{"title":"Um Brasil de Circos: a produção da linguagem circense do século XIX aos anos de 1930","authors":"Julieta Infantino","doi":"10.3998/circus.3941","DOIUrl":"https://doi.org/10.3998/circus.3941","url":null,"abstract":"Um Brasil de Circos: a produção da linguagem circense do século XIX aos anos de 1930 (A Brazil of Circuses: the Production of Circus Language from the 1800s to the 1930s) is an impressive work. Its 520 pages are filled with rigorously presented data from 42 circus companies that performed in Rio de Janeiro during the nineteenth and early twentieth centuries. Its review highlights the main point of the book to emphasize its contribution to the history of the circus arts in particular, but also to the performing arts as well as social history in general.","PeriodicalId":256991,"journal":{"name":"Circus: Arts, Life, and Sciences","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133701625","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Mot de l'équipe rédactionnelle","authors":"M. I. Stuckey, Joe Culpepper","doi":"10.3998/circus.3933","DOIUrl":"https://doi.org/10.3998/circus.3933","url":null,"abstract":"","PeriodicalId":256991,"journal":{"name":"Circus: Arts, Life, and Sciences","volume":"68 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116752309","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Disability and Aerial Arts","authors":"Erin Ball","doi":"10.3998/circus.3565","DOIUrl":"https://doi.org/10.3998/circus.3565","url":null,"abstract":"This writing accompanies the documentary video of a workshop that Erin Ball helped to facilitate in July 2022 for the Disability community (including but not limited to Mad, Deaf, Neurodivergent, and/or Disabled). In this text, Erin Ball, a circus artist who is a double below-knee amputee, discusses embodied personal knowledge as a practitioner and workshop leader in the emerging area of aerial arts that strives for inclusion. Erin describes the philosophical and pedagogical approaches taken to making the aerial workshops more accessible to communities often excluded from circus arts.Ce texte accompagne le documentaire vidéo sur un atelier co-animé par Erin Ball en juillet 2022 à l’intention de la communauté des personnes handicapées (et plus particulièrement des personnes sourdes, neurodivergentes, atteintes de pathologies mentales et/ou handicapées). Dans ce texte, Erin Ball, une artiste de cirque qui est aussi amputée des deux jambes sous le genou, analyse le rôle de la cognition incarnée en tant que praticienne et animatrice d’ateliers dans un domaine émergent – les disciplines aériennes – qui recherche une plus grande inclusivité. Erin décrit les approches philosophiques et pédagogiques qui tendent à rendre les ateliers aériens plus accessibles aux communautés le plus souvent exclues des arts du cirque.","PeriodicalId":256991,"journal":{"name":"Circus: Arts, Life, and Sciences","volume":"5 5 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124996606","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Des circassien·ne·s périphériques aux prises avec la globalisation: Trajectoires transnationales et controverses esthétique périphériques aux prises avec la globalisation","authors":"Aurore Dupuy","doi":"10.3998/circus.2845","DOIUrl":"https://doi.org/10.3998/circus.2845","url":null,"abstract":"À partir d’une enquête ethnographique au long cours, cet article étudie l’insertion de circassiens issus d’un espace périphérique, le Chili, sur le marché du cirque global, avec ses effets sur les modes de vie et les esthétiques. L’étude de deux trajectoires transnationales met en lumière les stratégies pour exister en marge ou au sein de cirques hégémoniques depuis un espace subalterne, avec un focus sur les circulations entre le Chili et la France. Deux grandes tendances se dessinent et s’affrontent. La première s’inspire du cirque contemporain « artifié » qui s’exporte depuis la France. Il est proposé de considérer la seconde comme un cirque cosmopolite insurgé, à l’inspiration des épistémologies du Sud et de l’anthropologie post-coloniale. Les assises sociales, éthiques et politiques de ces controverses esthétiques sont ainsi mises au jour, révélant des processus d’exclusion, de transfiguration, d’altérisation et d’invention en lien avec les hiérarchies globales.Based on a long-term ethnographic inquiry, this article studies the integration of circus artists from Chile, a peripheral space, into the lifestyle and aesthetics of the global circus market. An analysis of two transnational trajectories, with a particular focus upon circulations between Chile and France, reveals strategies for existing in either the margins or at the center of hegemonic circus companies when coming from a subaltern space. Two overarching trends emerge and clash. The first is the French export of contemporary circus, which has gone through a certain process of “artification.” I propose that the second be considered a rebel cosmopolitan circus, inspired by epistemologies from the South and post-colonial anthropology. The social foundations, ethics, and politics of these controversial aesthetics are hereby brought up to date to reveal processes of exclusion, transfiguration, othering and invention in relation to global hierarchies.","PeriodicalId":256991,"journal":{"name":"Circus: Arts, Life, and Sciences","volume":"30 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127179825","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"‘Safety from Within’ An investigation into Lifeline - a funambulism project by Galway Community Circus, July 2022","authors":"S. J. Cadwell","doi":"10.3998/circus.3566","DOIUrl":"https://doi.org/10.3998/circus.3566","url":null,"abstract":"This paper will attempt to show that the particular training techniques and styles used in youth circus (e.g. a place for everyone, no one is excluded, anything is possible, adaptability) and the approach to trainer training (e.g. having an emphasis on soft skills as well as hard techniques) are fundamental in allowing for this particular sense of community to develop and thrive.2022’s Lifeline performance is a particularly good example of these techniques and approaches. Lifeline was a funambulism spectacle organised by Galway Community Circus in July 2022, where 140 performers crossed the River Corrib on a series of highwires as part of the Galway International Arts Festival.Based on interviews with the organisers and participants, this paper will attempt to show that giving the participants a space for free identification, nurturing a healthy level of trust, and developing that trust into an appropriate tutor-student bond enabled 140 people to tight-rope walk across a river in Galway in front of thousands of people. Les personnes participant à des programmes de formation de cirque semblent être guidées par une émotion qui n’est pas directement liée à l’envie ou au désir. Elles ne semblent pas non plus vouloir éviter un sentiment de dégoût ou de peur, bien au contraire le plus souvent. Elles apparaissent davantage motivées par toute une mosaïque d’émotions autour des notions d’identification, de confiance et de tissage des liens. En d’autres termes, les participant·es sont porté·es par un véritable esprit de communauté.Cet article tente de démontrer que les techniques et les styles d’enseignement spécifiques aux arts du cirque pour un public jeune (par exemple, donner une place à chacun·e, n’exclure personne, montrer que tout est possible, apprendre à s’adapter), ainsi que l’approche adoptée pour former les animateurs et animatrices (par exemple, mettre l’accent sur le savoir-être et le savoir-faire) sont des aspects fondamentaux pour favoriser le développement de cet esprit de groupe.L’événement Lifeline illustre parfaitement la mise en pratique de ces techniques et de ces approches. Dans le cadre du Galway International Arts Festival, ce spectacle de funambulisme, organisé en juillet 2022 par le Galway Community Circus, a réuni 140 artistes sur plusieurs fils tendus au-dessus du fleuve Corrib. En s’appuyant sur les propos recueillis lors d’entretiens avec les personnes chargées de l’organisation et les participant·es, cet article vise à montrer qu’en donnant aux participant·es un espace pour s’identifier librement, favoriser ainsi largement la confiance et la faire évoluer vers une relation élève-professeur·e harmonieuse, 140 personnes ont pu traverser un plan d’eau sur un fil devant un public nombreux.","PeriodicalId":256991,"journal":{"name":"Circus: Arts, Life, and Sciences","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114234060","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Maximal dynamic forces exerted by acrobats on nine circus apparatuses","authors":"M. Cossin, Alice Bergeron-Parenteau, A. Ross","doi":"10.3998/circus.2776","DOIUrl":"https://doi.org/10.3998/circus.2776","url":null,"abstract":"Circus practice is a very popular activity that has had minimal engineering research published. The purpose of this study was to measure peak cable tension in nine circus disciplines: aerial hoop, rope, aerial silk, flying pole, tightwire, Chinese pole, swinging trapeze, solo and duo fixed trapeze. Cables in these disciplines were instrumented with load cells and tension force was recorded. Thirty-four acrobats, professionals, and students from professional circus schools participated in the study and performed a total of 118 acrobatic movements. An analysis of variance (ANOVA) determined differences in participants. Almost all movements and disciplines showed a statistically significant difference between participants. Maximal forces were found to be 4.8 BW (bodyweight) in aerial hoop, 7.3 BW in aerial rope, 5.6 BW in aerial silk, 4.0 BW in flying pole, 5.6 BW in swinging trapeze, 6.8 BW in solo fixed trapeze, 2.5 BW in duo fixed trapeze, and maximal tension in cable were found to be 15 kN in tightwire and 2.8 kN in Chinese pole. These findings may provide substantial implications for acrobatic design and rigging to improve safety of circus equipment. La pratique du cirque est une activité très populaire pour laquelle peu de recherches en ingénierie ont été publiées. L’objectif de cette étude était de mesurer la tension maximale des câbles dans neuf disciplines de cirque: cerceau aérien, corde lisse, tissu aérien, mât pendulaire, fil de fer, mât chinois, trapèze ballant, trapèze fixe solo et duo. Les câbles de ces disciplines ont été instrumentés avec des cellules de charge et la tension a été enregistrée. Trente-quatre acrobates, professionnels et élèves d'écoles de cirque professionnelles, ont participé à l'étude et ont exécuté un total de 118 mouvements acrobatiques. Une analyse de la variance (ANOVA) a déterminé les différences entre participants. Presque tous les mouvements et disciplines ont montré une différence statistiquement significative entre les participants. Les forces maximales ont été trouvées à 4.8 poids corporel en cerceau aérien, 7.3 fois le poids du corps en corde lisse, 5.6 fois le poids du corps en tissu aérien, 4.0 fois le poids du corps en mât pendulaire, 5.6 fois le poids du corps en trapèze ballant, 6.8 fois le poids du corps en trapèze fixe solo et 2.5 fois le poids du corps en trapèze fixe duo, et la tension maximale dans le câble a été trouvée à 15 kN dans le fil de fer et 2.8 kN dans le mât chinois. Ces résultats peuvent avoir des implications importantes pour la conception et le gréage acrobatique afin d'améliorer la sécurité des équipements de cirque.","PeriodicalId":256991,"journal":{"name":"Circus: Arts, Life, and Sciences","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128129055","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Rigging Design and Rope Design as Artistic Practice","authors":"Saar Rombout","doi":"10.3998/circus.3005","DOIUrl":"https://doi.org/10.3998/circus.3005","url":null,"abstract":"This is an audio-visual essay based on the thesis that I wrote for my MFA in Contemporary Circus Practices at Stockholm University of the Arts. This project was dedicated to preliminary research that opens up a conversation about what creative rigging and rigging design can be in circus. It discusses what roles the rigger can have and how rigging can be not only a technical aspect, but also an essential element in the artistic process. In circus, the way you move is closely linked to the apparatus you use. By designing new apparatuses or rigging constructions for circus artists to intra-act with, I create new ways to move. An installation can work partly as a score or a script for the performers to interpret and explore, rather than just an instrument that humans use to do tricks. I specifically work intensively with ropes as a performer, researcher and rigger. Working with ropes and knots is often seen as a craft, not an art form, but I think it can be both. Cela est un essai audio-visuel qui prend pour base la thèse que j’ai rédigée pour mon master en pratiques du cirque contemporain à L’Université des Arts de Stockholm. Ce projet s’est dédié à des recherches préliminaires qui ont ouvert un débat sur le gréement créatif et ce que le design des gréements peut faire. Cet essai commente les rôles possibles pour les gréeurs, et comment le gréement peut-être non seulement un aspect technique, mais aussi un élément essentiel dans le processus artistique. Dans le cirque, la façon dont on bouge est étroitement liée à l’appareil qu’on emploie. En faisant des machines neuves ou des constructions de gréements avec lesquelles les artistes de cirque peuvent travailler, je crée des nouvelles façons de bouger. Une installation peut fonctionner partiellement comme musique ou comme un scénario pour les artistes à interpréter et explorer, bien plus qu’un simple instrument qu’utilise des êtres humains pour jouer des tours. Je travaille activement et précisément avec des cordes comme interprète, chercheur et gréeur. Le travail des cordes et des nœuds est souvent vu comme être un métier et non pas un art, mais je crois que quant au gréement, les deux possibilités sont envisageables. ","PeriodicalId":256991,"journal":{"name":"Circus: Arts, Life, and Sciences","volume":"100 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130328953","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Accès ouvert","authors":"Joe Culpepper, M. I. Stuckey","doi":"10.3998/circus.3402","DOIUrl":"https://doi.org/10.3998/circus.3402","url":null,"abstract":"","PeriodicalId":256991,"journal":{"name":"Circus: Arts, Life, and Sciences","volume":"70 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-12-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133985583","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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