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Voici la splendide publication de l’exposition « Place au cirque! » présentée du 13 octobre 2021 au 6 mars 2022 au Musée Pointe-à-Callière qui propose une fabuleuse aventure à travers l’histoire des arts du cirque d’hier et d’aujourd’hui au Québec. Cette passionnante incursion dévoile page après page un sensible hommage aux familles et compagnies de cirque qui ont bâti les esthétiques uniques des arts du cirque québécois qui a conquis les cœurs des spectateurs à travers le monde.

Circus in Russia is also a major genre of performance that has developed over 100 years, culturally regarded as an art form equivalent to ballet, theater, and opera. Russia's circus tradition has also contributed greatly to the development of clowns and pantomimes by closely interacting with adjacent fields such as theater and ballet. In particular, the circus has a significant influence on the performing arts of Petersburg, the city where the history of the Russian circus first began. Russia's first permanent circus theater still continues to perform here, and active exchanges with plays, puppet shows, ballet artists, and theater companies continue. Petersburg's major circus theaters include the Pontanka Circus Theater, Russia's first permanent circus theater, and Uppsala Circus, a circus educational institution and theater targeting social risk groups. The Uppsala Circus is an organization that has a completely different vision and characteristics from other circus theaters in Russia, because it is not a general circus venue, but a public art theater and education center that educates, produces, and operates circus for social risk groups and the underprivileged. Uppsala Circus is an organization that is opening a new paradigm of circus performance and education by taking children from the darkest shade of society to create a simple and healthy circus stage. It is a performing arts theater and a public arts education center in that it uses circus education methods to help teenagers and children on the streets adapt to society and continues the disappearing tradition of Russian circus. As part of a long-term research project that looks at the topographic map of the Petersburg Theater, this paper focuses on the Petersburg Uppsala Circus Theater, which is an art theater representing Petersburg's circus performances and an exemplary example of the social utility of art. In particular, we focused on the "Hooligan Project" and the "Pakitan Project," which are the main educational programs of the Uppsala Circus Center, to focus on the characteristics of Uppsala Circus as a public art theater distinct from other performance theaters and circus theaters.