The Montreal Working Group on Cirque/Circus began in 2010 as an informal gathering of academics interested in the aesthetics, economics, and ethics of Cirque du Soleil as both a force in renewing circus arts in Québec and as a major cultural force promoting Québécois creativity and commercial innovation. Louis Patrick Leroux, Erin Hurley, and Karen Fricker, after having worked on a special issue on Le Québec à Las Vegas for the scholarly journal L'Annuaire théâtral, combined forces with economic geographers Norma Rantisi and Deborah Leslie who were already engaged in Cirque-related research. Colleagues from National Circus School were soon invited to participate in the ongoing discussion. The first year's activities were focused around a model of seminar presentations of ongoing research where colleagues were encouraged to openly discuss issues, challenges, and outcomes.

By the end of the first year, and into the second year, the Working Group began to widen its scope onto circus practices in Québec and abroad.

 

The Working Group’s presence at Concordia University

Its activities have been focused at Concordia University and National Circus School in Montreal, though the group includes individual members from other institutions.

The first year, the Working Group was hosted by Concordia’s Centre for the Interdisciplinary Study of Society and Culture which offered us some funds to invite a guest speaker and hire a student research assistant to establish the common bibliography. This year, we will be housed in a shared laboratory space at Concordia’s Hexagram Institute for Research/Creation in Media Arts and Technology, while formalizing our partnership with National Circus School.

 

back to top


Newsletter

To receive information about the Working group on Circus, subscribe to our newsletter.

News

Circus and Its Others Conference

The Circus and Its Others Conference begins July 15, 2016. Click here to see the conference schedule and to register for the events.

Events 2015-16

Winter and Spring 2016 — Ongoing Research

View schedule

 

back to top

Partnership between Concordia and National Circus School

Both Concordia University and National Circus School, through the Working Group, are currently forming a research partnership following three objectives:

  1. Specialized knowledge retention in circus arts training and practice for performers and pedagogues;
  2. The dissemination of circus-related knowledge through academic and industry channels;
  3. Widening the scope and encouraging dynamic academic approaches to studying the circus arts (through research-creation, experiential practices, economic geography, sociology, and other complementary disciplines).

In order to address these objectives, over the next five years, the Working Group will focus its activities along three thematic axes which correspond to its ongoing work and anticipated fields of investigation:

  1. circus pedagogy
  2. historical traditions and current stakes of circus practices, including discourse, aesthetics, ethics, and economics
  3. circus dramaturgy, including a series of hands-on experiential explorations between academics and circus artists.

While Concordia and National Circus School have not requested joint funding under a partnership grant program, individual researchers are encouraged to contribute to the Working Group in sharing their current, independently-funded, circus-related research. Members currently hold grants from the Social Sciences and Humanities Research Council of Canada and Québec’s Fonds de recherche sur la société et la culture. The Working Group is an ideal venue for testing out hypotheses, for exchanging ideas with scholars from a wide range of expertises and with circus practitioners and teachers.

The Working Group seeks to establish a multidirectional flow of research knowledge encouraging scholars, teachers, practitioners, policy-makers, and industry to engage in a ongoing dialogue through networking opportunities, hands-on experiences and knowledge retention and dissemination.

 

Research activity and dissemination

Members’ research is regularly presented at academic conferences in Canada, the USA, and Europe, and published in peer-reviewed and industry journals, including Theatre Journal, L’Annuaire théâtral, Urban Studies, Globe, Spirale, Québec Studies, Revista Mexicana de Estudios Canadienses.

A common open bibliography of circus-related sources has been compiled for consultation. We encourage readers to contribute any missing documents and sources.

Every year, the Working Group holds six regular seminar-style meetings and a more extensive study day/conference.

back to top

Members

Members of the group are regular collaborators engaged in an ongoing conversation. They regularly attend Working Group meetings in Montreal or elsewhere and are expected to give at least one talk a year or to act as respondents to colleagues’ papers.

 

Graduate Students

Regular participants, working with Working Group members or working on circus-related scholarly topics:

  • Joanna Donehower
    doctoral candidate, PhD in Humanities, Concordia; supervisor: Louis Patrick Leroux
  • Lyn Charland
    doctoral candidate, PhD in Humanities, Concordia; supervisor: Louis Patrick Leroux
  • Sue Proctor
    MA in SIP, Concordia; supervisor: Louis Patrick Leroux
  • Johanna Tzountouris
    MA, Laval University
  • Katie Lavers
    PhD Candidate through WAAPA (Edith Cowan University, Australia)

 

back to top

Research Activities

Year 6 (2015-16)  View detailed schedule

Poétique du cirque contemporain
(dramaturgies et grammaires d’une écriture en movement)

Chercheur principal : Louis Patrick Leroux (Concordia).
Co-chercheurs : Howard Richard et Daniela Arendasova (ENC)

Participants : étudiants de 2e et de 3e cycles de l’Université Concordia et élèves de 2e et 3e année de l’ENC.

Projet de trois ans subventionné par le FRQSC Fonds de recherche Société et culture Québec, programme d’appui à la recherche-création.

Résumé du projet

Le Québec est devenu, au cours des dernières décennies un centre névralgique de formation, de production et de diffusion du cirque contemporain. Le cirque serait entré dans son « ère québécoise », celle de l’hybridation des formes traditionnelles du cirque et des formes contemporaines du théâtre et de la danse, rencontre également de l’art et du commerce, d’une certaine « efficacité » dans l’organisation du récit circassien et de sa production reposant à la fois sur la prouesse et sur une narrativité qui rejoint un vaste public. La dramaturgie circassienne et le processus créateur propres au cirque contemporain ont très peu été étudiés. Nous nous interrogerons sur les formes de dramaturgie circassienne établies, les formes et stratégies émergentes et les pistes de croisements à explorer collectivement.

Rares sont les spectacles de cirque « écrits »; ils sont plutôt élaborés à partir de ce que chacun leur apportera, les numéros individuels étant souvent développés pendant des années par les artistes avant d’être mis en commun et altérés pour le besoin d’un spectacle.

Nous visons à articuler une grammaire des disciplines du cirque qui puisse ensuite servir à l’élaboration de modèles référents (nécessairement interdisciplinaires) qui puissent servir aux étudiants, aux enseignants, aux chercheurs et aux créateurs professionnels de repères (ou encore d’exemples contre lesquels construire sa propre démarche). Le cirque repose sur une langue (et une expectative) de la prouesse. Le langage est d’abord acrobatique, mais c’est un langage corporel spectaculaire que le spectateur, à priori, ne parle pas. Le programme de recherche reposera sur deux pôles, celui relevant de la
recherche-action visant à comprendre les modes et stratégies d’écritures scéniques circassiennes et celui relevant de sa notation, sa modélisation et sa transmission, tant par une acquisition des connaissances chez les étudiants, praticiens et pédagogues impliqués que par une documentation disponible en ligne (site web) et par un ouvrage sur la poétique du cirque contemporain. Les étapes de réalisation, concentrées à l'École nationale de cirque de Montréal et à l'Université Concordia, se déclinent sur trois ans.

Questions de recherche : quelle « écritures » pour le cirque?

Qu’en est-il alors de la spécificité de l’organisation du récit circassien? La dramaturgie circassienne et le processus créateur propres au cirque contemporain ont très peu été étudiés. La rencontre, en juxtapositions souvent inusitées, de formes de traditions et de langages scéniques distinctes provoque un flou artistique que le public postmoderne semble pouvoir décoder instinctivement sans difficulté. L’analyse des codes et conventions du cirque ainsi que leur enseignement à partir d’exemples concrets et récents, ainsi que de recherches expérientielles d’étudiants, d’artistes professionnels et de chercheurs mobilisera nos énergies pour trois ans. Nous nous interrogerons sur les formes de dramaturgie circassienne établies, les formes et strategies émergentes et les pistes de croisements à explorer collectivement.

Ces expériences se feront à l’École nationale de cirque de Montréal sous l’impulsion du chercheur spécialisé en dramaturgie et en discours culturel québécois, Louis Patrick Leroux et du chorégraphe, metteur en piste et directeur de création de l’École, Howard Richard et la directrice pédagogique Daniela Arendasova. Ils seront appuyés par une équipe d’élèves de cirque en profil professionnel et d’étudiants universitaires en dramaturgie et analyse de la représentation. Des formateurs, entraîneurs disciplinaires, gréeurs et professionnels du cirque s’ajouteront à l’équipe afin d’assurer un appui à la réalisation du programme de recherche, tant dans son aspect expérientiel, que dans l’élaboration de sa grammaire du corps et du mouvement et sa diffusion éventuelle.

Année 1 (2015-16)

ATELIERS EXPLORATOIRES

L’accent pour cette première année sera sur le geste acrobatique en tant que pierre angulaire de la création du cirque contemporain.

  1. La phrase acrobatique, ses perturbations, ses nouvelles tonalités
    Hiver; Howard, Daniela, Nicolas, Patrick

Quelles sont les phrases, les séquences usuelles du travail acrobatique? Doivent-elles leur syntaxe, leur construction à un a priori esthétique, à une tradition immuable, à une palette des possibles physiques dont les limites ont été éprouvées? Cet atelier explorera les séquences acrobatiques ‘normatives’ afin de les perturber, à la manière des improvisation jazz, d’éléments qui viendront changer la qualité et l’articulation du mouvement pour en faire une nouvelle matrice d’exploration.

Qu’apprenons-nous de l’effet des perturbations? Quelles sont-elles ces perturbations? Comment affectent-elles la phrase et la confiance des acrobates? Quel effet ces changements de syntaxe corporelle a-t-il sur les spectateurs? Bougeons-nous selon la logique somatique ou selon une tradition esthétique? Ce mouvement antinomique a-t-il sa place au cirque?

  1. Visualisation, verbalisation, reconstitution, réponse résonante
    Hiver et printemps; Patrick, Howard,

Les acrobates seront appelés à visualiser leur numéro, dans le détail, en s’arrêtant sur des moments difficiles, des passages qui leur causent des défis, des souvenirs de blessures, des craintes, des victoires. Visualisation effective mais qui donne le droit à quelques écarts. Ensuite, ils diront ceci à voix haute. J’en ferai un texte à dire, un texte à lire que d’autres acrobates liront, sans savoir de qui cela est le numéro. Ils s’exécuteront, créeront un bref numéro inspiré de ce qu’en dit la première voix.

Ensuite, on présentera la première série de numéros, suivis de la visualisation écrite-dite et de la réponse résonante des autres acrobates. Quelles traces restent-il de la première séquence? Qu’a-t-il été traduit? Quels éléments émergent d’une telle transmission? La mémoire corporelle peut-elle se transmettre par une telle verbalisation?

  1. Atelier de synthèse et Conférence-démonstration
    juin-juillet; Patrick, Howard, Daniela

Intégration en juin (atelier payé pour les étudiants : 15$/heure à raison de 25 heures sur 3 semaines) des éléments les plus concluants (mais aussi des échecs et des erreurs s’ils nous apprennent de quoi) et raffinement de ce travail en vue d’une conférence-démonstration début juillet à l’ENC. L’accent sera sur le processus, sur les pistes explorées à venir, avec un élément de démonstration bien rodé, tout de même.

Plan horaire

12 novembre
Première rencontre avec les élèves sélectionnés et les instructeurs identifiés

Début décembre (date possible : 10 décembre)
Premier atelier exploratoire

Rencontres mensuelles (janvier à mai)
Travail d’exploration dans chacun des ateliers

Période intensive de travail (juin, 2-3 semaines)
Ateliers-synthèses et présentation des résultats

 

Year 5 (2014-15)  View detailed schedule

Circus research, over the past few years has found a way to consume many of us, and the exponential growth of our fundamentally transdisciplinary field, through its peer-reviewed publications in a wide-array of disciplines, talks, conferences, and training sessions is most heartening.

Louis Patrick Leroux and Patrice Aubertin at ENC-NCS worked together on a Transnational Transdisciplinary Circus Network grant application in order to bring together some of what they feel are amongst the most dynamic forces engaged in contemporary circus research. This initiative brought institutions together, establishing an ongoing dialogue and working together on joint initiatives, contributing to richer research, teaching, and production environments informing and enriching each other.

They joined forces with colleagues (and institutions) across the world and their networks with a Partnership Development initiative that brought together Concordia University, National Circus School of Montreal and universities and professional schools in Canada, the U.S., Europe, South America, and Australia, as well as international individual collaborators and associations.

Circus research has become an extraordinary opportunity to learn rather than to profess, and to be constantly taken outside of my comfort zone. The research being done has brought together an extraordinary selection of people in a variety of disciplines and critical approaches (aesthetics, history, poetics and grammar of circus creation, technology and circus, health equity and the discourse of social circus). The Working Group's schedule of activities followed its goal to create a constant line of inquiry that involved both academics and practitioners. Some of the questions addressed were: What can we learn from the various research questions academics, trainers, and practitioners are investigating? How can these questions bring us to a better understanding of our own research concerns? What new possible perspectives arise from these discussions?

Year 4 (2013-14)  View detailed schedule

Quebec Circus History: past, current, forthcoming

The November 2013 an open session on Québec circus history hosted by Jan Rok Achard and Louis Patrick Leroux was very fruitful and brought together twenty colleagues, both scholars and practitioners, who shared their concerns and dreams pertaining to much of the work still to be done on Québec circus history. A small sub-committe of 6 people began meeting shortly after the archives session to begin work on conceiving of the Workshop Session or Conference, including possible parallel events focusing on oral history (video interviews, round table discussions).

 

 Year 3 (2012-13)  View detailed schedule

Anticipated activities include a Study Day/Workshop on the Current State of Circus Research in Québec (September 2012, Montreal), two curated panels on Québec circus at the American Council for Québec Studies biannual conference at Sarasota, Florida (November 2012), and a series of regular talks at Concordia and National Circus School.

Circus Dramaturgy:

  1. Aesthetics workshop with theatre, dance and circus scholars and practitioners (what are the different types of circus dramaturgy, how is contemporary circus challenging these.

Circus Pedagogy and Circus Dramaturgy:

  1. Research-creation: how distinct is the circus artist's creative process from other performing arts? An experiential workshop at National Circus School.
  2. Ongoing pedagogical processes research.

Historical Traditions and Current Stakes:

  1. Anticipated activities include panel presentations on the influence of Québec at the American Council of Québec Studies biannual conference in Sarasota, Florida in November 2012, and a group visit to the Barnum & Bailie Circus Museum. Call for papers forthcoming.
  2. Ongoing circus bibliography and archives: which system, how to disseminate collections most effectively?
  3. Ongoing research on urban economics and circus labour practices.

 

 Year 2 (2011-12)  Québec cirque and circulations

After having entered into the world of circus through Cirque du Soleil during the first year and having concluded with a study day opening up onto questions of circus training outside the traditional athletic or family-based models, and the larger question of circus generativity (training as well as the next generation of circus companies, such as Les 7 doigts de la main), the second year's activities will allow for three research themes: circus pedagogy, historical traditions and current stakes of circus practices, and circus dramaturgy.

July 2011

During the Montréal Complètement Cirque festival, meeting at Concordia with colleagues from Circostrada, a European consortium of circus advocacy and networking.

Monday 17 October, 2 p.m.

Nathalie Claude on being an unexpected clown coach with Cirque du Soleil. Concordia, EV 11-705 (Hexagram Resource Centre)

Wednesday 16 November, 1:30 p.m.

Dr. DonWilmeth (Professor Emeritus, Brown University), A discussion of Mud Show and traditional travelling circus history. (Please note that copies of Mud Show will be made available at EV 10-755 for consultation before the talk/discussion.) Concordia, EV 11-705 (Hexagram)

Thursday 9 December 2011, 9:30a.m. to 12:30 p.m.

Study day on circus geographic economics and labor practices with Dr. Norma Rantisi (Concordia) and Dr. Deborah Leslie (CRC, Toronto) "Creativity and urban regeneration: the role of La Tohu and the Cirque du Soleil in the Saint-Michel neighbourhood in Montréal,"

Dr. Tracy Zhang (post-doctoral fellow, Concordia) "A Preliminary Study: International Recruitment and Chinese Artists at Cirque du Soleil." Concordia, EV 11-705 (Hexagram)

Friday 13 January, 11 am.

Nassib El-Husseini, general manager of Les 7 doigts de la main, for discussion on managing growth and a diversifying offer. The talk will be held at 7 doigts de la main offices.

Working lunch with Charles Batson "Reporting on the Montpellier Circus Conference" and possible European links/leads.

Friday 3 February, 10 am.

Katie Lavers, "The Political Body - embodied protest in contemporary circus; Archaos, Circus Oz, Sept Doigts de la Main," École nationale de cirque de Montréal, conference room.

Thursday 1 March, 10 am.

Howard Richard "La dimension artistique dans la création d'un numéro de cirque"

Camille Pilawa « Le Nouveau cirque, entre ressources propres et autres arts » École nationale de cirque de Montréal, conference room.

 

 Year 1 (2010-11)  Performance, Ethos, and Issues of Discourse with the Cirque du Soleil

Rationale for its Interdisciplinary Character:

The working group will consist of Concordia faculty members in the fields of theatre studies, film studies, and cultural and economic geography, as well as other colleagues from McGill, University of Toronto, and the University of London. On the one hand, the interdisciplinary character of the group reflects the interdisciplinary nature of the Cirque du Soleil itself.  The company presents a new brand of circus arts by incorporating acrobats, aerialists, world beat music and elaborate costumes, lighting and sets.  Collectively, our proposed working group has expertise in a number of these cultural fields. One of the members, Patrick Leroux, in recent articles and conferences has approached the Cirque through a combination of performance analysis and discourse theory, a second member, Sylvain Duguay, while a scholar in intermediality in theatre and film performance, has also been on staff at Cirque du Soleil as a researcher and dramaturg, and a third member, Norma Rantisi, has been researching the geography of fashion design and cultural industries policy in Montreal.
On the other hand, an interdisciplinary team can also bring multiple academic literatures and approaches to bear in analyzing some critical research themes that the case of the Cirque du Soleil raises in terms of national identity and the geography of creativity, as well as the identities and practices of individual performers (see more on this in the section below). We believe that each member can benefit greatly from exposure to, and conversations about, different disciplinary approaches relating to these shared interests.  Regular meetings, workshops and reading group discussions can help to identify possible areas in which members can collaborate and establish synergies across disciplinary lines of thinking. We are also very keen on opening up our discussions to other colleagues’ concerns and perspectives.

Description of the Issues in Scholarship, Research or Creation that the Group will address:

Rarely does a day go by without a mention of the Cirque du Soleil’s activities in Québec media. The Cirque has become a symbol of Québec’s cultural success and post-national maturity. The Cirque has become an extremely profitable multinational entity which maintains its essential ties to Québec. For instance, it has consistently and uncannily hired Québécois theater artists in key positions for most of its productions since the departure of Franco Dragone. This integration of « legitimate » theatre practitioners is affecting the nature and scope of Cirque productions to the same degree which theatre artists are gaining unexpected experience with large-scale and large budget shows and applying this to their own practices. This cross-fertilization has concrete, artistic, implications as it does cultural and discursive ones.

An interdisciplinary working group on the Cirque du Soleil can advance scholarship relating to the themes of identity (both at the national and individual scales) and the geographies of discourse analysis (creative, individual, societal), and creativity. The Cirque du Soleil provides a fascinating case in which to explore these themes for several reasons.  While the company recruits performers internationally, it has its origins in Québec and most creative direction still comes from Québec, with its headquarter based in Montreal.  What are the implications of this for the identity and character of the shows?  Are they Québecois? Canadian? International?  How does it shape the actual performance – how do the performances in Montreal compare with those in Las Vegas or Shanghai?  To what can differences and/or similarities be attributed? How does the hybrid nature of a show, which fuses different cultural fields, shape the identity and practices of the performers themselves, many of whom come from different cultural settings?

Objectives

To share our research and thinking on the Cirque; to use this venue as an incubator for new directions in our own research while allowing it to brush against unexpected fields of inquiry. To work towards a study day and/or eventual publication.

 

Schedule

Friday 10 September 2010

Room EV 11-705, 10 a.m.
Opening discussion: current Cirque research; group objectives

Friday 22 October 2010

École nationale de cirque de Montréal
9:30 a.m. Visiting École nationale de cirque de Montréal du Canada
10:30 a.m., “The Promises of Cirque du Soleil” Erin Hurley (McGill)

Monday 13 December 2010

Room EV 11-705, 10 a.m.
“‘Somewhere between science and legend’: Images of indigeneity in Robert Lepage and Cirque du Soleil's TOTEM”, Karen Fricker (Royal Holloway, London). A revised version of this paper was later given in London, England, at a colloquium on Lepage and Cirque du Soleil.

Friday 14 January 2011

Room EV 11-705, 10 a.m.
“Cirque du Soleil and Laliberté’s ‘Social and Poetic Mission into Space’: the Ethos of Staging the Individual of Exception,” Louis Patrick Leroux (Concordia) A revised version of this paper was later given in London, England, at a colloquium on Lepage and Cirque du Soleil.
 
Guest speaker: Catherine Graham (McMaster) on One Drop Foundation and cross-pollination with Cirque.

Friday 25 March 2011

Room EV 11-705, 10 a.m.
“In-house research & research on/for Cirque.” Guest speakers, Dr. Ian Schrier and Lyn Charland each spoke of their experiences of doing research on the Cirque and, in some instances, for the Cirque, within the Cirque structure and confidentiality agreements. None of the confidential research was disclosed. The discussion rather focused on the particular circumstances and occasional challenges that are posed to academic researchers by working within a corporate culture very much aware of its branding and protective of its practices.

Monday 13 June 2011

National Circus School (7th floor meeting room)
“Les 7 doigts de la main and their Cirque : origins and resistances” Charles Batson (Union College, USA). Respondant : Erin Hurley (McGill).
“Into circus training pedagogy: a PhD research project collaboration between the National Circus School and Western Australian Academy of Performing Arts, Australia,” Jon Burtt (PhD candidate, WAAPA). Respondant: Patrice Aubertin (National Circus School).
“De la scène à la piste: genèse de la création du spectacle annuel Pomme Grenade de l’École nationale de cirque de Montréal ”, Marie-Josée Gauthier (NCS). Respondant : Anna-Karyna Barlati (NCS).

 

Summaries of talks held in 2010-11 prepared by Erin Hurley

Erin Hurley (McGill University, Montreal): “The Promises of the Cirque du Soleil”

Building on her published work on the Cirque du Soleil, its aesthetics, and the ideology of its organisational practices, Erin turned her attention to how the Cirque du Soleil might be received by audiences.  More particularly, she queried the attractions of circus, in particular the Cirque du Soleil -- especially since, despite a global recession and financial crisis, the Cirque du Soleil continues to (almost) fill tents.  Indeed, it is expanding. What imaginary do audiences carry with them about the circus? And how does the Cirque du Soleil fulfil those desires? She speculated that Cirque du Soleil performances offer a kind of balm to the alienating effects of globalisation and the economic precarity it can engender. In catching us up in the spectacle, the circus offers a sensation of “flow”, of total, pleasurable immersion in an experience.

 

Karen Fricker (Royal Holloway, London): “'Somewhere between science and legend': Images of indigeneity in Robert Lepage and Cirque du Soleil's TOTEM”

Karen, a specialist on the work of Robert Lepage, brought her expertise in the politics of representation -- by which I mean the history and meaning of certain strong or fraught visual images, like, for instance, a “noble savage” or a Zulu warrior --  and theatre dramaturgy to bear on a reading of Lepage’s second project with the Cirque du Soleil -- 2010’s tent show, Totem.  Taking us through the show’s dramatic structure, Karen revealed a story about human development embedded in the numbers and the transitions between them.  She expressed concern over the place of First Nations (indigenous) peoples in that story, as they were associated with the natural (as vs. the cultural) and the ancient (as vs. the modern).

 

Louis Patrick Leroux (Concordia University): “Cirque du Soleil and Laliberté’s “Social and Poetic Mission into Space”: the Ethos of Staging the Individual of Exception”

From this consideration of the ethics and politics of an individual show in the Cirque du Soleil’s repertoire, Patrick Leroux presented his thoughts on the ethos of the Cirque du Soleil as a company, a brand.  He enlarged the group’s purview beyond the circus performances themselves to include the public performances of the Cirque’s founder and “guide”, Guy Laliberté. He understands Laliberté’s space mission and the show that resulted to benefit his One Drop foundation as continuous with an ethos of individual exceptionalism that runs throughout the shows as well.  In short, he defined a brand-identity that promotes the possibility of being or becoming extra-ordinary.

 

Catherine Graham (McMaster University) on One Drop Foundation and cross-pollination with Cirque

Catherine Graham then informed the group more amply about the One Drop Foundation and, in particular, its use of in-house intellectuals to, in effect, dramaturge their outreach activities. At two international meetings of ONE DROP staff and their artistic, social and technical partners working on local access-to-water and clean-water projects in Central America and Africa, she has helped to synthesize and contextualize observations and analysis by local partners in order to help them think about how to evaluate the quality of artistic interventions in local projects in the Global South.  Much of this thinking now turns around the role that circus-based performances can have in allowing local people to imagine that way may now seem impossible can be made possible by learning new skills.

 

Dr. Ian Schrier (McGill University) and Lyn Charland (Concordia University):
“In-house research & research on/for Cirque.”

Both Ian and Lyn spoke of their experiences of doing research on the Cirque and, in some instances, for the Cirque, within the Cirque structure and confidentiality agreements. Ian’s research in sports medicine centres on injury rates and training best practices when working with the Cirque du Soleil; Lyn’s concerns social group formation and emotional bonds on touring shows. None of the confidential research was disclosed. The discussion rather focused on the particular circumstances and occasional challenges that are posed to academic researchers by working within a corporate culture very much aware of its branding and protective of its practices.

 

Charles Batson (Union College, USA): “Les 7 doigts de la main and their Cirque: origins and resistances”. Respondant : Erin Hurley (McGill University).

Charles brought his expertise in dance and movement to the table with his presentation on a “second-generation” Québecois nouveau cirque, Les Sept doigts de la main.  He contrasted their more intimate and autobiographical take on circus narrative with the more abstract and mythical “fable” that tends to undergird Cirque du Soleil shows. In addition, Charles drew our attention to different movement styles used in Les Sept doigts productions -- one the one hand, their links with everyday movements (walking) and, on the other, their links with le nouveau bouger montréalais as practiced in the work of Édouard Locke and LaLaLa Human Steps.


Jon Burtt (PhD candidate, Western Australian Academy of Performing Arts)): “Into circus training pedagogy: a PhD research project collaboration between the National Circus School and Western Australian Academy of Performing Arts, Australia.”. Respondant: Patrice Aubertin (National Circus School).

Jon introduced the group to a new international research partnership between the Western Australian Academy of Performing Arts and the National Circus School. The project into coaching practices at the National Circus School that he is undertaking as part of his PhD studies with Patrice Aubertin and Dr Sylvain Lafortune will be the first such research partnership at the school.  Beginning this fall, certain incoming students will be coached according to a model used in sports coaching called decision training practice, developed by Dr Joan Vickers, professor of kinesiology at the University of Calgary and founder the Neuro-Motor Psychology Lab.  It encourages teachers to use particular strategies to prompt students to develop their own intrinsic learning skills thereby taking responsibility for their learning and their skills development in such a way that they can function more autonomously in their personal training and careers after leaving the school. The study will investigate the effects of decision training practice in the contemporary circus arts training environment over a one-year period. This will be the first long term study of this practice in the circus arts.

 

Marie-Josée Gauthier (National Circus School, Montréal) “De la scène à la piste: genèse de la création du spectacle annuel Pomme Grenade de l’École nationale de cirque de Montréal ». Respondant : Anna-Karyna Barlati (NCS).

Marie-Josée walked us through her creative process in directing one group of the 2010 ENC’s graduating class in Pomme Grenade, a 60-minute circus performance whose theme was war and liberation.  Her presentation, during which she also distributed the scenario she worked with in developing the show -- the narrative spine, if you will -- , lead to a fascinating and animated discussion of circus dramaturgy, of how circuses tell stories and of how circus shows are structured and developed.

back to top

 

 

Contact

Prof. Louis Patrick Leroux

Email