Good morning, Lena! Tell us a little about yourself for those who don’t know you yet. How did you get into diabolo?
Good morning, Frederik! That’s a quick story. I started with the diabolo as a teenager and simply never stopped. My diabolos and I have experienced a lot together—we’ve traveled extensively. At first, it was mostly to juggling conventions; then I spent three years at a circus school in Stockholm, and for the past 20 years, I’ve been performing my shows worldwide. It’s a real mix. I’ve done a lot of variety theater, but these days I perform mainly at events and festivals. I’ve spent a lot of time in Asia—Japan, China, Vietnam, India—as well as in Germany, Austria, and Switzerland. Basically, wherever I can find an enthusiastic audience.
What fascinates you most about the diabolo and juggling? Why do you juggle?
That’s a lovely question. I love learning new things—suddenly being able to do something that seemed impossible just moments before. It’s a wonderful form of creativity. What I like about juggling is that it’s endless; there’s always something new to discover, and the boundaries of what’s possible keep expanding. I also have a slightly obsessive side—the ability to immerse myself completely in something so that everything else fades away. I enjoy that kind of focus; it has a very meditative quality. And then, as a next step, there’s the fascinating work of making it all accessible to the audience—shaping the juggling so that a connection forms between me and the spectators.
You started out with the diabolo and developed a great deal in that area, but you juggle other objects now, too. How did that expansion come about, and do you have a particular favorite right now?
At the moment, I’m primarily working on my solo show. It’s wonderful because it allows me to incorporate all the techniques I’ve mastered over the years. For many years, I juggled clubs with various partners—mainly because I enjoy working with others. When my last partnership ended, I finally discovered a passion for hat juggling. I like this style of juggling primarily because it has a completely different rhythm. The diabolo has a very fluid quality, whereas hats are the exact opposite; every time a hat is caught on the head, there is a brief pause. This creates plenty of room to interact with the audience. I also appreciate how much more three-dimensional it is. Aside from "Vertax" technique, diabolo is predominantly performed facing the audience. With hats, I can move much more freely through the space and indulge my passion for dance. A few years ago, a colleague helped me rediscover crystal ball juggling as another discipline. I like the fact that I can practice it almost anywhere, even in a very small space. I had started doing it years ago but put it aside, thinking it was too small-scale for the stage. However, audiences are absolutely fascinated by it in my shows and frequently mention it to me afterwards. I really enjoy this mix, as the individual techniques differ vastly from one another. Of course, the downside was that I had to start completely from scratch every time I wanted to master a new technique. (Laughs)
What kind of style do you present on stage? What can your audience expect?
As I just mentioned, combining juggling with movement is very important to me. I want the tricks to be more than just isolated displays of skill; the goal is to create a cohesive work of art.
Stylistically, I am very flexible; it really depends on the context. My shows fit into both traditional programs and modern productions, as they don't fall neatly into either category. I prefer a clean, aesthetic look for the costumes, yet the choreography itself is highly detailed, refined, and complex.
One final question: after more than twenty years on stage, what still excites you just as much as it did on day one, and what has changed?
I still love that special thrill—a touch of nerves—and the intense energy and connection between the audience and myself. And nowadays, I can enjoy it even more because I have more experience and feel more at ease on stage. Plus, I have a broader repertoire, which makes things more varied for me, too.
Thank you, Lena, for this interesting conversation!
