Orientador: Marco Antonio Coelho Bortoleto / Dissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação Física / Made available in DSpace on 2018-08-20T12:08:51Z (GMT). No. of bitstreams: 1 OntanonBarragan_Teresa_M.pdf: 1459085 bytes, checksum: e787077db48f483bbf91903c6f04ff05 (MD5) Previous issue date: 2012 / Resumo: É notório o aumento do trato das atividades circenses como conteúdo na educação física escolar, dinâmica que pode ser observada igualmente no incremento da produção acadêmica. Tomando como ponto de partida o contexto anunciado anteriormente, o objetivo desta pesquisa consistiu, em primeiro lugar, em analisar "o estado da arte" no que diz respeito à produção acadêmica dedicada ao estudo das atividades circenses no âmbito educativo, particularmente na escola, para, num segundo momento, realizar um estudo de campo descritivo sobre como esta prática vem sendo abordada em duas escolas, uma no Brasil e outra na Espanha. Os resultados confirmam a tendência anunciada, isto é, de que as atividades circenses estão cada vez mais presentes nas aulas de educação física e de que existe um incremento da produção acadêmica sobre este assunto, embora a maior parte dos estudos ainda trate sobre relatos de experiência. Contudo, apesar do aumento da sistematização e da reflexão sobre a pedagogia das atividades circenses, percebemos que os avanços ainda são tímidos frente ao significativo aumento das experiências escolares. Por outra parte, a pesquisa revela como diferentes propostas pedagógicas, tanto na iniciativa privada quanto na pública, podem alcançar resultados expressivos, quer na dimensão conceitual como também na prática das atividades circenses / Abstract: We are attending to an increase in the treatment of circus activities as content in physical education during school years; this is a dynamic that can also be observed in the increase of academic output. Taking as a starting point the context previously announced, the aim of this research was, firstly, to analyze "the state of art" in terms of the academic output devoted to the study of circus activities within the educational field. This research is focused particularly on school years with the intention of, in a second step; carry out a descriptive field study on how this practice is developed in two different schools, one located in Brazil and the other one placed in Spain. The outcomes confirm the tendency previously announced, that means that the circus activities are increasingly present in physical education classes and that it also exists an increase in academic output on the subject, although most of the studies are still mainly based on experience reports. Still, despite the increasing of the systematization and reflection on the pedagogy of circus activities, we notice that the progress is still tepid compared to the significant increase in the school experiences. On the other hand, the enquiry shows how different educational proposals in both the private and public initiative can achieve significant results, either in the conceptual dimension, but also in practice, of the circus activities / Mestrado / Educação Fisica e Sociedade / Mestre em Educação Física

This paper seeks to continue the research started by scholars such as W. Liebeschuetz and P. Bell in order to challenge the traditional argument put forth by Al. Cameron, namely that the circus factions did not have a political role in society. The objective of this study is to examine the political importance of the circus factions from the reign of Anastasius (491-518) to Heraclius (610-641). Furthermore, it explores the political motivations behind the factions’ violent behaviour, the evidence for their involvement in the military, and their role in accession ceremonies. The methodology includes establishing a typology for sixth century riots, an examination of the hippodrome and its role as a medium between people and emperor, tracing the shift in the focus of imperial ideology, and a re-evaluation of the primary sources, with a focus on the literary and epigraphic evidence, to determine if there was a political aspect to the factions. The study concludes that Cameron did undervalue the factions’ political importance and outlines the conditions that were influential in their rise in importance.

Le cirque, qui combine des disciplines et des esthétiques des plus disparates et expose les corps dans des postures extrêmes, est un art composite et excessif : profondément hybride. Cette thèse, que nous consacrons plus spécifiquement aux scènes acrobatiques, entend étudier un processus de création en articulant théorie et pratique : celui de l’hybridation de l’acrobatie avec les arts du texte (écrit et parole) grâce à l’analyse d’un corpus de spectacles acrobatiques narratifs et parlés, créés entre 2004 et 2016 par des compagnies de cirque dans des espaces scéniques variés (chapiteau, rue ou scènes de théâtre) et qui mettent en scène des fictions. L’hybridation dont ces formes font l’expérience, assez rare sur des scènes circassiennes contemporaines françaises pourtant foisonnantes, nous permet d’approfondir l’étude de plusieurs questions qui animent la création acrobatique actuelle : celle de la poétique de l’acrobatie que sous-tend la quête des dramaturgies circassiennes, de la composition des formes, et par conséquent celle de l’auctorialité dans les formes acrobatiques. C’est bien le mouvement de transformation d’un art et des représentations qu’il véhicule que nous cherchons à saisir, ainsi que les présupposés qui sous-tendent l’affirmation de la légitimité du cirque sur les scènes contemporaines. Comment les transformations que le texte imprime à l’art vigoureux et fragile de l’acrobatie, et réciproquement, permettent-elles de repenser les modalités de composition d’une forme acrobatique ? Quelles visions du monde les acrobates ont-ils à partager ? Quels mondes à inventer et à représenter ? Le texte et la parole imposent de repenser les corporéités acrobatiques en même temps que les logiques de composition des créations : ils participent au renouvellement des scènes circassiennes qui affinent et affirment par ce biais leur point de vue sur le monde. / The circus, which combines the most disparate disciplines and aesthetics and exposes the bodies in extreme postures, is a composite and excessive art: deeply hybrid. Articulating theory and practice, this thesis devoted to acrobatic scenes intends to study process of creation: specifically the hybridization of acrobatics with the arts of text (writing and talking) based on a corpus of narrative and spoken acrobatic performances created between 2004 and 2016 by circus companies in various scenic spaces (tent, street or theater scenes) and which stages fictions. However this hybridization is quite rare in abounding French contemporary circus scenes, these scenic experiences has allowed us to deepen the study of several questions that animate nowadays acrobatic creation: poetics of acrobatics that underlies the quest for circus dramaturgies, composition of forms and consequently that of auctoriality in acrobatic forms. Indeed, this thesis aim to study the movement of transformation of an art and its representations, as well as the presuppositions that underlie the affirmation of the legitimacy of circus performances on contemporary scenes. How do the transformations, which the text imparts to the strong and fragile acrobatics arts, and vice versa, implies to rethink the composition modalities of an acrobatic show? What visions of the world do acrobats have to share? What worlds do they have to invent and represent? Text and speech impose to rethinking acrobatic corporeities along with the logic of the composition of the creations: they participate in the renewal of the circus scenes which refine and affirm their point of view on the world.

The master thesis deals with the area of social circus, which works with groups with risk of exclusion in the form of creative expression. The aim of the thesis is to map social circus projects in the Czech Republic and Spain, in relation to the phenomenon of empowerment in working with groups at risk of exclusion, especially in terms of social circus projects, the way they work with empowerment and for what purpose and subsequent comparison of gathered data with existing research and empowerment theories. The thesis therefore offers an insight into the current state of social circus and its connection with civil society by empowerment of people at risk of exclusion. Key words: Empowerment, Social circus, social inclusion, civil society

"Florida State University presents an annual all-student University circus which is nationally known. This event is a five-ring affair held in the spring quarter of each year in which approximately one hundred and fifty students take an active part. The activities which make up the circus include those of the aerial, dancing, balancing, gymnastics and tumbling, skating, and clowning types. Approximately five small performances are given during the fall quarter in cities near the locality in the State of Florida each year. The Department of Physical Educaiton for Men at Florida State University offers a one-hour service course in circus activities as well as sponsoring the annual all-student University circus. The circus is a part of the physical education program. Physical education is education, and the purposes of both are the same. Therefore, the purpose of this study is to determine the educational values of Florida State University's circus. If it is found that circus activities contribute to the three major purposes of physical education--development of mental and physical fitness, development of social and ethical character, and development of skills for worthy use of leisure--such an enterprise may become a desirable addition to the total physical education program"--Introduction. / "July, 1950." / Typescript. / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Science under Plan II." / Advisor: Kenneth D. Miller, Professor Directing Paper. / Includes bibliographical references (leaves 32-33).

This study offers insight into the process and frst-hand experience of quitting circus. The focus lies in the defning of acts of stopping as a consciouschoice. Stopping is generally seen as negative and unproductive as it caneasily be associated with giving up or failing, and therefore seems to be anunlikely and unworthy subject to be researched. But in the artist’s opinion thedecision to stop carries a consciousness and a creative potential, which qualifes Quitting as a research subject. A substantial part of the research was devoted to defning and redefning the subject’s borders, as well as its heart. Within these explorations, concepts of phenomenology, psychology, storytelling,deconstruction, vibrant materiality and memoir-writing were discovered andrevealed. As a circus performer in transition, the artist was guided throughher research journey by sharing her own story of starting and stopping circus,sharing insights gained through reflective writing and self-observation. These were further enhanced by participating in physical and performance exercises and movement improvisations.Quitting’s potentiality is anticipated inspaces of resistance, moments of inertia, in the motivation for stopping, andin the felds between the old and the ‚not yet‘. This inspired the investigationof symptoms like training, repetition, pressure, perfection and identifcation. The initial defnition of Quitting as an ‚Intended Un-becoming‘ in a cleansingact of creating a new, unspoilt and authentic starting point was confrontedwith the realization that consequent Quitting would result in death. This challenged the project’s realizability and led to a confrontation with questionsabout achievement and performance. The abandoning of an impossible concept while continuing to pursue the project, presented Quitting as a paradoxand indicated possible new approaches. Recognizing the act of letting go as an individual event, and practices of realigning and re-synchronization as a generating of the potential that was searched for in Quitting, established the telling of Quitting Stories as a Making ofSpace. Storytelling and interviews with Quitters, practitioners and therapistsare therefore the main practice and expression of this research. Understanding Quitting’s paradoxical nature enabled its potential as an artistic practice, by presenting subjects in an unexpected way and allowing themto be seen in a new way. Quitting as an artistic practice is an intended futurecontinuation of the research.

Freedom through restriction is an artistic project which investigates movement, freedom of expression and the value of restrictions in creative processes, through my experience. Through this study, I aim to develop innovative methods to encourage myself and fellow practitioners to connect with the body, to expand awareness and knowledge of the circus practice through the self, and to think through movement for creative, artistic, and pedagogical purposes. The source material is videos of my movement research, relevant literature and texts that I have been writing throughout the two-year Master Programme at the Stockholm University of the Arts.I start by introducing the concept of restricted verticality, an involuntary alteration of the normalized environment of aerial disciplines, where the vertical space is stripped to the minimum. Adaptation, sensing, rope manipulation are methods extrapolated from the exploration of the limited vertical space. Learning to shift conditions voluntarily becomes a method to unlock new possibilities and to acquire deeper knowledge of the circus practice. The purpose of this thesis is to propose a less anthropocentric approach to circus apparatus and a shift in virtuosity that differ to the standardized ones of athletic prowess and dominance over the objects, to enable circus artists to become active creators and improve a sense of availability towards other animate and inanimate bodies. The last chapter is dedicated to my Final Major Project, a physical representation of my study at the end of the Master course, and how this experience informed my practice further.Restriction is throughout a framed space of investigation, where environment, bodies and task-based improvisation approaches are all intended as spaces within which there is an infinite number of possibilities to explore freely and discover their full potentialities. The mutual relationship between restriction and freedom of movement is opportunity for artistic research processes.

The research investigates the transposition of circus performance to the aural and sonic realm asking the question:  How and can circus exist in and through sound?

This thesis explores how textile contributes to meaning-making and spatial design in scenography. Through the theoretical lens of performativity theory, it studies three scenes from Cirkus Cirkör’s popular show Knitting Peace. Using semiotic analysis as formulated by Jan-Gunnar Sjölin, the thesis focuses on movement, spatiality and socio-cultural meaning through the three questions; How can textile enhance movement and rhythm? How is it used together with lighting to create changes in spatiality? And What connotations does textile induce, and how do they affect the overall meaning-making in scenography? The results suggest that textile is a valuable material in performance art and scenography. For example, textile behaves in ways that resemble both fluid and solid form. This allows for change of depth and shifting between open and closed spaces on stage with little effort. It also gives means to enhance and enlarge human movement in scale, intensity and time. In Knitting Peace this is used together with lighting design to create off sync layers of reality to symbolise a distorted dreamworld. The thesis shows how we can better understand the way textile affect us by applying perspectives that focus on its different characteristics. Moreover, it demonstrates that an interdisciplinary approach that builds on knowledge from different fields, such as fashion design and performance studies, can greatly benefit our understanding of the potential use of textile in arts.

Why does a London smog heavy with the dark smell of diesel on a drizzly gray afternoon bring a keen sense of deja vu, o spasm of Anglophilia, to one who grew up in the Pacific Northwest of the United States? Perhaps it is the similar climate. Perhaps The City is perceived as ”achieved” rather than ”provided”. Perhaps the durable materials of The City act as an "Affirmation of Confidence". Perhaps it cannot be put into words. It is the ”genius loci” of The City that has drawn me to invest my time on a thesis there. The nearby great works of old become ”prospects” for this design. The historical precedents emit rhythms of order, clues to design. / Master of Architecture