By Louis Patrick Leroux, Charles R. Batson
With a billion-dollar focused in Montreal, the province of Quebec has verified itself as an enormous hub for modern circus. Cirque du Soleil has a world presence, and troupes similar to Cirque Éloize and seven doigts de los angeles major are cutting-edge innovators. The nationwide Circus institution of Montreal - the one state-funded elite education facility in North the USA - is an influential chief in artistry and approach. Montreal-based Cirque du Soleil’s Cirque du Monde helps arts for social switch on many continents and is well known for its social-circus education and study.
Cirque international is the 1st book-length research of this new number of circus and its foreign influence. The participants supply severe views in this quickly constructing artwork shape and its aesthetics, ethics, enterprise practices, pedagogical implications, and discursive significations. Essays discover artistic, entrepreneurial, and cultural forces which are shaping Quebec’s dynamic nouveau cirque. Lavishly illustrated with pictures from circus performances, the amount showcases Quebec circus’s hybrid types, that have merged the ethos and aesthetics of ecu circuses with American advertisement and commercial creativity.
Cirque worldwide is the definitive research of the phenomenon of Quebec circus and is a vital version for destiny examine on modern circus.
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Extra resources for Cirque Global: Quebec’s Expanding Circus Boundaries
For these clusters to inform each other, we have to ensure a constant exchange of knowledge in order to avoid silo effects, where parallel research streams develop independently from one another and are hindered by their inability to enlighten colleagues in either stream. How to embark on such a hermeneutic project? By reminding ourselves that contemporary circus defines the field, and by funnelling much of our current research through four fundamental research clusters and points of entry as shown in the diagram: Nation, Globalism, and the Transnational on a philosophical, historical, and discursive plane; Dramaturgy, Directing, and Creativity, the aesthetics and creative process; Ethos, Ethics, and Business, from branding to corporate responsibility; and Applied and Empirical Studies, which include industrial and creative applications as well as measurement-driven research.
When Guy Caron decided to create a circus school in Montreal (see Jacob and Vézina 2007 for a more detailed history of this inaugural moment), he anchored the spirit of future artistic developments in a mentality that was both highly cultured and popular. By offering everyone the possibility to “do” circus, he made training accessible in techniques that had hitherto remained secret and mainly transmitted through families and clans. This revolution had begun in Europe some years earlier, but galvanized by his newly acquired experience from the Budapest school, a satellite of the influential Moscow Circus School, Guy Caron subsequently laid the foundation for a new Québécois circus.
This in turn gave birth to myriad possibilities, forms, hybrids, and intensities. This arboreal anatomy illustrates the diversity of forms that emerged, developing into other ways of producing circus. The roots nourished these branches, invigorated them, and combined their nutrients. But most of all, this one and indivisible circus has transmogrified into a space with many centres, and from this abundance have sprung new forms of circus arts. In 1797 when John Bill Ricketts decided to take the northern route and send a troupe to Montreal, he could not have imagined that this step would be the prelude to a story with enduring ramifications.