En 1996, après avoir assisté à la dernière représentation de la septième édition du Centre National des Arts du Cirque, le journal parisien Libération prédit une troisième ère du Cirque : « Après les cirques traditionnels, puis les nouveaux cirques, il faut désormais compter avec le cirque contemporain. » Le pronostic devient réalité : la pièce du metteur en scène Joseph Nadj est considérée, en France comme ailleurs, comme le point de départ d’un nouveau genre dont la définition reste des plus vagues jusqu’à aujourd’hui : « Le cirque contemporain, lui, n’a strictement aucune unité formelle, ou disons, sans craindre le paradoxe, que c’est la diversité de ses formes qui l’unifie. » D’une part, cela s’explique par le fait que, dans le cirque contemporain, l’originalité est un moteur central et, d’autre part, que le genre se situe encore dans une phase de développement. Cela est en outre dû à l’absence jusqu’à aujourd’hui, dans la recherche scientifique, d’une analyse détaillée des représentations du cirque contemporain et qu’en plus on ne dispose pas d’un modèle d’analyse cohérente des représentations du genre. Le discours actuel autour du genre s’intéresse moins de savoir comment les spectacles de cirque contemporain engendrent du sens et quels sont les procédés caractéristiques qui les définissent. Au lieu de cela, on s’interroge sur ce qui devrait caractériser les pièces. Notre thèse tient compte de ce desiderata en développant pour la première fois une méthode pour analyser les représentations de cirque contemporain. En outre, elle explique et interprète résolument le genre au moyen d’une méthode solide, c’est-à-dire d’une description contextualisée de l’objet – à savoir la représentation – dans son contexte historique et culturel et fournit ainsi, au sens lessingien du terme, une dramaturgie du cirque contemporain qui, malgré la diversité des représentations, révèle des caractéristiques généralisables, le procédé fondamental, la structure des pièces et l'effet qu'elles produisent. Le développement du modèle de lecture pour les spectacles de cirque contemporain ainsi que l’évolution consécutive et la spécification du modèle s’appuient sur l'analyse textuelle de la poétique de la culture que justifie l’historien de la littérature Moritz Baßler dans son œuvre La fonction d’une poétique de la culture et l’archive sur la base du New Historicism conçu par Stephen Greenblatt. En outre, le travail présent se situe dans le domaine des théories de lecture relevant de la science du théâtre (Fischer-Lichte) et de la danse (Foster et Brandstetter). Le noyau de l‘argumentation se fonde sur l’hypothèse selon laquelle les représentations de cirque sont lisibles en tant que textes culturels. / In 1996, the Paris newspaper Libération predicted a third era of circus after visiting the seventh edition of the Centre National des Arts du Cirque: “After traditional and new circus, we now have to account for contemporary circus.” The prognosis became reality: nowadays, in France as elsewhere, the performance of Joseph Nadj is considered as the starting point of a new genre whose definition however remains vague: “The contemporary circus has no formal unity. It is paradoxically the diversity of its forms that unifies the genre.” On the one hand, this is explained by the fact that originality is a central motor in contemporary circus; on the other hand, the genre is still developing . A further reason for the lack of a clear definition lies in the absence of detailed analyses of contemporary circus performances in circus research, and in the desideratum regarding a coherent model for its interpretation. The current discourse dedicated to the genre is less interested in knowing how contemporary circus performances generate meaning and in outlining the characteristic techniques and processes. Instead, one wonders what should characterize the performances. The present thesis takes into account this desideratum by developing for the first time a method to analyse representations of contemporary circus. In addition, it resolutely explains and interprets the genre by means of a contextualized description of the object - namely representation - in its historical and cultural context. In the Lessingian sense of the term, the thesis therefore provides a dramaturgy of contemporary circus which, despite the diversity of representations, reveals generalizable characteristics of the genre, the fundamental techniques and structures of the performances. and the effects they produce. The development of a reading model for contemporary circus performances as well as the consequent evolution and the specification of the model are grounded in the textual analysis of poetics of culture that the literary scholar Moritz Baßler justifies in his work on the basis of the theory of New Historicism designed by Stephen Greenblatt. In addition, the present work situates itself in the field of reading theories pertaining to theatre (Fischer-Lichte ) and dance studies (Foster and Brandstetter ). The core of the argument is based on the assumption that circus performances are readable as cultural texts.

Dans le cadre de cette thèse, je me suis intéressée aux traits colorés chez les rapaces. Plus particulièrement, j'ai tenté de comprendre les fonctions potentielles associées à deux types de traits colorés chez les rapaces, les traits à base de caroténoïdes (et qui reflètent dans les ultraviolets), et les traits à base de mélanine, à travers l'étude du polymorphisme de plumage. Pour ce faire, j'ai choisi d'étudier deux espèces proches de busards, le Busard des roseaux Circus aeruginosus et le Busard cendré Circus pygargus et j'ai employé des méthodes à la fois empirique et expérimentale. Dans un premier temps, j'ai tenté de comprendre l'origine et le maintien du polymorphisme de plumage existant au sein d'une population de Busard des roseaux, en tentant d'une part de décrire précisément les variations de coloration au sein de ce polymorphisme, et en m'intéressant d'autre part à l'existence d'éventuels avantages adaptatifs selon les différents morphes exprimés chez les individus, et en particulier les mâles, en terme d'accès aux ressources alimentaires, de dominance sociale et d'accès aux partenaires de reproduction. Très brièvement, le polymorphisme de plumage existant au sein de cette population semble être du à une très forte densité, qui aurait engendrée l'apparition de deux stratégies comportementales alternatives au sein du sexe mâle, la première étant la plus répandue dans les populations à faible densité et concernant des mâles exprimant un morphe 'gris', à tendance solitaire et territoriale, et la seconde concernant l'apparition d'un morphe 'sombre', de type femelle, pour lequel les mâles seraient beaucoup plus sociaux, et bénéficierait de l'imitation du plumage des femelles à travers la réduction des conflits avec les mâles 'gris'. Par ailleurs, j'ai également étudié les fonctions potentielles de ce polymorphisme au cours d'un type particulier de relations sociales existant chez les busards, la défense de groupe ou « mobbing ». Il apparaît des 'rôles' au sein d'une séquence de défense de groupe classique définis entre autre par les morphes exprimés par les individus. Dans un deuxième temps, j'ai analysé les mécanismes de développement, et j'ai testé une fonction potentielle associée à l'expression des traits à base de caroténoïdes chez les poussins de busards. Plus particulièrement, j'ai démontré que les jeunes busards expriment des traits à base de caroténoïdes dès leur plus jeune âge, mais qu'ils sont limités, en condition naturelle, pour l'accès aux caroténoïdes, et ce, essentiellement à travers l'abondance de leur espèce-proie principale, le campagnol. Par ailleurs, il semble apparaître que les traits colorés des jeunes busards seraient impliqués dans la communication parents-enfants, et plus particulièrement, que la modification de leur coloration, au niveau des ultraviolets ou du 'jaune' (i.e. caroténoïdes), entraîne des conséquences en terme de nourrissage, de la part de leurs parents. Il reste cependant encore à analyser plus en détail la fonction associé aux traits colorés chez les jeunes busards, comme par exemple au niveau de la communication entre jeunes d'une même nichée.

<p>This study looked at two groups of adolescents aged 12-17 years who had participated in circus training. One group had some form of disability while the other had none. The study was carried out as a qualitative study with observations, interviews and a questionnaire used as methods of gathering data. A small part of the study was quantitative and an observation chart was used. The purpose was to examine the importance of teamwork, environmental factors and the necessary requirements during a learning situation. The results of the study showed that all of the factors, in combination with one another, were important during the learning situation. If the participants worked well together, the circus teacher was able to use relevant demands and the environment was stimulating and not stressful. The negative attitude towards the failure of others in the group became less prevalent and the participants felt more responsible with increased self esteem. Different approaches or theories about disability, or being different, were observed and had an effect on the participants’ self-esteem. The main conclusion was that a training situation is complex and that participants should be met with respect and with an attitude that no one should be afraid of failure. Another conclusion was that the approaches or theories about disability do not have to concur but should complement each other.</p>

This study looked at two groups of adolescents aged 12-17 years who had participated in circus training. One group had some form of disability while the other had none. The study was carried out as a qualitative study with observations, interviews and a questionnaire used as methods of gathering data. A small part of the study was quantitative and an observation chart was used. The purpose was to examine the importance of teamwork, environmental factors and the necessary requirements during a learning situation. The results of the study showed that all of the factors, in combination with one another, were important during the learning situation. If the participants worked well together, the circus teacher was able to use relevant demands and the environment was stimulating and not stressful. The negative attitude towards the failure of others in the group became less prevalent and the participants felt more responsible with increased self esteem. Different approaches or theories about disability, or being different, were observed and had an effect on the participants’ self-esteem. The main conclusion was that a training situation is complex and that participants should be met with respect and with an attitude that no one should be afraid of failure. Another conclusion was that the approaches or theories about disability do not have to concur but should complement each other.

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

Thesis (Ph.D.) - University of St Andrews, April 2006.

La thèse Hybridations entre cirque et théâtre au début du XXe siècle en France sepropose de réfléchir au rapport entre spectacle circassien et théâtre à l’époque del’épanouissement des avant-gardes historiques en France, de repérer et d’analyser lespoints de contact entre ces deux genres artistiques. Le choix de focaliser notre attentionsur le théâtre est dû aussi au fait que celui-ci, parmi les genres littéraires, a notammentreprésenté pour les avant-gardes un lieu physique et idéal d’expérimentation formelle,performative et actorielle, ce qui en fait un terrain particulièrement fécond en matière decontamination avec les autres arts et notamment avec le cirque. En général, les piècescomposées dans le cadre des expérimentations du début du siècle permettent deremarquer une certaine influence du spectacle forain, du point de vue de la performanceet de la structure langagière et formelle. Le cirque souvent au centre de ces pièces estprésenté avec des traits grotesques qui déforment la réalité et provoquent la sensibilitédes spectateurs. L’hypothèse critique qui régit notre recherche repose sur l’idée que lesavant-gardes historiques notamment au théâtre ont puisé dans le vaste réservoir ducirque, pour renforcer le côté spectaculaire, performatif de leur projet de renouvellementet de provocation. Dans ce contexte le cirque va jouer donc une fonction privilégiée deporte-parole d’un message expérimental et de nouvelles techniques expressives,corporelles et de mise en scène. / My thesis Hybridations entre cirque et théâtre au début du XXe siècle en Franceaims to investigate the intersections and the similarities between circus shows andtheatre performances, following the development of the historical avant-gardemovements in France. As is well known, theatre has always been a literary genre opento formal, performative and actorial experimentation – both physically and ideally. Thatis why it is a very rich source of contaminations with all of the arts, especially circus. Ingeneral, several plays written during the experimental period at the beginning of thecentury show the strong influence of circus artistic expression, in both theirperformances and their linguistic and formal structures. In fact, circus is often at theheart of these plays, distorting reality and shocking the audience because of its moregrotesque sides. My critical hypothesis is that the historical avant-garde movements takeadvantage of the various circus experiences to make their theatre stronger, from ascenographic and performative point of view, and to develop their innovative andprovocative projects. In this context, theatre becomes the actual vehicle for anexperimental message, conveying new expressive, corporal and staging techniques.

Orientador: Erminia Silva / Banca: Alexandre Luiz Mate / Banca: Daniele Pimenta / Acompanha anexo com transcrição das entrevistas / Resumo: 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 ... (Resumo completo, clicar acesso eletrônico abaixo) / Abstract: 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 la... (Complete abstract click electronic access below) / Mestre

Orientador: Erminia Silva / Banca: Mario Fernando Bolognesi / Banca: Daniele Pimenta / Resumo: Esta pesquisa tem como proposta apresentar a trajetória do Circo Chiarini (1856 - 1897) em sua primeira temporada brasileira, de 1869 a 1872, e analisar o quanto a produção da linguagem circense no período estabeleceu os mais variados diálogos, relações, incorporações e trocas com a sociedade, ou seja, o quanto foi contemporânea a esse momento histórico tanto numa perspectiva temporal quanto relacional. Nesse sentido, por meio do cruzamento de variadas fontes, principalmente bibliográficas e jornalísticas, foi possível perceber a dimensão da complexa construção artística, empresarial, publicitária e arquitetônica encabeçada pelos circos na segunda metade do século XIX, e o quanto a arte circense foi protagonista do que estava acontecendo em termos artísticos, tecnológicos, culturais e políticos do Brasil oitocentista / Abstract: This research has the purpose to present the trajectory of Chiarini Circus (1856 - 1897) in his first Brazilian season, 1869-1872, and analyze how the production of the circus language in the period established the various dialogues, relations, mergers and exchanges with the society, that is, how much was contemporary to this historic moment both a temporal perspective as a relational. Accordingly, by crossing a variety of sources, especially bibliographical and news, it was possible understand the dimension of artistic construction complex, business, advertising and architectural headed by circuses in the second half of the 19 th century, and how much the circus was the protagonist what was happening in terms artistic, technological, cultural and political of nineteenth-century Brazil / Mestre

Orientador: Etienne Ghislain Samain / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T19:18:53Z (GMT). No. of bitstreams: 1 Sacchi_Wellington_M.pdf: 50359223 bytes, checksum: dedccbaa652c9492b898ea37bfa6f4ea (MD5) Previous issue date: 2009 / Resumo: Essa pesquisa teve como objetivo central aproximar-se do conteúdo identitário do artista circense para conseguir estabelecer reflexões a respeito da identidade saltimbanco. Diante das diversas possibilidades que se instauram na busca desse complexo que é a identidade, procurou-se estabelecer inicialmente um cenário de onde pudessem ser extraídos dados específicos que levassem a analises com a riqueza de conteúdo suficientes. Para tanto foi escolhido o circo como objeto de estudos e conseqüentemente o grupo de circenses que o integra como fonte de dados. A proposta para alcançar essa coleta dentro da pesquisa foi definida a partir da possibilidade de representações desse grupo em questão através, preponderantemente, de imagens fotográficas, produzidas em circos que fossem escolhidos aleatoriamente. Em decorrência dessa intenção foi estruturado um trabalho de campo em dois circos distintos, primeiramente o Circo Mundo Mágico e em seguida o circo Stankowich, ambos com características marcadas em serem conhecidos como circo-família que são os mais comuns encontrados no Brasil. Iniciado no ano de 2005 e finalizado no ano de 2008, foram produzidas as fotografias além de coletado outros dados, como entrevistas, captações de vídeo, diário de campo pesquisa de opinião, também necessários ao estudo. Desenvolveu-se, com as centenas de fotografias produzidas, um sistema de pranchas fotográficas, que são a reunião de algumas imagens em uma determinada folha para posterior analise. Dentre as 33 pranchas montadas passa-se a fase das analises de diversas questões que tangenciam a identidade do circense sempre com a referência dessas fotografias. Nesse sentido as imagens formaram o conteúdo principal dos resultados analíticos para o reconhecimento de diversos aspectos antropológicos do grupo pesquisado. Diante de todos esses reconhecimentos chega-se a possíveis faces do caráter identitário do circense que perpassam pelo seu corpo físico, por sua forma nômade de ser, até o picadeiro. / Abstract: This research had as a central objective to set closer of the content of circus artist identity to be able to establish reflections about circus artist identity. In front of several possibilities that began in the search of this complex that is the identity, it was establish initial scenery where could be extract specific data that led to analysis with reach and sufficient content. For that was chosen the circus as an object of studies as a result the group of artists that belong to the circus are the source of data. The proposal to achieve this collection inside the survey was defined to the point of the possibility of representation of this group cited to a large extent through photography pictures, produced in circus that were selected randomly. As a result of the previous intention was structured a field work, in two distinct circus, firstly the circus "Mundo Magico", secondly the "Stankowich" circus, both with characteristics of family circus, that are the most common found in Brazil. Initiated in the year 2005 and finalized in the year 2008 was produced the photography images besides other data collection such as, interviews, filming, field journal, opinion research, also necessary for the study. It was developed with hundred of photography images taken, a system of photography plates, that are a grouping of some images in a kind of paper sheet for posterior analysis. Among third three photography plates set up occurs the phase of analysis of many issues that get to close of the identity of the circus artist, always with a reference from these photography images. In this way the photography images produce the main content of analytical results for the recognition of the diverse anthropology aspects of the group of artist researched. In front of all these recognitions gets into the possible faces of the identity of the circus artist, that goes through their physical bodies, per their nomad way of being, until the circus ring. / Mestrado / Multimeios / Mestre em Multimeios