Sujets :
Arts du cirque - Philosophie et théorie
Artistes de cirque - Aspect psychologique
Psychanalyse
Création (Arts) - Aspect psychologique
Motivation - Philosophie et théorie
Artistes de cirque - Travail
Arts du cirque - Processus de création

Dépouillement du document :
Introduction: Circus and Psycho-analysis – A background to the research
Chapter One: Circoanalysis
1.1 The Subject of Circus
1.2. Which Subject? A Review of Traditional, New and Contemporary Circus
1.2.1 Traditional Circus
1.2.2 New Circus
1.2.3. The Emergence of Contemporary Circus
1.3. The Object of Circus
2.1 Literature Review
2.2. Psychoanalytic Literature
3. Key terms adopted and how they may be adapted for circus
3.1. Satisfaction
3.2. Repression
3.3. Symptom
4. Circoanalysis
4.1 Rationale for a methodology bringing circus into a discourse with
psychoanalysis
4.2. The Practices
4.2.1. Phase One: Testing and Laying the Ground for the Methodology
4.2.2. Phase Two: Circotherapy –The Methodology in Practice

Chapter Two: Towards the Methodology of Circotherapy
1. Introduction –The Questionnaire and the methodologies emerging from it
2.1. The First Question: “What brought you to Circus?” Negotiating between the Trick and the Word
2.2. The Second Question: “Who, from your past, would you like to perform your circus to and why?” -Transference, Transmission, Transformation
3.1. The Surgery
3.2. The Act interpreted as a dream in the Surgery
3.3. Discovering Repression and Censorship in the Surgery
3.4. Conclusions about the Surgery -The Infantile Wish hiding in the Act
4. Conclusion: The Act qua the Dream as Holding Environment

Chapter 3: Anxiety
1. Introduction: Circoanalytic Interviews
2.1 Leyser and Weaver - Repeating/Remembering
2.2. Leyser and Weaver with Costain - Anxiety
2.3. Costain and The Imaginary.
2.4. Holmes - Seduction
3. Conclusion: The Desire of the Artist

Chapter 4: Circotherapy
1. Introduction
1. 1. A Lacanian Immersion
1.2. The offer
1.3. Circotherapy as opposed to “Circotherapy”
2. The Case Studies
2.1.1. The Demand – Leroy, Marc
2.1.2 Conclusion.
2.2 Neurosis: Hysteria and Obsession – Rosie, Emma, Christina
2.2.1. Rosie: Hysteria and the Law
2.2.2. Emma: The Hysterical Symptom
2.2.3. Rosie: Castration
2.2.4. Christina and the Law: Obsession
2.3.1. Jack – Perversion
2.3.2. Conclusion
2.4. Elena and Liz – Melancholia and Psychosis
2.4.1. Elena and the Symbolic Other
2.4.2. Liz: The Imaginary Other
2.4.3. Elena: Being okay with not being okay
2.4.4. Liz: The Real
2.4.5. Conclusion: Tragedy and the Sublime

Chapter 5: Conclusion
1. Psychoanalysis as Catalyst
2. Melancholia/Mania
3. The New Subject of Circus
4. The Ethics of Circus

Bibliography
Appendices are on the accompanying Cd

Résumé :
This research considers the subject of the circus-making in order to bring it to the foreground of future discussions about pedagogy, practice and production. If the shift from Traditional to New Circus brought with it changes in education – the incorporation of theatre and dance – then the emerging Contemporary Circus may need a more refined set of tools to facilitate its creative growth. This thesis sets out how psychoanalytic theories can be adapted and its key practices adopted to bring about this shift from New to Contemporary Circus in pedagogic practice.

The practice tends to the subject that is traditionally mute in the face of the demands of circus, to which it complies becoming an object with minimal agency. Psychoanalytic praxis is adapted to give the subject a voice in order to develop a methodology specific to circus; circoanalysis. Following Freud it starts with the analogy of the circus act and the dream, the proposition that both are productions of the unconscious and contain hidden meanings and desires disguised by the formal content. It continues with the analogy of the symptom, which must be repeated for the partial and ambiguous satisfaction of unconscious desire and is at the threshold of the somatic and the psychic. Winnicott's theory of play is utilised to examine how artists explore and work through certain aspects of anxiety provoking psychic content in their work. Anxiety, in its Lacanian formulation, present in both circus and the consulting room, provides the key to understanding the importance of the Other in the act. Circus, like psychoanalysis, needs its other to recount its story to. Over one hundred research participants, students and professionals, engaged in the practices of questionnaires, focus groups, consultations, interviews and extended periods of circotherapy.

The thesis describes the development of a technique of talking through the manifest, formal content of the circus act in order to get to the unconscious desires that create it. The act is then seen as a symbolic compromise formation enveloping a kernel of real jouissance. In a series of case studies hysteria, obsessive neurosis, masochism, paranoid fantasy and melancholia are seen both as a series of subject positions with regard to circus and its spectator and as ways of managing an excessive enjoyment. Circus is put into a new context as a healing practice for its practitioners, whether in the form of repetition compulsion that turns bad objects into good ones or as a homeopathic self-immunisation against pain, anxiety and the relation to the Other. It casts new light on the problematic the circus has with the theatrical performance tropes of character and narrative which emerge as disavowals of this latent content and relation to the Other and suggests that a move forward, beyond this Other of the circus, implies a certain form of mourning. [author summary]

Collection : Bibliothèque de l'École nationale de cirque

Localisation : Bibliothèque

Cote : 791.301 Z116c 2013

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