Dissertations / Theses on the topic 'Circus'
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Boudreault, Julie. "Les nouveaux cirques, rupture ou continuité?" Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0015/NQ47555.pdf.
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Lavers, Katrina. "Sighting Circus: Perceptions of circus phenomena investigated through diverse bodies." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2014. https://ro.ecu.edu.au/theses/1496.
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This thesis is an investigation into modern circus from its beginnings in 1768 through to present day contemporary circus arts. Eight diverse bodies in modern and contemporary circus are explored. These eight bodies act as different lenses to focus enquiry into gaps or ruptures in the grand narratives of circus, to reveal previously missing voices and histories and to set in place new approaches to perceiving circus phenomena.
In The Political Body, the phenomenon of embodied protest is identified and explored in relation to contemporary circus works. The importance of the engaged spectator is identified in determining political, poetic and metaphorical meanings in contemporary circus acts, even when those meanings go beyond what the artist may have originally intended. This active act of deciphering by the spectator can add to the perception of depth and complexity in some contemporary circus arts, which is especially relevant in works that can be read as a hybrid of performance art and circus. In The Body of Space, the importance of space as a central and defining element in the development of circus is highlighted. Circus is pinpointed as a forerunner in the development of innovative performance spaces and in the resultant emergence of new and influential performance aesthetics.
In the section The Body of Zooësis the representations of two different animals in circus are traced. In the first chapter in this section The Body of the Horse - the horse is identified as being of pivotal importance to the development of modern circus. The horse’s history and its representation in circus are traced through from the beginnings of modern circus to the contemporary horse circuses now emerging in Quebec.
In The Wild Body, the history of the representation of wild cats in circus is
investigated in relation to a rising tide of popular support for the rights of animals. Circus’ responses to these shifts in public opinion are revealed in the emergence of new acts created to appease public concern, and in the emergence of new rhetoric designed to portray circuses as ‘cross-species families’ or ‘conservation arks.’ In The Extraordinary Body, after an initial exploration of the history of the exhibition of freaks in circus, the lack of differently abled performers in contemporary circus is interrogated. The phenomenon of ‘crip-face’ or ‘crip-drag’ in which the mannerisms of the disabled are adopted by able-bodied performers is investigated in contemporary circus performance and newly emerging circuses in England and Australia combining both disabled and able-bodied performers are identified.
In The Exceptional Body the gradually reducing parameters for the performing body in contemporary circus are identified and interrogated. In The Unmarked Body, a gap in the grand narrative of circus is identified and the history of African American circus in North America is developed. This history is traced from the beginnings of modern circus in North America through to the present day.
In The Resilient Body the origins of social circus are followed back two decades earlier than previous scholarship suggested. Father Jesus Silva in Spain would seem to be the originator of social circus when he started circus classes with orphaned and abandoned bodys in Spain, in the aftermath of the Spanish Civil War in the 1950s. Two theories concerned with the successful treatment of trauma are brought together to create a new theoretical underpinning that provides some context and points of reference to further the critical discourse surrounding the idea of social intervention and the treatment of trama through social circus.
Following these diverse bodies into the insterstices between grand circus narratives has led to oblique readings into circus histories, rhetorics and practices. This thesis has revealed previously marginalized voices that are now brought into the historiography of circus. This thesis brings to the forefront crucial issues for future critical study in the emerging field of circus studies.
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Matheus, Rodrigo Inácio Corbisier [UNESP]. "As produções circenses dos ex-alunos das escolas de circo de São Paulo, na década de 1980 e a constituição do Circo Mínimo." Universidade Estadual Paulista (UNESP), 2016. http://hdl.handle.net/11449/141937.
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Por meio do levantamento de reportagens da mídia impressa, da bibliografia existente e de entrevistas com pessoas que participaram do processo, este trabalho investiga o processo de constituição das primeiras escolas de circo da cidade de São Paulo, a Academia Piolim de Artes Circenses em 1978 e o Circo-Escola Picadeiro em 1984 e as transformações, internas e externas ao modo de organização do trabalho circense, que contribuíram para as distintas formas de produção da linguagem circense, em particular do circo paulistano e brasileiro. A partir dessas escolas, levantamos os grupos que surgiram, formados e fundados por alunos ou ex-alunos, com o intuito de explorar o conhecimento circense adquirido nas escolas e suas estéticas, propondo alterações nos modos de produção e constituição dos espetáculos circenses, assim como do próprio modo de organização do trabalho e do modo de formação e aprendizagem do circo. Esse levantamento permite discutir os conceitos “representação” (DELEUZE e GUATTARI, 1992, p. 19-20), ou seja, generalizações, resultando nos rótulos “universais” que surgiram para definir os circos no século XX, a maior parte dos quais associados a essa produção pós-escolas de circo, como Circo Contemporâneo, Circo Tradicional e Circo Novo, todos resultantes de uma disputa de poderes e saberes entre os atores históricos e sua relação entre si, com o poder público e com a mídia. Na parte final, apresenta-se um levantamento da trajetória artística do Circo Mínimo, o seu processo de constituição e uma análise de suas obras mais relevantes a partir das reações da imprensa escrita, à luz do que foi discutido até então. O trabalho termina concluindo sobre a diversidade sobre a linguagem das artes do circo, da impossibilidade de determinar sobre seus limites e fronteiras e como as condições históricas recentes do Brasil, em particular a ditadura civil-militar, contribuíram para aquelas transformações.
Through a research amongst reports on printed media, the existing literature and interviews with some of the people who took part in the process, this work investigates the process of constitution of the first circus schools in the city of São Paulo: Piolim Academy of Circus Arts in 1978, and the Circo-Escola Picadeiro, in 1984. It also investigates the changes and transformations, both internal and external to the “method of organizing the circus work”, which contributed to the different forms of production in circus language, particularly in São Paulo. From those schools we point the groups that emerged, formed and founded by students or former students in order to explore the circus knowledge acquired in the schools and their aesthetics, proposing changes in the modes of production and creation of circus shows, as well as the method of organizing work and the way of training and learning circus. This survey allows us to discuss the concepts "representation" (DELEUZE and GUATTARI, 1992, p. 19-20) or generalizations, resulting into the "universal" labels that were created to define the circus diversity in the twentieth century, most of which related to this circus schools post-production, such as Contemporary, Traditional and New Circus, all emerging from the power and knowledge disputes between historical actors and their relationship with each other, the government and the general media. This survey allows us to discuss the concepts-representation linked to universal labels that came to the circus in the twentieth century, most of them associated with this circus of post-school production, such as Contemporary Circus, Traditional Circus and New Circus, all emerging from power and knowledge disputes between historical actors and their relationship with each other, the government and the media. In the final part, we made a gathering of the artistic career of the Circo Mínimo, the process of its constitution and an analysis of the most important works, based on the written press reactions, in the light of what has been discussed in this work so far. The work ends concluding on the diversity of the language of circus arts, since it is impossible to determine on its limits and boundaries and how recent historical conditions in Brazil, particularly the civil-military dictatorship, contributed to those changes.
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Freitas, Leonardo. "Model checking Circus." Thesis, University of York, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.425409.
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Jannuzzelli, Fernanda 1989. "Circo-teatro através dos tempos : cena e atuação no Pavilhão Arethuzza e no Circo de Teatro Tubinho." [s.n.], 2015. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285326.
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Orientador: Mario Alberto de SantanaDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: Esta pesquisa visa traçar algumas considerações acerca do fenômeno conhecido como circo-teatro, sob o viés do trabalho do ator. Propôs-se, como recorte de estudo, a descrição de alguns elementos da encenação e interpretação de duas companhias circenses: o Circo-Teatro Pavilhão Arethuzza, uma das companhias de circo-teatro mais bem sucedidas do início do século XX e que encerrou suas atividades na década de 1960, e o Circo de Teatro Tubinho, um dos maiores representantes do circo-teatro na atualidade. Partindo do fato de que o espetáculo circense é sempre múltiplo e agregador de variadas linguagens artísticas, buscou-se, com essa pesquisa, compreender a arte de ator dos artistas dessas duas companhias e o modo como estes organizavam e organizam seus trabalhos. Afirma-se que a teatralidade, em seus mais variados formatos, sempre esteve presente no espetáculo circense desde sua origem "moderna" com Philip Astley, no século XVIII, e que, portanto, o circo-teatro não é a única, mas sim uma das diversas formas que a teatralidade circense assumiu ao longo dos anos. Afirma-se também que, em termos pedagógicos, o circo-teatro é uma escola formativa, com metodologia, princípios e caminhos próprios, constituindo um tipo de teatro tão relevante quanto o teatro tido como oficial. Assim sendo, essa pesquisa inspirada no fazer dos artistas circenses pode auxiliar o fazer de outros artistas, não oriundos desta escola e deste fazer teatral. E essa transposição é possível, pois, em última instância, todos os verdadeiros artistas buscam a mesma finalidade: a troca viva e verdadeira com seu público
Abstract: The purpose of this study is to set some considerations around the phenomenon known as drama-circus, under the scope of the acting work. It has been set out, as the point of study, the description of some acting and performing elements from two Circus Companies: Circo Teatro Pavilhão Arethuzza, one of the most successful drama-circus companies from the beginnig of the 20th century, which has shut down its activities in the 60¿s, and Circo de Teatro Tubinho, one of the greatest representatives of the drama-circus nowadays. Starting from the fact that a Circus show is always assorted and somatic of several artistic languages, this research has pursued the understanding of the art of the actor of the artists from these two companies and the way they organized and still organize their work. It has been stated that the theatrical performance, in its most diferente ways has always been presente in a Circus Show since its "modern" origin, done by Philip Astley, in the 18th century, and, therefore, the drama-circus is not the only one, but one of the several ways that circus theatrical performance has taken on along the years. It has been also asserted that, in pedagogical terms, the drama-circus is a ladder school, with its own methodology, principles and ways, composing a type of theater as relevant as the one known as oficial. Therefore, this study, inspired on the circus artist performance could also support the other artists performance, whose are not native of this theatrical performance. This transposition is achievable, because, as a last resort, all the real artists search the same goal: a vivid and truthful exchange with their audience
Mestrado
Teatro, Dança e Performance
Mestra em Artes da Cena
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St, Leon Mark. "Circus & nation a critical inquiry into circus in its Australian setting, 1847-2006, from the perspectives of society, enterprise and culture /." Connect to full text, 2006. http://hdl.handle.net/2123/1702.
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Thesis (Ph. D.)--University of Sydney, 2006.Title from title screen (viewed 25 March 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the School of Philosophical and Historical Inquiry, Faculty of Arts. The name of the School on the title page appears as: School of History & Philosophical Inquiry. Includes bibliographical references. Also available in print form.
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Seymour, Kristy Danialle. "Bodies, Temporality and Spatiality in Australian Contemporary Circus." Thesis, Griffith University, 2018. http://hdl.handle.net/10072/376861.
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Informed and impelled by my professional experience as a circus artist, this dissertation maps the practice features and cultural influence of contemporary circus in Australia, investigating its development and situating it in relation to alternative circus practice internationally. I undertake a conceptual discussion of the development of Australian contemporary circus and of its current features. This involves the discussion of the milieu it created and continues to create for itself, the “middle…from which it grows and which it overspills” (Deleuze and Guattari 1987); its many lines of flight as sub-genres, styles, companies, training and sustainability; and its ability to renew and extend itself through continual processes of deterritorialisation and reterritorialisation.
I explore the growth of the artform; its artistic processes; how spatiality has shaped contemporary circus, including the part played by certain 'circus cities' in industry development, and the relationships between performance venues and artistic processes; the national profile of contemporary circus and its major contribution to Australia’s international performing arts output. Simultaneously, I consider the performance of the contemporary circus body in space and time. I am interested in the diversity, multiplicities and “creative chaos” deployed by independent artists and major companies in the production of work, along with the nature and significance of embodiment, risk and trust in performance. This involves, for example, the influence of Chinese classical circus techniques in the training of Australian circus artists, as well as the impacts of feminist and queer ideologies and bodies on the practices of circus and the aesthetics of performance.
Methodologically, the thesis is grounded in approaches and opportunities consequent upon the lived experience of an insider researcher who has participated in the industry as an aerial performer, artistic director, company manager, trainer and colleague. The case studies of key companies, practices and sites of practice are therefore based in interviews with a cross-section of practitioners and other industry personnel who recognised the value of the research. Similarly, the project has been enriched by an insider’s access to scarce but invaluable archival material as well as publicly accessible media reviews.
Conceptually, I draw extensively on Deleuze and Guattari for ways of thinking processually about movement, rhythms, transformations, connectivity and potentiality in the artform, in relation to the bodies of performers, the spaces in which they perform and the contexts that they inhabit in terms of company structures, relations with Australian governments and other artforms, and in extensive international work. In addition to a range of scholars who have worked with and through Deleuze and Guattari in various ways, I make use of key insights from Foucault, Agamben, Butler, Grosz and Probyn. Utilising ideas and approaches that are allied, or at least aligned, in their modes of working with differences and complex relations, has helped me to fashion a discussion that I believe achieves coherence, given the large but potentially unwieldy array of primary and secondary material that informs it. This discussion is also facilitated throughout by a number of core observations regarding movements and interactions of bodies in spaces, for which I found particularly valuable perspectives in works by Peta Tait, Doreen Massey and Erin Manning. Taken together, these various conceptual strands and the ways of thinking that they model have enabled me to analyse how the success of Australian contemporary circus can be found in its ideological edginess, its emphatic physicality and extreme uses of the body, its challenges to “normal” notions of physical and spatial boundedness, and its particular ways of mixing chaotic and orderly processes which produce a sense of “authenticity in performance” for audiences.
While aspects of the artform have been discussed in scholarly work (e.g. Tait, 2005) this is the first comprehensive study of Australian contemporary circus, its national development, and its international influence as a leader in innovation. As well as suggesting some approaches to understanding and conceptualising the extraordinary appeal of the sector for its participants and its audiences, I grapple with why it continues to be largely unrecognised in Australian national and state funding processes. I suggest that more serious conceptual discussion of the sector in scholarly and industry contexts might contribute to it being taken seriously in its home country, as it is internationally.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Hum, Lang & Soc Sc
Arts, Education and Law
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Yoshimura, Fernando Eidi. "Mapa das atividades circenses em Ribeirão Preto: uma visão dos instrutores do circo." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/59/59140/tde-15052017-152846/.
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A partir da década de 1970 a prática do circo expandiu-se, assim como a disseminação de seu conhecimento para além das famílias de circenses inclusive com sua apropriação para fins sociais, recreativos e educativos. Esse trabalho criou um mapa das atividades circenses na cidade de Ribeirão Preto-SP sob o ponto de vista de onze instrutores do circo. A pesquisa foi de caráter qualitativo pautada na Teoria Fundamentada como método de pesquisa. Foram encontradas três grandes categorias, a saber: Vivências da prática, Construção do Conhecimento e Dinâmica da Sociedade, as quais influenciaram o Ensino desses instrutores, e que formaram o eixo central. Notou-se a origem do movimento circense na cidade pautada na escola de circo de uma família tradicional, a qual exerce grande influência nesse contexto. Dentre as inúmeras questões abordadas pelos entrevistados destacamos os meios de educação, a demanda social, as limitações, as referências, a filosofia de trabalho, as vivências de aprendizado e a forma de ensino. A articulação entre essas categorias gerou um conhecimento rico, que, se bem, apropriado, poderia beneficiar a formação de outros instrutores e, consequentemente, a qualidade da prática.From the 1970s, circus practice expanded, as did the dissemination of their knowledge beyond circus families, including their appropriation for social, recreational and educational purposes. This work created a map of circus activities in the city of Ribeirão Preto-SP from the point of view of eleven instructors of the circus. The research was of qualitative character based on the Theory Grounded as research method. Three major categories were found: \"Experiences of Practice\", \"Knowledge Building\" and \"Society Dynamics\", which influenced the \"Teaching\" of these instructors, and which formed the central axis. It was interesting to note the origin of the circus movement in the city based on the circus school of a traditional family, which exerts great influence in this context. Among the many questions addressed by the interviewees we highlight the means of education, social demand, limitations, references, work philosophy, learning experiences and the way of teaching. The articulation between these categories generated rich knowledge, which, if appropriate, could benefit the training of other instructors and, consequently, the quality of practice.
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St, Leon Mark. "Circus & nation : a critical inquiry into circus in its Australian setting, 1847-2006, from the perspectives of society, enterprise and culture." Thesis, The University of Sydney, 2006. http://hdl.handle.net/2123/1702.
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In Australia, like most countries, circus has been an element, at times a very important element, in the mosaic that constitutes its popular culture. An outgrowth of the circus as recast in a modern form in London in the 18th century, an Australian circus profession has existed almost continuously since 1847. Australia’s circus entrepreneurs took the principal features of English, and later American, circus arts and management and reworked these features to suit their new antipodean context. The athletic, intellectually undemanding nature of its equestrian-based entertainments harmonised with the emerging patterns of modern Australia’s way of life. In time, Australia produced renowned circus artists of its own, even artists capable of reinvigorating the concept of circus in the very countries from which their art had been derived. Since their transience and labours, indeed their very existence, were somehow tangential and inconsequential to mainstream Australian society, Australia’s circus people did not attract tokens of recognition in story and verse as did shearers, drovers, diggers and other identities of the Australian outback. Their contribution to Australia’s social, economic and cultural development has been largely overlooked. Despite its pervasive role in Australia’s cultural life over more than 150 years, examples of academically grounded research into Australian circus are few. The primary aim of this study is to demonstrate the major themes evident in Australia’s circus history, in terms of society, enterprise and culture, between 1847 and 2006. None of these areas, of course, is exclusive of the others, especially the first and last named. These deliberations are framed within the broader influences and events apparent in Australian society and history. Implicit within this demonstration is the notion that circus, whatever its characteristics and merits as an artform, has been, and continues to be, a ‘barometer’ of social, economic and cultural change in Australia.
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Wilson, Ame. "Cirque du Soleil reimagines the circus : the evolution of an aesthetic /." view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3055722.
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Thesis (Ph. D.)--University of Oregon, 2002.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 145-155). Also available for download via the World Wide Web; free to University of Oregon users.
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Sandström, Nils. "Cirkushallen i Alby : Crystal Circus." Thesis, KTH, Arkitektur, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-96287.
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Nycirkusgruppen Cirkus Cirkör vill samla hela sin verksamhet (cirkusutbildning, administration, föreställningsproduktion, träningslokaler etc.) i en byggnad. Idag disponerar de två tredjedelar av en f.d. lagerhall i Alby, Botkyrka kommun, där deras tränings- och utbildningsverksamhet bedrivs, och det är denna byggnad som de vill bygga om och/eller till för att husera hela verksamheten.Mitt förslag, Crystal Circus, argumenterar för att bevara den befintliga byggnaden. Som industribyggnad från 70-talet är den mycket rationellt uppbyggd och flexibel. Som träningslokaler fungerar den mycket bra, och brukarna uppskattar den ruffa och stryktåliga karaktären. Den är dock mycket sluten och introvert och saknar helt en representativ dimension, något som säger något om vad byggnaden gör. Crystal Circus fokuserar på att lägga till en representativ dimension till byggnaden, och att skapa rum för Cirkus Cirkörs mer extroverta verksamheter.Crystal Circus är en glasbyggnad, uppbyggd av industriella modulväxthus som ställs ovanpå och framför den befintliga lagerbyggnaden/cirkushallen. Byggnaden ligger i ett historiskt industriområde vilket kan motivera användandet av industriella byggsystem som innebär stor kostnadseffektivitet. Crystal Circus skapar härmed mycket stora ytor för pengarna, och dess generösa och öppna bonusytrymmen ger plats åt de delar av Cirkus Cirkör som handlar om gränsöverskridande, öppenhet och möten mellan ytterligheter. Dagens byggnad drar en ovanligt skarp gräns mot omvärlden, och Crystal Circus glasbyggnad utgör en gränszon där det kan vara både varmt och kallt, ute och inne, Cirkus och gym, bio och konsert, Sverige och Medelhavet.
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Feliachi, Abderrahmane. "Semantics-Based Testing for Circus." Thesis, Paris 11, 2012. http://www.theses.fr/2012PA112372/document.
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Le travail présenté dans cette thèse est une contribution aux méthodes formelles de spécification et de vérification. Les spécifications formelles sont utilisées pour décrire un logiciel, ou plus généralement un système, d'une manière mathématique sans ambiguïté. Des techniques de vérification formelle sont définies sur la base de ces spécifications afin d'assurer l'exactitude d'un système donné. Cependant, les méthodes formelles ne sont souvent pas pratiques et facile à utiliser dans des systèmes réels. L'une des raisons est que de nombreux formalismes de spécification ne sont pas assez riches pour couvrir à la fois les exigences orientées données et orientées comportement. Certains langages de spécification ont été proposés pour couvrir ce genre d'exigences. Le langage Circus se distingue parmi ces langues par une syntaxe et une sémantique riche et complètement intégrées.L'objectif de cette thèse est de fournir un cadre formel pour la spécification et la vérification de systèmes complexes. Les spécifications sont écrites en Circus et la vérification est effectuée soit par des tests ou par des preuves de théorèmes. Des environnements similaires de spécification et de vérification ont déjà été proposés dans la littérature. Une spécificité de notre approche est de combiner des preuves de théorème avec la génération de test. En outre, la plupart des méthodes de génération de tests sont basés sur une caractérisation syntaxique des langages étudiés. Notre environnement est différent car il est basé sur la sémantique dénotationnelle et opérationnelle de Circus. L'assistant de preuves Isabelle/HOL constitue la plateforme formelle au-dessus de laquelle nous avons construit notre environnement de spécification et de vérification.La première contribution principale de notre travail est l'environnement formel de spécification et de preuve Isabelle/Circus, basé sur la sémantique dénotationnelle de Circus. Sur la base d’Isabelle/HOL nous avons fourni une intégration vérifiée d’UTP, la base de la sémantique de Circus. Cette intégration est utilisée pour formaliser la sémantique dénotationnelle du langage Circus. L'environnement Isabelle/Circus associe à cette sémantique des outils de parsing qui aident à écrire des spécifications Circus. Le support de preuve d’Isabelle/HOL peut être utilisé directement pour raisonner sur ces spécifications grâce à la représentation superficielle de la sémantique (shallow embedding). Nous présentons une application de l'environnement à des preuves de raffinement sur des processus Circus (impliquant à la fois des données et des aspects comportementaux).La deuxième contribution est l'environnement de test CirTA construit au-dessus d’Isabelle/Circus. Cet environnement fournit deux tactiques de génération de tests symboliques qui permettent la vérification de deux notions de raffinement: l'inclusion des traces et la réduction de blocages. L'environnement est basé sur une formalisation symbolique de la sémantique opérationnelle de Circus avec Isabelle/Circus. Plusieurs définitions symboliques et tactiques de génération de test sont définies dans le cadre de CirTA. L'infrastructure formelle permet de représenter explicitement les théories de test ainsi que les hypothèses de sélection de test. Des techniques de preuve et de calculs symboliques sont la base des tactiques de génération de test. L'environnement de génération de test a été utilisé dans une étude de cas pour tester un système existant de contrôle de message. Une spécification du système est écrite en Circus, et est utilisé pour générer des tests pour les deux relations de conformité définies pour Circus. Les tests sont ensuite compilés sous forme de méthodes de test JUnit qui sont ensuite exécutées sur une implémentation Java du système étudiéThe work presented in this thesis is a contribution to formal specification and verification methods. Formal specifications are used to describe a software, or more generally a system, in a mathematical unambiguous way. Formal verification techniques are defined on the basis of these specifications to ensure the correctness of the resulting system. However, formal methods are often not convenient and easy to use in real system developments. One of the reasons is that many specification formalisms are not rich enough to cover both data-oriented and behavioral requirements. Some specification languages were proposed to cover this kind of requirements. The Circus language distinguishes itself among these languages by a rich syntax and a fully integrated semantics.The aim of this thesis is to provide a formal environment for specifying and verifying complex systems. Specifications are written in Circus and verification is performed either by testing or by theorem proving. Similar specifications and verification environment have already been proposed. A specificity of our approach is to combine supports for proofs and test generation. Moreover, most test generation methods are based on a syntactic characterization of the studied languages. Our proposed environment is different since it is based on the denotational and operational semantics of Circus. The Isabelle/HOL theorem prover is the formal platform on top of which we built our specification and verification environment.The first main contribution of our work is the Isabelle/Circus specification and proof environment based on the denotational semantics of Circus. On top of Isabelle/HOL we provide a machine-checked shallow embedding of UTP, the semantics basis of Circus. This embedding is used to formalize the denotational semantics of the Circus language. The Isabelle/Circus environment associates to this semantics some parsing facilities that help writing Circus specifications. The proof support of Isabelle/HOL can be used directly to reason on these specifications thanks to the shallow embedding of the semantics. We present an application of the environment to refinement proofs on Circus processes (involving both data and behavioral aspects). The second main contribution is the CirTA testing framework build on top of Isabelle/Circus. The framework provides two symbolic test generation tactics that allow checking two notions of refinement: traces inclusion and deadlocks reduction. The framework is based on a shallow symbolic formalization of the operational semantics of Circus using Isabelle/Circus. Several symbolic definition and test generation tactics are defined in the CirTA framework. The formal infrastructure allows us to represent explicitly test theories as well as test selection hypothesis. Proof techniques and symbolic computations are the basis of test generation tactics. The test generation environment was used for a case study to test an existing message monitoring system. A specification of the system is written in Circus, and used to generate tests following the defined conformance relations. The tests are then compiled in forms of JUnit test methods and executed against a Java implementation of the monitoring system.This thesis is a step towards, on one hand, the development of sophisticated testing tools making use of proof techniques and, on the other hand, the integration of testing and proving within formally verified software developments
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Camillo, Seth Jordan. "The circus: a city symphony." Thesis, University of Iowa, 2012. https://ir.uiowa.edu/etd/3437.
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In The Circus: A City Symphony, I took the visual notes and phrases I had collected and considered while traveling with Carson and Barnes Circus year after year and created tunes and themes, revealing through gestures rather than stating through words
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Bolton, Reg. "Why circus works : how the values and structures of circus make it a significant developmental experience for young people /." Access via Murdoch University Digital Theses Project, 2004. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20060915.142429.
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Matheus, Rodrigo Inácio Corbisier. "As produções circenses dos ex-alunos das escolas de circo de São Paulo, na década de 1980 e a constituição do Circo Mínimo /." São Paulo, 2016. http://hdl.handle.net/11449/141937.
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Orientador: Erminia SilvaBanca: Alexandre Luiz Mate
Banca: Daniele Pimenta
Acompanha anexo com transcrição das entrevistas
Resumo: Por meio do levantamento de reportagens da mídia impressa, da bibliografia existente e de entrevistas com pessoas que participaram do processo, este trabalho investiga o processo de constituição das primeiras escolas de circo da cidade de São Paulo, a Academia Piolim de Artes Circenses em 1978 e o Circo-Escola Picadeiro em 1984 e as transformações, internas e externas ao modo de organização do trabalho circense, que contribuíram para as distintas formas de produção da linguagem circense, em particular do circo paulistano e brasileiro. A partir dessas escolas, levantamos os grupos que surgiram, formados e fundados por alunos ou ex-alunos, com o intuito de explorar o conhecimento circense adquirido nas escolas e suas estéticas, propondo alterações nos modos de produção e constituição dos espetáculos circenses, assim como do próprio modo de organização do trabalho e do modo de formação e aprendizagem do circo. Esse levantamento permite discutir os conceitos "representação" (DELEUZE e GUATTARI, 1992, p. 19-20), ou seja, generalizações, resultando nos rótulos "universais" que surgiram para definir os circos no século XX, a maior parte dos quais associados a essa produção pós-escolas de circo, como Circo Contemporâneo, Circo Tradicional e Circo Novo, todos resultantes de uma disputa de poderes e saberes entre os atores históricos e sua relação entre si, com o poder público e com a mídia. Na parte final, apresenta-se um levantamento da trajetória artística do Circo Mínimo, o seu ... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: Through a research amongst reports on printed media, the existing literature and interviews with some of the people who took part in the process, this work investigates the process of constitution of the first circus schools in the city of São Paulo: Piolim Academy of Circus Arts in 1978, and the Circo-Escola Picadeiro, in 1984. It also investigates the changes and transformations, both internal and external to the "method of organizing the circus work", which contributed to the different forms of production in circus language, particularly in São Paulo. From those schools we point the groups that emerged, formed and founded by students or former students in order to explore the circus knowledge acquired in the schools and their aesthetics, proposing changes in the modes of production and creation of circus shows, as well as the method of organizing work and the way of training and learning circus. This survey allows us to discuss the concepts "representation" (DELEUZE and GUATTARI, 1992, p. 19-20) or generalizations, resulting into the "universal" labels that were created to define the circus diversity in the twentieth century, most of which related to this circus schools post-production, such as Contemporary, Traditional and New Circus, all emerging from the power and knowledge disputes between historical actors and their relationship with each other, the government and the general media. This survey allows us to discuss the concepts-representation linked to universal la... (Complete abstract click electronic access below)
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SINGERMAN, HEATHER DIANE. "INTERPERSONAL INTERACTIONS IN THE NEW CIRCUS." University of Cincinnati / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1084368500.
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Pruitt, Mark Hale. "Ludgate Circus: St. Paul's AS prospect." Thesis, Virginia Polytechnic Institute and State University, 1991. http://hdl.handle.net/10919/53299.
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Why does a London smog heavy with the dark smell of diesel on a drizzly gray afternoon bring a keen sense of deja vu, o spasm of Anglophilia, to one who grew up in the Pacific Northwest of the United States? Perhaps it is the similar climate. Perhaps The City is perceived as ”achieved” rather than ”provided”. Perhaps the durable materials of The City act as an "Affirmation of Confidence".
Perhaps it cannot be put into words.
It is the ”genius loci” of The City that has drawn me to invest my time on a thesis there. The nearby great works of old become ”prospects” for this design. The historical precedents emit rhythms of order, clues to design.Master of Architecture
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Kauffman, Lukis. "From our circus family, to yours." View electronic thesis (PDF), 2009. http://dl.uncw.edu/etd/2009-1/rp/kauffmanl/lukiskauffman.pdf.
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Stjernebjerg, Christel Klan. "When Contrasts Joined The Circus : How Defying & Obeying Gravity Revitalized a Suffering Art Form Called 'Circus'." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-190594.
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This Master thesis is about Western circus performance styles. It is the aim to describe, compare, and contextualise traits and tendencies of early Western circus performances (EWCP) and contemporary Western circus performances (CWCP) through academic terms. The investigation is centred around the thesis that CWCP have revitalized a suffering and almost dying art form called 'circus' – causing it to reach a new level of social and artistic acceptability in a postmodern world – mainly through the introduction of a significant stylistic feature: Identification. The feeling of a spectator's close emotional association with the action taking place onstage. This feature stands in opposition to the acrobatic skills exposed, and through this implementation, the author therefore claims an exposition of contrasts to occur onstage: The foreign and mysterious combined with the familiar and 'real'. The exposition of superior and seemingly unobtainable physical abilites combined with the exposition of human fragility, flawedness, and inferiority. The spectators' passive observance in awe of an artist flying high and far away combined with spectators' active engagement with an artist staring them closely into the eyes on the ground. The imaginative combined with relatable everyday-like images. Establishing a common ground between artist and audience while at the same time distorting it. According to the author, the feature of identification has been absent in stylistic expositions of EWCP. This absence is argued to create dichotomous gaps, rather than ties, between sender and receiver as well as between performed images and images linked to 'reality'. The author suggests that these modes were crucial causes of EWCP' decrease in popularity due to the arrival of postmodernism, and that the increasing popularity of CWCP in the later 20th century was due to the elimination of these gaps. The research is done by interweaving 1) historical contextualizations and comparative studies between EWCP and CWCP, 2) discussions of selected circus scholars' literature about circus performances' stylistic developments, 3) the author's embodied experiences with circus performances (ie. as an acrobat in the company Cirque du Soleil), and 4) stylistic analyses of tropes and patterns in selected EWCP and CWCP. Conclusions are reached through the author's constructions of coherence between these aspects. Paula Saukko's eclectic research model has been applied in order to integrate various methodologies. The analyses are based on dance scholar Susan Foster's theory about modes of representations as well as selected rhetorical terms related to stylistics. It is a core aim of this Master thesis to provide studies of circus performances' stylistic executions with more clarifying and adequate terminologies.
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Silveira, José Francisco Baroni. "Circo Girassol : o saber circense incorporado e compartilhado." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2006. http://hdl.handle.net/10183/8587.
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Neste estudo do tipo etnográfico investiguei como se dá o processo de ensinoaprendizagem da arte circense nas oficinas oferecidas pelo Circo Girassol na cidade de Porto Alegre-RS durante os anos de 2004 e 2005, onde participei de reuniões, festas, treinos, ensaios, eventos, aulas, performances, espetáculos, entre outros. Apresento alguns pontos importantes deste trabalho: a minha aproximação afetiva e profissional com o tema de estudo; a possibilidade de refletir sobre as transformações históricas do fenômeno Circo; os caminhos investigativos; o conhecimento do Circo Girassol e suas práticas que, a partir de uma descrição densa, é mostrado no seu processo de construção; o cotidiano dos artistas nas atividades circenses; a dinâmica do grupo; destacando o processo de ensino da arte circense nas oficinas ministradas pelos artistas-professores. Analisei as seguintes categorias que emergiram do campo, a saber: professores e alunos no processo de ensino-aprendizagem: ‘o que’ e ‘como’ é compartilhado o saber circense; a construção de um movimento corporal virtuoso e performático; treinamento, dor e sacrifício: o silenciamento do lúdico. Pensando o corpo a partir de referenciais culturais e históricos e a educação como um processo dialógico, considero que a prática pedagógica da arte circense no Circo Girassol se aproxima da prática da ginástica tradicional, para isso utiliza-se de alguns aspectos referentes ao treinamento físico; busca a construção de corpo e movimento nos moldes do Circo Contemporâneo, ou seja, uma estética de corpo reto, alinhado, com movimentos ‘limpos’, verticalizados em direção a um modelo padronizado tido como correto. Com uma prática docente de demonstração dos exercícios e o ensino centralizado no professor, inviabiliza uma proposta de educação pelo diálogo, reflexiva e lúdica.In this ethnographic study I investigated the teaching-learning process of the circus art in the workshops offered by the Girassol Circus in the city of Porto Alegre – RS during the years 2004 and 2005, where I participated of the activities like meetings, parties, trainings, rehearsals, events, lessons, performances, shows, among others. I present some aspects that are important in this work: my affective and professional approach with the study subject; the possibility of thinking about the historical changes of the phenomenon Circus; the ways of investigation; the knowledge of the Girassol Circus and its practices which I present in a dense description. I also present the artists daily activities in the circus; the group dynamics, pointing out the teaching process of the circus art in the workshops given by the teachers-artists. In relation to the sharing of knowledge, I analyzed the following categories which emerged from the field: teachers and students in the teaching-learning process as ‘what’ and ‘how’ the circus knowledge is shared; the construction of a virtuous corporal movement; training, pain and sacrifice, the silence of the ludicrous. Thinking the body from cultural and historical aspects and education as a dialogical process, I consider that the pedagogical practice of the circus art in the Girassol Circus has a great similarity to the traditional gymnastics practice, as it uses some aspects of physical training; it searches the construction of body and movement having the contemporary circus as a pattern, in other words, as esthetics of straight bodies, aligned with ‘clean’ movements, uprighted towards a standardized correct model. With a teaching practice of demonstrating the exercises and a teaching-centered attitude, it makes impracticable a reflective and ludicrous proposal of education.
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Mucci, Isabella. "Circo Zanni e Linhas Aéreas : expressões da arte circense na cena contemporânea paulista /." São Paulo, 2013. http://hdl.handle.net/11449/110344.
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Orientador: Mario Fernando BolognesiBanca: Ermínia Silva
Banca:Daniele Pimenta
Resumo: Este trabalho apresenta um estudo sobre o circo contemporâneo no Brasil por meio da análise das trajetórias de duas companhias de circo atuantes em São Paulo, o Circo Zanni e a Companhia Linhas Aéreas. Através de estudo teórico, de levantamento histórico e da análise das obras destas duas companhias, a pesquisa procurou verificar as particularidades do circo contemporâneo e as similaridades e rupturas que este estabeleceu frente ao circo tradicional nos campos artístico, de sua produção, de seus mediadores e de sua recepção a fim de fornecer material para futuras análises e reflexões a respeito da arte do circo.
Abstract: This study presents a research of the contemporary circus in Brazil by analyzing the trajectories of two circus companies working in São Paulo, Circo Zanni and Linhas Aéreas. Through theoretical study, historical survey and analysis of the works of these two companies, this research verifies the particularities of contemporary circus and its similarities and ruptures to traditional circus regarding the artistic field, their production, their mediators and their reception in order to provide material for future analysis and reflections concerning the art of the circus.
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Lopes, Daniel de Carvalho. "A contemporaneidade da produção do Circo Chiarini no Brasil de 1869-1872 /." São Paulo, 2015. http://hdl.handle.net/11449/124064.
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Orientador: Erminia SilvaBanca: Mario Fernando Bolognesi
Banca: Daniele Pimenta
Resumo: Esta pesquisa tem como proposta apresentar a trajetória do Circo Chiarini (1856 - 1897) em sua primeira temporada brasileira, de 1869 a 1872, e analisar o quanto a produção da linguagem circense no período estabeleceu os mais variados diálogos, relações, incorporações e trocas com a sociedade, ou seja, o quanto foi contemporânea a esse momento histórico tanto numa perspectiva temporal quanto relacional. Nesse sentido, por meio do cruzamento de variadas fontes, principalmente bibliográficas e jornalísticas, foi possível perceber a dimensão da complexa construção artística, empresarial, publicitária e arquitetônica encabeçada pelos circos na segunda metade do século XIX, e o quanto a arte circense foi protagonista do que estava acontecendo em termos artísticos, tecnológicos, culturais e políticos do Brasil oitocentista
Abstract: This research has the purpose to present the trajectory of Chiarini Circus (1856 - 1897) in his first Brazilian season, 1869-1872, and analyze how the production of the circus language in the period established the various dialogues, relations, mergers and exchanges with the society, that is, how much was contemporary to this historic moment both a temporal perspective as a relational. Accordingly, by crossing a variety of sources, especially bibliographical and news, it was possible understand the dimension of artistic construction complex, business, advertising and architectural headed by circuses in the second half of the 19 th century, and how much the circus was the protagonist what was happening in terms artistic, technological, cultural and political of nineteenth-century Brazil
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Baumgold, Jessica. "Exploring the Experiences of Adults Participating in Community Circus Classes| The Synergistic Relationship Between Circus and Occupational Therapy." Thesis, Utica College, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10277149.
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This participant-observer, phenomenological qualitative study explored the adult experience of a community circus class through an occupational therapy lens. Following 4 months of weekly participant-observation, semi-structured interviews were conducted with four adult beginner students in a community-based social circus class. Interviews were audio recorded, transcribed and analyzed using a grounded theory approach to identify six themes. Two themes addressed the structural supports of the class: Meeting People Where They Are , and Culture and Competition. Four themes were based on participant experiences and perceived outcomes: Releasing Expectations, Trying, Learning, and Fun, Making Friends, Making Community, and Feeling Better. Findings suggest that through the fun aspects of circus participation, students were able to confront and overcome physical, social, emotional and cognitive challenges. In this way, personal growth and quality of life were promoted. External supports enabled students to adopt an individualized approach to participation that encouraged self-awareness and self-assessment across multiple domains. Due to the scarcity of research investigating adult participation in circus, the therapeutic benefit of circus participation merits further investigation. Circus and occupational therapy may develop a mutually beneficial relationship on the basis of shared common philosophy and values. By working together, occupational therapy and circus may enhance their ability to address occupational justice, inclusivity, empowerment, connection, play and quality of life.
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Feliachi, Abderrahmane. "Test basé sur la sémantique pour Circus." Phd thesis, Université Paris Sud - Paris XI, 2012. http://tel.archives-ouvertes.fr/tel-00821836.
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Le travail présenté dans cette thèse est une contribution aux méthodes formelles de spécification et de vérification. Les spécifications formelles sont utilisées pour décrire un logiciel, ou plus généralement un système, d'une manière mathématique sans ambiguïté. Des techniques de vérification formelle sont définies sur la base de ces spécifications afin d'assurer l'exactitude d'un système donné. Cependant, les méthodes formelles ne sont souvent pas pratiques et facile à utiliser dans des systèmes réels. L'une des raisons est que de nombreux formalismes de spécification ne sont pas assez riches pour couvrir à la fois les exigences orientées données et orientées comportement. Certains langages de spécification ont été proposés pour couvrir ce genre d'exigences. Le langage Circus se distingue parmi ces langues par une syntaxe et une sémantique riche et complètement intégrées.L'objectif de cette thèse est de fournir un cadre formel pour la spécification et la vérification de systèmes complexes. Les spécifications sont écrites en Circus et la vérification est effectuée soit par des tests ou par des preuves de théorèmes. Des environnements similaires de spécification et de vérification ont déjà été proposés dans la littérature. Une spécificité de notre approche est de combiner des preuves de théorème avec la génération de test. En outre, la plupart des méthodes de génération de tests sont basés sur une caractérisation syntaxique des langages étudiés. Notre environnement est différent car il est basé sur la sémantique dénotationnelle et opérationnelle de Circus. L'assistant de preuves Isabelle/HOL constitue la plateforme formelle au-dessus de laquelle nous avons construit notre environnement de spécification et de vérification.La première contribution principale de notre travail est l'environnement formel de spécification et de preuve Isabelle/Circus, basé sur la sémantique dénotationnelle de Circus. Sur la base d'Isabelle/HOL nous avons fourni une intégration vérifiée d'UTP, la base de la sémantique de Circus. Cette intégration est utilisée pour formaliser la sémantique dénotationnelle du langage Circus. L'environnement Isabelle/Circus associe à cette sémantique des outils de parsing qui aident à écrire des spécifications Circus. Le support de preuve d'Isabelle/HOL peut être utilisé directement pour raisonner sur ces spécifications grâce à la représentation superficielle de la sémantique (shallow embedding). Nous présentons une application de l'environnement à des preuves de raffinement sur des processus Circus (impliquant à la fois des données et des aspects comportementaux).La deuxième contribution est l'environnement de test CirTA construit au-dessus d'Isabelle/Circus. Cet environnement fournit deux tactiques de génération de tests symboliques qui permettent la vérification de deux notions de raffinement: l'inclusion des traces et la réduction de blocages. L'environnement est basé sur une formalisation symbolique de la sémantique opérationnelle de Circus avec Isabelle/Circus. Plusieurs définitions symboliques et tactiques de génération de test sont définies dans le cadre de CirTA. L'infrastructure formelle permet de représenter explicitement les théories de test ainsi que les hypothèses de sélection de test. Des techniques de preuve et de calculs symboliques sont la base des tactiques de génération de test. L'environnement de génération de test a été utilisé dans une étude de cas pour tester un système existant de contrôle de message. Une spécification du système est écrite en Circus, et est utilisé pour générer des tests pour les deux relations de conformité définies pour Circus. Les tests sont ensuite compilés sous forme de méthodes de test JUnit qui sont ensuite exécutées sur une implémentation Java du système étudié.
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Popov, Dimitar. "Circus elements as transcendental tools in film." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2014. http://www.nusl.cz/ntk/nusl-202787.
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From the very beginning, film announced its duality: the style of the documentary works of the film pioneers - the Lumi?re brothers, stood in
opposition to the illusionistic experiments of Georges Méli?s. As film
language developed, it became clear that film is a mimetic art in a sense
that it possesses the quality of capturing reality itself, which was one of
the reasons why so many people were obsessed by the silver screen. At the
same time the audience was equally overwhelmed by the modification of the
reality previously captured, into a deeper, less profane meaning. These
subtile modifications (misrepresentations) of reality in film, are a
prerequisite for conveying ideas that enrich the narrative and provoke the
audience. Transcendence is immanent to film, and film authors base their
personal style, their own credo, on experimenting, exploring, balancing
within and appreciating this quality. A bundle of tools had been invented
for this purpose, from composition of shapes to combination of colors, from
narrative to editing techniques. A complete and precise list would be hard
to deliver.
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Underhill-Day, John Christopher. "The status and breeding biology of marsh harrier Circus aeruginosus and Montague's harrier Circus pygargus in Britain since 1900." Thesis, Open University, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.279006.
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Wollin, Daniel. "Circus and Clowns: Creative approach for emotional and mental well-being : Learning from Clowns without Boarders and Circus Cirkör." Thesis, Linnéuniversitetet, Institutionen för samhällsstudier (SS), 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-68112.
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The number of displaced people around the world today is unprecedented in world history, with a third of those displaced below the age of 18. These children often undergo traumatic experiences which can cause serious mental health issues before and during their flight as well as afterwards when resettling in a new country. In Sweden, they are offered psychological aid in order to better deal with these issues and hence recover. However, due to the cultural stigma attached to mental health problems, psychosocial aid is often ruled out by the child themselves. In addition, up to 30% of these unaccompanied children have been reported to suffer from PTSD, where merely speaking about one's issue can trigger a relapse of the trauma. There is therefore a shortage of pragmatic approaches to help tackle the challenges that these children faces. The aim of this thesis is to investigate how creative programs such as the organisation Clowns without Borders works with unaccompanied refugees and how their methods affect the wellbeing of these children. This thesis explores the effects that laughter and playing has on a child’s well-being using a qualitative field research approach. The research is a contribution to the field of development since it offers new grounds on how to work towards increasing the living standards of resettled displaced persons.
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Bolton, Reginald. "Why circus works: how the values and structures of circus make it a significant developmental experience for young people." Thesis, Bolton, Reginald (2004) Why circus works: how the values and structures of circus make it a significant developmental experience for young people. PhD thesis, Murdoch University, 2004. https://researchrepository.murdoch.edu.au/id/eprint/401/.
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Circus is increasingly being used as a developmental and remedial activity for children. However, it is in the paradoxical nature of circus that it operates in a way both mysterious and easily accessible. This thesis proposes that circus as education is more effective when both teacher and student have a better understanding of circus as an art form.
To explain this I first introduce six 'elements' of childhood, whose absence often seems to result in an incomplete personal maturity. I then conduct a wide exploration of both the real and the imagined circus, showing how these elements occur or are evoked there, and I establish a correspondence or 'homology' between the two entities - childhood and circus. The discoveries shed light on the aesthetic code of circus itself, leading to the conclusion that circus works as an artform because its essential composition recalls profound experiences of childhood.
I argue that contemporary Western childhood presents unexpected hazards, mostly involving passivity and over-protection. In other parts of the world, and in some Western populations, childhood has other problems, linked to deprivation, exploitation and physical danger. In either case, a child involved in circus activities has a chance to make good some deficits, by experiencing constructive physical risk, aspiration, trust, fun, self-individuation and hard work. My hope is that this dissertation will contribute some strength to the case for well-designed programmes of circus activities for young people, in both formal and informal settings.
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Bolton, Reginald. "Why circus works : how the values and structures of circus make it a significant developmental experience for young people." Murdoch University, 2004. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20060915.142429.
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Circus is increasingly being used as a developmental and remedial activity for children. However, it is in the paradoxical nature of circus that it operates in a way both mysterious and easily accessible. This thesis proposes that circus as education is more effective when both teacher and student have a better understanding of circus as an art form.
To explain this I first introduce six 'elements' of childhood, whose absence often seems to result in an incomplete personal maturity. Ith en conduct a wide exploration of both the real and the imagined circus, showing how these elements occur or are evoked there, and I establish a correspondence or 'homology' between the two entities - childhood and circus. The discoveries shed light on the aesthetic code of circus itself, leading to the conclusion that circus works as an artform because its essentialcomposition recalls profound experiences of childhood.
I argue that contemporary Western childhood presents unexpected hazards, mostly involving passivity and over-protection. I n other parts of the world, and in some Western populations, childhood has other problems, linked to deprivation, exploitation and physical danger. I n either case, a child involved in circus activities has a chance to make good some deficits, by experiencing constructive physical risk, aspiration, trust, fun, self-individuation and hard work. My hope is that this dissertation will contribute some strength to the case for well-designed programmes of circus activities for young
people,in both formal and informal settings.
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Ferreira, Diego Leandro 1984. "Segurança no circo = questão de prioridade = Circus safety: a priority issue." [s.n.], 2012. http://repositorio.unicamp.br/jspui/handle/REPOSIP/275014.
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Orientador: Marco Antonio Coelho BortoletoDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Educação Física
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Resumo: Embora o Circo seja uma arte secular, considerada por muitos como uma linguagem universal e com significativo reconhecimento popular, as análises sistemáticas e científicas deste fenômeno são recentes. Alguns aspectos deste tipo de atividade já encontram certa ressonância acadêmica, especialmente nos estudos históricos, sociais e estéticos. Contudo, as questões sobre os aspectos técnicos e de segurança ainda representam um objeto de pouco interesse para a ciência moderna. Neste cenário, o presente estudo teve por objetivo debater os conceitos de risco, acidente e segurança sob a perspectiva de diferentes profissionais circenses, visando ainda apontar alguns dos recursos tecnológicos e procedimentais disponíveis na atualidade que servem de parâmetros básicos de segurança para o desenvolvimento de uma "cultura de segurança" entre os profissionais e praticantes do circo. Para isso, realizamos uma revisão bibliográfica acerca dos conceitos de risco, acidente e segurança, buscando um melhor entendimento a partir de perspectivas de diversas áreas de conhecimento. Este estudo teórico foi complementado por uma pesquisa de campo realizada junto a profissionais do circo, particularmente mediante entrevistas semiestruturadas com dois montadores, dois professores e dois artistas, todos eles no mínimo com dez anos de experiência. Como resultado deste trabalho, observamos uma grande variedade de acidentes e suas consequências diretas e indiretas para o circo, condição que reforça nossa tese da importância de seguirmos investigando a segurança, para que receba o devido tratamento de todos os envolvidos. De modo ilustrativo, propomos alguns procedimentos, protocolos e medidas de segurança que visam sensibilizar todos os circenses para uma necessária e urgente mudança de atitude com relação à segurança, aproximando-nos paulatinamente da adoção de uma "cultura de segurança" no circo
Abstract: Although the Circus is a secular art, considered as a universal language and with popular significant recognition, the systematic and scientific analyzes about this phenomenon are recent. Some aspects about this kind of activity have already found a certain academic resonance, especially in history, social and esthetic studies. However, the issues concerning the techniques and safety aspects represent a subject which has been little interesting to the modern science. In this scenery, this study proposed the discussion about risk, accident and safety concepts according to different circus professionals' perspective, aiming even to show some of technological and procedural resources that are available nowadays, which are basic parameters of safety for the development of a safety culture among the circus professionals and performers. For that, we've done a bibliographical revision about the risk conception, accident and security, aiming a better understanding from different knowledge areas perspectives. This theoretical studying was complemented by a research done in loco (field research) and particularly through semi-structured interview with two riggers, two teachers and two artists, all of them with 10 years of experience at least. As a study result, we realized a great variability of accident and its direct and indirect consequences for circus, condition that supports our theory of the importance to study on the safety, to receive the right treatment from all involved people. In an illustrative way we suggested some safety procedures, protocols and actions which aim to sensitize all de circus professionals to the necessity and urgent changing of attitude related to the safety, approaching to gradual definitive adoption of a safety culture in circus
Mestrado
Educação Fisica e Sociedade
Mestre em Educação Física
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Runkvist, Adils. "Cirkushallen i Alby : Cirkusstaden." Thesis, KTH, Arkitektur, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-95572.
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Detta arbete handlar om att skapa en ny cirkushall till cirkus cirkör som vill sammla sin versamhet i en byggnad. På platsen i alby finns redan en byggnad som cirkus cirkör använder. Jag gör ett tillägg till den befintliga byggnaden genom att addera nya mindre byggnader till den större byggnaden och skapa träningsytor emellan dem.
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Assael, Brenda. "The circus and respectable society in Victorian Britain." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1998. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape17/PQDD_0026/NQ33892.pdf.
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Pérès, Marie. "Réflexion sur le modèle informatique du Circus Maximus." Bordeaux 3, 2001. http://www.theses.fr/2001BOR30059.
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Le modèle informatique du Cirque Maxime, le grand cirque de Rome, réalisé à l'Institut Ausonius à Bordeaux dans le cadre du programme Iconic, constitue une utilisation originale et novatrice de l'outil informatique dans le domaine de l'archéologie. Cette "Réflexion sur le modèle informatique du Circus Maximus" est le fruit du travail d'une plasticienne ayant réalisé la maquette électronique du cirque et participé pendant quatre années à l'équipe de recherche qui a élaboré le modèle. [. . . ]Ce travail se représente donc comme une propédeutique à l'utilisation de modèles informatiques de monuments antiques et, d'une manière plus générale, à l'utilisation et à l'élaboration de modèles informatiques en sciences humaines, et dans le champ des arts plastiques, à la créatin d'oeuvres numériques en réseauThe computerised model of the greatest circus in Rome, the Circus Maximus, planned and achieved within Iconic research program at the Ausonius Institute in Bordeaux, proves to be an innovative and original use of data as a tool in the archaeological field. This "Reflection on the computerised model of the Circus Maximus" is the result of the work of a fine arts researcher who completed the circus electr nic model, by sharing, during four years, the work of the members of the research team who promoted it. So, this work appears as propaedeutics to the use of ancient monuments data models, and, more widely, to the use and devolpment of data models in social sciences and in the fine arts field to the creation of network numerical works
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Gomes, Tiago Rafael Lestre. "Circus float: abordagem musical, temática e construção multimédia." Master's thesis, Universidade de Aveiro, 2015. http://hdl.handle.net/10773/15324.
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Mestrado em MúsicaO seguinte trabalho foca a criação do ciclo de obras multimédia Circus Float, abordando os aspetos essenciais ao seu desenvolvimento desde a inspiração até à concretização da obra. Dá particular atenção ao funcionamento do processo criativo na sua generalidade, estabelecendo uma relação ao experienciado na criação desta obra. No final do trabalho são apresentadas duas análises de distintas partes do ciclo para retratar o pensamento musical e criativo na composição de Circus Float, seguidas das partituras. O CD em contém as partes/músicas eletrónicas do ciclo.
The following paper focuses on the creation of the multimedia cycle Circus Float, addressing essential aspects of its development since the moment of inspiration until the materialization of the piece. It gives particular attention to the function of the creative process on its general meaning, while establishing relations with what was experienced on the creation of the musical work. At the end of the paper, two analyses are presented on different parts of the cycle, to portray the musical and creative thought on the composition of Circus Float, followed by the scores. The attached CD contains the electronic parts/pieces of the cycle.
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Mucci, Isabella [UNESP]. "Circo Zanni e Linhas Aéreas: expressões da arte circense na cena contemporânea paulista." Universidade Estadual Paulista (UNESP), 2013. http://hdl.handle.net/11449/110344.
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000796080.pdf: 20305472 bytes, checksum: 36b5119614bc990df034e55a1d495f26 (MD5)Este trabalho apresenta um estudo sobre o circo contemporâneo no Brasil por meio da análise das trajetórias de duas companhias de circo atuantes em São Paulo, o Circo Zanni e a Companhia Linhas Aéreas. Através de estudo teórico, de levantamento histórico e da análise das obras destas duas companhias, a pesquisa procurou verificar as particularidades do circo contemporâneo e as similaridades e rupturas que este estabeleceu frente ao circo tradicional nos campos artístico, de sua produção, de seus mediadores e de sua recepção a fim de fornecer material para futuras análises e reflexões a respeito da arte do circo.
This study presents a research of the contemporary circus in Brazil by analyzing the trajectories of two circus companies working in São Paulo, Circo Zanni and Linhas Aéreas. Through theoretical study, historical survey and analysis of the works of these two companies, this research verifies the particularities of contemporary circus and its similarities and ruptures to traditional circus regarding the artistic field, their production, their mediators and their reception in order to provide material for future analysis and reflections concerning the art of the circus.
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St, Leon Mark. "Circus & nation : a critical inquiry into circus in its Australian setting, 1847-2006, from the perspectives of society, enterprise and culture." University of Sydney, 2007. http://hdl.handle.net/2123/1702.
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PhDIn Australia, like most countries, circus has been an element, at times a very important element, in the mosaic that constitutes its popular culture. An outgrowth of the circus as recast in a modern form in London in the 18th century, an Australian circus profession has existed almost continuously since 1847. Australia’s circus entrepreneurs took the principal features of English, and later American, circus arts and management and reworked these features to suit their new antipodean context. The athletic, intellectually undemanding nature of its equestrian-based entertainments harmonised with the emerging patterns of modern Australia’s way of life. In time, Australia produced renowned circus artists of its own, even artists capable of reinvigorating the concept of circus in the very countries from which their art had been derived. Since their transience and labours, indeed their very existence, were somehow tangential and inconsequential to mainstream Australian society, Australia’s circus people did not attract tokens of recognition in story and verse as did shearers, drovers, diggers and other identities of the Australian outback. Their contribution to Australia’s social, economic and cultural development has been largely overlooked. Despite its pervasive role in Australia’s cultural life over more than 150 years, examples of academically grounded research into Australian circus are few. The primary aim of this study is to demonstrate the major themes evident in Australia’s circus history, in terms of society, enterprise and culture, between 1847 and 2006. None of these areas, of course, is exclusive of the others, especially the first and last named. These deliberations are framed within the broader influences and events apparent in Australian society and history. Implicit within this demonstration is the notion that circus, whatever its characteristics and merits as an artform, has been, and continues to be, a ‘barometer’ of social, economic and cultural change in Australia.
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Carmeli, Yoram. "Family and economics in an English circus 1975-1979." Thesis, University College London (University of London), 1985. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.283183.
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Madders, Michael. "The efforts of forestry on hen harriers Circus cyaneus." Thesis, University of Glasgow, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.362944.
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Oliveira, Marcel ViniÌcius Medeiros. "Formal derivation of state-rich reactive programs using Circus." Thesis, University of York, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.428459.
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Kendall, Jessica. "Rare birds : a global ethnography of Ethiopian circus performers." Thesis, SOAS, University of London, 2017. http://eprints.soas.ac.uk/24393/.
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Prikule, Marta. "Care for Continuity : The Case of Riga Circus Building." Thesis, Umeå universitet, Arkitekthögskolan vid Umeå universitet, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-138793.
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The presented research focuses on sociocultural ability to sustain the built heritage as a dynamic living place. A human habitat is defined as a genius loci site - manifesting intangible qualities of a material site, perceived both psychically and spiritually. From this perspective, the heritage conservation doctrine often does not correspond to spiritual qualities of genius loci ‘living’ sites. From the theoretical perspective the author defines the preservation of genius loci sites as a care for continuity. To sustain the continuity and to provide day-to-day life happening in the building, the main objective is the inside perspective of the dweller or doer, as through the commitment of human interaction the spirit of place brings the environment to a life. The case of Riga Circus Building, seen as a genius loci site, is accordingly sustained as a care for continuity. In order to provide for local communities to continue inhabiting the building, while maintaining the spirit of place, the author outlines several design principles. The research and its application into a real genius loci site resulted in four basic conclusions. First, that - genius loci sites can not be recreated deliberately, because they are ‘accident’, and not inventions. Second, as those sites are not creations, they are not able to accept radical changes, while minor ones are tolerable. Third, that the present conservation policy is, perhaps, able to protect the genius loci sites against threats, however, often it neither aims in maintaining continuity, nor is able for a comprehensive engagement in general domains of human interactions. Forth, the best possible way to preserve genius loci site, as such - Riga Circus Building, is to assure its continuity.
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Kwint, Marius. "Astley's amphitheatre and the early circus in England, 1768-1830." Thesis, University of Oxford, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.260645.
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Clocker, Robert Allen 1967. "The urban exploratory circus : infrastructure for corporeality, connectedness, and virtuosity." Thesis, Massachusetts Institute of Technology, 1998. http://hdl.handle.net/1721.1/37189.
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Thesis (M. Arch.)--Massachusetts Institute of Technology, Dept. of Architecture, 1998.Includes bibliographical references (p. 126-130).
A traditional form of cultural critique, the circus rests its appeal in presenting extremes of the familiar and by removing perceptual barriers between people. Rather than directly confronting problems, the circus generates ideas of living and creating, seeking the unfamiliar to frame a new understanding. This proposal operates at regional, urban, architectural and bodily scales to provide a forum for exploration. Travelling structures facilitate a circus school and a deployable autonomous infrastructure to generate sites. Once set in motion, the ongoing event of the circus cultivates meaning through this connection in scales, sites, and people to create a narrative of action.
Robert Clocker.
M.Arch.
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Ostanevics, Martins. "Infill Development in Context : Case Study of Riga Circus Extension." Thesis, Umeå universitet, Arkitekthögskolan vid Umeå universitet, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-138792.
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This thesis explores a broader understanding of infill development in historic surrounding. Historic structures are viewed as mediators for the new design to carry on the sense of place and provide continuity in the city. Continuity in the city scape is provided by forming relations between existing built fabric and new additions in the city, creating a synergistic whole that is greater than the sum of its parts. Buildings and city scape are perceived as a living changing artefacts, providing link with past tradition, identity and perception of time passage. Accordingly, this thesis proposes a contemporary circus addition to the existing circus complex as an infill development, constructed through the negative spaces and defined by surrounding historic built fabric. This thesis is divided into four main sections. Chapter I reviews existing literature in the field of context and contextualism as a methodology for infill architecture. Chapter II covers research and analysis of circus concept, semiotics and historical development of circus. Chapter III includes the analysis of the site and existing Circus Building. Chapter IV describes the research design and infill strategy for contemporary building to come in alliance with the pre-existing surroundings. The design process aims to identify a set of complementary aspects and design objectives that would assist in analysis of the existing historic fabric within the evolving context and allow to form relation between new contemporary building and pre-existing context. How can a new structure embody the sense of the place and be a part of continues urban fabric. Consequently, the aim is to assess the compatibility of the new building in historic context. The main thesis question is how to fit in a contemporary circus building/ extension in a dense historic urban setting providing the progression of city scape, context and harmony with the existing buildings.
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de, Almeida Xavier Manuela. "Definição e implementação do sistema de tipos da linguagem circus." Universidade Federal de Pernambuco, 2006. https://repositorio.ufpe.br/handle/123456789/2613.
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Previous issue date: 2006Conselho Nacional de Desenvolvimento Científico e Tecnológico
A busca constante pelo desenvolvimento de sistemas de software com qualidade vem despertando o interesse das grandes empresas na aplicação de técnicas formais. Dentre as linguagens formais, existem aquelas próprias para a modelagem de dados complexos, tal como Z, e outras próprias para a modelagem de comunicação e concorrência, tal como CSP. Circus é uma linguagem de especificação, projeto e programação que combina Z e CSP. Além de possibilitar a especificação de aspectos de dados e comportamentais de sistema concorrentes, Circus inclui um cálculo de refinamentos. Este é seu diferencial em relação a outras integrações de Z com uma álgebra de processos. Circus vem despertando interesse no meio industrial, manifestado através de colaboraçõoes científicas e tecnológicas, e possui uma equipe envolvida na construção de ferramentas que visam facilitar sua utilização. Muitas destas ferramentas precisam de um verificador de tipos para prover mais garantias quanto a consistência das especificações e programas, e, consequentemente, de seus resultados. Neste trabalho, apresentamos uma definição formal para o sistema de tipos de Circus, com o intuito de auxiliar o desenvolvimento de um verificador de tipos para a linguagem. Optamos por primeiramente definir as regras de tipos de Circus para depois implementar o software que automatiza a aplicação dessas regras. Esta decisão de projeto contribuiu para a construção robusta do verificador, pois a implementação consiste em um mapeamento direto das regras de tipos para linhas de código. O verificador desenvolvido também oferece recursos adicionais, tais como, a disponibilidade de informações de tipos para cada fragmento da especificação ou programa passado para análise, e o fornecimento de mensagens claras e objetivas dos possíveis erros de tipos detectados ao longo da verificação. Adicionalmente, projetamos o verificador como um componente de fácil integração, manutenção e extensão. Também apresentamos neste trabalho a nossa estratégia de validação do verificador. Elaboramos testes de pequeno e grande porte, a partir de estudos de casos de sistemas reais, tal como o sistema de SmartCard que descrevemos neste trabalho. Adicionalmente, integramos o verificador com outra ferramenta: o JCircus, que é um tradutor de Circus para Java. Também implementamos uma versão inicial de uma ferramenta de refinamentos, chamada CircusRefine, para integrar o verificador de tipos. Apesar de não termos construído uma versão completa de CircusRefine, nos preocupamos em definir a arquitetura da ferramenta de tal forma que sejam possíveis futuras evoluções de forma simples e estruturada. Os testes e integrações contribuíram para a correção de defeitos da implementação e para a evolução e verificação de consistência do verificador de tipos de Circus. Ao definir o sistema de tipos de Circus, e disponibilizar um verificador de tipos, acreditamos que estamos dando uma importante contribuição na evolução de Circus, esclarecendo pontos essenciais de sua definição como uma linguagem fortemente tipada e compatível com Z e CSP, e estamos também contribuindo para o desenvolvimento de outras ferramentas da linguagem.Esperamos que o nosso trabalho possa servir de base para a definição e implementação dos sistemas de tipos das extensões de Circus
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Lopes, Daniel de Carvalho [UNESP]. "A contemporaneidade da produção do Circo Chiarini no Brasil de 1869-1872." Universidade Estadual Paulista (UNESP), 2015. http://hdl.handle.net/11449/124064.
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Esta pesquisa tem como proposta apresentar a trajetória do Circo Chiarini (1856 - 1897) em sua primeira temporada brasileira, de 1869 a 1872, e analisar o quanto a produção da linguagem circense no período estabeleceu os mais variados diálogos, relações, incorporações e trocas com a sociedade, ou seja, o quanto foi contemporânea a esse momento histórico tanto numa perspectiva temporal quanto relacional. Nesse sentido, por meio do cruzamento de variadas fontes, principalmente bibliográficas e jornalísticas, foi possível perceber a dimensão da complexa construção artística, empresarial, publicitária e arquitetônica encabeçada pelos circos na segunda metade do século XIX, e o quanto a arte circense foi protagonista do que estava acontecendo em termos artísticos, tecnológicos, culturais e políticos do Brasil oitocentista
This research has the purpose to present the trajectory of Chiarini Circus (1856 - 1897) in his first Brazilian season, 1869-1872, and analyze how the production of the circus language in the period established the various dialogues, relations, mergers and exchanges with the society, that is, how much was contemporary to this historic moment both a temporal perspective as a relational. Accordingly, by crossing a variety of sources, especially bibliographical and news, it was possible understand the dimension of artistic construction complex, business, advertising and architectural headed by circuses in the second half of the 19 th century, and how much the circus was the protagonist what was happening in terms artistic, technological, cultural and political of nineteenth-century Brazil
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Anjos, Cláudio Rejane Alves dos. "Pinduca show de atrações: a trajetória de um palhaço que, com base nos saberes adquiridos no circo tradicional, moldou sua carreira como empresário do entretenimento." Escola de Teatro, 2012. http://repositorio.ufba.br/ri/handle/ri/27104.
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Essa dissertação é o resultado de uma pesquisa que apresenta o circo moderno como uma empresa de entretenimento desde a sua concepção, revela sobre a sua configuração no Brasil, estruturada num grupo familiar ou mais, como base de sua sustentação. O trabalho expõe o empresário circense como o responsável pela organização e desenvolvimento de estratégias de marketing e propaganda eficazes para a manutenção da empresa circo, exibe um histórico sobre o palhaço do circo e sua evolução ao longo do tempo, tudo isso com o intuito de traçar um paralelo entre as características do circo no Brasil e a empresa de entretenimento Pinduca Show de atrações, fundada e administrada pelo palhaço Pinduca e seus filhos, na cidade de Salvador entre as décadas de 1970 a 1990.
This dissertation is the result of a survey that shows the modern circus as an entertainment company since its inception, says on its settings in Brazil, in a structured family group or more, as the basis of their support. Exposes the circus business as responsible for organizing and developing marketing strategies and effective advertising for the maintenance of circus company, displays a history of the clown in the circus and its evolution over time, in order to draw a parallel between the characteristics of the circus in Brazil and entertainment company Pinduca Show Attractions, founded and run by clown Pinduca and their children in the city of Salvador from the 1970s to 1990.
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Trapp, Franziska. "Lectures de cirque contemporain : un modèle d'analyse des représentations circassiennes axé sur des textes et contextes." Thesis, Montpellier 3, 2019. http://www.theses.fr/2019MON30002.
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En 1996, après avoir assisté à la dernière représentation de la septième édition du Centre National des Arts du Cirque, le journal parisien Libération prédit une troisième ère du Cirque : « Après les cirques traditionnels, puis les nouveaux cirques, il faut désormais compter avec le cirque contemporain. » Le pronostic devient réalité : la pièce du metteur en scène Joseph Nadj est considérée, en France comme ailleurs, comme le point de départ d’un nouveau genre dont la définition reste des plus vagues jusqu’à aujourd’hui : « Le cirque contemporain, lui, n’a strictement aucune unité formelle, ou disons, sans craindre le paradoxe, que c’est la diversité de ses formes qui l’unifie. » D’une part, cela s’explique par le fait que, dans le cirque contemporain, l’originalité est un moteur central et, d’autre part, que le genre se situe encore dans une phase de développement. Cela est en outre dû à l’absence jusqu’à aujourd’hui, dans la recherche scientifique, d’une analyse détaillée des représentations du cirque contemporain et qu’en plus on ne dispose pas d’un modèle d’analyse cohérente des représentations du genre. Le discours actuel autour du genre s’intéresse moins de savoir comment les spectacles de cirque contemporain engendrent du sens et quels sont les procédés caractéristiques qui les définissent. Au lieu de cela, on s’interroge sur ce qui devrait caractériser les pièces. Notre thèse tient compte de ce desiderata en développant pour la première fois une méthode pour analyser les représentations de cirque contemporain. En outre, elle explique et interprète résolument le genre au moyen d’une méthode solide, c’est-à-dire d’une description contextualisée de l’objet – à savoir la représentation – dans son contexte historique et culturel et fournit ainsi, au sens lessingien du terme, une dramaturgie du cirque contemporain qui, malgré la diversité des représentations, révèle des caractéristiques généralisables, le procédé fondamental, la structure des pièces et l'effet qu'elles produisent. Le développement du modèle de lecture pour les spectacles de cirque contemporain ainsi que l’évolution consécutive et la spécification du modèle s’appuient sur l'analyse textuelle de la poétique de la culture que justifie l’historien de la littérature Moritz Baßler dans son œuvre La fonction d’une poétique de la culture et l’archive sur la base du New Historicism conçu par Stephen Greenblatt. En outre, le travail présent se situe dans le domaine des théories de lecture relevant de la science du théâtre (Fischer-Lichte) et de la danse (Foster et Brandstetter). Le noyau de l‘argumentation se fonde sur l’hypothèse selon laquelle les représentations de cirque sont lisibles en tant que textes culturelsIn 1996, the Paris newspaper Libération predicted a third era of circus after visiting the seventh edition of the Centre National des Arts du Cirque: “After traditional and new circus, we now have to account for contemporary circus.” The prognosis became reality: nowadays, in France as elsewhere, the performance of Joseph Nadj is considered as the starting point of a new genre whose definition however remains vague: “The contemporary circus has no formal unity. It is paradoxically the diversity of its forms that unifies the genre.” On the one hand, this is explained by the fact that originality is a central motor in contemporary circus; on the other hand, the genre is still developing . A further reason for the lack of a clear definition lies in the absence of detailed analyses of contemporary circus performances in circus research, and in the desideratum regarding a coherent model for its interpretation. The current discourse dedicated to the genre is less interested in knowing how contemporary circus performances generate meaning and in outlining the characteristic techniques and processes. Instead, one wonders what should characterize the performances. The present thesis takes into account this desideratum by developing for the first time a method to analyse representations of contemporary circus. In addition, it resolutely explains and interprets the genre by means of a contextualized description of the object - namely representation - in its historical and cultural context. In the Lessingian sense of the term, the thesis therefore provides a dramaturgy of contemporary circus which, despite the diversity of representations, reveals generalizable characteristics of the genre, the fundamental techniques and structures of the performances. and the effects they produce. The development of a reading model for contemporary circus performances as well as the consequent evolution and the specification of the model are grounded in the textual analysis of poetics of culture that the literary scholar Moritz Baßler justifies in his work on the basis of the theory of New Historicism designed by Stephen Greenblatt. In addition, the present work situates itself in the field of reading theories pertaining to theatre (Fischer-Lichte ) and dance studies (Foster and Brandstetter ). The core of the argument is based on the assumption that circus performances are readable as cultural texts
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Covez, Corinne. "Pratique artistique : un rapport à soi, aux autres et au monde : l'éducation par le cirque, l'école du vivre." Thesis, Lille 3, 2012. http://www.theses.fr/2012LIL30054/document.
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Effectuer une activité artistique ne va pas de soi. Cependant, aujourd’hui en France, le système scolaire développe des ateliers qui invitent les jeunes à se mettre,notamment, en piste. Les arts du cirque contemporain participent d’une est/éthique et d’une pratique du déséquilibre et du risque, qui en font sa particularité. C’est à la découverte d’une recherche-Action menée grâce à une intervention circassienne auprès de jeunes d’un lycée professionnel du Nord de la France, que ce travail convie. Le dispositif, faisant partie d’un projet Interreg et expérimenté lors de deux ateliers interculturels franco-Anglais a permis d’interroger les enjeux corporels, psychologiques, sociaux, psychiques et affectifs d’une pratique effectuée par un troisième groupe français. L’approche ethnographique sensible a mis en avant la souffrance de vie de ces jeunes et leur relation à l’école, faisant apparaître, a contrario, le rôle éducatif de la pratique de cirque dans son rapport au « vivre »Doing an artistic activity is not easy. Nevertheless, to day in France, the scholar system creates workshops to invite the youth to get on track. The contemporary circus arts develop an aes/ethics and a practice based on unbalance and risk, that makes it particular. This study aims to discover up an action-Research thanks to a circus intervention to students in a professional high school in Northern France. This device, belonging to an Interreg Project and experimented during two intercultural French/English workshops, allowed to question the bodily, psychological, social, psychic and affective issues of a practicing third French group. The sensitive ethnographic approach highlighted their suffering life and their link to the school, enlightening, by contrast, the educative role of the circus practice within the relationship to “living”
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Terranova-Webb, Ariel. ""Getting Down the Road" : Understanding Stable Mobility in an American Circus." Thesis, Open University, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.524782.
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