Documents 

The field of circus performance does not have a critical culture built within its practice the way that other performance and visual art forms do. Performance analysis, beyond attainment of optimum physical technique, is neither embedded in the general training and professional routines of performers, nor in any established form of public review discourse. This essay provides evidence of some underlying issues that currently inhibit a culture of critical practice developing, drawing on Foucault’s conception of power-knowledge. This paper presents the model of an ‘Analysis Cube’ as an adaptable tool that can be used to cultivate critical engagement within the circus sector, and to deepen the engagement and understanding of commentators from other realms of experience outside of circus. The creation of the tool has been grounded in an ongoing praxis, reflecting the principles of action
research (McNiff). The evidence of this study draws on four editions of the Circus Voices critical development scheme that I led between 2016 and 2018 at performing arts festivals in the UK. Data obtained during
the course of these residencies show how criticism has been perceived by circus practitioner participants, both conceptually and through direct response to reviews of circus productions. An analysis of this raw
material reveals that a high proportion of participant responses position criticism as primarily an economic tool for creators; and participants recognise a distinct lack of circus specific knowledge displayed in mainstream criticism. A small selection of creative critical approaches responsive to the needs of circus practitioners are discussed in the end to outline potential ways forward in an emerging and distinct critical field.