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Journal articles on the topic 'Circus'

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Published: 4 June 2021
Last updated: 1 August 2024

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1

Brachet, Jean-Paul. "Circus et circum : aperçus historiques." Revue de philologie, de littérature et d'histoire anciennes LXXVI, no. 2 (2002): 199. http://dx.doi.org/10.3917/phil.762.0199.

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2

Cummings, Scott T. "Big Circus, Little Circus." Journal of Popular Culture 20, no. 1 (June 1986): 119–25. http://dx.doi.org/10.1111/j.0022-3840.1986.2001_119.x.

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3

St Leon, Mark Valentine. "Circus." Sydney Journal 3, no. 1 (December 9, 2010): 1–22. http://dx.doi.org/10.5130/sj.v3i1.1495.

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From 1833 when two ropewalkers performed in Sydney, circus skills have provided popular entertainment. By the 1850s thousands watched circus performances outdoors and in purpose-built theatres. The travelling circus was prompted by goldrush crowds far from the cities, and became the default when circus men found it was easier to change audiences than to change repertoires. Sydney seasons were regular annual engagements for many of Australia's circuses well into the twentieth century. Strong links were formed with international performers, and exchanges between the American and Australian circus worlds were frequent.
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4

Moeller, Eileen. "Circus." Feminist Studies 28, no. 2 (2002): 268. http://dx.doi.org/10.2307/3178741.

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5

Szekely, George. "Circus." Art Education 48, no. 4 (July 1995): 44. http://dx.doi.org/10.2307/3193549.

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6

Bowdan, Janet. "Circus." Colorado Review 36, no. 1 (2009): 73. http://dx.doi.org/10.1353/col.2009.0042.

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7

Savich, Zach. "Circus." Iowa Review 37, no. 3 (December 2007): 149. http://dx.doi.org/10.17077/0021-065x.6333.

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8

Repertório, Teatro &. Dança. "HISTÓRIAS DO AQUI E AGORA: CABARÉ E TEATRALIDADE CIRCENSE [Erminia Silva]." REPERTÓRIO, no. 15 (July 7, 2010): 59. http://dx.doi.org/10.9771/r.v0i15.5213.

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<div>Nos últimos dez anos, no Brasil, grupos de artistas circenses que não possuem ligação específi ca com os circos itinerantes ou de lona, em geral oriundos de escolas de circos, artistas circenses profi ssionalizados ou não, procedentes de diversas áreas das manifestações artísticas (teatro, dança, música, etc.), têm experimentado organizar espetáculos que são denominados de cabaré. A idéia que perpassa essas iniciativas é a de que as apresentações contenham uma diversidade de números artísticos, reunindo, além do próprio grupo ou escola, organizadores do evento, também convidados externos a eles. A partir de um curso de história do circo em uma escola de circo: Cefac – Centro de Formação Profissional em Artes Circenses, foi possível debater com os alunos em sala de aula sobre a história do conceito, dos espetáculos e das casas denominadas cabaré, relacionando-a com as artes circenses. Deste processo, produziu-se este texto descritivo e analítico no sentido de propor um olhar sobre o significado do que seja estudar e pesquisar a história do circo. Tal perspectiva tem como referência a idéia de que vivenciamos um período dessa história, somos herdeiros e protagonistas da mesma. Ou seja, pensar num curso de história não significa só o passado, mas o ir fazendo, aqui e agora.<br><br />In Brazil, for the last ten years, circus artists who have no specifi c connection with itinerant or canvas circuses, who usually come from circus schools, either as professional circus artists or not, stemming from diverse areas of the arts (theater, dance, music, etc.), have organized shows known as cabaret. The concept within these initiatives is that presentations contain a diversity of numbers comprising not only the organizing groups or schools, but also a few external, visiting performers. By taking a Circus History course as a starting point at CEFAC, the Professional Circus Art Formation Center, it was possible to promote a classroom discussion on the history of such concept, shows and stages known as cabaret and its relation with circus as an art. The present paper stems from such process as a descriptive and analytical piece of work towards the proposal of an overview on the meaning of studying and researching the history of circus. Such view is referenced upon the idea that we have experienced a period of such history and that we are its heirs and protagonists. This implies that thinking in a history course does not mean the mere thinking of the past, but of the on going present, here and now.</div>
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9

Sharykov, Denys, and Inessa Lvova. "THE SPECIFICS OF CIRCUS COMPLEX TECHNICAL TRAINING WHEN WORKING WITH CIRCUS PROPS AND APPARATUS TODAY." Innovative Solution in Modern Science 2, no. 54 (October 2, 2022): 16. http://dx.doi.org/10.26886/2414-634x.2(54)2022.2.

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The article analyzes and defines the specifics of circus complex technical training when working with contemporary circus props and apparatus. Safety rules in the circus structure, as well as general technical requirements when working with circus apparatus and special props are being specified. Provides a clear description of technological devices and grids. Also, it is specified of production, technical and auxiliary premises. The conclusions of the study testify to the importance and clarity of knowledge of the specifics of circus complex and technical training for circus performers in specific structures in this area.Kеуwоrds:circus,contemporary circus props and apparatus, circus technical equipment, safety equipment in the circus.
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10

Ganin, Anatolii Andreevich, and Tatyana Vladimirovna Bushkova. "The development of circus art in Russia until 2035 in a cultural aspect." Человек и культура, no. 4 (April 2023): 41–50. http://dx.doi.org/10.25136/2409-8744.2023.4.43817.

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The role of the circus in the formation of the socio-cultural environment is determined. The aim of the work is to study the circus art in Russia in a cultural aspect. The subject of the study is the culturological aspect of the development of circus art until 2035; an analysis of two models of circus art: domestic and foreign is presented. The tasks and prospects in this area are outlined, the direction of further creative development of the Russian circus system until 2035 should be the creation of qualitatively new circus programs and performances using the capabilities of related arts (theatre, cinema, stage, etc.) and the use of modern technologies. The novelty of the study lies in the definition of the main trends in the development of circus art, the definition of global and domestic trends, a description of their features. The Russian circus industry is less segmented, unlike the Western one, which is distinguished by world-class high-tech shows, traditional circus troupes, circus performers with individual numbers. In Russia, the second segment is part of the circus system due to its demand among children and families. Recommendations are proposed for improving the circus business and its popularization: popularizing the circus as a form of family leisure, improving the human resources base, providing comprehensive support to the circus sector, etc.
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11

Dralyuk, Boris. "Bargain Circus." Hopkins Review 14, no. 1 (2021): 69. http://dx.doi.org/10.1353/thr.2021.0014.

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12

Lucas, Philip E. "Circus performer." Medical Journal of Australia 163, no. 11-12 (December 1995): 596. http://dx.doi.org/10.5694/j.1326-5377.1995.tb124789.x.

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13

Franzen, Cola, and Juan Cameron. "Circus Dog." boundary 2 15, no. 3 (1988): 44. http://dx.doi.org/10.2307/303248.

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14

Rasmussen, Chris. "Circus Life." Annals of Iowa 77, no. 4 (October 2018): 429–31. http://dx.doi.org/10.17077/0003-4827.12530.

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15

Phillips, Julie P. "Silent Circus." Family Medicine 51, no. 5 (May 7, 2019): 443. http://dx.doi.org/10.22454/fammed.2019.672161.

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16

Lazaroo, Natalie. "Contemporary circus." Research in Drama Education: The Journal of Applied Theatre and Performance 25, no. 4 (September 17, 2020): 658–60. http://dx.doi.org/10.1080/13569783.2020.1819783.

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17

Batistatou, Anna, and Konstantinos A. Charalabopoulos. "Circus Dog." International Journal of Surgical Pathology 15, no. 2 (April 2007): 174–75. http://dx.doi.org/10.1177/106686062075.

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18

Redmond, Craig. "Circus cruelty." New Scientist 202, no. 2714 (June 2009): 26–27. http://dx.doi.org/10.1016/s0262-4079(09)61707-3.

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19

Özcelik, C. "CIRCUS-Studie." Der Kardiologe 9, no. 6 (October 13, 2015): 408–9. http://dx.doi.org/10.1007/s12181-015-0028-2.

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20

Cole, Thomas B. "Circus Sideshow." JAMA 307, no. 17 (May 2, 2012): 1780. http://dx.doi.org/10.1001/jama.2012.537.

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21

Oliveira, Filipa. "Circus Architecture: Ângela Ferreira’s Zip Zap Circus School." Afterall: A Journal of Art, Context and Enquiry 35 (March 2014): 38–47. http://dx.doi.org/10.1086/676546.

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22

Gardner, Angela, and Gwenn Tasker. "Not Thinking about the Circus at the Circus." Axon: Creative Explorations 13, no. 1 (July 24, 2023): 1–12. http://dx.doi.org/10.54375/001/hwj8qfe9xt.

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This photoessay explores the creation of a collaborative book Not Thinking about the Circus at the Circus, a finalist in the ArtSpace Mackay Libris Award and recently acquired by Artspace Mackay for their artist book collection. It particularly addresses the social and political uses of creative publishing, creative art/text publishing relationships and collaborative shifts.
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23

Gardner, Angela, and Gwenn Tasker. "Not Thinking about the Circus at the Circus." Axon: Creative Explorations 13, no. 1 (July 24, 2023): 1–12. http://dx.doi.org/10.54375/001/.

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This photoessay explores the creation of a collaborative book Not Thinking about the Circus at the Circus, a finalist in the ArtSpace Mackay Libris Award and recently acquired by Artspace Mackay for their artist book collection. It particularly addresses the social and political uses of creative publishing, creative art/text publishing relationships and collaborative shifts.
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24

Thompson, Bianca A. D., and Kieran Broome. "Social Circus for People with Disabilities: A Video Analysis through the Lens of the MOHO." Occupational Therapy International 2021 (March 9, 2021): 1–10. http://dx.doi.org/10.1155/2021/6628482.

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Background. Social circus is a branch of circus that primarily focuses on personal and community development, rather than an elite level of professional artistry required of traditional circus. Social circus engages participants in circus activities such as juggling and acrobatics with therapeutic aims such as building confidence or developing life skills. While there is a growing body of literature around social circus, there is currently limited literature exploring the interface between social circus and occupational therapy theory. Objective. This study is aimed at examining existing examples of social circus for people with disability (via YouTube videos) through the lens of the Model of Human Occupation (MOHO) to consider the link between social circus and contemporary occupational therapy practice. Methods. The study utilised video analysis as the guiding methodology. A two-part qualitative thematic analysis was conducted on transcripts of YouTube video audio and on-screen text, as well as visual analysis of the corresponding imagery. Results. Social circus provides people with disabilities opportunities to actively participate and experience dignity of risk, independence, and autonomy, in a safe and inclusive environment amongst others. As a highly flexible activity (in structure, timing, tasks, outcomes, and environments), social circus accommodated differences in capacities and provided opportunity for the development of skills, both circus-specific and generalisable to everyday life. Social circus allowed people with disability to shape new identities as performers, friends, and members of a community. Conclusion. Social circus offers a unique means for successfully attaining and achieving a wide range of occupational outcomes for people with and without disability across a diverse range of settings. Utilising an occupational therapy lens led to insights around the social circus environments, development of identity and transference of circus skills to everyday tasks and occupations, that were not previously acknowledged in the social circus literature. Our findings support social circus implementation and collaboration within contemporary occupational therapy practice.
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25

Kashuba, Vladyslav. "Organisational and Creative aspects of Ukrainian circus arts school." National Academy of Managerial Staff of Culture and Arts Herald, no. 2 (September 17, 2021): 323–28. http://dx.doi.org/10.32461/2226-3209.2.2021.240113.

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The purpose of the article is to research the development of modern circus arts education in Ukraine, the o and creative structure of the training process, its features and functions, and the quality of education. Methodology. The research is based on the empirical data - archival information about the activities of the Kyiv Municipal Academy of Variety and Circus Arts (KMAVCA). This determines the methods’ choice: historical-factographic – to reconstruct the facts in the circus school’s development; structural-functional approach – for consideration of the organizational and creative structure of the training process and its functions; comparative method – to distinguish the disadvantages and advantages of circus education; systematization, etc. Scientific novelty. For the first time the organizational and creative aspects of the modern circus school in Ukraine are highlighted in their structural and functional context, and the circus education’s advantages and disadvantages are covered. Conclusions. Ukrainian Circus Academy is one of the leading schools of circus arts worldwide and it constantly increases its educational and qualification levels. An indicator of the effectiveness of the School is the frequent winning of its graduates and students at international contests, the high demand for Ukrainian circus performers abroad. The main advantages of the Ukrainian Circus Academy are comprehensive, multi-vector, and maximally applied-oriented training, orientation to international recognition, students’ access to prestigious performance stages. Among the weaknesses, there are: underfunding, lack of couches for some rare circus genre, lack of proper training premises, excessively high students’ workload exposure, and the future employers’ non-engagement into students’ graduation projects. The main functions of the circus arts school are professional education, production of circus art acts and performances, career guidance (enrollees’ attraction), popularization of circus arts and training, presentation of Ukrainian circus arts and School abroad, Ukrainian circus arts actors and products promotion.
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26

Lavers, Katie, and Jon Burtt. "BLAKflip and Beyond: Aboriginal Performers and Contemporary Circus in Australia." New Theatre Quarterly 33, no. 4 (October 11, 2017): 307–19. http://dx.doi.org/10.1017/s0266464x17000458.

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In this article Katie Lavers and Jon Burtt investigate BLAKflip and Beyond, a programme of workshops set up by the Australian circus company Circus Oz to mentor and support young Aboriginal performers by providing training and pathways into professional circus. Their analysis is contextualized through an examination of the thirty-year history of Circus Oz, most significantly its roots in the progressive and radical politics of the 1970s. The history of notable and successful Aboriginal performers in nineteenth- and twentieth-century Australian circus is also examined, questioning why, given the relative success of Aboriginal circus performers in the recent past, there are almost none working today. Whiteness as a pervasive characteristic of contemporary Australian performance is offered as a possible cause of this absence, while hopes for the future of Aboriginal circus are discussed with Davey Thompson, the new Aboriginal and Torres Strait Island Programme Manager at Circus Oz. Katie Lavers is an adjunct faculty member at Edith Cowan University, author of numerous journal articles, and co-editor (with Peta Tait) of The Routledge Circus Studies Reader (2016). Jon Burtt is a lecturer in Dance and Performance Studies at Macquarie University. He is the author of numerous articles on circus pedagogy, and is an advanced-level circus trainer. Lavers and Burtt are currently co-authoring (with Louis Patrick Leroux) a book on contemporary circus (forthcoming 2019).
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27

Carmeli, Yoram S. "Played by Their Own Play: Fission and Fusion in British Circuses." Sociological Review 35, no. 4 (November 1987): 744–74. http://dx.doi.org/10.1111/j.1467-954x.1987.tb00564.x.

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This paper is based on fieldwork conducted in a British circus between 1975 and 1979.’ It focuses on the dynamics of the frequent disappearance and reappearance characteristic of travelling circus shows in Britain. It shows that these dynamics are to be understood in terms of circus economics, social and semiotic constraints. It argues that, understood in these terms, the appearance and disappearance of circuses should not be taken as unequivocally confirming the notion of circus decline or, on the contrary, as supporting the notions of circus continuity (see White, 1977; Bouissac, 1976: 4; George and Mulford, 1977). Rather, they are structural characteristics of circus marginality epitomizing both circus precariousness and its endurance within the general socio-historical context.
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28

Degerbøl, Stine. "Et fast greb i rebet – om Claras levede erfaringer som nycirkus artistelev." Nordic Journal of Dance 3, no. 2 (December 1, 2012): 24–37. http://dx.doi.org/10.2478/njd-2012-0009.

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Abstract The article concerns the lived experiences of Clara practicing to become a contemporary circus artist. Clara’s narratives reflect contemporary circus as a movement pedagogical practice in relation to theories about aesthetic learning and in relation to the aims of a circus performer education in Copenhagen, Denmark. Furthermore her narratives provide a discussion of educational settings on the fringe of ordinary youth education. Firstly contemporary circus is presented as a counterculture to the traditional circus and secondly it describes how the development of contemporary circus as an art form influenced the establishment of contemporary circus schools. Body phenomenology and narrativity are the main theoretical and methodological inspirations for reflections about aesthetic learning processes taking point of departure in Clara as a case.
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29

ROMANENKOVA, Julia. "Ukrainian Traditional Circus in Today's Reality: Between Formation and Abasement." ART-platFORM 5, no. 1 (June 30, 2022): 203–20. http://dx.doi.org/10.51209/platform.1.5.2022.203-220.

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The article is dedicated to modern Ukrainian circus art. Ukraine has a very powerful circus school, represented by highly professional specialists in all the leading genres of circus art. The problem of the traditional circus’s existence is actualized in the face of the challenges of modern society. The fact that a traditional circus is possible only if it contains the animal training genre is emphasized, i.e. use of animals in circus shows. The importance of analyzing the issue solely on the example of state stationary circuses (Ukraine has seven such organizations today) is emphasized, i.e. on the example of circus institutions that own buildings and conditions for animals standing, providing them with the necessary veterinary care, feeding and the necessary regime of keeping. The main challenges of our time are given that threaten the existence of animal training as a genre of circus art: COVID-2019, which made circus performances almost impossible as an element of mass entertainment events due to quarantine restrictions, the Russian-Ukrainian war, which destroys, among other things, the circus industry, the bill about the prohibition of the use of animals in circuses, which threatens the existence of the traditional circus as a whole. The debatable nature of the problem is emphasized, the presence of moral, ethical, legal and economic components of the issue is emphasized. Circus art nowadays can rightfully be considered one of the most advantageous components of the system of performing arts in Ukraine, despite the fact that it has quite a lot of controversial, debatable aspects. Even the classification of this phenomenon has always caused difficulties: whether to consider the circus a sport or an art, what is its place in the system of arts, whether to recognize circus science as an independent field of knowledge.
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30

Pospielov, Oleh. "Copyright in the Contemporary Circus Art." Culturology Ideas, no. 14 (2'2018) (2018): 184–91. http://dx.doi.org/10.37627/2311-9489-14-2018-2.184-191.

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The article is dedicated to the research of the problems of obtaining and protecting copyright in the circus industry, the problem of plagiarism in circus art, and the problem of professionalism in the circus performing arts. In Ukraine there is no special Law on Circuses. Because of that there are some difficulties with the application of the Law on Copyright to Circus Arts, in particular to the original stunts, acts and show programs created by circus performers and directors. In the EU, copyright issue is also an important factor for circus artists. The circus performer as a creator of the original act needs legal protection of an individual artistic creation, but it is very difficult to prove and legally justify the individual features of a certain stunt in the circus art. Another performer may bring some small changes to the same trick, and declare it as his original one, and even prove that it differs from the one created by another artist. In the Circus Art, the reproduction and copying of stunts is more in the field of ethics than of legal issues. There is no obvious and quick solution of this problem today.
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31

Kashuba, Y. "SPECIFIC FEATURES OF CIRCUS ACROBATICS: POWER ACROBATICS, ANALYSIS OF THE SCENIC METHOD IN THE KIEV MUNICIPAL ACADEMY OF VARIETY AND CIRCUS ART." INNOVATIVE SOLUTIONS IN MODERN SCIENCE 6, no. 25 (October 26, 2018): 100. http://dx.doi.org/10.26886/2414-634x.6(25)2018.12.

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The article considers the stage method according to the genre "Circus Acrobatics", the technique “Power Duet Acrobatics” in the context of art education of the circus movement. Analyzed research in the field of circus, the historical information of the Kiev school of circus acrobatics. Clarified the definition of "Power Acrobatics". Given the characteristics of the forms and techniques for solitary and pair acrobatics, to understand their specifics. Exercises in power acrobatics for students of the "Circus acrobatics" genre are described.Key words: circus art, circus genre, acrobatics, power acrobatics, circus acrobatics, scenic method, Kyiv municipal academy of Circus art.доцент, Юрий Кашуба, Специфические особенности в цирковой акробатике: силовая акробатика, сценический метод в Киевской муниципальной академии эстрадного и циркового искусств / Киевская муниципальная академия эстрадного и циркового искусств, Украина, Киев.В статье рассмотрен сценический метод по жанру «Цирковая акробатика», техника «Силовая дуэтная акробатика» в контексте художественного образования циркового направления. Проанализированы исследования в области цирковедения, указаны исторические сведения Киевской школы цирковой акробатики. Уточнена дефиниция "Силовая акробатика". Даны характеристики форм и техник по силовой и парной акробатике, для понимания их специфики. Описаны упражнения по силовой акробатики для студентов жанра «Цирковая акробатика». Ключевые слова: цирковое искусство, цирковой жанр, силовая акробатика, цирковая акробатика, сценический метод.
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Trapp, Franziska. "‘Dresse-toi!’ Perspectives on the (Re)Valorisation of Nonhuman Animal Performers in Contemporary Circus." Animal Studies Journal 13, no. 1 (2024): 103–36. http://dx.doi.org/10.14453/asj/v13i1.6.

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It is the aim of this article to critically assess the (re)valorisation of nonhuman animals in contemporary circus. Though contemporary circus has declared itself to be an ‘animal-free’ artform, animals have been increasingly reappearing in contemporary circus performances over the past few years. In opposition to traditional circus, neither the presentation of the talents of nonhuman animals nor the demonstration of human power and dominance are the objective, rather, contemporary circus attempts to create critical and experimental artworks that function as social commentaries on the relation between humans and nonhuman animals. This article is divided into three parts. The first provides an overview of the staging strategies of nonhuman animals in traditional circus, as well as a contextual map of the renewed interest in animal performances in contemporary circus. The second is an analysis of the contemporary circus performance Dresse-toi (2018) by Cie Equinoctis, which sets out to counter the human dominance of animals in performance through the lens of the nonhuman turn. The third part reflects on further ways to decentre the human being and the anthropocentric telos in circus.
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33

Jia, Susan. "Chinese Circus and its Audiences: Past and Present." New Theatre Quarterly 35, no. 04 (October 8, 2019): 365–72. http://dx.doi.org/10.1017/s0266464x1900040x.

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Circus in China until the 1760s was primarily regarded as an equestrian court performance to entertain nobles of the Qing Dynasty at the inauguration of the Chinese New Year, or to amuse foreign dignitaries bringing tributes. Since that time, circus has transformed into a popular entertainment art, featuring the integration of human, animal, dance, acrobatics, music, vocal, multi-media, and new technologies. In this article Susan Jia revisits the history of circus in China, and then focuses on its latest form of presentation in Shanghai Circus World (SCW), the premier circus establishment in China. The two core pieces in the SCW repertoire – ‘ERA: Intersection of Time’ and ‘Happy Circus’ – are examined to construct a representative miniature of modern Chinese circus, and from audiences’ perspective, the many comments written for online communities are analyzed to explore their understanding of modern circus. Susan Jia is an assistant professor in the School of Business and Management, Shanghai International Studies University. She researches means of developing the leisure and entertainment services industries.
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34

Tarnowska, Balbina. "Bruno Schulz i cyrk. Obrazy, metafory (auto)identyfikacje." Panoptikum, no. 25 (September 14, 2021): 37–51. http://dx.doi.org/10.26881/pan.2021.25.02.

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The article is an attempt at analyzing the circus motifs in the work of Bruno Schulz. The first part is about circus activities during the life of Schulz, that he could see or hear about. His biographical experiences and also the influences of other artists made that he alluded to the circus in his work. He recalls in his novels famous characters associated with circus such as Bosco the magician, famous director of the American circus of curiosities, Barnum. He alludes to the events that actually took place – the arrival of the Panopticon in Drohobycz in 1913. In his stories and letters he uses circus metaphors. In prose, graphics and drawings there are figures of circus performers, clowns, freaks. He identified himself with Pierrot in his self-portraits. Not only Schulz perceived himself in this role –apparently Witkacy was supposed to paint a portrait of him in a Pierrot costume.
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35

Korniienko, V. V. "Circus Industry in the Context of State Culture Policy: Culturological Analysis." Culture of Ukraine, no. 71 (April 2, 2021): 34–40. http://dx.doi.org/10.31516/2410-5325.071.04.

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The aim is to conduct the culturological analysis of circus industry in modern Ukraine in the context of the state culture policy, define and substantiate the essential contents of the state regulation of circus industry in the context and within its legislative and normative­legal field. The relevance of the main provisions of this study in the formation of the latest scientific discourse in the field of circus art is substantiated. The basic concept of circus industry was updated, which lies in formation of a legislative and regulatory framework for the development of national circus art. The culturological analysis of the circus development program is carried out. It is emphasized that the legislative and regulatory framework of the sphere of culture has universal, on the one hand and on the other hand specific provisions, inherent only in a particular art form. Emphasis is made on the need to introduce a modern, civilized paternalistic state policy for the development of circus art, in particular. It is emphasized that modern civilized paternalism will allow to maintain a stable presence of the national circus product at the national and world market of cultural and artistic services, and through this — to provide the stable development of domestic circus industry. It is updated that thanks to modern paternalism and enhanced budget support for all components of the circus industry, such as: training systems for creative and managerial staff, amateur circus art system, stationary circuses system, will ensure sustainable development of the national circus industry in its entirety. Therefore, the purpose of the article is to carry out a culturological analysis of circus in modern Ukraine in the context of state culture policy, to determine and justify the essence of state regulation of circus, in the context and within its legislative and regulatory framework. As the most scientific ones for the study of circus industry in the context of state culture policy can be considered the following methodological approaches: culturological analysis of the legislative and regulatory field of culture; convergent­divergent approach, which considers the legislative and regulatory framework in a dynamic aspect as an integral system that normalizes the relations between the state and the sphere of culture and creates conditions for the development of arts; the principle of comparative analysis, aimed at identifying specific components and finding universal, peculiar to the entire artistic sphere legislative and regulatory documents. Thus, the scientific novelty of the represented work is that the state culture policy in the field of circus industry is considered as an integral, systemic phenomenon, the basic component of which is the legislative and regulatory field. Conclusions. Since Ukraine’s independence, the state has formed and pursued a culture policy that regulates the relationship between the cultural and artistic spheres and the state. After all, the state provides the development of culture and art, free access to cultural heritage, provides comprehensive artistic and aesthetic education of the population, supports the activities of cultural industries. The basic component of the state culture policy is the legislative and regulatory field. Ukraine has formed a meaningful and extensive legal framework for all types of art that are developing in our country. The legislative base of the culture sphere ensures the sustainable development of culture and art, the formation of an integral system of institutions and institutions that produce cultural and artistic products, train artistic personnel for the field of culture and art. It can be stated that the circus industry in Ukraine, unfortunately, was left out of the attention of culture sphere politicians and statesmen, because currently not developed and adopted the Law of Ukraine “On Circus Industry and Circus Art”, which would ensure further development of circus and circus art. The adoption of this law is timely and extremely relevant in the current socio­cultural realities. Prospects for further research. Cultural theorizing of circus, in particular in the context of state culture policy, creates the preconditions for the emergence of the latest humanities — circology, a science that will carry out an integral analysis of circus. A new scientific discipline — circology, will provide a harmonious combination of theory and practice of circus, both within the national boundaries of scientific discourse and in the field of international scientific theorizing of art in general.
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Siedlecka, Sylwia. "The Institutionalization of the Bulgarian Circus between 1944 and 1957." Balkanistic Forum 30, no. 1 (January 5, 2021): 165–78. http://dx.doi.org/10.37708/bf.swu.v30i1.10.

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This article analyzes the process of institutionalization of the Bulgarian circus be-tween 1944 and 1957. The appreciation of circus as “an equal member of the large family of socialist arts” was rooted in a belief that it was a democratic spectacle which transcended social divisions and classes. The source of the perception of the circus as an instrument of social change can be traced to pre-war Soviet tradition, when the circus became not only a tool of state cultural policy, but also inspired the most important creators of literary and theater avant-garde. In post-war Bulgaria, in order to improve the quality of performances, interinstitutional cooperation of the circus with literary and theater circles was initiated, and with the purchase of circuses by the state, numerous regulations were introduced in the profession of a circus artist. This purchase was not synonymous with nationalization: the state bought the circuses from the hands of their pre-war owners, allowing them to continue to perform strategic functions in the circuses.At the same time, despite deep institutional changes, the circus after 1944 main-tained its semi-peripheral status of an entertainment spectacle, not worth considering on the part of intellectual elites and unfit for the project of national high art. It is this peripheral potential of the circus as a spectacle not shaped by the refinement of the elites, that opens up new research perspectives which allow us to view the circus as a laboratory of social and cultural change. As a nomadic travelling institution, the circus crossed geographical boundaries and communicated with viewers from cities and villages, as well as representatives of various social groups and strata. On the other hand, multiethnic, international environment of the circus was a space for inten-sive transfer and intercultural dialogue, both in the artistic dimension and in the sphere of everyday interpersonal practices.
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Erokhina, Tatiyana I., and Ruslan E. Shamshadinov. "«Soviet school of juggling»: ideological and aesthetic aspects." Yaroslavl Pedagogical Bulletin 2, no. 119 (2021): 182–89. http://dx.doi.org/10.20323/1813-145x-2021-2-119-182-189.

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The article is devoted to understanding the ideological and aesthetic aspects of the formation of the Soviet circus art. The authors turn to the analysis of the origins of the Soviet circus, noting its genetic connection with pre-revolutionary circus performances, as well as with the attitudes of the Soviet state to the formation of a new Soviet art and Soviet man. The purpose of the study was to understand the genesis of the Soviet school of juggling, the formation of which falls at the beginning of the formation of the Soviet state. The article considers the factors that influenced the ideological and aesthetic specifics of Soviet circus art, as well as the factors that influenced the transformation of the concept of circus performance in Soviet culture. Turning to the history of circus art, the authors analyze the sociocultural context of the formation of the «Soviet school of juggling», noting the synthesis of ideological attitudes that position the Soviet circus as a means of forming and educating a new personality, and aesthetic activities that create a life-affirming image of the Soviet circus artist. The authors note the signs of the «Soviet circus school», focus on thetheatricality of circus performances, the formation of specialized educational institutions in the Soviet state for the training of a new generation of professional circus artists. Referring to the performances and techniques of the most outstanding Soviet jugglers-E. Abert, A. Kiss, S. Ignatov – the authors come to the conclusion that the concept of «Soviet school of juggling» was the result of the aesthetic and ideological attitudes of the Soviet state. The «Soviet School of Juggling» is a metaphor that aims to emphasize the ideological differences between the Soviet state and the capitalist countries, as well as to assert the superiority of Soviet art.
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Kochurova, Aleksandra, and Diana Zenchenkova. "Features of space-planning solutions for stationary circus buildings." Proceedings of Petersburg Transport University 21, no. 2 (July 9, 2024): 345–58. http://dx.doi.org/10.20295/1815-588x-2024-02-345-358.

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Objective: this work is devoted to the study of the features in space-planning solutions for stationary circus buildings and to determine the development of circus architecture. In recent years, with the appearance of new technologies, the requirements for space-planning and technical solutions of circus buildings have undergone significant changes. It is very important to preserve the traditions of circus art and, at the same time, for expansion of the circus performances are necessary modifications and transformations of the buildings. Methods: have been made a comprehensive analysis of existing circus buildings in Europe, Asia and Russia. The research is based on the analysis of professional literature and scientific articles. Results: has been revealed patterns and main features in construction of multifunctional entertainment buildings with elements of circus and various show performances (on ice, on water, in the air). Technical innovations applied in modern representations, such as removable playpens, the use of virtual reality and modern technical balancing systems, dictate new approaches to the organization of space. In Europe, animal performances are a thing of the past. In Russia and Asia, animals remain an essential part of the circus show, meanwhile control over their living conditions is becoming more strict. Based on the study of the already built circus facilities were determined the prospects for the construction of new and reconstruction of existing buildings. Practical significance: the results allow us to identify the main trends in the space-planning solutions of stationary circus buildings. This research will be useful for architects, designers and other specialists who are engaged in the design and reconstruction of circuses. The results of this research can be used to create modern and functional circus buildings that will meet the expectations of the audience and provide comfortable conditions for the artists.
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Orel, Dmitriy. "SYSTEMATIC TRAINING OF PROFESSIONAL CIRCUS ARTISTSБ (ACROBATS-VOLTIGERS AND AIR GYMNASTS ON THE CORDE-DE-PÉRIL) IN THE INSTITUTION OF HIGHER EDUCATION OF ART SPHERE." ART-platFORM 1, no. 1 (May 14, 2020): 126. http://dx.doi.org/10.51209/platform.1.1.2020.126-140.

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The article outlines the possibility of a systematic principle of training a circus artist in today's conditions. The purpose of the study is to systematically review the training of the future professional circus artist − an acrobat and gymnast. The system of humanitarian, artistic, pedagogical, scientific and professional competencies is traced. The specificity and characteristics of the educational process in the circus industry are determined. The research methodology is based on the desire for an integrated approach to the study of circus culture of related art forms. In addition, empirical, descriptive, and general scientific methods of comparative analysis and synthesis are used. A The scientific novelty consists to identify the characteristic features of specificity and the training of a professional circus artist in genres − acrobatic voltage and air gymnastics on the cord de péril. The circus culture in the process of evolution is enriched with the modern interaction of the performing arts: from introducing stunt elements from sports acrobatics and gymnastics; contemporary theater, in particular acting and psychophysical training; neoclassical ballet school and popular youth styles in contemporary choreography with the borrowing of modern dance, jazz dance; plastic and facial aspects of the school of contemporary pantomime; circus genres − manual balancing, juggling, as well as the humanities and art cycle of instruction. The uniform load of the professional cycle in combination with the artistic and humanitarian opens up new opportunities in the preparation of a contemporary circus artist with professional skills. The emphasis on the student’s use while learning the great possibilities of modern technologies for independent work is electronic sites, video presentations, master classes, training and practical training, creative events create unlimited opportunities for becoming a professional circus artist in the modern labor market, both in Ukraine and abroad. Keywords: circus genres, acrobatics, gymnastics, voltige acrobatic, aerial gymnastics on the cord de parel, circus stunt, stage representation, circus number, choreography, pantomime.
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Marques, Sónia. "Life’s a Circus." American Journal of Semiotics 34, no. 3 (2018): 353–70. http://dx.doi.org/10.5840/ajs201921344.

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41

Grimsey, A. H. R., and G. D. Entwisle. "71.3 Circus Triangles." Mathematical Gazette 71, no. 455 (March 1987): 41. http://dx.doi.org/10.2307/3616287.

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A, Witch. "The travelling circus." Journal of Cell Science 114, no. 3 (February 1, 2001): 457–58. http://dx.doi.org/10.1242/jcs.114.3.457.

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Harvey, Steven. "The Circus Train." River Teeth: A Journal of Nonfiction Narrative 23, no. 2 (March 2022): 1–12. http://dx.doi.org/10.1353/rvt.2022.0001.

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Ritsos, Yannis, and Edmund Keeley. "The Closed Circus." Grand Street 5, no. 1 (1985): 193. http://dx.doi.org/10.2307/25006819.

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Lemle, Elise. "Two Bit Circus." STEAM 1, no. 2 (February 28, 2014): 1–8. http://dx.doi.org/10.5642/steam.20140102.24.

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Carls, Alice-Catherine, and Jean Rouaud. "Le paléo circus." World Literature Today 72, no. 1 (1998): 98. http://dx.doi.org/10.2307/40153543.

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Dvorak, Dave. "Circus at Sunset." Academic Emergency Medicine 6, no. 11 (November 1999): 1171. http://dx.doi.org/10.1111/j.1553-2712.1999.tb00122.x.

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Shreider, IU A. (Iurii Anatol'evich). "Science and Circus." Configurations 1, no. 3 (1993): 457–63. http://dx.doi.org/10.1353/con.1993.0022.

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Humble, Steve, Derel Briarley, Christina Mappouridou, Gavin Duncan, David Turner, and Jodi Handley. "Maths circus: boomerangs." Teaching Mathematics and its Applications: An International Journal of the IMA 25, no. 3 (September 1, 2006): 139–48. http://dx.doi.org/10.1093/teamat/hri033.

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Cappello, Mary. "Circus of Desire." Harrington Lesbian Fiction Quarterly 1, no. 3 (October 18, 2000): 37–56. http://dx.doi.org/10.1300/j161v01n03_05.

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