Thesis (Ph. D.)--University of Oregon, 2002. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 145-155). Also available for download via the World Wide Web; free to University of Oregon users.

Thesis (M.A.)--Florida State University, 2005. / Advisor: Virgil Suarez, Florida State University, College of Arts and Sciences, Dept. of English. Title and description from dissertation home page (viewed Apr. 5, 2006). Document formatted into pages; contains iv, 45 pages.

A partir da década de 1970 a prática do circo expandiu-se, assim como a disseminação de seu conhecimento para além das famílias de circenses inclusive com sua apropriação para fins sociais, recreativos e educativos. Esse trabalho criou um mapa das atividades circenses na cidade de Ribeirão Preto-SP sob o ponto de vista de onze instrutores do circo. A pesquisa foi de caráter qualitativo pautada na Teoria Fundamentada como método de pesquisa. Foram encontradas três grandes categorias, a saber: Vivências da prática, Construção do Conhecimento e Dinâmica da Sociedade, as quais influenciaram o Ensino desses instrutores, e que formaram o eixo central. Notou-se a origem do movimento circense na cidade pautada na escola de circo de uma família tradicional, a qual exerce grande influência nesse contexto. Dentre as inúmeras questões abordadas pelos entrevistados destacamos os meios de educação, a demanda social, as limitações, as referências, a filosofia de trabalho, as vivências de aprendizado e a forma de ensino. A articulação entre essas categorias gerou um conhecimento rico, que, se bem, apropriado, poderia beneficiar a formação de outros instrutores e, consequentemente, a qualidade da prática. / From the 1970s, circus practice expanded, as did the dissemination of their knowledge beyond circus families, including their appropriation for social, recreational and educational purposes. This work created a map of circus activities in the city of Ribeirão Preto-SP from the point of view of eleven instructors of the circus. The research was of qualitative character based on the Theory Grounded as research method. Three major categories were found: \"Experiences of Practice\", \"Knowledge Building\" and \"Society Dynamics\", which influenced the \"Teaching\" of these instructors, and which formed the central axis. It was interesting to note the origin of the circus movement in the city based on the circus school of a traditional family, which exerts great influence in this context. Among the many questions addressed by the interviewees we highlight the means of education, social demand, limitations, references, work philosophy, learning experiences and the way of teaching. The articulation between these categories generated rich knowledge, which, if appropriate, could benefit the training of other instructors and, consequently, the quality of practice.

A partir da década de 1970 a prática do circo expandiu-se, assim como a disseminação de seu conhecimento para além das famílias de circenses inclusive com sua apropriação para fins sociais, recreativos e educativos. Esse trabalho criou um mapa das atividades circenses na cidade de Ribeirão Preto-SP sob o ponto de vista de onze instrutores do circo. A pesquisa foi de caráter qualitativo pautada na Teoria Fundamentada como método de pesquisa. Foram encontradas três grandes categorias, a saber: Vivências da prática, Construção do Conhecimento e Dinâmica da Sociedade, as quais influenciaram o Ensino desses instrutores, e que formaram o eixo central. Notou-se a origem do movimento circense na cidade pautada na escola de circo de uma família tradicional, a qual exerce grande influência nesse contexto. Dentre as inúmeras questões abordadas pelos entrevistados destacamos os meios de educação, a demanda social, as limitações, as referências, a filosofia de trabalho, as vivências de aprendizado e a forma de ensino. A articulação entre essas categorias gerou um conhecimento rico, que, se bem, apropriado, poderia beneficiar a formação de outros instrutores e, consequentemente, a qualidade da prática. / From the 1970s, circus practice expanded, as did the dissemination of their knowledge beyond circus families, including their appropriation for social, recreational and educational purposes. This work created a map of circus activities in the city of Ribeirão Preto-SP from the point of view of eleven instructors of the circus. The research was of qualitative character based on the Theory Grounded as research method. Three major categories were found: \"Experiences of Practice\", \"Knowledge Building\" and \"Society Dynamics\", which influenced the \"Teaching\" of these instructors, and which formed the central axis. It was interesting to note the origin of the circus movement in the city based on the circus school of a traditional family, which exerts great influence in this context. Among the many questions addressed by the interviewees we highlight the means of education, social demand, limitations, references, work philosophy, learning experiences and the way of teaching. The articulation between these categories generated rich knowledge, which, if appropriate, could benefit the training of other instructors and, consequently, the quality of practice.

Orientador: Mario Alberto de Santana / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-27T08:59:09Z (GMT). No. of bitstreams: 1 Jannuzzelli_Fernanda_M.pdf: 15681487 bytes, checksum: 22c5cb771258d978d4a71bb35fbb47d7 (MD5) Previous issue date: 2015 / Resumo: Esta pesquisa visa traçar algumas considerações acerca do fenômeno conhecido como circo-teatro, sob o viés do trabalho do ator. Propôs-se, como recorte de estudo, a descrição de alguns elementos da encenação e interpretação de duas companhias circenses: o Circo-Teatro Pavilhão Arethuzza, uma das companhias de circo-teatro mais bem sucedidas do início do século XX e que encerrou suas atividades na década de 1960, e o Circo de Teatro Tubinho, um dos maiores representantes do circo-teatro na atualidade. Partindo do fato de que o espetáculo circense é sempre múltiplo e agregador de variadas linguagens artísticas, buscou-se, com essa pesquisa, compreender a arte de ator dos artistas dessas duas companhias e o modo como estes organizavam e organizam seus trabalhos. Afirma-se que a teatralidade, em seus mais variados formatos, sempre esteve presente no espetáculo circense desde sua origem "moderna" com Philip Astley, no século XVIII, e que, portanto, o circo-teatro não é a única, mas sim uma das diversas formas que a teatralidade circense assumiu ao longo dos anos. Afirma-se também que, em termos pedagógicos, o circo-teatro é uma escola formativa, com metodologia, princípios e caminhos próprios, constituindo um tipo de teatro tão relevante quanto o teatro tido como oficial. Assim sendo, essa pesquisa inspirada no fazer dos artistas circenses pode auxiliar o fazer de outros artistas, não oriundos desta escola e deste fazer teatral. E essa transposição é possível, pois, em última instância, todos os verdadeiros artistas buscam a mesma finalidade: a troca viva e verdadeira com seu público / Abstract: The purpose of this study is to set some considerations around the phenomenon known as drama-circus, under the scope of the acting work. It has been set out, as the point of study, the description of some acting and performing elements from two Circus Companies: Circo Teatro Pavilhão Arethuzza, one of the most successful drama-circus companies from the beginnig of the 20th century, which has shut down its activities in the 60¿s, and Circo de Teatro Tubinho, one of the greatest representatives of the drama-circus nowadays. Starting from the fact that a Circus show is always assorted and somatic of several artistic languages, this research has pursued the understanding of the art of the actor of the artists from these two companies and the way they organized and still organize their work. It has been stated that the theatrical performance, in its most diferente ways has always been presente in a Circus Show since its "modern" origin, done by Philip Astley, in the 18th century, and, therefore, the drama-circus is not the only one, but one of the several ways that circus theatrical performance has taken on along the years. It has been also asserted that, in pedagogical terms, the drama-circus is a ladder school, with its own methodology, principles and ways, composing a type of theater as relevant as the one known as oficial. Therefore, this study, inspired on the circus artist performance could also support the other artists performance, whose are not native of this theatrical performance. This transposition is achievable, because, as a last resort, all the real artists search the same goal: a vivid and truthful exchange with their audience / Mestrado / Teatro, Dança e Performance / Mestra em Artes da Cena

This Master thesis is about Western circus performance styles. It is the aim to describe, compare, and contextualise traits and tendencies of early Western circus performances (EWCP) and contemporary Western circus performances (CWCP) through academic terms. The investigation is centred around the thesis that CWCP have revitalized a suffering and almost dying art form called 'circus' – causing it to reach a new level of social and artistic acceptability in a postmodern world – mainly through the introduction of a significant stylistic feature: Identification. The feeling of a spectator's close emotional association with the action taking place onstage. This feature stands in opposition to the acrobatic skills exposed, and through this implementation, the author therefore claims an exposition of contrasts to occur onstage: The foreign and mysterious combined with the familiar and 'real'. The exposition of superior and seemingly unobtainable physical abilites combined with the exposition of human fragility, flawedness, and inferiority. The spectators' passive observance in awe of an artist flying high and far away combined with spectators' active engagement with an artist staring them closely into the eyes on the ground. The imaginative combined with relatable everyday-like images. Establishing a common ground between artist and audience while at the same time distorting it.  According to the author, the feature of identification has been absent in stylistic expositions of EWCP. This absence is argued to create dichotomous gaps, rather than ties, between sender and receiver as well as between performed images and images linked to 'reality'. The author suggests that these modes were crucial causes of EWCP' decrease in popularity due to the arrival of postmodernism, and that the increasing popularity of CWCP in the later 20th century was due to the elimination of these gaps. The research is done by interweaving 1) historical contextualizations and comparative studies between EWCP and CWCP, 2) discussions of selected circus scholars' literature about circus performances' stylistic developments, 3) the author's embodied experiences with circus performances (ie. as an acrobat in the company Cirque du Soleil), and 4) stylistic analyses of tropes and patterns in selected EWCP and CWCP. Conclusions are reached through the author's constructions of coherence between these aspects. Paula Saukko's eclectic research model has been applied in order to integrate various methodologies. The analyses are based on dance scholar Susan Foster's theory about modes of representations as well as selected rhetorical terms related to stylistics. It is a core aim of this Master thesis to provide studies of circus performances' stylistic executions with more clarifying and adequate terminologies.

Creating immersive performance design using mycorrhizalstructure methodology and iceberg theory in circusperformance settingsWhat is immersive performance design and what role does ithave in a performance-based setting and frame? Does it holdthe possibility and capability of challenging the frame in whichwe normally perform?The focus of my research is to explore the boundaries of howwe approach devising performance with particular attentionto the relationships in space and the proximity of objects andparticipants within this. I am to create a performance-basedmilieu in which spectators, practitioners, the space andobjects are in symbiosis. A space of symbiosis where no oneperson has a different status from the other, but a space thatallows for people holding different roles. The performer andthe audience, the object and the body. My definition ofsymbiosis draws inspiration from the mycorrhizae funginetwork as a starting point for me to mould a methodologyadapted to a performative setting. To this milieu I incorporateother factors and concepts, such as the role of text, thedialogue of the still and quiet and how our senses-experienceaffect our perception. I attempt to weave these concerns intomy circus practices

In September 2018 I started my research project at the Master of contemporary circus practices at DOCH, Stockholm. Much has happened since then. 2018 turned into 2021. The school changed its name to SKH. The world turned into a pandemic battle zone. I turned into a mother of two. Little things, big things. Life.The following is a compilation of material from the last 2½ years. It is made like this to provide insight into an unusual process. A research project where the obstacles during the process ended up being the theme of the project.It is structured as followed:Old text material is kept in its original shape, even when it is painful (!) for me to go back and read it. I have shortened some sections and deleted irrelevant parts even though I know that what seems irrelevant today can become relevant tomorrow. Repetitions will likely occur, some on purpose, others not.Old texts taken from school reports are in blue like this. Blue, for me the color of balance. When I balance on my hands, I see myself in and surrounded by blue shades when I maintain balance and in white when I fall.Extracts from a diary written during this writing process are in red like this. Blood red. Written during a lockdown where I felt quite melodramatic hence the color.A script I wrote to my classmates is in green, the color of... hope? Definitely of new life.New reflections are added, some to explain the research further, others to engage in a critical dialogue with my voice of the past. All new thoughts are in black like this. These texts are the narrator of the story, the guide of the exhibition, the detective of the disappeared meaning, the curator of the mess

My research is about Rope Design. The design of, but more importantly, by and with the ropes. I have worked with ropes all my life, in many ways; sailing, circus, rigging, knots, etc. They have had a big impact on me and my life. In my research I am looking at what they can do and who or what they can be. On stage, in my practice and in my daily life. With me, as well as without me. I want to find an equal partnership with them, where I acknowledge that we both have agency and where both of us constantly keep changing and learning from each other. I am discovering how they can change my movement and the way I look at the world.

PhD / In Australia, like most countries, circus has been an element, at times a very important element, in the mosaic that constitutes its popular culture. An outgrowth of the circus as recast in a modern form in London in the 18th century, an Australian circus profession has existed almost continuously since 1847. Australia’s circus entrepreneurs took the principal features of English, and later American, circus arts and management and reworked these features to suit their new antipodean context. The athletic, intellectually undemanding nature of its equestrian-based entertainments harmonised with the emerging patterns of modern Australia’s way of life. In time, Australia produced renowned circus artists of its own, even artists capable of reinvigorating the concept of circus in the very countries from which their art had been derived. Since their transience and labours, indeed their very existence, were somehow tangential and inconsequential to mainstream Australian society, Australia’s circus people did not attract tokens of recognition in story and verse as did shearers, drovers, diggers and other identities of the Australian outback. Their contribution to Australia’s social, economic and cultural development has been largely overlooked. Despite its pervasive role in Australia’s cultural life over more than 150 years, examples of academically grounded research into Australian circus are few. The primary aim of this study is to demonstrate the major themes evident in Australia’s circus history, in terms of society, enterprise and culture, between 1847 and 2006. None of these areas, of course, is exclusive of the others, especially the first and last named. These deliberations are framed within the broader influences and events apparent in Australian society and history. Implicit within this demonstration is the notion that circus, whatever its characteristics and merits as an artform, has been, and continues to be, a ‘barometer’ of social, economic and cultural change in Australia.