
So, the Acro-Net, is it like a huge trampoline?
Not quite. The acrobatic language remains the same, but the reaction speed of the net during the bounce is much slower. Artists must learn to be patient to perform their movements well.
But once they have adapted to it, the result is particularly impressive.
To maximize the rebound effect on this large surface (we are talking about 12 x 9 meters), the artists circle the acrobat who jumps to assist him. Now that’s teamwork!