Purpose: The purpose of this study was to examine the impact of circus arts instruction on the physical literacy (PL) of children in grades 4 and 5. Methods: A prospective, clustered, quasi-experimental design was used to compare schools with circus arts instruction in physical education class (PE CIRCUS) to three matched schools using standard Physical Health and Education curriculum delivery (PE). PL assessments were obtained at the beginning and end of one semester using PLAY Tools (physicalliteracy.ca). These tools provided an assessment of 1) motor competence, confidence, and comprehension, 2) the child's self-report of physical literacy, 3) the PE teacher's surrogate assessment of the child, 4) the parental assessment of the child, and 5) an inventory of the child's activities. Results: 211 students participated, with equal numbers in grades 4 and 5, and an even distribution between PE and PE CIRCUS groups. There were significant (p<0.05) improvements in motor competence in movement skills (curricular linked) over time for both school settings, but with substantial endpoint differences (7.9%, p<0.01) in favour of PE CIRCUS for 15 of 18 movement skills in grade 5 only. The gender gap in motor competence in the PE CIRCUS group was smaller than that in the PE group. Children in the PE CIRCUS schools revealed greater movement terminology comprehension and higher confidence in execution (p<0.05). Children in the PE CIRCUS schools reported greater confidence, felt more talented, were more eager to participate (p=0.055), and girls associated physical activity with happiness (p<0.05) more than those in the PE schools. Conclusion: Circus arts instruction can effectively aid in the development of physical literacy in children. Providing a quality physical literacy experience, such as circus arts instruction, does not amplify the gender gap, but provides equitable levels of motor competence development for males and females, and assists with achieving current PE curricular objectives. The results of this study provide insight to allow for further development of effective physical education delivery methods in schools, and provide quantitative research to support the positive effects of circus arts instruction reported qualitatively. / October 2015

Este trabalho investiga o espaço da cena onde há a presença de elementos aéreos do circo e ilustra, por meio da trajetória e das criações de uma das primeiras companhias cênicas circenses na cidade de São Paulo, o que é um espaço em movimento. Um breve resgate da história das artes do circo, com ênfase na suspensão dos corpos e nas acrobacias aéreas, é desenvolvido para abordar as questões sobre os desenhos e formas específicas e circenses de habitar o espaço da cena. Uma escritura no espaço tridimensional, que é constantemente modificada pela relação do movimento dos corpos no ar, é exemplificada através do histórico da Companhia Cênica Nau de Ícaros. Um olhar íntimo da pesquisadora, a imersão em diversos espetáculos dessa Companhia e a gênese do espetáculo Tirando os pés do chão descrevem uma forma peculiar de ocupar a cena e desvendam os caminhos de um espaço da cena que sofre influência direta do movimento gerado pelos atores-performers e pela cenografia específica circense. / This work investigates the space of the scene where there is the presence of aerial elements of the circus and illustrates, through the trajectory and creations of one of the first circus performing companies in the city of São Paulo, what is a space in movement. A brief rescue of the circus arts history, with emphasis on body suspension and aerial acrobatics, is developed to address questions about the specific circus designs and ways of inhabiting the scene space. A writing in three-dimensional space, which is constantly modified by the relation of the motion of bodies in the air, is exemplified through the history of the Scenic Company Nau de Ícaros. An intimate look of the researcher, the immersion in several spectacles of this Company and the genesis of the spectacle Taking the feet off the floor describes a peculiar way of occupying the scene and unveils the paths of a space of the scene that undergoes direct influence of the movement generated by the actors-performers and the specific circus scenography.

Submitted by Gustavo Nascimento (gustavo.diniz@ufcg.edu.br) on 2018-02-07T12:53:13Z No. of bitstreams: 1 KAMYLLA RODRIGUES PEREIRA DA SILVA - DISSERTAÇÃO PPGH 2016.pdf: 2922796 bytes, checksum: 6a61b8800c600f644ce2eb95d22a2a83 (MD5) / Made available in DSpace on 2018-02-07T12:53:13Z (GMT). No. of bitstreams: 1 KAMYLLA RODRIGUES PEREIRA DA SILVA - DISSERTAÇÃO PPGH 2016.pdf: 2922796 bytes, checksum: 6a61b8800c600f644ce2eb95d22a2a83 (MD5) Previous issue date: 2016-06 / Iludir, cambalhotar, imaginar, rir, temer. Esses são os verbos mais importantes a compor as páginas dessa dissertação cujo fazer teceu-se sobre cartas de baralho, trapézios e narizes vermelhos. As linguagens circenses são espaços de (des)construção cuja multiplicidade nos levou a pensa-las a partir dos palhaços Major Palito e Allan, do mágico Alisson de Souza e dos acrobatas Tito e Alicate. Nessa perspectiva, traçamos caminhos para pesquisar de que forma essas artes circenses são vivenciadas na cidade de Campina Grande como práticas de arte e sociabilidade. Tomamos o tempo presente como referência, mas se tratando de um trabalho de história nos reportamos ao passado diversas vezes a fim de encontrar continuidades e rupturas que pudessem responder as diversas problemáticas apresentadas ao longo desta escrita por meio de um movimento incessante e por vezes inesperado (como os movimentos de um acrobata na perspectiva do público) que sem nenhuma pretensão teleológica nos conduziu a outros caminhos, o que ocorreu principalmente pelo trabalho com a metodologia qualitativa representada na história oral, que brinca com o pesquisador ao direcioná-lo pelas imprevisibilidades e subjetividades do entrevistado. Assim, acrescentamos as discussões circenses e historiográficas outras formas de pensar e representar o universo do circo para além das lonas e do picadeiro intrinsecamente relacionadas às suas práticas e consumos dando a ver a cidade de Campina Grande a partir de gargalhadas, riscos e ilusões que nos apresentaram as suas mais variadas faces ao provocar no público sentimentos de medo, alegria, evasão, maravilhamento, irritação, susto, curiosidade, compondo um colorido e subjetivo espetáculo. / To evade, to back flip, to imagine, to laugh, to fear. These are the most important verbs to compose the pages of this dissertation which was nurtured by playing cards, with trapezes and red noses. The circus languages are spaces of (de)construction whose multiplicity led us to think about it from the clowns ―Major Palito‖ and ―Allan‖, the magician ―Alisson Souza‖ and the acrobats ―Tito‖ and ―Alicate‖. With this perspective, we drew pathways to research how these circus arts are experienced in the city of Campina Grande as way of art and sociability. We took this present time as reference, but as this is about history assignment, we report to the past several times in order to find continuities and ruptures that could answer the various questions presented throughout this written essay, by an unceasing movement and at times unexpected (as the movements of an acrobat in the public's perspective) that without any theological intention has led us to other paths, which mostly occurred by this assignment and qualitative methodology presented in oral history, that plays with the researcher as it directs him by unpredictability and subjectivities of the interviewee. Therefore, we have added to the circus and historiographical discussions other ways of thinking and representing the circus universe beyond the canvas and the ring, intrinsically related to its practices and consumptions, presenting the city of Campina Grande through the different faces of laughter, risks and illusions in order to waken in the public feelings of fear, joy, escape, wonder, anger, fright, curiosity, composing a colorful and subjective spectacle.

Este trabalho investiga o espaço da cena onde há a presença de elementos aéreos do circo e ilustra, por meio da trajetória e das criações de uma das primeiras companhias cênicas circenses na cidade de São Paulo, o que é um espaço em movimento. Um breve resgate da história das artes do circo, com ênfase na suspensão dos corpos e nas acrobacias aéreas, é desenvolvido para abordar as questões sobre os desenhos e formas específicas e circenses de habitar o espaço da cena. Uma escritura no espaço tridimensional, que é constantemente modificada pela relação do movimento dos corpos no ar, é exemplificada através do histórico da Companhia Cênica Nau de Ícaros. Um olhar íntimo da pesquisadora, a imersão em diversos espetáculos dessa Companhia e a gênese do espetáculo Tirando os pés do chão descrevem uma forma peculiar de ocupar a cena e desvendam os caminhos de um espaço da cena que sofre influência direta do movimento gerado pelos atores-performers e pela cenografia específica circense. / This work investigates the space of the scene where there is the presence of aerial elements of the circus and illustrates, through the trajectory and creations of one of the first circus performing companies in the city of São Paulo, what is a space in movement. A brief rescue of the circus arts history, with emphasis on body suspension and aerial acrobatics, is developed to address questions about the specific circus designs and ways of inhabiting the scene space. A writing in three-dimensional space, which is constantly modified by the relation of the motion of bodies in the air, is exemplified through the history of the Scenic Company Nau de Ícaros. An intimate look of the researcher, the immersion in several spectacles of this Company and the genesis of the spectacle Taking the feet off the floor describes a peculiar way of occupying the scene and unveils the paths of a space of the scene that undergoes direct influence of the movement generated by the actors-performers and the specific circus scenography.

Submitted by JÚLIO HEBER SILVA (julioheber@yahoo.com.br) on 2017-01-12T16:38:20Z No. of bitstreams: 2 Dissertação - Bruno Amaral Ramos - 2016.pdf: 1366739 bytes, checksum: 6babdedc6a3f7856a0a3d893cfda93a7 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Jaqueline Silva (jtas29@gmail.com) on 2017-01-13T17:28:07Z (GMT) No. of bitstreams: 2 Dissertação - Bruno Amaral Ramos - 2016.pdf: 1366739 bytes, checksum: 6babdedc6a3f7856a0a3d893cfda93a7 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2017-01-13T17:28:07Z (GMT). No. of bitstreams: 2 Dissertação - Bruno Amaral Ramos - 2016.pdf: 1366739 bytes, checksum: 6babdedc6a3f7856a0a3d893cfda93a7 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2016-02-26 / This study was constructed from a field research, qualitative, conducted with students belonging to the 3rd year of computer integrated technical course for internet Federal Institute of Goiás - Formosa. The problem that prompted this study was: how the circus arts can contribute to the development of body expression and creativity of students in physical education classes. The overall objective of the research is to identify how the circus arts can contribute to the development of creativity and body language of the students in the classes of Physical Education. The specific objectives are: to deepen the knowledge about the history and definitions of Physical Education and circus arts; present the possibilities of using circus arts on the different pedagogical approaches in Physical Education; show the contributions of the circus arts to the development of creativity and body language and deepen their knowledge of teaching methodologies, seeking those that can contribute to the development of body expression and creativity of basic education students. Studied in this work from the history of circus arts, circus and physical education, making relationships of these contents with the main pedagogical approaches this discipline, passing by the concepts of body expression and creativity to reach the field of research, where we develop an educational intervention for one academic quarter and work the following contents: juggling balls and flower stick, roll-roll and ropes. The instruments for data collection were structured observation, school reports and questionnaire. We can say from this study that a good planning combined with the historical aspects of these arts, which have in essence freedom of movement, creativity, body expression and a good mediation process, based on the actionreflection- movement action will allow the development of a physical education more expressive, creative, critical and human. In this way we will be contributing to the formation of questioning people with objective conditions to position themselves in favor of the lower social classes, not to reproduce the values of capitalist society: competition, exploitation, domination and exploitation of the best, among others. / O presente estudo foi construído a partir de uma pesquisa de campo, de natureza qualitativa, realizada com alunos pertencentes ao 3° ano do curso técnico integrado de informática para internet do Instituto Federal de Goiás – Formosa. O problema que instigou esse trabalho foi: de que forma as artes circenses podem contribuir para o desenvolvimento da expressão corporal e da criatividade dos alunos nas aulas de Educação Física? O objetivo geral da pesquisa é identificar de que forma as artes circenses podem contribuir para o desenvolvimento da criatividade e da expressão corporal dos alunos nas aulas de Educação Física escolar. Os objetivos específicos são: aprofundar os conhecimentos sobre o histórico e as definições da Educação Física e das artes circenses; apresentar as possibilidades de utilização das artes circenses diante das diferentes abordagens pedagógicas da Educação Física; apresentar as contribuições das artes circenses para o desenvolvimento da criatividade e da expressão corporal e aprofundar os conhecimentos sobre metodologias de ensino, buscando aquelas que possam contribuir para o desenvolvimento da expressão corporal e da criatividade dos alunos da educação básica. Estudamos nesse trabalho, desde o histórico das artes circenses, do circo e da Educação Física, fazendo relações desses conteúdos com as principais abordagens pedagógicas dessa disciplina, perpassando os conceitos de expressão corporal e criatividade até chegar à pesquisa de campo, onde desenvolvemos uma intervenção pedagógica durante um bimestre letivo e trabalhamos os seguintes conteúdos: malabarismo com bolinhas e flower stick, rola-rola e cordas. Os instrumentos para coleta de dados foram a observação estruturada, os relatórios das aulas e o questionário. Podemos afirmar, a partir desse estudo, que um bom planejamento, aliado aos aspectos históricos dessas artes, que possuem na sua essência a liberdade de movimentos, a criatividade, a expressão corporal, bem como um bom processo de mediação, pautado no movimento de ação-reflexão-ação, possibilitará o desenvolvimento de uma Educação Física mais expressiva, criativa, crítica e humana. Desse modo, estaremos contribuindo para a formação de pessoas questionadoras com condições objetivas para se posicionarem a favor das classes sociais menos favorecidas, ao não reproduzirem os valores da sociedade capitalista: competição, exploração, dominação, valorização dos melhores, entre outros aspectos.

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Corrija esta informação no arquivo PDF e realize uma nova submissão contendo o arquivo correto. Agradecemos a compreensão. on 2016-07-21T19:29:45Z (GMT) / Submitted by RODRIGO INACIO CORBISIER MATHEUS (rodrigomatheus@circominimo.com.br) on 2016-07-26T00:33:05Z No. of bitstreams: 1 DISSERTAÇÃO DEFINITIVA RODRIGO MATHEUS desprotegida.pdf: 19467763 bytes, checksum: be3bf07c9735f2d9f6eec100fefef092 (MD5) / Approved for entry into archive by Ana Paula Grisoto (grisotoana@reitoria.unesp.br) on 2016-07-28T15:31:29Z (GMT) No. of bitstreams: 1 matheus_ric_me_ia.pdf: 19467763 bytes, checksum: be3bf07c9735f2d9f6eec100fefef092 (MD5) / Made available in DSpace on 2016-07-28T15:31:29Z (GMT). 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.

La transition de carrière est un phénomène inhérent aux arts de la scène et notamment aux arts du cirque. Le caractère souvent contraint de la transition et la difficulté pour ceux qui l’entreprenne relève d’un enjeu majeur pour l’ensemble des acteurs circassiens. Cependant, peu d’études se sont intéressées à la dynamique de la transition de carrière dans les arts du cirque. À l’heure où la pandémie de la COVID-19 contraint les employeurs à suspendre les représentations circassiennes, la réflexion sur une éventuelle réorientation professionnelle arrive plus tôt dans la carrière que pour des artistes ayant exercé avant la pandémie. En janvier 2021, 94% des artistes de cirque envisage une autre carrière, selon le regroupement national des arts du cirque En Piste. Mettre en évidence les éléments de la profession qui conduisent les artistes de cirque à entreprendre une transition de carrière, voici ce que propose ce travail original. Pour cela, nous avons mené une enquête qualitative auprès de 14 artistes du Cirque du Soleil. Nous avons observé, écouté mais aussi compris les représentations et les perceptions des artistes concernant leur carrière. Par l’intermédiaire des entrevues réalisées entre janvier 2020 et novembre 2020, nous avons recueilli des données précieuses et riches d’informations pour identifier les principaux éléments déclencheurs de cette transition. La combinaison de plusieurs facteurs tels que la chronologie dans le temps, les risques de blessures plus élevés avec l’âge, les conditions de travail très particulières des artistes du cirque, la conciliation travail/famille, l’auto-exclusion des femmes vis-à-vis de leurs pairs, l’épuisement émotionnel ou encore, le contexte exceptionnel de la COVID-19, participent au fait que les artistes quittent la scène relativement tôt au cours de leur carrière d’artiste. Ainsi, ce travail vise à reconnaître le travail des artistes du cirque ayant effectué une transition de carrière ou étant sur le point de la réaliser. / Career transition is a phenomenon inherent in the performing arts and particularly in the circus arts. The often constrained nature of the career transition and the difficulty for those who undertake it, are considered major issues for all circus actors. However, few studies have looked at the dynamics of career transition in the circus arts. At the time when the COVID-19 pandemic is forcing employers to suspend circus performances, the reflection on a possible professional reorientation comes earlier in their career in comparison to artists who worked before the pandemic. In January 2021, 94% of circus artists considered having another career, according to the national grouping of circus arts En Piste. Highlighting the factors of the artistic profession that lead circus artists to undertake a career transition, is what this original research offers. Thus, we conducted a qualitative survey including 14 Cirque du Soleil artists. We have observed, heeded and comprehended the representations and perceptions of artists regarding their career. During the interviews conducted between January and November 2020, we collected valuable and revealing data to identify the main triggers for this transition. We have thus shown that artists leave the scene relatively early in their career. The combination of several factors such as the chronology over time, the risk of injury which increases by age, the very particular working conditions of circus artists, the work / family balance, the self-exclusion of women in comparison to their peers, the emotional exhaustion or even the exceptional context of COVID-19, contribute to the fact that artists leave the scene relatively early in their professional artistic pathway. Thus, this work aims to understand the work of circus artists who have made a career transition or are about to make it.

This dissertation introduces contemporary circus as a type of dramatic art. The work thus provides a basic framework for the analysis of contemporary circus and suggests a terminology for the designation of its specific traits. This terminology is derived first and foremost from the Czech theatre studies environment. The theoretical delineation of contemporary circus stems from selected theses from Otakar Zich's The Aesthetics of Dramatic Art and Erika Fischer-Lichte's The Transformative Power of Performance: A New Aesthetics. Contemporary circus, which is depicted as belonging to several discourses - historical, aesthetic, cultural policy and pedagogical, is described from a formal as well as content-focused point of view in order to best point out how the circus element changes and takes on meaning in relation to its theatrical counterpart. The thesis is subdivided into five parts. The introduction outlines the key theme, goals and methodology as well as terminology and theories which provide the work with a suitable point of departure. The Contemporary and Traditional Circus chapter describes the history and development of traditional as well as contemporary circus in selected countries (France, Canada, USA, Scandinavia) which are considered significant within the context of circus arts...

Cette recherche se situe dans le domaine de la didactique des langues. Elle s’appuie sur une expérience d’enseignement du français à travers la mise en place d’un projet d’arts du cirque menée en classe d’initiation (CLIN). L’hypothèse est que les activités de cirque, par les émotions qu’elles mettent en jeu et les situations de communication qu’elles développent, sont déclencheuses d’une prise de parole spontanée et ont un effet positif sur la production orale des apprenants en L2. Les étapes de réalisation du projet tiennent compte de l’évolution de la place des émotions dans la pratique de cette activité artistique : Se mouvoir pour s’émouvoir ; Voir et s’émouvoir ; Donner à voir pour émouvoir. L’analyse des tâches mises en place à la lumière des théories de l’acquisition des langues permet de mesurer leur impact sur le développement de la production orale des apprenants en français. L’analyse de la production orale ainsi que de l’investissement des apprenants dans le projet et des émotions qu’ils ont exprimées, permet de mettre en évidence certains éléments du rapport émotion/investissement/acquisition d’une L2. En mesurant la portée et les limites de cette étude, je peux proposer quelques perspectives et conseils pour la mise en place d’un projet cirque visant l’acquisition d’une L2. / This research is situated in the field of language teaching. It is based on an experience of teaching French through a circus arts project, conducted in a primary school with a group of children aged 6 to 11, recently arrived in France. The hypothesis is that circus activities through the emotions involved and the implied situations of communication lead to spontaneous speech and have a positive effect of L2 oral production. The steps of the project take into account the evolution of emotions developed in these artistic activities: - Move to feel moved - See and feel moved – Give to see for spectators to feel moved. The analysis of the tasks in the light of language acquisition theories leads to a better understanding of the impact of this project on learners’ oral production of French. The analysis of the oral production, the examination of the investment of learners in the project and of emotions they expressed, allow me to highlight certain elements of the link between emotion, investment and L2 acquisition. After measuring the scope and limits of this study, I can suggest a few perspectives and advice for the establishment of a circus project involving L2 acquisition.