Sujets :
Arts du cirque - Philosophie et théorie
Cirque contemporain - Philosophie et théorie
Ritualisation au cirque
Esthétique des arts du cirque
Histoire des arts du cirque
Représentation du corps circassien
Dramaturgie circassienne
Compagnie Transe Express [compagnie des arts de la rue]
Théâtre d'un Jour [compagnie de cirque]
Un loup pour l'homme [compagnie de cirque]
Spectacles de cirque - Critiques et interprétations
Arts du cirque et théâtre
Artaud, Antonin [écrivain]
Lehmann, Hans-Thies
Théâtre postdramatique
Acrobat [compagnie de cirque]
Smaller, poorer, cheaper [spectacle de cirque]
NoNo Théâtre [compagnie de théâtre]
Compagnie Attention Fragile [compagnie de cirque]
Maboul Distorsion [compagnie de cirque]
De Volder, Eric [metteur en scène]
Les choses de rien [compagnie de cirque]
2 Rien Merci [compagnie de cirque]
Castellucci, Roméo [metteur en scène]
Sémiotique et arts du cirque
Cridacompany [compagnie de cirque]
Nouveau cirque
Cabaret Chromatic [spectacle de cirque]
Mise en piste
Mise en scène
Espace scénique au cirque
Warm [spectacle de cirque]
Compagnie Rictus [compagnie de théâtre]
L'Enfant qui... [spectacle de cirque]
Représentation du risque chez le spectateur
Art de la performance
Cirque ici - Johann Le Guillerm [compagnie de cirque]
Kirby, Michael [théoricien du théâtre]
Espace scénique circulaire
Piste de cirque
Mythologie

Dépouillement du document :
Prologue : Balance on a tightrope

1- TRACING THE TRAUMA
1.1- The tragic gap
1.2- Belonging and community in theater and circus

2- THE NEEDCOMPANY OF RITUALS AND MYTH
2.1- Art as a thermometer

2.2- Understanding of ritual and myth
a) The connecting "axis"
b) Myth
c) The passage from the profane to the sacred
d) Liminality : hovering in no-man's land

2.3- Contemporary rituals of belonging
2.4- Conjuring the void

2.5- Aesthetics of ritual : experience, function and concept
a) Function
b) Concept or aesthetics
c) Experience

3- THE DESIRE FOR PRESENCE IN CONTEMPORARY THEATRE
3.1- Drama: the trinity of mimesis, mythos and catharsis
3.2- Avant-garde: focus on Antonin Artaud (1896-1848)
3.3- The breaking point

3.3- Aesthetics of postdramatic theatre
a) Event
b) Ceremony or ritual
c) Meta-theatralicity
d) Multiplicity vs wholeness
e) Visual dramaturgy
f) The auratic body

3.5- A semiotics of extremes: the fragment and the grotesque
3.6- Experience across the senses

4- "NEW CIRCUS" BETWEEN MIMESIS AND RITUAL EXPERIENCE A

BRIEF HISTORY
4.1- The beginning years
4.2- America

CONTEMPORARY CIRCUS
4.3- Contemporary circus: a genre?
4.4- Nouveau Cirque
a) Experiment
b) Government supported
c) Case study: Cabaret Chromatique (2008) by Cie Transe Express

4.5- Theatralization
a) Space
b) Dramaturgy: focus on L’Enfant qui… (2008) by Théâtre d’un Jour
c) The dramatic character

4.6- The real affecting

4.7- Towards simplicity
a) A poor circus
b) Raw materials
c) Cricot
d) A risky business

5- TOWARDS AN ANALYTICAL FRAME FOR CONTEMPORARY CIRCUS
5.1- Circus as a contemporary ritual

5.2- Aesthetics: between being and representing
a) The exotic ritual: Je suis un sauvage
b) The body as site of struggle
c) Between man and wolf: Cie Un loup pour l’homme
d) The birth of meaning

5.3- The ritual function of contemporary circus
a) The circle: from illusion to participation
b) The Circus of Death
c) Places for ambiguity: carnival an d circus

5.4- The ritual experience of contemporary circus
a) Contemporay catharsis.
b) Frames of experience: the fifth wall

EPILOGUE

Résumé :
In general the aim of this paper is to link the recent tendency towards ritual poverty in theatre and circus to contemporary philosophical thought. Due to the loss of meaning of philosophical concepts that define the human subject as a centred, autonomous and mystical entity, also the basic concepts of the performance arts have changed. In this context we would like to indicate the abandonment of the aesthetics of representation for an exploration of what lies beyond representation: presence. In theatre this evolution is manifested in the shift from dramatic theatre to postdramatic theatre. After a period of interdisciplinarity known as „Nouveau Cirque?, contemporary circus recently manifest the same desire for presence.

Secondly, we would like to argue that with the gaining importance of the Real both theatre and circus seem to approach their ritual origins. This evolution is widely known in postdramatic definitions of theatre as performance, ceremony or social event. In circus however, the matter is more complex due to the ambiguous and physical connection to reality. In many ways circus resembles ritual, which drives us to propose an analytical frame for circus as a contemporary ritual on the level of function, experience and aesthetics. The latter however is not a closed and perfectly fitting scientific tool, but has to be understood as a map that can guide us in the fascinating adventure of analyzing the increasingly popular landscape of contemporary circus. [author summary]

Collection : Bibliothèque de l'École nationale de cirque

Localisation : Bibliothèque

Cote : 791.301 L7221d 2009

• Ex. 1 — disponible
• Ex. 2 — disponible