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This project is concerned with how circus training can benefit children diagnosed on the autistic spectrum and, in turn, their families. Many “special needs” children spend a great deal of time in physiotherapy, speech therapy, osteopathic therapy, occupational therapy and behavioural therapy. The thesis explores how circus can open up a new world to such children, enabling them to take risks, physically and emotionally; to stretch the capacities of their bodies in an environment that enriches their social development. Not only do they gain in strength, coordination and physical awareness, they can also gain confidence, opportunities for creative expression and a sense of “fitting in”.

For the parents and siblings of children with autism, circus training sessions provide respite and a chance to enjoy seeing their family member becoming involved with other children and achieving things that might not have seemed within their capabilities. There are frequently flow-on effects through improvements in autistic children’s skills and behaviours in daily life. Families can also become part of the “circus family” – sharing a sense of community with other families who understand the challenges that accompany life with an autistic child: a sense of isolation in the wider community, the frustrations, embarrassments and feelings of being judged. In the circus community, parents never need to apologise for their child in the same breath as introducing themselves.

The project draws on observations from my work as a circus performer and trainer; focused interviews with several physiotherapists, occupational therapists and circus trainers; literature relating to youth and social circus, and autism; and theoretical work on creativity, embodiment, difference, identity, belonging and changing notions of community, particularly from Foucault, Deleuze and Guattari, Agamben and Probyn.

I set out to demonstrate the practical value of circus to children with special needs and their families; that the environment of creative chaos developed in circus is particularly beneficial for children with autism; that the practice philosophy of circus values both difference and inclusivity, helping to build community; that philosophy and cultural theory can provide insights into how circus “works” for autistic children and their families; and that participation in circus can change how people understand the world and each other. My aim as a circus professional is to encourage us all to re-think how we approach physical therapy for children with special needs and to provide some theoretical frameworks that support the exceptional work of youth circus schools around Australia. [author summary]

O objetivo deste estudo foi investigar de que forma a arte circense, compreendida como atividade criadora e experiência estética, mediadas pela afetividade, aumenta a potência de ação do sujeito e amplia as possibilidades de “ser aprendiz”. Para realização da pesquisa, contatamos os quatro educadores do Circo Escola Beto Carrero e doze aprendizes. Por meio de entrevistas, observações e videogravação das aulas produzimos informações a respeito de como o sujeito define a atividade circense; como significa essa atividade em seu cotidiano; como se dá o processo de ensinar e aprender; e que relações são estabelecidas com a arte circense, com o público, com os colegas de circo e com a escola regular. A partir de uma orientação históricodialética, apresentamos os sujeitos da pesquisa e assinalamos as relações educadores-aprendizes como mediando à constituição dos sujeitos, os quais são compreendidos como inacabados e em constante devir. Discutimos como o acabamento provisório ofertado pelo contemplador transcende a personagem circense e alcança o sujeito-aprendiz, ampliando suas possibilidades de ser. Os resultados da pesquisa apontam que a atividade circense proporciona um aprender que se faz mediado pelo corpo, pois é com o corpo que o sujeito experimenta o encontro com o outro e tem aumentada sua potência de agir, sua possibilidade de se fazer um sujeito que aprende. É possível ainda hipotetizar que a arte pode ampliar as possibilidades de aprender em contextos formais de educação, já que a linguagem artística pode produzir uma nova forma de reflexão, gerando uma racionalidade outra que possibilita outros processos psicológicos complexos mediados pelo afeto. Por meio da apropriação da arte circense se processou uma nova forma de sentir e assim, necessariamente, uma nova forma de pensar e agir. Concluímos que o processo de ensinar e aprender que ocorreu nas relações destes sujeitos na arte circense se iniciou no corpo, mas se constituiu na ampliação de novos processos cognitivos e afetivos, podendo ampliar outros processos psicológicos complexos, mediados pela experiência estética.

Over the last several decades, Montreal has built an international reputation as a ‘circus city’. This reputation is tied to the tremendous success of Cirque du Soleil, but also related to the presence of a number of intermediaries in the city. This paper examines the role of one such intermediary – the École nationale de cirque (National Circus School). The National Circus School is one of the only schools in North America offering an accredited programme in circus arts. It is argued that the school plays an important role in the development of the local circus arts cluster and circus arts conventions by providing training and skill development, and by forging important networks. In particular, this paper examines how the school fosters ‘know-how’, ‘know-who’ and ‘know-what’. [authors summary]

Ce travail fait partie de la réflexion d’un groupe de recherche sur l’éducation et la formation concernant l’exclusion à l’école, groupe recevant par ailleurs des pupilles en situation sociale difficile. Ce travail a eu lieu au sein de la faculté de l’éducation de l’université de São Paulo au Brésil, avec comme objectifs principaux de faire apprendre aux enfants, aux jeunes et aux adultes socialement défavorisés et de fait exclus du système scolaire, la langue portugaise, mais également de d’assurer la formation des enseignants en la langue portugaise. Le troisième objectif est la direction de recherches concernant cette question.
Dans la construction de la relatiFaon apparaît la nécessité d’approfondir la notion de groupe autour de la créativité pour comprendre le rôle du « jeu ». Dans cette direction, il y a eu une appropriation des théories de Winnicott et de Vygotsky, travail qui a d’établir un dialogue ayant comme point de réunion l’analyse de la situation du jeu, en tant que moment promotionnel du développement du citoyen dans les aspects cognitifs, affectives et sociaux.
Pour comprendre le jeu du point de vue de Winnicott, nous faisons appel au concept de l’espace potentiel. En ce qui concerne Vygotsky, nous lui empruntons le concept de zone du développement proximal. Pour l’arrangement du même objet (le jeu), la perspective de Vygotsky et Winnicott offre différentes perspectives. En bref, cette étude théorique a été d’une importance extrême pour nos travaux de recherche-action-formation. Les professeurs et les chercheurs du secteur illettrisme, ont pu travailler ensemble sur des populations exclues de l’école et de la société. [résumé de l'auteur]