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There are similarities in the performance demands of circus and other performance domains such as leanness sports and dance, yet little is known about the mental health of circus artists. We explored self-reported disordered eating and exercise addictions in a sample of 500 circus artists. The sample consisted of aerial acrobats (71%), floor acrobats (13%), object manipulators (9%), and equilibrists (6%) who participate in circus at a range of performance levels (amateur 50%, part/full-time professional 41%, student 6%, retired 3%). Similar to elite athletes in leanness sports, approximately 36% of the circus artists in our sample were classified as ‘at risk’ of an eating disorder. A binomial logistic regression model suggested that being ‘at risk’ of an eating disorder was negatively related to participants’ age and trait resilience, positively related to exercise addictions, and differences among circus categories were found (i.e., higher among equilibrium and aerial acrobatics). Using a Bayesian estimation procedure, a linear regression model suggested that exercise addiction scores were positively related to participants’ weekly training time and being ‘at risk’ for an eating disorder, negatively associated with their years of experience in circus, and differences between circus categories (high levels in equilibrium) and modality of engagement in circus (higher levels among amateurs) were identified. Consequently, these exploratory study findings indicate that a complex interaction of factors might impact the development of disordered eating and exercise addictions among circus artists. Implications for discipline-specific and experience-specific interventions to address these maladaptive behaviours are discussed.

Circus artists perform physically demanding skills in a high-stress environment, yet little is known about their mental health. We explored emotional states of depression, anxiety, stress and flourishing in a sample of 500 circus artists. The predominantly female sample (n = 415) encompassed a range of performance levels (amateur 50%, part/full-time professional 41%, student 6%, retired 3%), with aerial acrobatics (71%) being the most frequently represented main circus discipline in the sample. Compared to previously established normative scores of a non-clinical population, circus artists scored higher on scales of emotions reflecting depression, anxiety, and stress, and lower on flourishing. They also scored higher on both state and trait resilience compared to previously established normative scores. Using a Bayesian estimation procedure, linear regression analyses showed that resilience, circus factors, and demographics (i.e., age and gender) explained between 24% and 51% of the variance in emotional states of depression, anxiety, stress, and flourishing. Consistently, circus artists with higher levels of state/trait resilience reported higher levels of psychological wellbeing, indicated by lower levels of emotional states of depression, anxiety and stress, and higher levels of flourishing. Therefore, the development of interventions for circus artists who experience lower levels of psychological wellbeing appears warranted.

Safety is paramount to nurture artists’ creative growth and performance. In several contemporary circus arts disciplines, the consequences of accidents may involve severe injuries or death. In this article, we explore perceived risks, personality, experiences of sensation, emotion regulation, and agency in relation to accidents and near misses in contemporary circus arts (N = 248). A pathway analysis revealed that perceived risk, personality, and emotion regulation covary and together affect the likelihood of accidents and near misses in contemporary circus arts. A multivariate analysis of variance showed that contemporary circus arts consist of a heterogeneous group of discipline categories. Floor acrobats experienced significantly more accidents than aerial acrobats and object manipulators, and aerial acrobats experienced significantly more emotion regulation and agency than object manipulators. Further, aerial acrobats scored significantly higher on the personality traits conscientiousness and agreeableness than object manipulators. Our study reinforces the centrality of emotion regulation to safe performance in contemporary circus arts. Practitioners in performing arts, and circus in particular, are recommended to tailor safety interventions to the circus category and the artists’ personality-specific needs.

The purpose of this study was to explore the career transition experiences of elite gymnasts who became professional circus artists. Eight (inter)national level gymnasts who worked as circus artists were interviewed. Using a constructionist approach to thematic data analysis, we identified a three-phase career transition process. High levels of psychological resilience characteristics were required in the first, “realizing” phase (i.e., motivation, hard work, social support, and optimism). The second, “adapting” phase involved balancing context-specific demands which included general stress, a loss of competence, social adjustment, taking calculated risks, and physical recovery. The third, “thriving” phase involved experiences of freedom, personal development, and social connectedness. During the career transition, changes from an athletic to circus artist identity were experienced. Practitioners are encouraged to support the psychological resilience and experiences of autonomy among circus artists during their career transitions. This is expected to facilitate circus artists’ wellbeing, safety, and career longevity. [editor summary]

The purpose of this study was to explore the career transition experiences of elite gymnasts who became professional circus artists. Eight (inter)national level gymnasts who worked as circus artists were interviewed. Using a constructionist approach to thematic data analysis, we identified a three-phase career transition process. High levels of psychological resilience characteristics were required in the first, “realizing” phase (i.e., motivation, hard work, social support, and optimism). The second, “adapting” phase involved balancing context-specific demands which included general stress, a loss of competence, social adjustment, taking calculated risks, and physical recovery. The third, “thriving” phase involved experiences of freedom, personal development, and social connectedness. During the career transition, changes from an athletic to circus artist identity were experienced. Practitioners are encouraged to support the psychological resilience and experiences of autonomy among circus artists during their career transitions. This is expected to facilitate circus artists’ wellbeing, safety, and career longevity.