DOCSLIB.ORG

Download The

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Download The European residency programme for cultural journalists LONDON RESIDENCY LONDON INTERNATIONAL MIME FESTIVAL 9–11 JANUARY 2014 p. 3 ALEN BISKUPOVIĆ Contemporary Circus – A View from the Outside / Suvremeni cirkus – impresije jednog outsidera p. 15 ANNA HAKANSSON Freak / Freak p. 22 ANNA KRÓLICA Double Worlds: From the Faun to the Tiny People Made From Plastic Bags / Podwójne światy: od Fauna do foliowych ludzików z reklamówek p. 31 AMÈLIA BAUTISTA BATLLORI Processes of Creation in the Contemporary Circus / Processos de creació en el circ contemporani p. 38 BAUKE LIEVENS The Body as Battlefield – (tentatively) connecting Artistic Research and Dramaturgy in Circus / Het lichaam als slagveld: een (voorzichtig) verbinden van artistiek onderzoek en dramaturgie in circus p. 47 JOOST GOUTZIERS The Circus of Tomorrow Disregards the Future / Circus van morgen vergeet de toekomst p. 55 NATASHA HASSIOTIS Compagnie Non Nova: L’après-midi d’un Foehn and Vortex p. 59 ÖRJAN ABRAHAMSSON Some Reflections on the Show Fuerzabruta at the Roundhouse in London / Vissa reflektioner kring föreställningen ”Fuerzabruta” på The Roundhouse i London. Fuerzabruta p. 68 ROBERT ALAGJOZOVSKI The Uncanny in Space / Нелагодноста во просторот – p. 76 VERONIKA ŠTEFANOVÁ Transformation Fuerzabruta as an Impetus / Transformace jako hnací síla Presentation Circus arts are an art form like theatre or dance, of twelve major festivals programming but have not yet a profound level of intellectual, contemporary circus. The goal of the project is cultural and institutional recognition it deserves, to facilitate the circulation of knowledge and in Europe as well as at national and local level. experience, to develop the critical discourses Thereby political and financial support to this of its participants, and to further the role of the sector is quite low and there are structural media within the circus arts and contemporary weaknesses. There are strong imbalances in society. comparison to other creative areas, even when comparing the realities between regions or 12 Residencies – 120 Articles countries. Unpack the Arts consists of 12 residencies in 8 countries, spread over 2 years (August 2012 Despite the growing success of circus by the – February 2014). Each residency is set within audience and programmers, circus arts are the framework of a festival and follows the same not covered by abundant literature, academic format: over the course of 4 days, the participants research, in-depth articles, reviews,... and artists contribute to a series of moderated thematic themselves often experience difficulties in discussions, attend lectures by key circus experts, producing theoretical writing that communicates see 3-5 shows, and meet with and interview their practice, their creative processes and their programmed artists along with a representative productions. They rarely have the chance to of the host festival. After the residencies, each exchange with critics and experts from the participating journalist delivers one article. These performing arts on theoretical or conceptual texts are collected, translated and turned into terms. an online, multilingual publication. Also, many art writers are clueless about This 11th publication collects the texts of contemporary circus. Cultural journalists don’t 10 European journalists who attended the know the disciplines and techniques and overall residency at London International Mime Festival, they lack the contextual understanding to tackle London, UK, 9 to 11 January 2014. a piece’s dramaturgical choices, to reference other productions, or to interview artists creating We wish to thank all participants and all non text-based works. collaborators who made this residency a success. That’s why Circuscentrum and 9 important circus festivals all over Europe conceived Unpack the KOEN ALLARY Arts. Unpack the Arts is a European project – Director, Circuscentrum (project leader) granted by Europe Culture – that provides YOHANN FLOCH residencies for cultural journalists in the context Adviser 2 Contemporary Suvremeni cirkus Circus – A View – impresije jednog from the Outside outsidera ALEN BISKUPOVIĆ ALEN BISKUPOVIĆ Circus. For me, the first association is always the Cirkus. Prva asocijacija za mene uvijek je rado happy mental image of a huge tent surrounded viđena mentalna slika velikih šatora okruženih by wagons, spectacular acrobats swinging on kolima, vrhunskih akrobata na trapezima, the trapeze, hilarious clowns, jugglers, knife urnebesnih klaunova, žonglera, bacača noževa, throwers, skilful riders, and the general feeling vještih jahača i općenito osjećaj euforije i of euphoria and emotional exultation. Now, emocionalne ushićenosti. Međutim, suvremeni contemporary circus is something completely cirkus je nešto sasvim drugačije. Pitate se što? different. What is it, then, you may ask. This is Upravo to sam se i ja pitao prilikom what I asked myself when I took part in the sudjelovanja na londonskoj rezidenciji u London residency organised by Unpack The Arts organizaciji Unpack The Artsa i Crying Out and Crying Out Loud for cultural journalists. It Louda za novinare iz kulture koja se održala u was a privilege for me to be able to take part. siječnju 2014. godine i na kojoj sam imao Motivated by a lack of intellectual, institutional, privilegiju sudjelovati. Potaknuti nedostatkom general recognition of contemporary circus as intelektualnog, institucionalnog i općenitog a phenomenon, Unpack the Arts is a two-year prepoznavanja pojave suvremenog cirkusa, project1 designed to bring together cultural organizatori su osmislili dvogodišnji projekt1 s journalists and critics through a series of ciljem okupljanje novinara iz kulture i kritičara residencies, creating meetings where they can kako bi ostvarili cirkulaciju znanja i iskustva, exchange knowledge and experience, develop razvijanje kritičkog diskursa i povećavanje uloge critical discourse and bolster the role of the medija u suvremenom cirkusu. Kroz diskusije i media in contemporary circus. By presenting razgovore koje sam vodio s gostima i the discussions we had, as well as the talks with sudionicima te predstave koje sam vidio guests and the participants in the performances (London International Mime Festival), pokušati I saw at the London International Mime Festival, ću ukratko dati pregled cirkuske umjetnosti te I will try to give a brief overview of circus art and vlastitih promišljanja i zaključaka iz perspektive the thoughts and conclusions I have formed kazališnog kritičara koji do sada nije imao from my perspective as a theatre critic who had nikakvog doticaja sa suvremenim cirkusom. not had any previous contact with contemporary circus. 1 Unpack the Arts (http://unpackthearts.eu/) is a European 1 Unpack the Arts (http://unpackthearts.eu/) je europski projekt project organising residencies for cultural journalists and theatre koji organizira rezidencije za novinare iz kulture i kazališne critics in the context of ten major European festivals (twelve kritičare u kontekstu 10 velikih europskih festivala koji se bave residencies in eight countries as part of ten festivals: Ny Cirkus suvremenim umjetnostima (12 rezidencija u 8 zemalja u sklopu festival in Copenhagen, Denmark; CIRCa festival in Auch, France; 10 festivala – Ny Cirkus festival Copenhagen, Denmark; CIRCa Festival novog cirkusa in Zagreb, Croatia; Subcase in Stockholm, festival Auch, France; Festival novog cirkusa Zagreb, Croatia; Sweden; Hors Pistes Biennale and La Piste aux Espoirs Biennale Subcase Stockholm, Sweden; Hors Pistes Biennale and La in Brussels and Tournai, Belgium; Cirko Festival in Helsinki, Piste aux Espoirs Biennale Brussels and Tournai, Belgium; Finland; Circusstad Festival in Rotterdam, Netherlands; Cirko Festival Helsinki, Finland; Circusstad Festival Rotterdam, Humorologie, Festival of Emotions in Kortrijk-Marke, Belgium; Netherlands, Humorologie, Festival of Emotions Kortrijk- Edinburgh Festival Fringe in Edinburgh, UK; CIRCa festival in Marke, Belgium; Edinburgh Festival Fringe Edinburgh, UK; Auch, France; London International Mime Festival in London, UK; CIRCa festival Auch, France; London International Mime Subcase in Stockholm, Sweden). Festival London, UK; Subcase Stockholm, Sweden. ALEN BISKUPOVIĆ 3 History of contemporary circus, Povijest suvremenog cirkusa ili tko or who are we? smo mi The term ‘traditional circus’ is generally taken to Pod terminom tradicionalni cirkus generalno se mean a family-run affair originating in the late podrazumijeva oblik obiteljskog posla koji je 18th Century,2 for the most part based on nastao krajem 18. stoljeća2 i pretežno se demonstrations of equestrian skills, supplemented temeljio na demonstraciji jahačkih vještina koje as years went by with other acts such as rope- su zatim tijekom razvoja u sljedećih pedesetak walking, juggling, trained animals… and the godina nadopunjavane različitim vještinama introduction of the ringmaster who ran the poput hodanja po užetu, žongliranja, dresurom evening’s entertainment, announcing various životinja… te pojavom ringmastera (cirkuskog choreographed acts which all followed the same direktora) koji je upravljao cjelovečernjim dramatic arc: presentation, mounting tension, spektaklom najavljujući različite koreografirane the successfully performed feat… točke temeljene na jednakoj dramaturgiji (predstavljanje, rast napetosti, podvig…). The first circus performances took place in the open air, but as their popularity grew it became Prvotne cirkuske predstave odvijale su se na apparent that performing in the open presented
Load more

Recommended publications
  • Neneh Cherry Får 2016 Års Ganneviksstipendium Inom Musik
    2016-05-02 19:47 CEST Neneh Cherry får 2016 års Ganneviksstipendium inom musik Neneh Cherry får 500 000 kronor från Per Ganneviksstiftelsen för sina insatser inom konsten. Stipendiet delades ut under en ceremoni på Kulturhuset Stadsteatern i Stockholm på måndagskvällen. Det är fjärde året som Per Ganneviks stiftelse för kulturella ändamål delar ut fem stipendier som enligt donatorns vilja ska stödja konstnärskap som kan förväntas få stor betydelse för kulturarvet. Motivering Neneh Cherry är en levande ikon som alltid legat i konstnärlig framkant. Hon har konstant fortsatt att utvecklas musikaliskt och utforska olika uttryck på ett unikt sätt. Hon är en av Sveriges största artister i modern tid, med ett inflytande på samtida popkultur som saknar motsvarighet. Per Ganneviks stiftelse för kulturella ändamål 2012 donerade finansmannen och konstälskaren Per Gannevik cirka 60 miljoner kronor till Konstnärsnämnden. I enlighet med testamentvillkoren bildades då Per Ganneviks stiftelse för kulturella ändamål. Stiftelsens ändamål är att stödja nu verksamma konstnärer som kan förväntas ha betydelse för kulturarvet. Stipendiaterna kommer att sökas inom de fem konstområden som Konstnärsnämnden vanligtvis stödjer – bild och form, musik, teater, dans och film. Stiftelsens styrelse är i enlighet med stadgarna densamma som Konstnärsnämndens styrelse. Om Neneh Cherry Neneh Cherry är född 1964 i Stockholm. Hon växte upp i Skåne, men hoppade av skolan i Hässleholm och flyttade som fjortonåring till London för att ägna sig åt musik. Hon har under perioder bott i flera andra länder sedan dess, men den brittiska huvudstaden är hennes nuvarande bostadsort. Neneh Cherry kom till den engelska musikscenen i slutet av punkeran och var med i flera olika band.
    [Show full text]
  • The Other Tchaikowsky
    The Other Tchaikowsky A biographical sketch of André Tchaikowsky David A. Ferré Cover painting: André Tchaikowsky courtesy of Milein Cosman (Photograph by Ken Grundy) About the cover The portrait of André Tchaikowsky at the keyboard was painted by Milein Cosman (Mrs. Hans Keller) in 1975. André had come to her home for a visit for the first time after growing a beard. She immediately suggested a portrait be made. It was completed in two hours, in a single sitting. When viewing the finished picture, André said "I'd love to look like that, but can it possibly be me?" Contents Preface Chapter 1 - The Legacy (1935-1982) Chapter 2 - The Beginning (1935-1939) Chapter 3 - Survival (1939-1945 Chapter 4 - Years of 'Training (1945-1957) Chapter 5 - A Career of Sorts (1957-1960) Chapter 6 - Homeless in London (1960-1966) Chapter 7 - The Hampstead Years (1966-1976) Chapter 8 - The Cumnor Years (1976-1982) Chapter 9 - Quodlibet Acknowledgments List of Compositions List of Recordings i Copyright 1991 and 2008 by David A. Ferré David A. Ferré 2238 Cozy Nook Road Chewelah, WA 99109 USA [email protected] http://AndreTchaikowsky.com Preface As I maneuvered my automobile through the dense Chelsea traffic, I noticed that my passenger had become strangely silent. When I sneaked a glance I saw that his eyes had narrowed and he held his mouth slightly open, as if ready to speak but unable to bring out the words. Finally, he managed a weak, "Would you say that again?" It was April 1985, and I had just arrived in London to enjoy six months of vacation and to fulfill an overdue promise to myself.
    [Show full text]
  • Reflections and Exchanges for Circus Arts Teachers Project
    REFLections and Exchanges for Circus arts Teachers project INTRODUCTION 4 REFLECT IN A NUTSHELL 5 REFLECT PROJECT PRESENTATION 6 REFLECT LABS 7 PARTNERS AND ASSOCIATE PARTNERS 8 PRESENTATION OF THE 4 LABS 9 Lab #1: The role of the circus teacher in a creation process around the individual project of the student 9 Lab #2: Creation processes with students: observation, analysis and testimonies based on the CIRCLE project 10 Lab #3: A week of reflection on the collective creation of circus students 11 Lab #4: Exchanges on the creation process during a collective project by circus professional artists 12 METHODOLOGIES, ISSUES AND TOOLS EXPLORED 13 A. Contributions from professionals 13 B. Collective reflections 25 C. Encounters 45 SUMMARY OF THE LABORATORIES 50 CONCLUSION 53 LIST OF PARTICIPANTS 54 Educational coordinators and speakers 54 Participants 56 FEDEC Team 57 THANKS 58 2 REFLections and Exchanges for Circus arts Teachers project 3 INTRODUCTION Circus teachers play a key role in passing on this to develop the European project REFLECT (2017- multiple art form. Not only do they possess 2019), funded by the Erasmus+ programme. technical and artistic expertise, they also convey Following on from the INTENTS project (2014- interpersonal skills and good manners which will 2017)1, REFLECT promotes the circulation and help students find and develop their style and informal sharing of best practice among circus identity, each young artist’s own specific universe. school teachers to explore innovative teaching methods, document existing practices and open up These skills were originally passed down verbally opportunities for initiatives and innovation in terms through generations of families, but this changed of defining skills, engineering and networking.
    [Show full text]
  • Challenging Artists to Create Tomorrow's Circus Circadium Is the Only Higher-Education Program for Circus Artists in the United States
    Challenging Artists to Create Tomorrow's Circus Circadium is the only higher-education program for circus artists in the United States. We offer a full-time, three-year course that grants a Diploma of Circus Arts, recognized by the Pennsylvania Board of Education. We are committed to radically changing the future of circus, and performing arts as a whole, by bringing a multidisci- plinary and experiment-driven approach to creation and performance. As a 501(c)3 organization, the school relies on individual contributions and foundation support to cover costs that cannot be offset by student tuition. We keep our tuition rates low to encourage students from different backgrounds to attend, and to ensure that they will not launch their artistic careers bur- dened by student debt. Circus Arts are Thriving Worldwide, contemporary representations of circus are thriving and expanding – from Cirque du Soleil, to Pink’s performance at the Grammys, to the wide array of theatre and dance groups that incorporate elements of acrobatics, aerials, and clowning into their performances. Circus is no longer confined to the Big Top, as artists in every discipline discover its rich potential for physical expression. And yet, until now the United States lacked a dedicated facility for training contemporary circus artists. Students who wanted to train intensively in circus traveled to Canada, Europe, or Australia. They often stayed in those countries and established companies, meaning that now virtually all of the edgy, exciting, vibrant new circus companies are based overseas. There are a growing number of arts presenters in the U.S. who are clamoring for these kinds of shows – and the only way to get them has been to import them.
    [Show full text]
  • Danmarks Nationalbank Issues the Sixth in Its Series of Thematic 20-Krone Coins with Specially Chosen Danish Towers As the Motif on the Reverse
    27 January 2005 Ref.: 2005-04E Landet Church adorns new thematic coin On 28 January 2005, Danmarks Nationalbank issues the sixth in its series of thematic 20-krone coins with specially chosen Danish towers as the motif on the reverse. Seen through chestnut leaves from the grave of Elvira Madigan and Six- ten Sparre, the tower of Landet Church on the island of Tåsinge reaches towards the sky on the reverse of the new thematic coin. Landet Church is a traditional Danish village church, built around 1150-1200 in the Age of the Valdemars, with the tower and porch added later. The church tower was built in 1634. The sculptor Øivind Nygaard is the artist behind the tower motif from Landet Church. The hearts and pistol that Øivind Nygaard has woven into the chestnut leaves around the tower symbolise the tragic love story of Elvira Madigan and Sixten Sparre. "In addition to showing a Danish church tower, the pictorial metaphors seen on the coin, combined with the view of the tower of Landet Church, are intended to tell a story and interpret the history and mythology of the church," Øivind Nygaard ex- plains. The Landet Church tower coin is issued as a 20-krone coin in an edition of 1.2 million. It is of the same size and alloy as the ordinary 20-krone coin in circulation. The face of the coin shows a profile of the Queen by the sculptor, Professor Mogens Møller. The new thematic coin can be purchased from banks and Danmarks Na- tionalbank from 28 January 2005.
    [Show full text]
  • Mapping Circus and Street Art in Southeast Europe INTRODUCTION
    MAPPING CIRCUS AND STREET ART IN SOUTHEAST EUROPE INTRODUCTION For the circus in the Balkans, it can be said to be a spontaneous growth plant that builds its way through a series of obstacles, side-tracks, and aggravating circumstances. Over the past years of persistent work and action, the plant called the circus has succeeded in roots taking and growing in a tree that is expanding its branches. Through the years, with the development of Cirkobalkana festival, contemporary circus festival that is focused on representing regional circus scene from Balkans, artists, groups and circus organizations started to collaborate more and more. It was obvious that if we are working together, it helps us to develop new ideas and shows, to bring foreign educators in the region, international high-quality shows and also to position contemporary circus and street art in national cultural policies. In 2018 we started the first regional platform, CPuP - Circus on the move and we got the grant from Foundation Kultura nova which gave us the wind in our sails. Through various activities (co-production of performances, residency programs, education and quest performances), program cooperation is developed as well as a greater flow of cultural work in the region. The educational program strengthens the capacity of member organizations; enable professional training of artists and artist’s mobility in the field of regional contemporary art. One of the activities was mapping circus organization in the region to collect more information about organizations, spaces and performers (individuals/companies) that are working in the circus or street performing art in the Balkan Region.
    [Show full text]
  • Modes of Sonic Interaction in Circus: Three Proofs of Concept
    Proceedings ICMC|SMC|2014 14-20 September 2014, Athens, Greece Modes of Sonic Interaction in Circus: Three Proofs of Concept Ludvig Elblaus Maurizio Goina KTH Royal Institute of Technology KTH Royal Institute of Technology [email protected] [email protected] Marie-Andree´ Robitaille Roberto Bresin Stockholm University of the Arts KTH Royal Institute of Technology marie-andree.robitaille [email protected] @doch.uniarts.se ABSTRACT of technology in circus, with a special focus on sound and interaction. The art of circus is a vibrant and competitive culture that Practice-based artistic research in circus offers an oppor- embraces new tools and technology. In this paper, a series tunity to generate new modes of creation, composition and of exploratory design processes resulting in proofs of con- expression in circus. This paper focuses on using tech- cepts are presented, showing strategies for effective use of nology that will enable performers to interactively control three different modes of sonic interaction in contemporary computer generated sounds by means of their own body. circus. Each design process is based on participatory stu- Used in this manner, interactive sonification [1], and re- dio work, involving professional circus artists. All of the lated artistic practices, can be a tool to overcome the stan- proofs of concepts have been evaluated, both with studio dardized traditional formats of circus, re-invent choreo- studies and public circus performances, taking the work graphic methods and to redefine the use of music and sound beyond theoretical laboratory projects and properly engag- support in circus expression. Furthermore, by novel use ing the practice and culture of contemporary circus.
    [Show full text]
  • What Is Circus Today? Explorations Through 250 Years of British Circus by Professor Vanessa Toulmin in the Beginning
    What is Circus Today? Explorations through 250 Years of British Circus by Professor Vanessa Toulmin In the Beginning In 1768 a uniquely British invention created from entertainment popular in late Georgian London was born. The innovator was Philip Astley who with his wife Patty, a gifted equestrienne, and his horse Gibraltar, gave riding displays at Glover’s ‘Halfpenny Hatch’ between Neptune and Angel Streets in April 1768. On this site Mr and Mrs Astley developed scenes of horsemanship and later incorporated older forms of entertainment such as acrobatics, performers from the street and clowns to draw the crowds. It was this combination of speciality skills that developed into the circus entertainment we recognise today.1 As we celebrate 250 years from when modern circus combination of performance genres within a ring was created, the narratives and histories that are of a set diameter quickly became global and being revealed, especially in the United Kingdom, by the early nineteenth century circus could be demonstrate the complex and global history of the found in thirteen different countries including the genre that is circus; an evolving language of visual United States in 1793, Canada in 1797, Mexico in and physical performance.2 The Astleys settled at 1802, Russia in 1816. Within the European and Westminster Bridge Road where initially they used an North American traditions evolutions in popular open-air circular arena, then built a partially covered entertainment from the music hall to the menagerie ‘amphitheatre’ styled ‘Astley’s British Riding School‘ tradition of previous centuries played a key part which opened in 1770.
    [Show full text]
  • HANZHI WANG, Accordion
    HANZHI WANG, accordion Photo: Matt Dine COMMUNITIES DIGITAL NEWS (Washington, DC): “Ms. Wang dazzled all at the full house at the Kennedy Center with her skills and musicianship. She offered a program of surprisingly daring and eclectic repertoire, including a wide range of classical repertoire explored so masterfully that it seems as if these works had actually been written for the accordion in the first place. It was a genuinely eye-opening evening. Hanzhi Wang is undoubtedly well on her way to a brilliant career that is certain to be much discussed.” OBERON’S GROVE (New York): “Hanzhi Wang gave a remarkable performance. She displayed staggering virtuosity and a gift for drawing colors and magical dynamics from her accordion. It was an inspiring mixture of passion and finesse. Putting a regal polish on every phrase, her sparkling technique held the audience in a state of breathlessness, as thrilling to watch as to hear.” NEW YORK MUSIC DAILY: “Hanzhi Wang isn’t the first accordionist to specialize in classical music, but she is the first one ever to earn inclusion on the Young Concert Artists roster. That’s a pretty big deal. Nothing beats the plaintive lusciousness of Wang’s instrument of choice. She has a magically dynamic new album, and her Carnegie Hall debut in Zankel Hall is one of THE big accordion events of the year in New York. ” Musical America Worldwide New Artist of the Month, July 2018 First Prize, 2017 Young Concert Artists International Auditions First Prize, 40th Castelfidardo International Accordion Competition (Italy) Peter P. Marino Debut Prize of YCA • Mortimer Levitt Career Development Award for Women Artists of YCA Ruth Laredo Award of YCA • Candlelight Concert Society Prize • Chamber Orchestra of the Triangle Prize Krannert Center for the Performing Arts Prize • Sinfonia Gulf Coast Prize •Tannery Pond Concerts Prize University of Florida Performing Arts Prize • Usedom Music Festival Prize Vancouver Recital Society Prize• Washington Performing Arts Prize YOUNG CONCERT ARTISTS, INC.
    [Show full text]
  • The Life and Films of the Last Great European Director
    Macnab-05480001 macn5480001_fm May 8, 2009 9:23 INGMAR BERGMAN Macnab-05480001 macn5480001_fm May 19, 2009 11:55 Geoffrey Macnab writes on film for the Guardian, the Independent and Screen International. He is the author of The Making of Taxi Driver (2006), Key Moments in Cinema (2001), Searching for Stars: Stardom and Screenwriting in British Cinema (2000), and J. Arthur Rank and the British Film Industry (1993). Macnab-05480001 macn5480001_fm May 8, 2009 9:23 INGMAR BERGMAN The Life and Films of the Last Great European Director Geoffrey Macnab Macnab-05480001 macn5480001_fm May 8, 2009 9:23 Sheila Whitaker: Advisory Editor Published in 2009 by I.B.Tauris & Co Ltd 6 Salem Road, London W2 4BU 175 Fifth Avenue, New York NY 10010 www.ibtauris.com Distributed in the United States and Canada Exclusively by Palgrave Macmillan 175 Fifth Avenue, New York NY 10010 Copyright © 2009 Geoffrey Macnab The right of Geoffrey Macnab to be identified as the author of this work has been asserted by him in accordance with the Copyright, Designs and Patents Act 1988. All rights reserved. Except for brief quotations in a review, this book, or any part thereof, may not be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the publisher. ISBN: 978 1 84885 046 0 A full CIP record for this book is available from the British Library A full CIP record is available from the Library of Congress Library of Congress
    [Show full text]
  • Fedec Fédération Européenne Des Écoles De Cirque Professionnelles the Fedec 3
    THE CIRCUS ARTIST TODAY ANALYSIS OF THE KEY COMPETENCES WHAT TYPE OF TRAINING IS NEEDED TODAY FOR WHAT TYPE OF ARTIST AND IN WHAT FIELD OF ACTIVITY? PASCAL JACOB FEDEC FÉDÉRATION EUROPÉENNE DES ÉCOLES DE CIRQUE PROFESSIONNELLES THE FEDEC 3 PREAMBLE 4 OBJECTIVES AND FINDINGS OF SURVEY 6 INTRODUCTION 7 The landscape – requirements and resources 7 Sources? 8 Methodological issues 9 FIRST PART 10 SOME REFERENCE POINTS 11 QUESTIONS OF PRINCIPLE 15 SECOND PART 18 TYPOLOGIES OF SETTINGS 19 QUESTIONNAIRE 25 - Inventory 25 - Objectives 26 - Analysis 26 - Expectations 27 THIRD PART 34 Transmission and validation 35 CONCLUSION 39 RECOMMENDATIONS 41 APPENDIX 45 Questionnaire used in survey 45 Students from the schools of the European Federation under contract in classic or contemporary circus businesses 47 ACKNOWLEDGEMENTS 49 This project has been funded with support from the European Commission. This publication refl ects 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. THE CIRCUS ARTIST TODAY ANALYSIS OF THE KEY COMPETENCES PERFORMANCE WITHOUT SPIRIT OR SPIRIT WITHOUT PERFORMANCE? WHAT TYPE OF TRAINING IS NEEDED TODAY FOR WHAT TYPE OF ARTIST AND IN WHAT FIELD OF ACTIVITY? PASCAL JACOB 1 2 THE FEDEC Created in 1998, the European Federation of Professional Circus Schools (FEDEC) is a network that is comprised of 38 professional circus schools located in 20 different countries (Albania, Australia, Belgium, Canada, Chile, Colombia, Denmark, Finland, France,
    [Show full text]
  • Interview Ira Seidenstein
    Interview with Ira Seidenstein (IS) by Mike Finch (MF), on behalf of Circus Network Australia Introduction MF- Ira Seidenstein is a highly respected, skilled and experienced clown, performer, acrobat, teacher, mentor and elder. He is originally from Pittsburgh USA, but for many years has been based in Australia. Ira has worked all around the world alongside a virtual Who’s Who of physical, clown and Circus performance from major international luminaries and iconic organisations, to grassroots practitioners and soloists. We are lucky enough to have access to him for this interview about his life, his influences, his methodology, some advice and his hopes for the future. In his own words, “Intuition isn’t only knowing what to do next. It is also not knowing what else to do and having no choice”. MF- Hi Ira, thanks so much for your time. Firstly I want to thank you for offering yourself up to be interviewed. We intend this to be the inaugural interview of a series for Circus Network Australia on Australian Circus people, and I’m glad you will be the first! Let’s start at the beginning. Can you tell us what your childhood was like? IS- Oy vey Maria! It was located in the melting pot of the USA. Pittsburgh is a city with three rivers the Allegheny and Monongahela join to form the Ohio which helps form the Mississippi. There are lots of hills of the Allegheny/Appalachian Mountains. Pittsburgh is surrounded by farms and coal towns populated by ethnic Europeans who were starving in the 1800s.
    [Show full text]