Acrobatie aérienne
Documents : 96
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Applied anatomy of aerial arts : an illustrated guide to strength, flexibility, training, and injury prevention
Scherb, Emily [Auteur].
Berkeley, CA : North Atlantic Books, 2018.
Specifically designed for aerialistsƒincluding those who do trapeze, silks, and other aerial artsƒ Applied Anatomy of Aerial Arts is an invaluable resource for those who want to optimize their performance and train safely.
Using a biomechanical and movement-based approach, Emily Scherb, a physical therapist who specializes in the care, treatment, and education of circus performersƒexplains the anatomical rationale for progressions of learning and demonstrates simple movements to achieve the coordination, muscular control, strength, and fitness to hang with correct form, how to progress from hanging into a pull up, an inversion, and beyond with a strong center, precise muscle sequencing, and ease of movement.
Aerialists will learn how bones, joints, muscles, and soft tissues allow for specific movements and gain an appreciation for concepts of proximal stability.
This full-color illustrated guide lays a solid foundation for beginners and advanced students with a wealth of insights into their own performance as well as refreshers on fundamentals in warm ups and conditioning. It explains how to structure a training session, how to care for injuries, and best practices for basic self first aid. [editor summary]
Cote : 613.711 S3261a 2018
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The circus : a visual history
Jacob, Pascal [Auteur].
London, New York : Bloomsbury Visual , 2018.
This beautiful book charts the development of the circus as an art form around the world, from antiquity to the present day.
Using over 200 circus related artworks from the French National Library's private collections, celebrated cultural historian Pascal Jacob tells the story of travelling entertainers and their art and trade. From nomadic animal tamers of the Dark Ages to European jugglers and acrobats of the 1800s, from the use of the circus as Soviet propaganda to the 20th-century Chinese performance art renaissance, this is an exhaustive history with a uniquely international scope.
Jacob draws on both rare and famous artworks, including prints dating from the 13th century, and paintings by Picasso and Doré. In doing so he demonstrates the circus to be a visual and physical masterpiece, constantly moving and evolving, and just as exciting an experience for audiences now as it was 1,000 years ago.
Cote : 791.309 J157c 2018
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Une histoire du cirque
Jacob, Pascal [Auteur].
Paris : Seuil : Bibliothèque nationale de France, 2016.
Chacun possède sa propre vision du cirque, un univers aux richesses insoupçonnées et en constante évolution. Cet ouvrage en propose une histoire abondamment illustrée, de ses origines saltimbanques à ses formes les plus contemporaines.
Au fil des pages, affiches, dessins, estampes et photographies dévoilent les secrets de chacune des disciplines qui peuplent le grand chapiteau et offrent un voyage planétaire haut en couleurs. Né en Angleterre en 1768, développé en France, il magnifie avant tout le cheval. Entre 1880 et 1930, c'est l'âge d'or du dressage, de la splendeur allemande et du gigantisme américain motivé par le développement du chemin de fer. Viennent ensuite la révolution du cirque soviétique, la puissance d'évocation du théâtre acrobatique chinois, et le renouveau du cirque avec les écoles françaises, belges ou canadiennes.
Un ouvrage complet pour retrouver son âme d'enfant. [résumé de l'éditeur]
Cote : 791.309 J157h 2016
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Intermediate guide to aerial silk
Franklin, Jill [Auteur].
San Bernardino, CA : Aerial Physique, 2015.
Jill Franklin's Intermediate Guide to Aerial Silk provides comprehensive and easy to follow instruction for the experienced aerialist. Coupled with clear, concise, directions and technical photos, Jill takes you on a step-by-step journey of proper form and position for each maneuver. Most important, Jill's mandatory motto, 'SAFETY FIRST' is emphasized throughout this guide. Intermediate Guide to Aerial Silk is not intended as a sole learning avenue but rather, a customized tool to assist you when taking aerial instruction with a qualified instructor. This guide will help you gain the strength of a Cirque performer, the lovely lines of a Ballet dancer and fluid movement like a Pilates pro. [editor summary]
Cote : 791.340 71 F8312b 2015
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Verticality, weight and gravity : reflections on the concept of verticality, weight and gravity in circus arts' professional teaching : static trapeze, chinese pole, rope and tissue : pedagogical guide
FEDEC - Fédération Européenne des Écoles de Cirque Professionnels [Direction] ; Dumont, Agathe [Auteur].
Bruxelles : FEDEC, 2015.
The INTENTS "Verticality, weight and gravity" session suggests a cross-disciplinary approach. By combining the expertise of teachers and speakers from many different countries, schools and backgrounds, the objective is to share skills, reflect together and ask questions about how to act. Taking their experience in the field as a starting point, the four speakers Roberto Magro (La Central del Circ, Barcelona, Spain), Clare Anderson (National Centre for Circus Arts, London, United Kingdom), Marie-Céline Daubagna (Le Lido, Toulouse, France) and Chloé Moglia (artist and artistic director of the company Rhizome) suggested approaching the concepts of verticality, gravity and weight in the language of aerial disciplines starting from their own individual experiences. The idea was to recommend tools and avenues for reflection and then experiment on the body, in the specific place where they are conveyed to each individual person. This manual takes into account their experience as well as the testimonials of the teachers that attended the continuing professional development course led by educational coordinator, Anne Morin. [editor summary]
Cote : 791.340 1 F292v 2015
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Verticalité, pesanteur et gravité : réflexions autour de ces notions dans l'enseignement professionnel des arts du cirque : trapèze fixe, mât chinois, corde et tissu : manuel pédagogique
FEDEC - Fédération Européenne des Écoles de Cirque Professionnels [Direction] ; Dumont, Agathe [Auteur].
Bruxelles : FEDEC, 2015.
La session INTENTS « Verticalité, pesanteur et gravité » propose une approche interdisciplinaire et transversale de la pédagogie. En réunissant des professeurs et des intervenants de pays, pratiques et écoles différents, l'objectif est de partager des compétences, de mener une réflexion commune et de s'interroger sur des manières de faire. En partant l'expériences de terrain, les quatre intervenants Roberto Magro (La Central del Circ, Barcelone, Espagne), Clare Anderson (National Center for Circus Arts, Londres, Royaume-Uni), Marie-Céline Daubagna (Le Lido, Toulouse,
France) et Chloé Moglia (artiste et directrice artistique de la compagnie Rhizome) proposent d'aborder la verticalité, la gravité et la pesanteur dans le langage des aériens à partir de leurs expériences singulières. Il s'agit de proposer des outils, des pistes de réflexion qui sont ensuite à explorer par le corps, dans l'espace particulier d'un processus de transmission propre à chacun. Ainsi, l'ouvrage
rend compte de leurs expériences mais également des témoignages des professeurs participant à la session de formation continue menée par la coordinatrice pédagogique, Anne Morin [résumé de l'éditeur]
Cote : 791.340 1 D893v 2015
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The aerial teacher's handbook : a guide for instructors in aerial circus arts, fitness, and dance
Hane, Julianna [Auteur].
Goose Creek : Lulu.com ; Aerial Dancing.com, 2015.
The process of teaching in the aerial arts is a powerful opportunity to support students in their physical and personal growth. While other resources in the aerial industry focus on the break-down of specific skills or moves, this book dives into the actual teaching process. It addresses the "why" behind teaching as well as safety, basic anatomy, learning styles, class planning, curriculum design, and more. Designed for both the new and experienced aerial teacher, this book offers thoroughly researched insights for anyone interested in aerial teaching. [editor summary]
Cote : 791.340 71 H237a 2015
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Queen of the air : a true story of love and tragedy at the circus
Jensen, Dean [Auteur].
New York : Crown Publishers, 2013.
The life and career of circus star Lillian Leitzel.
Queen of the Air brings the circus world to life through the story of trapeze artist and circus performer Leitzel, the most famous woman in the world at the turn of the 20th century. Like some of today's stars, she was known to her vast public by just one name. Born into Dickensian circumstances, Leitzel became a princess and then a queen. At just four-foot-ten and less than 100 pounds, she was the biggest star ever of the biggest circus ever, Ringling Bros. and Barnum & Bailey. Leitzel had many suitors (and three husbands), but only one man ever fully captured her heart: Alfredo Codona, the greatest trapeze flyer that had ever lived, the only performer of his time to execute the deadliest of all big-top feats, The Triple--which took the lives of more daredevils than any other circus stunt. When Leitzel and Alfredo died, each tragically, the heyday of the Big Top came to an end. [editor summary]
Cote : 791.340 92 J545q 2013
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The Bloomington-Normal circus legacy : the golden age of aerialists
Brunsdale, Maureen [Auteur] ; Schmitt, Mark [Auteur].
Charleston : The History Press, 2013.
Starting in the 1870s, the barns, cehouses,gymnasiums and empty theaters of central Illinois provided the practice sitesfor aerial performers whose names still command reverence in the annals ofAmerican circus history. Meet Fred Miltimore and the Green Brothers, runawaysfrom the Fourth Ward School who became the first Bloomington-born flyers. WatchArt Concello, a ten-year-old truant, become first a world-class flyer, then afamous trapeze impresario and finally Ringling Brothers and Barnum and BaileyCircus's most successful general manager. The entire art of the trapeze--instruction,training, performance and management--became a Bloomington-Normal industryduring the tented shows' golden age, when finding a circus flying act without aconnection to this area would have been virtually impossible. [editor summary]
Cote : 791.309 747 B899b 2013
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A reckless era the evolution of trapeze
Gossard, Steve [Auteur] ; Thayer, Stuart [Préfacier].
Normal (IL) : 2012.
A typical nineteenth-century program was overwhelmingly a presentation of horse acts. There were child riders, women riders and men riders. There were two, four and six horse acts. There was hurdle riding, dressage and even horses that performed riderless. From seventy-five to ninety percent of the acts in a circus of that time involved horses. The popularity of the rider was a reflection of the place of the horse in society. Nearly everyone in the nineteenth-century owned, bought, sole, rode or drove horses, even in urban areas. Because of this they appreciated watching fine animals brought to the peak of training.
The decade of the 1880's saw the beginning of the greatest period of expansion in America. Almost every aspect of life grew at a rapid pace. Immigration, financial structures and the construction of the cities all boomed exponentially. With this, the simple circus of the Civil War era became touched with what has been termed giantism. Competition between the showmen led to the acquisition of herds of elephants, many caged menageries, expanded programs and huge tents, seating as many as seven or eight thousand people. The trapeze acts, which had been confined to single performers in the low-ceilinged tents of the sixties, now became the flying acts of our time. With fifty and sixty foot high tents two and three hundred feet long, there was at least room for these aerial acts, which until that time had been confined to theatres and halls. It was this change that led to the relative demise of the horse acts, which had not changed, essentially, since the beginning of the institution. The trapeze performers, high above the crowd, throwing their bodies through the air, literally defying injury, became the favorites of the crowd. To this day, it is the aerial acts that are the climax of the circus programs.
Surprisingly, the literature of the circus has lagged far behind the popularity of the flying trapeze. Moreover, the history of these acts has been virtually ignored until quite recently. Why this should be, we are not sure, but we are thankful that Steve Gossard has decided to take upon himself the research into and chronicling of that history. There is something of present excitement as well as nostalgia in watching men and women thrust their bodies through the air in what is often the most graceful and athletic pursuits. That their efforts have a long and interesting history is borne out by the pages that follow.
Cote : 791.340 973 G677r 2012
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Artistes de cirque contemporain
Garcia, Marie Carmen [Auteur].
Paris : La Dispute, 2011.
Né dans l'après-Mai 68, le cirque contemporain brouille les frontières entre la création artistique et le spectacle de divertissement.
Il fait appel à la performance physique, à la dérision, à la poésie, à la dramaturgie et aux arts populaires. Les circassiens cultivent des idéaux de liberté et d'indépendance artistiques ainsi qu'un art de vivre travaillé par les exigences de la virtuosité corporelle et les défis de la création. Sociologue du genre et des institutions, Marie-Carmen Garcia s'est immergée durant quatre ans dans l'univers du cirque contemporain.
Elle s'est intéressée aux artistes qui évoluent dans de petites compagnies locales, observant leurs pratiques, recueillant leurs récits, leurs rêves et leurs espoirs. "Artistes de cirque contemporain" est une invitation à découvrir le parcours de femmes et d'hommes artistes-artisans du cirque. Ce livre, une des rares contributions sociologiques à l'analyse du cirque contemporain, s'intéresse particulièrement aux relations entre la production et la réception culturelles en soulignant les manières dont les logiques de la distinction sociale s'articulent avec les socialisations sexuées. [4e de couv.]
Cote : 791.301 G2161a 2011
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Corps à corps : visions du cirque contemporain
Moreigne, Marc [Auteur].
Paris : Éditions de l'Amandier, 2010.
Ce livre est une traversée. Une traversée en images et en mots, des corps, des pensées, des désirs, des personnalités et des expériences que j'ai pu rencontrer et percevoir chez certains artistes et dans certains spectacles dits de «cirque contemporain». Il ne s'agit pas ici d'afficher un état des lieux, encore moins d'énoncer une histoire du cirque, mais plutôt de proposer un regard porté sur. Porté avant tout sur des corps d'artistes, mais aussi par là même sur des images, des récits, des signes, une variété et une diversité d'écritures, d'esthétiques, d'univers, de rapports à l'espace, à la forme artistique et à la représentation... qui font le cirque d'aujourd'hui.
[résumé de l'éditeur]
Cote : 791.301 M838c 2010
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Aerial dance
Bernasconi, Jayne C. [Auteur] ; Smith, Nancy E. [Auteur].
Albany : Human Kinetics, 2008.
Aerial Dance is the first book to showcase this newest dance genre. The book traces the historical roots of this latest art form, which is rapidly gaining in popularity. It also defines its place in the lineage of modern dance and addresses aesthetics, philosophical approaches, and safety issues.
Part I details the evolution of aerial dance and its place in a postmodern world. It delves into the aesthetics of aerial dance and the differences between this genre and circus-based aerial arts.
Part II presents a variety of essays from many of the top artists in the field who provide insight into their own approaches to aerial dance. The book also presents a variety of teaching applications, including ideas for working with special populations and related art forms.
Part III is all about safety, including injury prevention, rigging, other safety-related issues. This part helps readers understand anatomical and physiological issues regarding safety.
[editor summary]
Cote : 791.340 9 B523a 2008
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La fabuleuse histoire du cirque
Jacob, Pascal [Auteur].
Paris : Éd. du Chêne, 2002.
1768, Londres. Philip Astley, militaire fraîchement démobilisé, excellent cavalier, exécute d'étranges voltiges sur le dos d'un cheval lancé au galop. Triomphant sur sa monture, il exprime sa création, un acte simple et pourtant riche de conséquences : il est en train d'inventer le cirque. S'affranchissant de la rectitude du manège, il impose la piste circulaire de treize mètres. Confronté aux inconséquences climatiques des îles britanniques, il couvre son spectacle d'une coupole protectrice et crée le premier cirque stable. Enfin, entre chaque saynète équestre, ce génial inventeur insère exploits acrobatiques, funambulesques ou jonglés et une dimension nouvelle et rapidement indispensable, le comique.
De la naissance du cirque à son déclin vers le milieu du XXe siècle, en passant par son âge d'or au XIXe siècle et jusqu'à son renouveau ces trente dernières années, Pascal Jacob déroule pour nous la fabuleuse histoire du cirque. En piste ! [Résumé de l'éditeur]
Cote : 791.309 J151f 2002
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Ils donnent des ailes au cirque : histoire et exercices des acrobates aériens, aux anneaux, cordes, barres, trapèzes, agrès giratoire, bambous, perches
Adrian [Auteur].
Adrian, 1988.
Au tout premier plan attractif des spectacles de cirque se placent les numéros d'acrobatie aérienne. En notre monde pourtant blasé, ils apparaissent comme les ultimes bastions de l'exceptionnel, ceux où est frôlé le vieux rêve humain : évoluer dans les airs.
Les émotions visuelles sont souvent indicibles. Pourtant, ADRIAN, l'écrivain-circologue, s'est attaché, dans le présent livre, à conter l'Histoire et à analyser les exercices de celles et de ceux qui, dans un maelström d'audace et de beauté, surent et savent les déclencher.
Voici les aériens à la corde volante puis aux anneaux, aux bambous, aux perches haubanées, aux agrès giratoires, aux barres et naturellement aux trapèzes qu'ils animent en solo ou en troupe. Toutes les disciplines sont évoquées.
Près de 1 500 artistes sont passés en revue. L'iconographie conforte le texte : 20 planches photographiques et plus de 50 autres illustrations reproduisent des visages de célébrités anciennes ou contemporaines, des exercices typiques, des documents étonnants.
Avec ce sixième volume de la collection « L'Encyclopédie du cirque» (Le cirque commence à cheval, Ce rire qui vient du cirque, En piste les acrobates, A vous les jongleurs, Cirque au cinéma, cinéma au cirque, ADRIAN hausse son propos et lui aussi donne des ailes au cirque. [résumé de l'éditeur]
Cote : 791.340 9 A243i 1988
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A history of the circus
Speaight, George [Auteur].
New York : Barnes and Company, 1980.
This is a monumental history of that universally trancing, international phenomenon-the circus. It is the most complete chronicle of circuses and circus lore ever written in the english language. No reader can fail to be impressed by the scope of its coverage and the vividness of its descriptions. No lover of circus wonders can remain unmoved while reading of the people and performances that illuminated circus life.
The author reveals the origins of circus acts among Greek and Roman acrobats and medieval minstrels, tracing their development through eighteenth-century
fairs where they were combined with displays of horse riding in a circular ring to form a new style of presentation. He then follows the evolution of circuses during the nineteenth century, showing how novel acts and exhibitions of animal training were introduced to produce the circus we know today.
Mr. Speaight demonstrates the special way in which the circus grew in the United States, where three-ring circuses were transported over vast distances by railroad; and he describes the Golden Age of the circus in Europe, when circus riders ranked with ballet stars in popular esteem. Finally, he provides an up-to-the-minute account of circuses in the world today.
The author's account is based on many years of research in unpublished manuscripts and museum collections, and he reverses some long.held errors of previous writers on the subject. His book contains exhaustive notes and an appendix, listing circus buildings in London, New york and paris, which brings together information never before printed, giving the book great value as a permanent work of reference. [editor summary]
Cote : 791.309 S7411h 1980
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Les Arts Sauts
Moreigne, Marc [Auteur] ; Champion, Fabrice [Artiste pr] ; Magalhaes, Laurence de [Artiste pr] ; Ricordel, Stéphane [Artiste pr].
Arles ; [Châlons-en-Champagne] : Actes Sud ; CNAC, 2009, c2010.
De 1994 à 1997, à travers trois spectacles aux tournée internationales, ce collectif de trapézistes atypiques et exigeants a radicalement transformé la pratique de l'acrobatie aérienne, la représentation du trapèze et sa perception par le public. Porteurs d'un nouvel "esprit de l'air", ils transmettent ici leur passion de voler et leur parti pris artisique. [4e de couv.]
Cote : 791.309 224 4 A7927a 2010
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Suspending Conventions : how 'disabled aerialists' are challenging aesthetic and methodological practices in 21st Century aerial(ism)
Carter, Katrina [Auteur].
Royal Holloway University London, 2014.
Aerial(ism) is the art of suspended movement, generated by aerialists working with equipment such as trapezes, ropes and harnesses. It is frequently but not exclusively associated with the circus and throughout its history has been dominated by non-disabled performers. Increasing numbers of disabled artists are however, now engaging with aerial.
This thesis therefore examines how 'disabled aerialists' are challenging aesthetic and methodological aerial practices in the twenty-first century.
As a professional aerialist working extensively with disabled performers, the research draws on my practice and direct correspondence with other disabled and non-disabled practitioners. It features two case studies in which I was aerial choreographer and trainer : Hang-ups!, a short film featuring Sophie Partridge who performs in a fabric cocoon and the Paralympic Opening Ceremony of London 2012 which included more than twenty 'disabled aerialists' using diverse aerial equipment. Historical and cultural perspectives of aerial are drawn from the few academic experts in the field, notably Paul Bouissac, Steve Gossard and Peta Tait; disability perspectives are guided by a wealth of theorists including Erving Goffman, P. David Howe, Tom Shakespeare and Rosemarie Garland Thomson.
The research shows how aerial has been connected to disability and/or impairment throughout its history. It provides evidence that 'disabled aerialists' existed in the past but have been forgotten, despite at least one unipedal aerialist contributing significantly to what Tait calls the 'living history' of the form. It demonstrates how twenty-first century 'disabled aerialists' offer significant opportunities to alter the form's increasing aesthetic of conformity, but that challenges continue to exist in both how this can be done, and how the work might be understood. [author summary]
Cote : 791.340 87 C3231s 2014
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Peril or possibility ? : the performance of risk in aerial circus art and acrobatic theatre
Meyer, Amy [Auteur] ; Montez, Noe [Directeur de thèse].
Medford (MA) : Tufts University, 2014.
Acrobatic acts have attracted audiences for centuries. Despite a history of injury and death, performers remain driven to push physical boundaries and audiences remain eager to witness risky feats. This thesis introduces the concept of risk as a performative construct, and draws on reception theory to consider the
use of physical risk in performance. It follows the development of aerialism in the circus from nineteenth-century England to twentieth-century America, and examines the ways in which a growing investment with risk management has shaped contemporary circus acts. It interrogates the perception of risk, and the
limits of its appeal. It then explores how acrobatics have been used in the theatre as a mode of dramatic expression. Ultimately, it argues that physical risk-taking in performance holds the potential to deeply connect performers and spectators in a shared sensation of success, evoking a communal sense of possibility in the face of perceived limitation. [author summary]
Cote : 791.340 1 M6121p 2014
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Women who fly : aerialists in modernity (1880-1930)
Gils, Bieke [Auteur].
Vancouver : University of British Columbia, 2013.
Around 1900, Charmion (alias Laverie Vallée) introduced a provocative 'trapeze disrobing act,' combined with feats of strength to her audiences in vaudeville theaters in New York. She was one of a wave of female aerialists whose performances quite literally 'flew' in the face of Victorian values. Trapeze artists in circuses and in vaudeville theaters, as well as stunt flying aviators showcasing their courage and abilities during local fairs or aerial exhibitions from the 1910s on, indeed pushed the boundaries of what was deemed possible in terms of the human body's physical capacities while challenging traditional notions of gender, race, class, and sexuality through their unconventional performances. In this study I explore three cases of aerialists who navigated both the demands of managers/spectators for spectacular and titillating acts and their personal aspirations within the confines of the increasingly capitalist entertainment industries in the West between 1880 and 1930. Besides Charmion, my study takes shape around the performances of "Barbette" or Vander Clyde who took Parisian theaters by storm with an amalgamation of trapeze artistry and female impersonation in interwar France; and Bessie Coleman, the first African American woman to gain a pilot license and to set up her own flying shows throughout the United States in the 1920s. For each case study I conducted exhaustive archival searches and analysed relevant newspaper articles, magazines, show reviews, photographs and silent film. I draw on Mikhail Bakhtin's concepts of the carnivalesque and the grotesque, and on Victor Turner's concept of liminality to illustrate how aerial performances between 1880 and 1930 functioned as sites of creative resistance, opening up possibilities for a rethinking and redefinition of social categories of gender, race, class, and sexuality. I show how the performances of Charmion, Coleman and Barbette simultaneously reflected and challenged the anxieties and optimism of a society forced to revisit traditional beliefs regarding the gendered/racialized/classed/sexualized body. In demonstrating how these performers helped question modernizing beliefs regarding the human body's capacities, and the female body's physical abilities and appearance in particular, I argue they suggested new types of embodied agency for both women and men at the time. [editor summary]
Cote : 791.340 82 G4895w 2013
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Dubiously Wholesome : performing gender
Richards, Tanya Melissa [Auteur].
Sydney : University of Western Sydney , 2010.
This studio-based research project explores ideas of gender performance through the digital manipulation of aerial acrobatics, resulting in a series of video works and installations. This paper explains the processes, artworks and conceptual developments of this project. Dubiously Wholesome's focus on gender performance began as an interrogation of what it means to identify as female in contemporary society and how manifestations of gender are used to create an identity that interacts with the complexities of everyday life. An investigation into Judith Butler's ideas of gender as a social performance instigated the project's conceptual framework. This resulted in artworks that explore gender scripted from social repetition and then performed by the individual, whereupon the repetition works to validate gender signifiers and "instate" sex as naturalistic. The integration of aerial acrobatics into the project's studio practice acted as both an aesthetic tool and a research methodology where my experience as a professional aerial performer informed my conceptual framework. The images created through this digital manipulation of aerial acrobatics were interspersed with fairytale imagery from Little Red Riding Hood and Rapunzel, drawing from the tales' positions as social commentator and manipulator to subvert accepted views on gender roles. In my work, I used the idea of gender as performative and interpreted it, not through a text-based idea of script, but through an analogy of aerial performance. In this analogy, the red fabric I am suspended from came to represent the gender signifiers through which the body is bound by social constructions. The manipulation of the fabric around the body suggests the performativity of gender and that, like an aerial performance, gender is learned, rehearsed and performed. [author summary]
Cote : 791.340 1 R5141d 2010
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Writing the aerial dancing body : a preliminary choreological investigation of the aesthetics and kinetics of the aerial dancing body
Acker, Shaun Albert [Auteur].
Rhodes University, 2010.
This mini-thesis investigates some of the nineteenth century socio-cultural ideals that have structured a connection between virtuosic aerial skill and bodily aesthetics. It views the emergence of a style of aerial kineticism that is structured from the gender ideologies of the period. It investigates the continual recurrence of this nineteenth century style amongst contemporary aerial dance works and outlines the possible frictions between this Victorian style of kineticism and contemporary aerial explorations. From this observation, a possible catalyst may be observed with which to relocate and inspire a study of aerial kinetics sans the nineteenth century aesthetic component. This kinesiological catalyst may be viewed in conjunction with the theories of ground-based kinetic theorist, Rudolph Laban's choreutic study of the body in space. Thus, it may be possible to suggest and introduce a possible practical dance scholarship for aerial dance. This mini-thesis includes an introductory choreological investigation that draws on and integrates the disciplines of kinesiology; choreutic theory; existing aerial kinetic technique; musicology; and the physical sciences.[author summary]
Cote : 791.340 1 A1821w 2010
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Intégration de l'acrobatie à la présentation d'un extrait de la pièce «Le héron bleu», suivie d'une réflexion sur la théâtralité dans l'acrobatie aérienne
Boudreault, Françoise [Auteur].
Montréal : Université du Québec à Montréal, 2001.
"Ce texte d'accompagnement succède à un travail de crétation : celui de l'intégration de l'acrobatie aérienne à la présentation de «Mélusine et Valentin», une scène faisant partie de notre pièce «Le héron bleu». Ce court spectacle était précédé d'une conférence sur l'acrobatie aérienne où, à l'aide de photos et d'extraits vidéos, nous avons davantage parlé de l'appareil que nous avons utilisé dans notre mémoire-création : la corde lisse. Notre travail pratique nous a permis de verifier certains aspects théoriques et a nourri notre réflexion sur la théâtralité dans l,acrobatie aérienne.
L'acrobatie aérienne est une discipline des arts du cirque. Dans le premier chapitre de ce texte d'accompagnement, nous dressons un rapide portrait historique du cirque et de l'acrobatie aérienne en insistant sur la corde lisse. Puis nous situons l,acrobatie aérienne à travers le cirque traditionnel et ce qu'on appelle le nouveau cirque ; nous abordons également le métier d'acrobate aérien et la dimension spectaculaire inhérente à cette discipline. Dans le deuxième chapitre, nous présentons les définitions de la théâtralité de Roland Barthes, Yves Thoret et Josette Féral. La théorie de Josette Féral nous servirade cadre théorique pour aborder la théâtralité dans l,acrobatie aérienne en considérant le point de vue du public et les éléments de la représentation. Puis, nous rendons compte de notre travail de création et de l'utilisation de l'acrobatie aérienne dans l'écriture scénique pour el personnage de Mélusine lors de la présentation de «Mélusine et Valentin». Dans le troisième chapitre, nous abordons la théatralité dans l'acrobatie aérienne par le biais de cinq numéros que nous avons analysés. cette théatralité se caractérise en fonction du contexte de présentation et des choix artistiques des créateurs." [Résumé de l'auteur]
Cote : 791.340 1
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Voala
Voala Project [Artiste].
[Argentine] : s.d..
Cote : 1422
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Approche critique de l'observation de dispositions genrées : exemple de la « prise de risque corporel » chez les voltigeuses dans l'univers du cirque contemporain
Garcia, Marie Carmen [Auteur].
SociologieS : la recherche en actes, ethnographie du genre, mai 2015.
Cet article vise à mettre en question la catégorisation binaire des dispositions genrées selon une partition « masculin-féminin ». Il prend appui sur l'observation des socialisations corporelles « en train de se faire » des femmes spécialisées dans les pratiques aériennes à l'intérieur du cirque contemporain. Il montre que ces artistes incorporent des dispositions à la « prise de risque corporel » qui sont atypiques chez les femmes. Pourtant, les pratiques aériennes sont des bastions de féminité et les voltigeuses et trapézistes ne connaissent pas de socialisations « inversées » en termes de genre. Le texte proposé met ainsi en question le genre comme diviseur et force structurante de la perception.
Cote : 791.340 1 G2161a 2015
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Justesse du senti
Moglia, Chloé [Artiste] ; Perrier, Jean-Louis [Intervieweur].
Mouvement, mars 2014.
Dans l'exercice de la suspension, Chloé Moglia fait dialoguer le corps pesant et le corps pensant, un parcours à risques entre racines et branches, qui est aussi expérience intérieure. [résumé de l'éditeur]
Cote : MOU-73
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Aesthetics of aerial dance and aerial circus
Smith, Sonya [Auteur].
Journal of Emerging Dance Scholarship Vol. 1, Dance in New Spaces with New Audiences by New Performers (part 4), 2013.
Aerial circus and aerial dance are two styles of aerial performance that use a variety of suspended objects move the human body into a vertical performance space. Aerial dance and aerial circus arise from separate lineages with distinct aesthetic values. This paper will begin by identifying the individual aesthetics and historical roots of both aerial dance and aerial circus, and articulating points of natural conflation. Blurring between aerial circus and aerial dance is perhaps reflective of a similar, global blurring across numerous performance genre. The final portion of this paper will discuss specific examples of this aesthetic blurring between aerial circus and aerial dance. This type of analysis affords greater insight into the diverse influences potentially present in any aerial performance. [editor summary]
Cote : 791.340 1 S6421a 2013
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Circo e educação fisica : compendium das modalidasdes aéreas
Coelho Bortoleto, Marco Antonio [Auteur] ; Calça, Daniela Helena [Auteur].
Movimento & Percepçao vol. 8 n° 11 p. 345-360, 2007.
Among the different Circus performances, the aerial circus modality deserves a special attention. Despite of the artists recognition and prestige given to this practice, there are just a few studious of the circus art who investigate this modality nowadays, very different reality compared to other circus modality such as juggling and acrobatics. The teaching-and-learning process of the aerial modalities is still given by the oral transmission and is determinate by the empiric experience of its artists and teachers. Trying to contribute to the creation of a circus teaching pedagogy we have initiated a theory studies on circus aerial, presenting in this article a brief introduction of the modalities and its variation (hope, bamboo, aerial ring, flying rings, ladder, aerial cradle, aerial elastic, bungees). We hope to minimize the conceptual dispersion and the difficult found on the development of a standard terminology in this field. [editor summary]
No interior dos espetáculos de Circo as modalidades aéreas são merecedoras de grande destaque. Apesar do reconhe cimento e do prestígio que este tipo de prática possui entre os artistas, poucos são os estudiosos da arte circense que pesquisam com rigor neste campo, ao contrário do que ocorre com os malabares e as acrobacias. O processo de ensino-aprendizagem dos aéreos é ainda em grande parte fruto da transmissão oral (oralidade) e determinado pela experiência empírica que possuem
artistas e mestres deste universo. Buscando contribuir com a formulação futura de uma pedagogia das atividades circenses iniciamos um estudo teórico dos aéreos circenses expondo neste artigo uma breve apresentação das diferentes modalidades e suas variações (corda, bambu, lira, argola, faixa, escada, uadrante, anéis volantes, elásticos). Esperamos com isso, minimizar a dispersão conceitual e as dificuldades do desenvolvimento de uma terminologia estandar neste campo. [resumo del autor]
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Art and Androgyny : The Aerialist
Ritter, Naomi [Auteur].
Studies in 20th Century Literature vol. 13 n°2, p.173-193, 1989.
Among the many circus performers who have fascinated writers and artists since Romanticism, the clown and the aerialist predominate. In the nineteenth century, the tightrope artiste inspired comparisons with the (self-styled) equally daring and equally craftsmanlike poet. The vertical metaphor suggested a vision of transcendent art that Romantics and their heirs claimed for themselves. In the twentieth century, vestiges of the same identification and transcendence remain, but a new sexual focus appears also. Two important texts by Cocteau and Thomas Mann, "Le Numero de Barbette" (1926) and Chapter 1 in Book III of Felix Krull ( 1951), show the aerial artiste as sexually ambivalent. An intertextual discussion of these two works highlights unnoted similarities in the seemingly opposed aesthetics of the two writers. [author summary]
Cote : 791.340 1 R614a 1989
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Études, guides et rapports
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The philosopher on the flying trapeze. Lyotard or leotard?
Bolton, Reg [Auteur].
San Francisco : [2003].
The Question is in the title. My small answer to this Big Question will consider the relationship between contemporary cultural theory, represented here by Jean-François Lyotard, French postmodernist philosopher (1925-1998), and circus arts, represented by Jules Leotard, French aerialist (1838-1870). [extract]
Cote : 791.301 B6943p 2003
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Cie L'Éolienne
Adresse du site : http://eolienne.cie.free.fr
Compagnie de cirque fondée en 1998 à la suite de la séparation du groupe le Carillon. Principalement axée sur les disciplines aériennes, les spectacle sont créés étroitement avec un travail approfondi du son et de la musique.
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CirkVOST
Adresse du site : www.cirkvost.eu
Compagnie de cirque aérien fondée en 2009. Sur sept de ses trapézistes, 5 viennent des Arts Sauts. « Épicycle » est leur premier spectacle.
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Cie Rouge Eléa
Compagnie de cirque aérien française fondée par Corine Cella
Cote : CIRQ-444-ROU
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Les Têtes en l'air
Justiniac, France :
Compagnie de cirque aérien fondée en 1993 par Olivier Lebreton
Cote : CIRQ-444-TET
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Documents d'accompagnement
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