This dissertation is about the circus, but it is also about how we think through a range of possibilities for individual and social change in the contemporary post-Fordist or neoliberal moment. In the last 40 years geographers, along side other scholars, have documented an increasingly close relationship between social, political, and economic aspects of life in western countries. These shifts have raised concerns over shrinking spaces of resistance and loss of counter hegemonic voices, and increased interest in transgressive or ‘outside’ spaces and bodies as sites of resistance, escape, and social change. Two contested sites that seem to offer promise for resistance, yet are simultaneously critiqued for their participation in dominant discourses, are art (or creative labour) and the body. Despite prolific literatures on these topics in geography in the last decade, links between creative labour, theories of embodiment, and the living practices of cultural workers are still far too rare. To address this I examine the intersection of theories of research, labour, art, discipline, embodiment and politics, understood through the daily practices of circus performers doing highly physical and embodied work. I focus in particular on clowns and aerialists, performance forms to which I have outstanding access as a performer in these genres. I addition to extensive participant observation over several years of performance work, my research is based on 26 elite interviews with key performers in the Canadian circus community, and an ephemeral archive of visual and textual materials. The resonance of questions about the nature of social research, art and work, and disciplined and fluid subjectivities, opens up new space for thinking across often-disconnected spheres. I believe the presence of circus performers’ lived experiences and my own embodied knowledge throughout this analysis deepens our understanding of political possibilities across many different spaces.

This dissertation is about the circus, but it is also about how we think through a range of possibilities for individual and social change in the contemporary post-Fordist or neoliberal moment. In the last 40 years geographers, along side other scholars, have documented an increasingly close relationship between social, political, and economic aspects of life in western countries. These shifts have raised concerns over shrinking spaces of resistance and loss of counter hegemonic voices, and increased interest in transgressive or ‘outside’ spaces and bodies as sites of resistance, escape, and social change. Two contested sites that seem to offer promise for resistance, yet are simultaneously critiqued for their participation in dominant discourses, are art (or creative labour) and the body. Despite prolific literatures on these topics in geography in the last decade, links between creative labour, theories of embodiment, and the living practices of cultural workers are still far too rare. To address this I examine the intersection of theories of research, labour, art, discipline, embodiment and politics, understood through the daily practices of circus performers doing highly physical and embodied work. I focus in particular on clowns and aerialists, performance forms to which I have outstanding access as a performer in these genres. I addition to extensive participant observation over several years of performance work, my research is based on 26 elite interviews with key performers in the Canadian circus community, and an ephemeral archive of visual and textual materials. The resonance of questions about the nature of social research, art and work, and disciplined and fluid subjectivities, opens up new space for thinking across often-disconnected spheres. I believe the presence of circus performers’ lived experiences and my own embodied knowledge throughout this analysis deepens our understanding of political possibilities across many different spaces.

Circus is increasingly being used as a developmental and remedial activity for children. However, it is in the paradoxical nature of circus that it operates in a way both mysterious and easily accessible. This thesis proposes that circus as education is more effective when both teacher and student have a better understanding of circus as an art form. To explain this I first introduce six 'elements' of childhood, whose absence often seems to result in an incomplete personal maturity. Ith en conduct a wide exploration of both the real and the imagined circus, showing how these elements occur or are evoked there, and I establish a correspondence or 'homology' between the two entities - childhood and circus. The discoveries shed light on the aesthetic code of circus itself, leading to the conclusion that circus works as an artform because its essentialcomposition recalls profound experiences of childhood. I argue that contemporary Western childhood presents unexpected hazards, mostly involving passivity and over-protection. I n other parts of the world, and in some Western populations, childhood has other problems, linked to deprivation, exploitation and physical danger. I n either case, a child involved in circus activities has a chance to make good some deficits, by experiencing constructive physical risk, aspiration, trust, fun, self-individuation and hard work. My hope is that this dissertation will contribute some strength to the case for well-designed programmes of circus activities for young people,in both formal and informal settings.

Made available in DSpace on 2014-11-10T11:09:38Z (GMT). No. of bitstreams: 0 Previous issue date: 2013-11-05Bitstream added on 2014-11-10T11:58:09Z : No. of bitstreams: 1 000796080.pdf: 20305472 bytes, checksum: 36b5119614bc990df034e55a1d495f26 (MD5) / Este trabalho apresenta um estudo sobre o circo contemporâneo no Brasil por meio da análise das trajetórias de duas companhias de circo atuantes em São Paulo, o Circo Zanni e a Companhia Linhas Aéreas. Através de estudo teórico, de levantamento histórico e da análise das obras destas duas companhias, a pesquisa procurou verificar as particularidades do circo contemporâneo e as similaridades e rupturas que este estabeleceu frente ao circo tradicional nos campos artístico, de sua produção, de seus mediadores e de sua recepção a fim de fornecer material para futuras análises e reflexões a respeito da arte do circo. / This study presents a research of the contemporary circus in Brazil by analyzing the trajectories of two circus companies working in São Paulo, Circo Zanni and Linhas Aéreas. Through theoretical study, historical survey and analysis of the works of these two companies, this research verifies the particularities of contemporary circus and its similarities and ruptures to traditional circus regarding the artistic field, their production, their mediators and their reception in order to provide material for future analysis and reflections concerning the art of the circus.

Orientador: Mario Fernando Bolognesi / Banca: Ermínia Silva / Banca:Daniele Pimenta / Resumo: Este trabalho apresenta um estudo sobre o circo contemporâneo no Brasil por meio da análise das trajetórias de duas companhias de circo atuantes em São Paulo, o Circo Zanni e a Companhia Linhas Aéreas. Através de estudo teórico, de levantamento histórico e da análise das obras destas duas companhias, a pesquisa procurou verificar as particularidades do circo contemporâneo e as similaridades e rupturas que este estabeleceu frente ao circo tradicional nos campos artístico, de sua produção, de seus mediadores e de sua recepção a fim de fornecer material para futuras análises e reflexões a respeito da arte do circo. / Abstract: This study presents a research of the contemporary circus in Brazil by analyzing the trajectories of two circus companies working in São Paulo, Circo Zanni and Linhas Aéreas. Through theoretical study, historical survey and analysis of the works of these two companies, this research verifies the particularities of contemporary circus and its similarities and ruptures to traditional circus regarding the artistic field, their production, their mediators and their reception in order to provide material for future analysis and reflections concerning the art of the circus. / Mestre

PROCESS algebras are a family of techniques used in formal specification and analysis of computer systems, specially when independent processes that perform and synchronize in parallel are concerned. The so-called concurrent systems. Circus is a process algebra that aggregates the expressiveness power for concurrent behaviors from CSP, along with the predicative data modelling aspects of Z. Recent publications have established a formal exhaustive symbolic testing theory for specifications modelled in Circus. Aiming to improve the feasibility of applying such tests in practical scenarios, it is convenient to look for criteria that reduces the number of test cases which, by the exhaustive nature of the approach, is often infinite. In the light of this, the work we present proposes the application of mutation testing techniques in Circus specifications, targeting the coverage of faults seeded by well-known mutation operators, along with operators designed with the particularities of the language in mind. Some contributions were produced in the pursuit of these goals, such as establishing a formal theory for mutation testing in Circus specifications and the implementation of a symbolic traces generator for the language. / ÁLGEBRAS de processos são uma família de técnicas de especificação e análise formal utilizadas em sistemas computacionais, especialmente em contextos de processos independentes, que atuam paralelamente e efetuam comunicação entre si. São os chamados sistemas concorrentes. Circus é uma álgebra de processos que agrega a capacidade de expressão de comportamentos concorrentes do CSP com a modelagem predicativa de dados da notação Z. Trabalhos recentes vêm estabelecer uma teoria para o teste simbólico exaustivo baseado em especificações modeladas em Circus. Com o objetivo de viabilizar a aplicação prática desses testes, é conveniente estudar critérios que reduzam o conjunto de casos de teste que, pela sua natureza exaustiva, torna-se frequentemente infinito. Neste sentido, o presente trabalho propõe a aplicação de técnicas de teste de mutação à partir de especificações Circus, visando a cobertura de falhas inseridas por meio de operadores de mutação já conhecidos, juntamente com operadores propostos especificamente para a linguagem. Algumas contribuições foram produzidas na busca destes objetivos, como o estabelecimento de uma teoria formal para a aplicação de teste de mutação em especificações Circus e a implementação de um gerador de rastros simbólicos para a mesma linguagem.

Made available in DSpace on 2014-12-17T15:47:56Z (GMT). No. of bitstreams: 1 SAMUEL LINCOLNdissertacao_final.pdf: 2269762 bytes, checksum: f3ae8e1d8966bfbf455c79b080c96cc2 (MD5) Previous issue date: 2011-08-29 / This dissertation aims at extending the JCircus tool, a translator of formal specifications into code that receives a Circus specification as input, and translates the specification into Java code. Circus is a formal language whose syntax is based on Z s and CSP s syntax. JCircus generated code uses JCSP, which is a Java API that implements CSP primitives. As JCSP does not implement all CSP s primitives, the translation strategy from Circus to Java is not trivial. Some CSP primitives, like parallelism, external choice, communication and multi-synchronization are partially implemented. As an aditional scope, this dissertation will also develop a tool for testing JCSP programs, called JCSPUnit, which will also be included in JCircus new version. The extended version of JCircus will be called JCircus 2.0. / Esta disserta??o tem como objetivo estender a ferramenta JCircus, um tradutor de especifica??es formais para c?digo que recebe uma especifica??o em Circus como entrada, e traduz a especifica??o para c?digo Java. Circus ? uma linguagem formal cuja sintaxe ? baseada nas sintaxes das linguagens Z e CSP. O c?digo gerado por JCircus faz uso de JCSP, que ? uma API de Java que implementa primitivas de CSP. O fato de JCSP n?o implementar CSP completamente faz com que a estrat?gia de tradu??o de Circus para Java seja n?o-trivial. Algumas primitivas de CSP, como paralelismo, escolhas externa e interna, comunica??o, e multi-sincroniza??o s?o implementadas em JCSP de forma parcial. Nesta disserta??o, estendemos a tradu??o destas primitivas. Al?m disso, esta disserta??o tamb?m desenvolver? uma ferramenta para fazer testes em processos JCSP, chamada JCSPUnit.

Neste estudo do tipo etnográfico investiguei como se dá o processo de ensinoaprendizagem da arte circense nas oficinas oferecidas pelo Circo Girassol na cidade de Porto Alegre-RS durante os anos de 2004 e 2005, onde participei de reuniões, festas, treinos, ensaios, eventos, aulas, performances, espetáculos, entre outros. Apresento alguns pontos importantes deste trabalho: a minha aproximação afetiva e profissional com o tema de estudo; a possibilidade de refletir sobre as transformações históricas do fenômeno Circo; os caminhos investigativos; o conhecimento do Circo Girassol e suas práticas que, a partir de uma descrição densa, é mostrado no seu processo de construção; o cotidiano dos artistas nas atividades circenses; a dinâmica do grupo; destacando o processo de ensino da arte circense nas oficinas ministradas pelos artistas-professores. Analisei as seguintes categorias que emergiram do campo, a saber: professores e alunos no processo de ensino-aprendizagem: ‘o que’ e ‘como’ é compartilhado o saber circense; a construção de um movimento corporal virtuoso e performático; treinamento, dor e sacrifício: o silenciamento do lúdico. Pensando o corpo a partir de referenciais culturais e históricos e a educação como um processo dialógico, considero que a prática pedagógica da arte circense no Circo Girassol se aproxima da prática da ginástica tradicional, para isso utiliza-se de alguns aspectos referentes ao treinamento físico; busca a construção de corpo e movimento nos moldes do Circo Contemporâneo, ou seja, uma estética de corpo reto, alinhado, com movimentos ‘limpos’, verticalizados em direção a um modelo padronizado tido como correto. Com uma prática docente de demonstração dos exercícios e o ensino centralizado no professor, inviabiliza uma proposta de educação pelo diálogo, reflexiva e lúdica. / In this ethnographic study I investigated the teaching-learning process of the circus art in the workshops offered by the Girassol Circus in the city of Porto Alegre – RS during the years 2004 and 2005, where I participated of the activities like meetings, parties, trainings, rehearsals, events, lessons, performances, shows, among others. I present some aspects that are important in this work: my affective and professional approach with the study subject; the possibility of thinking about the historical changes of the phenomenon Circus; the ways of investigation; the knowledge of the Girassol Circus and its practices which I present in a dense description. I also present the artists daily activities in the circus; the group dynamics, pointing out the teaching process of the circus art in the workshops given by the teachers-artists. In relation to the sharing of knowledge, I analyzed the following categories which emerged from the field: teachers and students in the teaching-learning process as ‘what’ and ‘how’ the circus knowledge is shared; the construction of a virtuous corporal movement; training, pain and sacrifice, the silence of the ludicrous. Thinking the body from cultural and historical aspects and education as a dialogical process, I consider that the pedagogical practice of the circus art in the Girassol Circus has a great similarity to the traditional gymnastics practice, as it uses some aspects of physical training; it searches the construction of body and movement having the contemporary circus as a pattern, in other words, as esthetics of straight bodies, aligned with ‘clean’ movements, uprighted towards a standardized correct model. With a teaching practice of demonstrating the exercises and a teaching-centered attitude, it makes impracticable a reflective and ludicrous proposal of education.

Neste estudo do tipo etnográfico investiguei como se dá o processo de ensinoaprendizagem da arte circense nas oficinas oferecidas pelo Circo Girassol na cidade de Porto Alegre-RS durante os anos de 2004 e 2005, onde participei de reuniões, festas, treinos, ensaios, eventos, aulas, performances, espetáculos, entre outros. Apresento alguns pontos importantes deste trabalho: a minha aproximação afetiva e profissional com o tema de estudo; a possibilidade de refletir sobre as transformações históricas do fenômeno Circo; os caminhos investigativos; o conhecimento do Circo Girassol e suas práticas que, a partir de uma descrição densa, é mostrado no seu processo de construção; o cotidiano dos artistas nas atividades circenses; a dinâmica do grupo; destacando o processo de ensino da arte circense nas oficinas ministradas pelos artistas-professores. Analisei as seguintes categorias que emergiram do campo, a saber: professores e alunos no processo de ensino-aprendizagem: ‘o que’ e ‘como’ é compartilhado o saber circense; a construção de um movimento corporal virtuoso e performático; treinamento, dor e sacrifício: o silenciamento do lúdico. Pensando o corpo a partir de referenciais culturais e históricos e a educação como um processo dialógico, considero que a prática pedagógica da arte circense no Circo Girassol se aproxima da prática da ginástica tradicional, para isso utiliza-se de alguns aspectos referentes ao treinamento físico; busca a construção de corpo e movimento nos moldes do Circo Contemporâneo, ou seja, uma estética de corpo reto, alinhado, com movimentos ‘limpos’, verticalizados em direção a um modelo padronizado tido como correto. Com uma prática docente de demonstração dos exercícios e o ensino centralizado no professor, inviabiliza uma proposta de educação pelo diálogo, reflexiva e lúdica. / In this ethnographic study I investigated the teaching-learning process of the circus art in the workshops offered by the Girassol Circus in the city of Porto Alegre – RS during the years 2004 and 2005, where I participated of the activities like meetings, parties, trainings, rehearsals, events, lessons, performances, shows, among others. I present some aspects that are important in this work: my affective and professional approach with the study subject; the possibility of thinking about the historical changes of the phenomenon Circus; the ways of investigation; the knowledge of the Girassol Circus and its practices which I present in a dense description. I also present the artists daily activities in the circus; the group dynamics, pointing out the teaching process of the circus art in the workshops given by the teachers-artists. In relation to the sharing of knowledge, I analyzed the following categories which emerged from the field: teachers and students in the teaching-learning process as ‘what’ and ‘how’ the circus knowledge is shared; the construction of a virtuous corporal movement; training, pain and sacrifice, the silence of the ludicrous. Thinking the body from cultural and historical aspects and education as a dialogical process, I consider that the pedagogical practice of the circus art in the Girassol Circus has a great similarity to the traditional gymnastics practice, as it uses some aspects of physical training; it searches the construction of body and movement having the contemporary circus as a pattern, in other words, as esthetics of straight bodies, aligned with ‘clean’ movements, uprighted towards a standardized correct model. With a teaching practice of demonstrating the exercises and a teaching-centered attitude, it makes impracticable a reflective and ludicrous proposal of education.

Neste estudo do tipo etnográfico investiguei como se dá o processo de ensinoaprendizagem da arte circense nas oficinas oferecidas pelo Circo Girassol na cidade de Porto Alegre-RS durante os anos de 2004 e 2005, onde participei de reuniões, festas, treinos, ensaios, eventos, aulas, performances, espetáculos, entre outros. Apresento alguns pontos importantes deste trabalho: a minha aproximação afetiva e profissional com o tema de estudo; a possibilidade de refletir sobre as transformações históricas do fenômeno Circo; os caminhos investigativos; o conhecimento do Circo Girassol e suas práticas que, a partir de uma descrição densa, é mostrado no seu processo de construção; o cotidiano dos artistas nas atividades circenses; a dinâmica do grupo; destacando o processo de ensino da arte circense nas oficinas ministradas pelos artistas-professores. Analisei as seguintes categorias que emergiram do campo, a saber: professores e alunos no processo de ensino-aprendizagem: ‘o que’ e ‘como’ é compartilhado o saber circense; a construção de um movimento corporal virtuoso e performático; treinamento, dor e sacrifício: o silenciamento do lúdico. Pensando o corpo a partir de referenciais culturais e históricos e a educação como um processo dialógico, considero que a prática pedagógica da arte circense no Circo Girassol se aproxima da prática da ginástica tradicional, para isso utiliza-se de alguns aspectos referentes ao treinamento físico; busca a construção de corpo e movimento nos moldes do Circo Contemporâneo, ou seja, uma estética de corpo reto, alinhado, com movimentos ‘limpos’, verticalizados em direção a um modelo padronizado tido como correto. Com uma prática docente de demonstração dos exercícios e o ensino centralizado no professor, inviabiliza uma proposta de educação pelo diálogo, reflexiva e lúdica. / In this ethnographic study I investigated the teaching-learning process of the circus art in the workshops offered by the Girassol Circus in the city of Porto Alegre – RS during the years 2004 and 2005, where I participated of the activities like meetings, parties, trainings, rehearsals, events, lessons, performances, shows, among others. I present some aspects that are important in this work: my affective and professional approach with the study subject; the possibility of thinking about the historical changes of the phenomenon Circus; the ways of investigation; the knowledge of the Girassol Circus and its practices which I present in a dense description. I also present the artists daily activities in the circus; the group dynamics, pointing out the teaching process of the circus art in the workshops given by the teachers-artists. In relation to the sharing of knowledge, I analyzed the following categories which emerged from the field: teachers and students in the teaching-learning process as ‘what’ and ‘how’ the circus knowledge is shared; the construction of a virtuous corporal movement; training, pain and sacrifice, the silence of the ludicrous. Thinking the body from cultural and historical aspects and education as a dialogical process, I consider that the pedagogical practice of the circus art in the Girassol Circus has a great similarity to the traditional gymnastics practice, as it uses some aspects of physical training; it searches the construction of body and movement having the contemporary circus as a pattern, in other words, as esthetics of straight bodies, aligned with ‘clean’ movements, uprighted towards a standardized correct model. With a teaching practice of demonstrating the exercises and a teaching-centered attitude, it makes impracticable a reflective and ludicrous proposal of education.