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LIVRES

Contemporary circus

Lavers, Katie ; Leroux, Louis Patrick ; Burtt, Jon
New York : Routledge, 2019

In this volume, twenty-four creators come together with three scholars to discuss Contemporary Circus, bridging the divide between practice and theory.

Lavers, Leroux, and Burtt offer conversations across four key themes: Apparatus, Politics, Performers, and New Work. Extensively illustrated with fifty photos of Contemporary Circus productions, and extensively annotated, Contemporary Circus thematically groups and contextualises extracts of conversations to provide a sophisticated and wide-ranging study supported by critical theory.

Of interest to both practitioners and scholars, Contemporary Circus uses the lens of ‘contestation,’ or calling things into question, to provide a portal into ways of seeing today’s circus performance.

Conversations with: Lachlan Binns and Jascha Boyce (Gravity and Other Myths), Tilde Björfors (Cirkus Cirkör), Kim ‘Busty Beatz’ Bowers (Hot Brown Honey), Shana Carroll (The 7 Fingers), David Clarkson (Stalker), Philippe Decouflé (Compagnie DCA), Fez Faanana (Briefs), Mike Finch (Circus Oz), Daniele Finzi Pasca (Compagnia Finzi Pasca), Sean Gandini (Gandini Juggling), Firenza Guidi (ElanFrantoio, NoFit State Circus), Jo Lancaster and Simon Yates (Acrobat), Johann Le Guillerm (Cirque Ici), Yaron Lifschitz (Circa), Chelsea McGuffin (Company 2), Phia Ménard (Compagnie Non Nova), Jennifer Miller (Circus Amok), Adrien Mondot (Compagnie Adrien M and Claire B), Charlotte Mooney and Tina Koch (Ockham’s Razor), Philippe Petit (high wire artist), and Elizabeth Streb (STREB EXTREME ACTION). [editor summary]

In this volume, twenty-four creators come together with three scholars to discuss Contemporary Circus, bridging the divide between practice and theory.

Lavers, Leroux, and Burtt offer conversations across four key themes: Apparatus, Politics, Performers, and New Work. Extensively illustrated with fifty photos of Contemporary Circus productions, and extensively annotated, Contemporary Circus thematically groups and contextualises extracts of ...

Cote : 791.309 05 L3998c 2019

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LIVRES

The Routledge circus studies reader

Tait, Peta ; Lavers, Katie
New York : Routledge , 2016

The Routledge Circus Studies Reader offers an absorbing critical introduction to this diverse and emerging field. It brings together the work of over 30 scholars in this discipline, including Janet Davis, Helen Stoddart and Peta Tait, to highlight and address the field’s key historical, critical and theoretical issues. It is organised into three accessible sections, Perspectives, Precedents and Presents, which approach historical aspects, current issues, and the future of circus performance.

The chapters, grouped together into 13 theme-based sub-sections, provide a clear entry point into the field and emphasise the diversity of approaches available to students and scholars of circus studies. Classic accounts of performance, including pieces by Philippe Petit and Friedrich Nietzsche, are included alongside more recent scholarship in the field.

Edited by two scholars whose work is strongly connected to the dynamic world of performance, The Routledge Circus Studies Reader is an essential teaching and study resource for the emerging discipline of circus studies. It also provides a stimulating introduction to the field for lovers of circus. [editor summary]

The Routledge Circus Studies Reader offers an absorbing critical introduction to this diverse and emerging field. It brings together the work of over 30 scholars in this discipline, including Janet Davis, Helen Stoddart and Peta Tait, to highlight and address the field’s key historical, critical and theoretical issues. It is organised into three accessible sections, Perspectives, Precedents and Presents, which approach historical aspects, ...

Cote : 791.301 T135r 2016

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ARTICLES DE LIVRES

The resilient body in social circus : Father Jesus Silva, Boris Cyrulnik and Peter A. Levine

Lavers, Katie
2016

This chapter explores the concept of social circus and how and why it is effective. It brings together the work of two thinkers on trauma, and the application of their ideas as a way of explaining how the physicality of learning circus skills assists young people affected by trauma. The ideas of French psychiatrist Boris Cyrulnik are referred to in the manual for Cirque du Monde instructors entitled The Phoenix: Building the Concept of Resilience into Cirque Du Monde Practices (Morelli and Lafortune 2003). However in this writing the author has brought Cyrulnik’s thinking about recovery from trauma together with the ideas of American psychologist Peter A. Levine to create the notion of the resilient body as a principle that can be seen to start to explain the successes of social circus. The chapter goes on to outline a number of different examples of social circus as a global movement.

This chapter explores the concept of social circus and how and why it is effective. It brings together the work of two thinkers on trauma, and the application of their ideas as a way of explaining how the physicality of learning circus skills assists young people affected by trauma. The ideas of French psychiatrist Boris Cyrulnik are referred to in the manual for Cirque du Monde instructors entitled The Phoenix: Building the Concept of ...

Cote : 791.301 T135r 2016

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ARTICLES DE LIVRES

Unreal Limbs: Erin Ball and the Extended Body in Contemporary Circus

Lavers, Katie ; Burtt, Jon ; Ball, Erin

Innovative prostheses are generating new possibilities for artists, performers and athletes with adaptive bodies. Performers, such as Aimee Mullins working with Alexander McQueen and Matthew Barney, and Viktoria Modesta working with Sophie de Oliveira Barata of The Alternative Limb Project, are leading the way in exploring an emerging terrain of unreal prosthetic limbs. This chapter compares this world of surreal prosthetic limbs to the drawing game ‘Exquisite Corpse’ invented in Paris in 1925 by the Surrealist artists André Breton, Marcel Duchamp, Yves Tanguy and Jacques Prévert, in the way they both raise powerful questions as to the boundaries of the human body and the interrelationship between the corporeal and the non-corporeal. In 2014 Erin Ball, the Canadian Contemporary Circus artist, after suffering severe frostbite, had both of her lower legs amputated. This chapter follows her in her determination to re-imagineer her adaptive body and to explore the world of surreal prosthetic limbs in Contemporary Circus performance. The writing also explores the emerging collaboration between Erin Ball and Kristina Walsh, a Canadian prosthetics designer, currently Artist in Residence at the Sarabande Studios which are run by the Alexander McQueen Foundation in London.

Innovative prostheses are generating new possibilities for artists, performers and athletes with adaptive bodies. Performers, such as Aimee Mullins working with Alexander McQueen and Matthew Barney, and Viktoria Modesta working with Sophie de Oliveira Barata of The Alternative Limb Project, are leading the way in exploring an emerging terrain of unreal prosthetic limbs. This chapter compares this world of surreal prosthetic limbs to the drawing ...

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ARTICLES DE PERIODIQUES

Cirqiniq : the decolonising of social circus in Nunavik

Lavers, Katie ; Burtt, Jon ; Bochud, Emmanuel
Theatre, Dance and Performance Training, vol.13 n°2, p. 180-195, 2022

This writing sets out to explore the Social Circus program in Nunavik in the Arctic in Far North Canada which in various forms has now been running for nearly twenty years. The initial program begun by Cirque du Soleil in 2002 had little uptake by the Inuit. There was a lack of community support and very sporadic attendance by the Inuit young people and after five years it was discontinued. The Social Circus program now known as Cirqiniq developed out of this initial program. Its success can be gauged by the fact that every year young Inuit vote in a poll as to whether it should continue or not. The program now has the support to ensure it continues each year. This article asks questions about what it was that changed in order to cause this turnabout? What was it that changed to cause the involvement of young Inuit and Inuit communities? Did the approaches to training change? Did structural changes occur? The authors, two of whom have worked with Cirqiniq, set out to answer these questions. A series of interviews undertaken with Inuit and Qallunaat (non-Inuit) involved in the program, along with research undertaken in response to these interviews, revealed a process of structural and cultural decolonisation of the Social Circus program which the authors point to as the key component in the program’s current success.

This writing sets out to explore the Social Circus program in Nunavik in the Arctic in Far North Canada which in various forms has now been running for nearly twenty years. The initial program begun by Cirque du Soleil in 2002 had little uptake by the Inuit. There was a lack of community support and very sporadic attendance by the Inuit young people and after five years it was discontinued. The Social Circus program now known as Cirqiniq ...

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ARTICLES DE PERIODIQUES

Briefs and hot brown honey : alternative bodies in contemporary circus

Lavers, Katie ; Burtt, Jon
M/C Journal vol. 20 n°1, 4 p., March 2017

Briefs and Hot Brown Honey are two Brisbane based companies producing genre-bending work combining different mixes of circus, burlesque, hiphop, dance, boylesque, performance art, rap and drag. The two companies produce provocative performance that is entertaining and draws critical acclaim.

However, what is particularly distinctive about these two companies is that they are both founded and directed by performers from Samoan cultural backgrounds who have leap-frogged over the normative whiteness of much contemporary Australian performance. Both companies have a radical political agenda. This essay argues that through the presentation of diverse alternative bodies, not only through the performing bodies presented on stage but also in the corporate bodies of the companies they have set up, they profoundly challenge the structure of the Australian performance industry and contribute a radical re-envisaging of the potential of circus to act as a vital political force. [editor summary]

Briefs and Hot Brown Honey are two Brisbane based companies producing genre-bending work combining different mixes of circus, burlesque, hiphop, dance, boylesque, performance art, rap and drag. The two companies produce provocative performance that is entertaining and draws critical acclaim.

However, what is particularly distinctive about these two companies is that they are both founded and directed by performers from Samoan cultural ...

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ARTICLES DE PERIODIQUES

BLAKflip and beyond : Aboriginal performers and contemporary circus in Australia

Lavers, Katie ; Burtt, Jon
New Theatre Quarterly vol.33 n°4, p.307-319, 2017

In this article Katie Lavers and Jon Burtt investigate BLAKflip and Beyond, a programme of workshops set up by the Australian circus company Circus Oz to mentor and support young Aboriginal performers by providing training and pathways into professional circus. Their analysis is contextualized through an examination of the thirty-year history of Circus Oz, most significantly its roots in the progressive and radical politics of the 1970s. The history of notable and successful Aboriginal performers in nineteenth- and twentieth-century Australian circus is also examined, questioning why, given the relative success of Aboriginal circus performers in the recent past, there are almost none working today. Whiteness as a pervasive characteristic of contemporary Australian performance is offered as a possible cause of this absence, while hopes for the future of Aboriginal circus are discussed with Davey Thompson, the new Aboriginal and Torres Strait Island Programme Manager at Circus Oz. Katie Lavers is an adjunct faculty member at Edith Cowan University, author of numerous journal articles, and co-editor (with Peta Tait) of The Routledge Circus Studies Reader (2016). Jon Burtt is a lecturer in Dance and Performance Studies at Macquarie University. He is the author of numerous articles on circus pedagogy, and is an advanced-level circus trainer. Lavers and Burtt are currently co-authoring (with Louis Patrick Leroux) a book on contemporary circus (forthcoming 2019). [editor summary]

In this article Katie Lavers and Jon Burtt investigate BLAKflip and Beyond, a programme of workshops set up by the Australian circus company Circus Oz to mentor and support young Aboriginal performers by providing training and pathways into professional circus. Their analysis is contextualized through an examination of the thirty-year history of Circus Oz, most significantly its roots in the progressive and radical politics of the 1970s. The ...

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ARTICLES DE PERIODIQUES

Re-imagining the development of circus artists for the twenty-first century

Burtt, Jon ; Lavers, Katie
Theatre, Dance and Performance Training vol.8 n°2, p.143-155, 2017

Circus performances now take numerous, diverse forms and these demand a new kind of circus performer, one who is adaptable, self-motivated and creatively innovative. The article argues that much current circus training is out of sync with the new requirements of this evolving industry. It re-imagines the development of elite circus artists, proposing an approach to training performers so that they are not only able to perform their ‘acts’ at the highest technical and artistic level, but are also able to function well as self-motivated, self-regulated, multi-disciplinary artists who are creatively innovative. The article outlines ‘Integrated Training’, an innovative approach to training physical skills developed by Jon Burtt, in which a focus is proposed which includes, alongside the development of high-level physical skills, attention to the development and training of cognitive skills such as self-efficacy and self-regulation, and the constructing of learning and teaching environments that effectively enhance creativity. The article proposes that Integrated Training has the potential to provide an effective basis for the development of the new kinds of artists currently required for the circus arts industry. [editor summary]

Circus performances now take numerous, diverse forms and these demand a new kind of circus performer, one who is adaptable, self-motivated and creatively innovative. The article argues that much current circus training is out of sync with the new requirements of this evolving industry. It re-imagines the development of elite circus artists, proposing an approach to training performers so that they are not only able to perform their ‘acts’ at the ...

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ARTICLES DE PERIODIQUES

Social circus in the arctic : cultivating resilience

Lavers, Katie ; Burtt, Jon
Journal of Arts & Communities, vol. 7 n° 3, p. 125-139, 2015

Between 2010 and 2013, social circus instructor Jon Burtt worked on a number of social circus projects in the Arctic and the sub-Arctic in the far north of Quebec in Nunavik, a semi-autonomous region with Inuit communities dotted around the Hudson Bay, Hudson Strait and Ungava Bay coasts. In this interview, writer and circus director Katie Lavers talks to him about his experiences there, about the programme he was involved in, the Inuit youth involved and their communities, and the effect of the work on him personally.

Between 2010 and 2013, social circus instructor Jon Burtt worked on a number of social circus projects in the Arctic and the sub-Arctic in the far north of Quebec in Nunavik, a semi-autonomous region with Inuit communities dotted around the Hudson Bay, Hudson Strait and Ungava Bay coasts. In this interview, writer and circus director Katie Lavers talks to him about his experiences there, about the programme he was involved in, the Inuit youth ...

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ARTICLES DE PERIODIQUES

Horses in modern, new, and contemporary circus

Lavers, Katie
Animal Studies Journal vol.4 n°2, p.140-172, 2015

Circus is an art form that developed around horses and trick riding. Philip Astley, an excavalry man who had recently returned to London after fighting in Europe in the Seven Years War (1756- 63), founded Modern Circus when he introduced clowns, musicians and acrobats to cover the changeover in his riding displays. Daring, acrobatic stunt riding remained the central most important element in modern circus. The strong sense of connection developed between a cavalryman and his horse through the sense of shared mortality on the battlefield was an important element informing the presentation of horses in modern circus. Running counter to the widespread exploitation of horses as beasts of burden widely used as machines, modern circus often depicted horses as creatures of passion, linked to Romantic imagery of the sublime. Astley championed a more humane way of training horses, and, in the context of its time, Astley’s circus can be seen as acting as a social force to contest pervasive cultural attitudes towards horses as machines. New Circus, which began in the late 1970s, saw a move away from the use of animal performers to the use of human performers only. This can be seen as a response to growing concern about the role of animal performers within circus, and also growing awareness of the rights of animals. The emergence of three new horse circuses in Quebec, Canada, namely Luna Caballera, Cavalia, and Saka, all formed after 1999, is examined in light of this cultural context and the work of Cavalia is discussed.

Circus is an art form that developed around horses and trick riding. Philip Astley, an excavalry man who had recently returned to London after fighting in Europe in the Seven Years War (1756- 63), founded Modern Circus when he introduced clowns, musicians and acrobats to cover the changeover in his riding displays. Daring, acrobatic stunt riding remained the central most important element in modern circus. The strong sense of connection ...

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ARTICLES DE PERIODIQUES

Cirque du Soleil and its roots in illegitimate circus

Lavers, Katie
M/C Journal, 2014

Cote : CIRQ-221-SOL

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ARTICLES DE PERIODIQUES

The political body in new circus and contemporary circus arts : embodied protest, materiality, and active spectatorship

Lavers, Katie
Platform vol. 8 n° 2, p.55-68, 2014

Contemporary circus artists Philippe Petit and Philippe Ménard have created compelling works that have combined circus with performance art; in particular, Petit’s Twin Towers High Wire Walk (1974), and Ménard’s P.P.P. or Position Parallèle au Plancher (2005). These works now stand as limit-text works in their relative fields, which is to say they are works that go beyond the previously accepted limits and now point to new boundaries, or new questions, as to the reaches of the field. This paper asks whether notions underlying performance art can provide a tool to aid in deciphering meanings in these powerful limit-text circus works. It investigates the origins of one of the understandings of the body of the performer that is fundamental to much of performance art — that is the idea of the political body and embodied protest. The notion of materiality is also discussed in relation to the use of ice in Menard’s P.P.P. Active, engaged spectatorship is another important aspect of performance art in decoding the body-in-space and its political and poetic import. Although readings by active spectators may sometimes exceed the performer’s expressed intentions, these diverse readings form an important component of the work’s ability to resonate on multiple levels. The works by Petit and Ménard are explored in relation to these ideas of the political body and embodied protest, materiality, and active, engaged spectatorship. [editor summary]

Contemporary circus artists Philippe Petit and Philippe Ménard have created compelling works that have combined circus with performance art; in particular, Petit’s Twin Towers High Wire Walk (1974), and Ménard’s P.P.P. or Position Parallèle au Plancher (2005). These works now stand as limit-text works in their relative fields, which is to say they are works that go beyond the previously accepted limits and now point to new boundaries, or new ...

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