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Auteurs : Moreigne, Marc (Auteur)

Éditeur : Arts de la piste n°23, p.34

Date de publication : janvier 2002

Langue : Français

Sujets :
Travestisme
Corps humain dans l'art
Arts du cirque

Localisation : Périodiques

Contenu dans

[Numéros de revues] Arts de la piste, n°23 : Corps de cirque Arts de la piste, Janvier 2002 ISBN 1269-0120

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Sur le même sujet

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Circus bodies : cultural identity in aerial performanceThis pioneering study is one of the major publications in the increasingly popular and largely undocumented area of circus studies. Through photographs and illustrations, Peta Tait presents an extraordinary survey of 140 years of trapeze acts and the socially changing ideas of muscular action in relation to our understanding of gender and sexuality. She questions how spectators see and enjoy aerial actions, and what cultural identities are presented by bodies in fast, physical aerial movement. [editor summary]
Why drag?Maya Angelou's brave, defiant poem celebrates the courage within each of us, young and old. From the scary thought of panthers in the park to the unsettling scene of a new classroom, fearsome images are summoned and dispelled by the power of faith in ourselves.

Angelou's strong words are matched by the daring vision of artist Jean-Michel Basquiat, whose childlike style reveals the powerful emotions and fanciful imaginings of childhood. Together, Angelou's words and Basquiat's paintings create a place where every child, indeed every person, may experience his or her own fearlessness. [editor summary]
Les ballets Trockadero : program 1
Women who fly : aerialists in modernity (1880-1930)Around 1900, Charmion (alias Laverie Vallée) introduced a provocative ‘trapeze disrobing act,’ combined with feats of strength to her audiences in vaudeville theaters in New York. She was one of a wave of female aerialists whose performances quite literally ‘flew’ in the face of Victorian values. Trapeze artists in circuses and in vaudeville theaters, as well as stunt flying aviators showcasing their courage and abilities during local fairs or aerial exhibitions from the 1910s on, indeed pushed the boundaries of what was deemed possible in terms of the human body’s physical capacities while challenging traditional notions of gender, race, class, and sexuality through their unconventional performances. In this study I explore three cases of aerialists who navigated both the demands of managers/spectators for spectacular and titillating acts and their personal aspirations within the confines of the increasingly capitalist entertainment industries in the West between 1880 and 1930. Besides Charmion, my study takes shape around the performances of “Barbette” or Vander Clyde who took Parisian theaters by storm with an amalgamation of trapeze artistry and female impersonation in interwar France; and Bessie Coleman, the first African American woman to gain a pilot license and to set up her own flying shows throughout the United States in the 1920s. For each case study I conducted exhaustive archival searches and analysed relevant newspaper articles, magazines, show reviews, photographs and silent film. I draw on Mikhail Bakhtin’s concepts of the carnivalesque and the grotesque, and on Victor Turner’s concept of liminality to illustrate how aerial performances between 1880 and 1930 functioned as sites of creative resistance, opening up possibilities for a rethinking and redefinition of social categories of gender, race, class, and sexuality. I show how the performances of Charmion, Coleman and Barbette simultaneously reflected and challenged the anxieties and optimism of a society forced to revisit traditional beliefs regarding the gendered/racialized/classed/sexualized body. In demonstrating how these performers helped question modernizing beliefs regarding the human body’s capacities, and the female body’s physical abilities and appearance in particular, I argue they suggested new types of embodied agency for both women and men at the time. [editor summary]

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