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No. of bitstreams: 1 matheus_ric_me_ia.pdf: 19467763 bytes, checksum: be3bf07c9735f2d9f6eec100fefef092 (MD5) Previous issue date: 2016-06-02 / Por meio do levantamento de reportagens da mídia impressa, da bibliografia existente e de entrevistas com pessoas que participaram do processo, este trabalho investiga o processo de constituição das primeiras escolas de circo da cidade de São Paulo, a Academia Piolim de Artes Circenses em 1978 e o Circo-Escola Picadeiro em 1984 e as transformações, internas e externas ao modo de organização do trabalho circense, que contribuíram para as distintas formas de produção da linguagem circense, em particular do circo paulistano e brasileiro. A partir dessas escolas, levantamos os grupos que surgiram, formados e fundados por alunos ou ex-alunos, com o intuito de explorar o conhecimento circense adquirido nas escolas e suas estéticas, propondo alterações nos modos de produção e constituição dos espetáculos circenses, assim como do próprio modo de organização do trabalho e do modo de formação e aprendizagem do circo. Esse levantamento permite discutir os conceitos “representação” (DELEUZE e GUATTARI, 1992, p. 19-20), ou seja, generalizações, resultando nos rótulos “universais” que surgiram para definir os circos no século XX, a maior parte dos quais associados a essa produção pós-escolas de circo, como Circo Contemporâneo, Circo Tradicional e Circo Novo, todos resultantes de uma disputa de poderes e saberes entre os atores históricos e sua relação entre si, com o poder público e com a mídia. Na parte final, apresenta-se um levantamento da trajetória artística do Circo Mínimo, o seu processo de constituição e uma análise de suas obras mais relevantes a partir das reações da imprensa escrita, à luz do que foi discutido até então. O trabalho termina concluindo sobre a diversidade sobre a linguagem das artes do circo, da impossibilidade de determinar sobre seus limites e fronteiras e como as condições históricas recentes do Brasil, em particular a ditadura civil-militar, contribuíram para aquelas transformações. / Through a research amongst reports on printed media, the existing literature and interviews with some of the people who took part in the process, this work investigates the process of constitution of the first circus schools in the city of São Paulo: Piolim Academy of Circus Arts in 1978, and the Circo-Escola Picadeiro, in 1984. It also investigates the changes and transformations, both internal and external to the “method of organizing the circus work”, which contributed to the different forms of production in circus language, particularly in São Paulo. From those schools we point the groups that emerged, formed and founded by students or former students in order to explore the circus knowledge acquired in the schools and their aesthetics, proposing changes in the modes of production and creation of circus shows, as well as the method of organizing work and the way of training and learning circus. This survey allows us to discuss the concepts "representation" (DELEUZE and GUATTARI, 1992, p. 19-20) or generalizations, resulting into the "universal" labels that were created to define the circus diversity in the twentieth century, most of which related to this circus schools post-production, such as Contemporary, Traditional and New Circus, all emerging from the power and knowledge disputes between historical actors and their relationship with each other, the government and the general media. This survey allows us to discuss the concepts-representation linked to universal labels that came to the circus in the twentieth century, most of them associated with this circus of post-school production, such as Contemporary Circus, Traditional Circus and New Circus, all emerging from power and knowledge disputes between historical actors and their relationship with each other, the government and the media. In the final part, we made a gathering of the artistic career of the Circo Mínimo, the process of its constitution and an analysis of the most important works, based on the written press reactions, in the light of what has been discussed in this work so far. The work ends concluding on the diversity of the language of circus arts, since it is impossible to determine on its limits and boundaries and how recent historical conditions in Brazil, particularly the civil-military dictatorship, contributed to those changes.

This master thesis investigates abusive conduct in circus schools. Focus is put on the management level in order to achieve and provide knowledge of measures and attitudes related to prevention. The theoretical framework for the thesis is built on understanding knowledge as situated and the creation of normative borders producing ways for practitioners of identifying with artistic disciplines. Moreover, the thesis takes a structural understanding of abusive conduct. Stating the lack of research within circus schools, the thesis builds upon a research background relying on sports and academia as fields of reference. Research from these related fields are argued to help artistic education such as circus schools to make up for lost time. The data of this thesis comes from a survey conducted within a global federation of professional circus schools, FEDEC, and the results were thematically analyzed in eight categories. The results reflect circus schools as mainly willing actors against abusive conduct. However, the survey also shows a discipline that is in need of deeper knowledge in order to better apply policies and effectively prevent abuse. The respondents show varying degrees of uncertainty regarding policies and in certain cases refer to direct unwillingness to engage with designated safeguarding procedures, attitudes that must be seen as incompatible with management of any artistic school. In conclusion, this thesis argues that circus (and indeed other artistic) schools are in need of better knowledge and further research in order to better account for transparency, active leadership and bystanding dynamics within the specific social fields of the respective disciplines. Finally it is suggested that further research into identifying and naming problems related to cultures of abuse may help circus schools and other social actors within Circus to put these questions on the agenda. / Ce mémoire de Master étudie les comportements violents au sein des écoles du cirque. Il se concentre sur le rôle de la direction des écoles, dans le but de procurer les connaissances nécessaires à l’application des mesures et des attitudes relatives à la prévention. Le cadre théorique de ce mémoire s’appuie sur les concepts de “savoir situé” et de “frontières normatives”, permettant aux professionnel-le-s de s’identifier eux-mêmes et elles-mêmes aux disciplines artistiques. Ce mémoire inclut par ailleurs une analyse structurelle des comportements violents. Ayant constaté le peu d’observations effectuées au sein des écoles du cirque, il s’appuie sur des recherches ayant comme terrains de référence le sport et le milieu universitaire. La recherche issue de ces domaines connexes est utilisée pour permettre au secteur de l’éducation artistique, dont les écoles du cirque, de rattraper le temps perdu. Les données reprises dans ce mémoire proviennent d’une enquête menée au sein de la fédération mondiale des écoles du cirque, la FEDEC, et l’analyse des résultats est répartie en huit thématiques distinctes. Les résultats montrent que les écoles de cirque sont pour la plupart disposées à lutter contre les comportements violents. Cependant, l’enquête pointe également que la discipline requiert des connaissances plus approfondies pour pouvoir appliquer au mieux les règles en vigueur et empêcher efficacement les violences. Les répondant-e-s montrent des degrés divers de scepticisme concernant ces règles et, dans certains cas, une réticence directe à appliquer des mesures de protection spécifiques ; attitudes qui doivent être considérées comme incompatibles avec la gestion de toute école artistique. Enfin, il est suggéré que des recherches supplémentaires sur l’identification et la désignation des problèmes liés à la culture de la violence pourraient aider les écoles du cirque et d’autres acteurs sociaux au sein du monde du cirque à mettre ces questions à l’ordre du jour. En conclusion, ce mémoire soutient que les écoles de cirque (et bien d'autres établissements d’enseignement artistique) ont besoin de meilleures connaissances et de recherches plus approfondies afin de mieux rendre compte de la transparence, du leadership actif et des dynamiques d'observation au sein des domaines sociaux spécifiques des disciplines respectives. / <p>The English version was examinated 2021-06-11 and published 2021-07-01. The thesis was translated into French by the author. The translation was published 2022-03-31.</p>