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.

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.

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...

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

Cette thèse de doctorat en arts du spectacle propose une approche des pratiques, des discours et des représentations autour de la notion de virtuosité en danse. Elle explore des formes en mutation sur la scène chorégraphique et interdisciplinaire contemporaine en s’intéressant à l’incorporation d’un geste virtuose chez plusieurs performers, au passage entre le vingtième et le vingt-et-unième siècle. Observant les transferts d’une discipline ou d’un art à l’autre, ce travail s’est construit à partir d’un corpus de douze interprètes danseurs, breakeurs et acrobates. La première approche choisie a été de les interroger sur leurs parcours, leurs habitudes de travail, leur perception du geste virtuose, puis d’observer les représentations auxquelles ils participent. L’analyse ainsi proposée se construit à partir un corpus d’œuvres (danse contemporaine, cirque contemporain, hip hop) et d’entretiens présentés en annexe de ce travail. La virtuosité est donc envisagée du point de vue de l’interprète, considérée dans un système complexe et présent comme une forme d’indiscipline. A partir de certains constats et grâce à des méthodologies propres à l’analyse du mouvement et à l’analyse esthétique, cette recherche propose une exploration du geste virtuose à l’aune de certaines migrations disciplinaires et s’interroge sur la présence et l’importance de nouvelles formes de virtuosité sur la scène contemporaine, tentant d’en redéfinir les termes et les pratiques. / This doctoral thesis in performing arts offers an approach to practice, discourse and representations around the notion of virtuosity in dancing. It looks into forms currently mutating on today’s choreographic and interdisciplinary stage, focusing on the way various performers incorporate virtuosic movement into their interpretation, at the juncture between the 20th and the 21st centuries. Observing the transfers taking place between disciplines, this research is built on a corpus of twelve performers: dancers, breakers and acrobats. The first stage of the approach was to make them describe the path they had followed, their working habits, their perception of a virtuosic move, and to make observations about the shows they take part in. This analysis is based on a corpus of productions (contemporary dance, contemporary circus, breakdance) and interviews presented in the appendix. Virtuosity is thus investigated from the point of view of the performer, considered inside a complex system and presented as a form of indiscipline. Based on a number of observations and methodologies specific to movement analysis and aesthetic analysis, this research proposes an exploration of the virtuosic movement with respect to certain transdisciplinary migrations and examines the questions of the presence and significance of new forms of virtuosity on the contemporary stage, in an attempt to redefine its terms and practices.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal

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