DOCSLIB.ORG

Circostrada Network

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Circostrada Network Fresh Circus #2 European seminar on the sustainable development of circus arts circostrada network Synthesis of discussions www.circostrada.org 25 & 26 septembre 2008 Actes Fresh Circus #2 European seminar on the sustainable development of circus arts 12-13 April 2012 Parc de la Villette (Paris) Contents Fresh Circus #2 Presentation by Yohann Floch .................................................................................................................................................................. p. 3 Circus at the Forefront of Europe and the Arts Introduction by Anne-Marie Autissier ................................................................................................................................................... p. 4 Social circus: what impact for citizens? Report by Ali Williams ................................................................................................................................................................................... p. 8 Contemporary circus aesthetics: standardisation, globalisation, and diversity of cultural expressions? Report by Ivan Kralj ...................................................................................................................................................................................... p. 12 Artistic residency programmes: How to make use of space and time? Report by Martine Linaer-Gijsen ........................................................................................................................................................... p. 15 Which types of cooperation with business are possible? Report by Gwendolien Sabbe .................................................................................................................................................................. p. 18 How do you criticise circus arts? Report by Koen Allary ................................................................................................................................................................................. p. 21 Audience development: the role of new media? Report by Ludvig Duregård ....................................................................................................................................................................... p. 24 “Green Circus Arts”: what environmental responsibilities? Report by Markus Wörl .............................................................................................................................................................................. p. 29 From début to retirement: which professional pathways? Report by Sari Lakso ................................................................................................................................................................................... p. 32 Our neighbours from other continents: which collaborations are possible? Report by Mikey Martins ........................................................................................................................................................................... p. 37 After production and co-production, who is commissioning? Report by Maaike van Langen................................................................................................................................................................ p. 40 Acknowledgments to the editor John Ellingsworth, to the translators Brian Quinn and Frédérique Louveau, to all live translators, speakers and contributors, to our coordination assistant Victoria Seidl, to the photographer David Konečný and to the staff of the Parc et Grande Halle de la Villette. This project has been funded with support from the European Commission. This publication [communication] reflects the views only of the author, and the Commission cannot be held responsible for any use which may be made of the information contained therein. Cover: Cie Un Loup pour l’homme © Milan Szypura – Inside pictures: Fresh Circus #2, Circostrada Network © David Konečný - Graphic design: Marine Hadjès Presentation Circostrada Network organised Fresh Circus #2, European seminar on the sustainable development of circus arts, on the 12th and 13th of April 2012. The goal of this moment of reflection and exchange was to formulate a series of practical recommendations to improve the infrastructure Fresh Circus #2 and recognition of the sector. To create opportunities for artistic mobility, to bring the 2 days at Parc et Grande Halle performing arts into the digital era, to facilitate access to culture, to think of new economic models, to increase recognition de la Villette (Paris, France) of the arts within society, to participate in the renewal of public 490 participants from 42 countries policies – these are but a few of the challenges which the entire 44% of foreign participants cultural sector faces, and each is a subject which can greatly 20 simultaneous interpreters, 4 keynote benefit from circus’ innovative contributions. In order to facilitate the approach and the treatment of speakers, 30 speakers, 10 moderators, issues linked to our sector, the members of Circostrada 13 European cooperation projects Network proposed to articulate the seminar around ten presented, 8 info sessions: thematic working sessions. Within this framework, in order to take into consideration the diverse realities of Europe, we proposed that artists and 10 thematic workshops companies, circus arts professionals, and more generally > Contemporary circus aesthetics: those from the performing arts field send contributions standardisation, globalisation, diversity of ahead of time in order to share their experiences and cultural expressions? difficulties, to make known examples of good practice, and > Artistic residency programmes: How to to help formulate concrete propositions that will improve make use of space and time? the situation of the sector and reflect how to best position > Which types of cooperation with business contemporary circus in the face of transnational issues. are possible? The gathering of European circus arts professionals at the > Social circus: what impact for citizens? second Fresh Circus conference has been surprising and unique. > Audience development: the role of new Reunions, embraces, discussions aside or in small groups, the media? overall ambiance gave the impression of a multicultural arts > How do you criticise circus arts? community that was happy to examine the issues involved in > From début to retirement: which the sustainable development of its artistic practices. professional pathways? Exchanging views on the sector's values as well as its > “Green circus arts”: what environmental fears and difficulties, the participants have shown that the responsibilities? answers to many questions may lie in the existence of Europe > Our neighbours from other continents: itself, which is today considered to be the natural space of which collaborations are possible? expression for the circus arts, and which has brought them > After production and co-production, who into a rewarding dialogue with the rest of the world. is commissioning? We invite you to discover a synthesis of the Fresh Circus Fresh Circus #2 was proposed by Circostrada Network, European platform for the discussions and to revisit the ten themes at the heart of circus and outdoor creation, and was coordinated by HorsLesMurs. This event was held on the occasion of the festival Hautes Tensions in partnership with the Parc the sustainable development of circus arts. We would like et Grande Halle de la Villette, Onda, Fondation BNP-Paribas, Stradda, Institut Français/ville de Paris, the French Ministry of Culture and Communication and to share with you a few of the unique experiences of those the European Commission through its Culture Programme. artists or cultural professionals who contribute day after day to enrich the circus. By Yohann Floch Coordinator of Circostrada Network 3 / January 2013 Circus at the Forefront of Europe and the Arts By Anne-Marie Autissier Sociologist in culture and media. Director of the Institut d’Etudes Europeennes at the University of Paris 8 Fresh Circus #2 took place on 12 and 13 April 2012 at La Villette’s Grande Halle, where it provided another chance to witness the mobilising force of the European circus arts network. Almost 500 attendees from over forty countries were present, with the topics to be discussed at the event prepared beforehand by all members Anne-Marie Autissier of the Circostrada network. It would be impossible to summarise such a huge undertaking in a way that was not incomplete and Holding a university degree in modern literature and a doctorate partial – yet that’s just the challenge I’ve decided to take on here in sociology, Anne-Mairie is an associate professor PhD Paris 8 at the request of Yohann Floch, the event’s organiser. University and head of the department of European studies since February 2012. She is president of the association Culture For two days, I attended workshops and presentations, focusing Europe, editor of the magazine Culture Europe International on what I saw as the crux of the discussions running through (with the support of the French Ministry of Culture and these gatherings. Communication and the institute of European Studies at Paris 8 University (www.culture-europe-international.org). She I decided to highlight certain themes among those discussed at also works as a consultant for different French and European the event, and I hope this necessarily incomplete rendering will organisations
Load more

Recommended publications
  • Circus Friends Association Collection Finding Aid
    Circus Friends Association Collection Finding Aid University of Sheffield - NFCA Contents Poster - 178R472 Business Records - 178H24 412 Maps, Plans and Charts - 178M16 413 Programmes - 178K43 414 Bibliographies and Catalogues - 178J9 564 Proclamations - 178S5 565 Handbills - 178T40 565 Obituaries, Births, Death and Marriage Certificates - 178Q6 585 Newspaper Cuttings and Scrapbooks - 178G21 585 Correspondence - 178F31 602 Photographs and Postcards - 178C108 604 Original Artwork - 178V11 608 Various - 178Z50 622 Monographs, Articles, Manuscripts and Research Material - 178B30633 Films - 178D13 640 Trade and Advertising Material - 178I22 649 Calendars and Almanacs - 178N5 655 1 Poster - 178R47 178R47.1 poster 30 November 1867 Birmingham, Saturday November 30th 1867, Monday 2 December and during the week Cattle and Dog Shows, Miss Adah Isaacs Menken, Paris & Back for £5, Mazeppa’s, equestrian act, Programme of Scenery and incidents, Sarah’s Young Man, Black type on off white background, Printed at the Theatre Royal Printing Office, Birmingham, 253mm x 753mm Circus Friends Association Collection 178R47.2 poster 1838 Madame Albertazzi, Mdlle. H. Elsler, Mr. Ducrow, Double stud of horses, Mr. Van Amburgh, animal trainer Grieve’s New Scenery, Charlemagne or the Fete of the Forest, Black type on off white backgound, W. Wright Printer, Theatre Royal, Drury Lane, 205mm x 335mm Circus Friends Association Collection 178R47.3 poster 19 October 1885 Berlin, Eln Mexikanermanöver, Mr. Charles Ducos, Horaz und Merkur, Mr. A. Wells, equestrian act, C. Godiewsky, clown, Borax, Mlle. Aguimoff, Das 3 fache Reck, gymnastics, Mlle. Anna Ducos, Damen-Jokey-Rennen, Kohinor, Mme. Bradbury, Adgar, 2 Black type on off white background with decorative border, Druck von H. G.
    [Show full text]
  • Cossin2017-Cricussafer.Pdf
    Cossin, Ross and Gosselin 1 Prepared using sagej.cls Journal Title Making single point aerial XX(X):3–27 ©The Author(s) 2016 circus disciplines safer Reprints and permission: sagepub.co.uk/journalsPermissions.nav DOI: 10.1177/ToBeAssigned www.sagepub.com/ Marion Cossin1, Annie Ross1 and Fred´ erick´ P. Gosselin1 Abstract The purpose of this study was to measure the dynamic tension force between the apparatus and the hanging equipment of five aerial circus apparatus and to recommend minimal loading requirements in rigging and design. Forces generated by different acrobatic movements were measured and synchronized with video recordings. Sixteen students of the National Circus School of Montreal´ (Canada) participated in the study. Maximal forces were analysed and characterized with respect to the discipline, the type of movement and the schooling level of the student. The maximal force measured was 5.3 kN performed in the discipline of aerial straps, equivalent to 7.9 times the bodyweight of the performer. A minimal breaking strength of 22 kN for the hanging point and all the equipment holding the rig is recommended. A minimal breaking strength of 22 kN for straps, 17 kN for rope, and 12 kN for silk, aerial hoop and dance trapeze is recommended. Keywords Aerial circus discipline, maximal forces, safety, circus rigging, acrobat mass Prepared using sagej.cls [Version: 2015/06/09 v1.01] Cossin, Ross and Gosselin 3 Introduction Aerial acrobats use their own force to lift their body and execute various movements requiring extreme strength and precision similar to gymnastics. Aerial acrobatics encompass all disciplines requiring the rigging of an apparatus at a height.
    [Show full text]
  • The Beginner's Guide to Circus and Street Theatre
    The Beginner’s Guide to Circus and Street Theatre www.premierecircus.com Circus Terms Aerial: acts which take place on apparatus which hang from above, such as silks, trapeze, Spanish web, corde lisse, and aerial hoop. Trapeze- An aerial apparatus with a bar, Silks or Tissu- The artist suspended by ropes. Our climbs, wraps, rotates and double static trapeze acts drops within a piece of involve two performers on fabric that is draped from the one trapeze, in which the ceiling, exhibiting pure they perform a wide strength and grace with a range of movements good measure of dramatic including balances, drops, twists and falls. hangs and strength and flexibility manoeuvres on the trapeze bar and in the ropes supporting the trapeze. Spanish web/ Web- An aerialist is suspended high above on Corde Lisse- Literally a single rope, meaning “Smooth Rope”, while spinning Corde Lisse is a single at high speed length of rope hanging from ankle or from above, which the wrist. This aerialist wraps around extreme act is their body to hang, drop dynamic and and slide. mesmerising. The rope is spun by another person, who remains on the ground holding the bottom of the rope. Rigging- A system for hanging aerial equipment. REMEMBER Aerial Hoop- An elegant you will need a strong fixed aerial display where the point (minimum ½ ton safe performer twists weight bearing load per rigging themselves in, on, under point) for aerial artists to rig from and around a steel hoop if they are performing indoors: or ring suspended from the height varies according to the ceiling, usually about apparatus.
    [Show full text]
  • Circus Schools Discovery Questionnaire This Is for Quotation Purposes Only—This Is Not a Binder A
    ANY PERSON WHO KNOWINGLY AND WITH INTENT TO DEFRAUD ANY INSURANCE COMPANY OR OTHER PERSON, FILES AN APPLICATION FOR INSURANCE CONTAINING ANY FALSE INFORMATION, OR CONCEALS FOR THE PURPOSE OF MISLEADING, INFORMATION CONCERNING ANY FACT MATERIAL THERETO, COMMITS A FRAUDULENT INSURANCE ACT, WHICH IS A CRIME. CIRCUS SCHOOLS DISCOVERY QUESTIONNAIRE THIS IS FOR QUOTATION PURPOSES ONLY—THIS IS NOT A BINDER A. General Information PROPOSED EFFECTIVE DATE: 1. Applicant (as it would appear on the coverage contract): 2. Doing Business As: 3. Mailing Address: City: State: Zip: 4. Contact Person: Years Experience: Contact Person is: □ Owner □ Manager □ Promoter □ Management □ Other: 5. Phone: Fax Number: 6. Web Address: E-Mail Address: 7. Is this a new business? □ Yes □ No If no, how many years have you been in business? 8. Applicant is: □ Individual □ Corporation □ Partnership □ Joint Venture □ Other: 9. Length of season: 10. Who was your last or is your current insurance carrier? 11. What is or was your annual premium? 12. Describe your claims and loss history: 13. Amount of Liability Required: □ 50,000 per accident / 100,000 annual □ 100,000 per accident / 200,000 annual aggregate aggregate □ 100,000 per accident / 300,000 annual □ 200,000 per accident / 300,000 annual aggregate aggregate □ 200,000 per accident / 500,000 annual □ 300,000 per accident / 500,000 annual aggregate aggregate □ 300,000 per accident / 300,000 annual □ 500,000 per accident / 500,000 annual aggregate aggregate □ 300,000 per accident / 1,000,000 annual □ 500,000 per accident / 1,000,000 annual aggregate aggregate 14. Self-Insured Retention desired: □ $1,000 □ $2,500 □ $5,000 □ Other: $ B.
    [Show full text]
  • Jody Lynn Poth Seattle, WA (US Citizen) [email protected] Jodypoth.Com (425) 894-6701
    Jody Lynn Poth Seattle, WA (US Citizen) [email protected] jodypoth.com (425) 894-6701 Specialization: Vertical (Tissue and Corde Lisse), Duo Trapeze, Duo Hoop, Spanish Web Experience With: Hoop/Cerceau, Sling/Hammock, Solo Dance/Static Trapeze Performance/Artistic Projects: Celebrus Lupercalia, 7th Anniversary @ the Triple Door; HoopDuality & Fabric (February 2017) Cannabis Winter Ball, Babette’s Events Presents; HoopDuality Spanset Act (January 2017) 5th Anniversary Aerial Showcase, A Circus Guild Presentation; Duo Trapeze (December 2016) TuckCancer Benefit Performance, Versatile Arts; Duo Hoop (November 2016) Fremonster Spectacular, Fremont Foundry; Fabric & Duo Trapeze (Seattle, WA) (October 2016) Charlie and the Dark Chocolate Factory, Cirque Macabre; Duo Trapeze (October 2016) Imagine Music and Arts Festival, Orcas Island, WA; Duo Trapeze (September 2016) Fluidity Gathering, Zepto Space; Duo Hoop in “Ouroboros” (August 2016) Cascadia Music Festival; Corde Lisse & Duo Hoop (September 2016) Wandering & Wondering, Seattle Butoh Festival – Kubota Japanese Garden Performance; Butoh Dance (July 2016) Wham Bam, A Versatile Arts Performance; Duo Trapeze (April 2016) My Circus Valentine, A Circus Guild Presentation; Duo Trapeze (February 2016) Welcome to the Jungle, A Versatile Arts Performance; Duo Trapeze (November 2015) Cascadia Music Festival; Aerial fabric and partner acrobatics in Weighing of the Heart (Sep 2016) Dani (Music Video for Briana Marela – Jagjaguwar Records); Aerial Fabric (August 2015) Plato’s Cave, Experimental
    [Show full text]
  • Circus Educators Insurance Application
    Circus Educators Insurance Application The AYCO-ACE Insurance Program has been specifically designed to provide insurance for the unique risks of teaching & performing circus arts. The program has been collaboratively designed with AYCO-ACE Board of Directors. Front Row is committed to helping you better understand your insurance coverage and how it can protect you, your school or studio, your students and the great people working for you. We love questions – so be sure to ask lots of them! The AYCO-ACE program can include the coverage for: Bodily Injury & Property Damage Liability (Each Occurrence/Aggregate) $1,000,000 / $3,000,000 Personal Injury (Libel, Slander, Defamation) & Advertising Liability (Copyright Infringement) Up to $1,000,000 Each Occurrence Damage to Rented Premises Up to $1,000,000 Each Claim Participant Accident & Medical Insurance $10,000 or $25,000 Optional Coverage: Hired or Non-Automobile Liabilitty Up to $1,000,000 Professional Educators Errors & Omissions Liability (Each Occurrence/Aggregate) Up to $1,000,000 / $2,000,000 Abuse & Molestation Liability (Each Occurrence/Aggregate) Up to $1,000,000 / $2,000,000 Property: Equipment, Studio Assets, Tenant Improvements, Buildings, Tents As Required Note: Higher insured amounts are available. Please provide us with the following additional documents when you return the application: 1. Signed Application: The Application must be signed by an executive officer. 2. Waivers: A copy of waiver or release forms that participants, their parents or guardians sign when registering for your programs. 3. Organization Policies: Your Organization’s Harassment & Discrimination policy. 4. Claims History: A 4-year claims history report from your current insurance provider.
    [Show full text]
  • Flip Arts Springing to New Heights
    2019 SCOTIABANK VANIER COLLEGE NATIONAL MARKETING CASE COMPETITION Sunday, February 10, 2019 Flip Arts Springing to New Heights ENGLISH VERSION Prepared by: Wendy Keller McGill University © 2019. This case was prepared by Wendy Keller and is not intended to illustrate either effective or ineffective handling of a management situation. Some information may have been disguised in the interest of confidentiality. This case is for educational purposes and is not to be reproduced for other purposes other than the case competition without the permission from the author and the Scotiabank Vanier College National Marketing Case Competition. Flip Arts Springing to New Heights By Wendy Keller Darlene Traviss was in a hurry to get to her office at Flip Factory, in the northeastern part of Calgary. Yesterday’s skype video call with Kelly Schreiber, CEO of L’ExpArts, a Montreal-based marketing firm, with experience in promotion for performance arts, had made her feel cautiously optimistic, but optimistic, nonetheless. The commute to the office typically took 30 minutes, but this morning it was unusually long. Infrastructure improvement projects around the city were causing back-ups. Ranked as one of the most livable cities in North America1 and bolstered by renewed corporate investment, a mini-baby boom and migration from both within and outside of Canada2, Calgary was on a slow but steady rebound from the 2015 recessionary period.3 The morning news said the “coast is not yet clear,” referring to the influence of oil industry dynamics and trade, which
    [Show full text]
  • Vancouver BC. Canada Presentation Package the Inner Ring Circus* Is a Professional Entertainment Company
    expect the unexpected VANCOUVER BC. CANADA PRESENTATION PACKAGE The Inner Ring Circus* is a professional entertainment company PACKAGE ABOUT specializing in one-of-a-kind productions and events. Inner Ring Circus, INNER one of the leading circus companies in Western Canada, is led by some RING of the most influential and creative industry leaders. To date, Inner Ring Circus has produced over 500 events worldwide and has CIRCUS worked with prestigious brands such as BMW, McDonalds, Microsoft, Mercedes, Chrysler, Amheuser-Busch, Nike, Formula One and Virgin. Our exclusive artistic team is exhilarating and unparalleled in their PRESENTATION PRESENTATION ability to entertain and excite the imagination. ~ Expect the Unexpected ANADA C . C ER B ER V VANCOU *The Inner Ring Circus is the professional division of the Vancouver Circus School, Western Canada’s Largest Circus School Def’n: a stand-alone presentation, designed to be the primary focus PACKAGE Inner Ring Circus trains and works with international Circus & Acrobatic professionals. FEATURE Along with representing Vancouver’s best artists in the industry, our trusted network has ACTS connections to shows and acts worldwide. Our clients have the option to choose one of our many exclusive featured acts*, or to build their own custom show with the assistance of our creative department. Our entertainment includes disciplines such as: Aerial Silk Human Balloon Act PRESENTATION PRESENTATION Chinese Pole Triple Trapeze Aerial Hoop Corde Lisse Dance Trapeze Dancers ANADA Pole Cube Vocalists C . Trampoline Acrobats and Tumblers C Man of Many ER B ER V *Featured acts are typically the length of a song. VANCOU Def’n: a mingling entertainer, designed to do more intimate entertainment Atmospheric acts are visual and theatrical entertainment intended to add “life” to any event.
    [Show full text]
  • 2021 Offerings
    OFFERINGS in 2021 Duo Lyra (Aerial Hoop) Aerial Feature Acts are between 4 - 6 minutes long and are remunerated at $1550+gst per performer Duo Trapeze Rigging sits between $650+gst and $1450+gst per aerial point. This depends on whether it is a moving or static point. Aerial Cube Aerial Pole Duo Straps Aerial Umbrella Solo Lyra Aerial Fabric (Silks) Aerial Triangle Birdcage Aerial Sprial Solo Straps Corde Lisse (Aerial Rope) AerialAerial Chair Chair Lyra Mobile Aerial Ladder Cloudswing Spanish Web FIRE PERFORMANCE Fire Fans Fire Staf Fire Poi Fire Wands Contact Fire Feature Fire Acts are $950+gst per performer Roving, Ambient or Installation $750+gst per performer per hour Fire Breathing $1500+gst per performer per act or 115 minute slot Fire requires an additional safety ofcer at $80+gst per hour onsite Ground Based Feature Acts Juggling - $650+gst per performer Hula Hoops - $850+gst per performer Skilled Stilt Performance $850+gst per performer Contortion, Handbalace, Chair Stacking, Cyr Wheel - $1350+gst per performer Adagio - $2200+gst per couple Trio Dynamique or Trio Adagio - $2700+gst for a trio act Chair Stacking Contortion Cyr Wheel Hula Hoops Adagio (Hand to Hand) or (Partner Balance) Juggling Handbalance Trio Dynamique Toss the Girl (Toss the Girl) Toss the Girl Trio Adagio Roving, Ambient or Installation Contortion Chair Stacking Adagio Trio Adagio Handbalance Skilled Stilt Walking $950+gst per performer for a 20 minute spot Hula Hoops Juggling $650+gst per performer per hour Stilt Walking $350+gst per performer per hour .
    [Show full text]
  • The Balancing Act Is Dedicated to Three Cousins: BJ Scarfone, Lynne Manilla, and Sandi Manilla, of Blessed Memory, for Helping Us Keep Our Balance!
    The Balancing Act is dedicated to three cousins: BJ Scarfone, Lynne Manilla, and Sandi Manilla, of blessed memory, for helping us keep our balance! Welcome! Circus is about humans overcoming challenges. Our entire world is challenged right now. As a nonprofit social circus school, we feel like we are walking a tightrope. Under normal circumstances, we know how to walk a tightrope, however the length keeps getting extended. When you are learning to walk a tightrope, if you start to lose your balance, you don’t stay in one place and fight to get it back. The best thing to do to regain your balance is to take your next step forward. One of our students, Will Hickey, said, “It’s important to look for balance. It doesn’t necessarily seek you out if you don’t look for it.” From their living rooms, bedrooms, backyards, and local parks, Circus Harmony students and alumni have created new acts and tell the stories of how they are keeping their balance in this unbalanced time. Will observed, “This show feels like it’s taking our separated lives and individual experiences and attaching them. There’s a reason people make quilts and not just regular blankets.” Come wrap yourself in this show, like the circus itself, the show is daring and funny, exciting and entertaining, heart-stopping and heart-warming. I think you will be inspired by these young people’s strength, grace, and resilience. Jessica Hentoff Pre-Show A view into how some of Circus Harmony’s alumni, students, parents and coaches are keeping their balance.
    [Show full text]
  • Aerial Stars: Femininity, Celebrity & Glamour in the Representations of Female Aerialists in the UK & USA in the 1920S and Early 1930S
    Aerial Stars: Femininity, Celebrity & Glamour in the Representations of Female Aerialists in the UK & USA in the 1920s and Early 1930s Submitted by Catherine Jane Holmes to the University of Exeter as a thesis for the degree of Doctor of Philosophy in Drama in December 2016 This thesis is available for Library use on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement. I certify that all material in this thesis which is not my own work has been identified and that no material has previously been submitted and approved for the award of a degree by this or any other University. Signature: ………………………………………………………….. 1 Abstract Female solo aerialists of the 1920s and early 1930s were internationally popular performers in the largest live mass entertainment of the period in the UK and USA. Yet these aerialists and this period in circus history have been largely forgotten by scholars. I address this omission by arguing these stars should be remembered for how they contributed to strength being incorporated into some stereotypes of femininity. Analysing in detail Lillian Leitzel, Luisita Leers and, to a lesser extent the Flying Codonas, I employ a cross-disciplinary methodology unique to aerial scholarship that uses embodied understanding to reinvigorate archival resources. This approach allows me to build on the wider scholarly histories of Peta Tait, drawing important conclusions about the form including how weightlessness is constructed and risk is performed. In the introduction I re-evaluate the nostalgic histories of circus to establish circus’ and aerialists’ popularity in this period, before exploring how engagements shaped careers.
    [Show full text]
  • COVID-19 Physical Distancing Recommendations for the Practice of Circus Disciplines Risk Assessment for the Teaching of Circus Disciplines
    COVID-19 Physical distancing recommendations for the practice of circus disciplines Risk assessment for the teaching of circus disciplines June 2020 By the National Circus School’s Circus Health and Safety Committee: Jérémie Boisier-Michaud Jean-Philippe Dalcourt Sarah Poole Marie-Pier Rousseau Nathalie Sabourin Stéphanie Simard Christine Thibaudeau Véronique Thibeault With the collaboration of Marion Cossin of the CRITAC (Center for Circus Arts Research, Innovation and Knowledge Transfer) National Circus School, June 2020 - Comité santé et sécurité cirque – Gestion du risque COVID-19 Physical distancing recommendations for the practice of circus disciplines Recommendations take into account an assessment of potential droplet projection from the practitioner's respiratory system. Activities m2 Examples wheel, teeterboard*, Russian cradle*, Russian bar*, aerial Circus disciplines disciplines with circular flight patterns, duo tissu*, swinging significant dynamic factor, amplitude, 8 to 10 trapeze, cloudswing, freestanding trampoline, unicycle, and movement throughout space acrobatic bicycle, German wheel, duo dance trapeze*, banquine, aerial hoop with flight Circus disciplines aerial straps, duo trapeze*, tightwire, solo acrobatic medium-range dynamic factor and 6 to 8 research, hand to hand, hoop diving, dance trapeze with back amplitude and forth or circular movement patterns across space Circus disciplines Rising and lowering in place (without aerial straps without circular or back and forth flight circular or back and forth flight
    [Show full text]