Contemporary circus (or cirque contemporain in French-speaking countries) is a contested term in circus studies.[1] In this article, it is used in contrast to the term 'traditional circus', combining with the genre elsewhere disambiguated as new circus or nouveau cirque. Many circus scholars prefer to separate these styles, as elaborated in circus. Contemporary circus, by this definition, is a genre of performing arts developed in the late 20th century in which a story, theme, mood or question is conveyed through traditional circus skills.
For fans of animal performance in circus, this genre could arguably be found more akin to Variety (in American vaudeville) as animals are rarely used, and traditional circus skills are blended with more choreographic, character-driven or mechanical approaches.
Contemporary circus—encompassing the New Circus movement—originated in the late 1960s and 70s, and has spurred the creation of unique schools[2] to teach the format, as well as books for the contemporary circus performer, assisting them with their careers.[3]
The new circus, or nouveau cirque movement originated in Australia, the West Coast of the United States, France and the United Kingdom from the early 1970s to the mid-1980s. The impetus came from the "new wave" theatre movement and street theatre as well as from traditional circus.[4]
It could be argued that the blending of traditional circus arts with contemporary aesthetic sensibilities and theatrical techniques has expanded the general public's interest in and appetite for the circus. Certainly the most conspicuous success story has been that of Cirque du Soleil, the Canadian circus company whose estimated annual revenue now exceeds US$810 million,[8] and whose nouveau cirque shows have been seen by nearly 90 million spectators in over 200 cities on five continents.[9]
The genre of contemporary circus is largely considered to have begun in 1995 with 'Le Cri du Caméléon', an ensemble performance from the graduating class of the French circus school Le Centre Nationale des Artes du Cirque (CNAC), directed by Joseph Nadj. In contrast to New Circus, Contemporary Circus (as a genre) tends to avoid linear narrative in favour of more suggestive, interdisciplinary approaches to abstract concepts. This includes a strong trend for developing new apparatus and movement languages based on the capacities, experience and interests of individual performers, rather than finding new ways to present traditional repertoire.
Characteristics
Contemporary circus sometimes combines traditional circus skills and theatrical techniques to convey a story or theme. Such acts may include acrobatics, juggling, aerial arts, acting, comedy, magic, music, and other elements. Contemporary circus productions may often be staged in theaters or in outdoor tents. Music is often composed exclusively for the production, and aesthetic influences are drawn as much from contemporary culture as from circus tradition. Animal acts appear less frequently in contemporary circus than in traditional circus. Theatrical scenes or clown gags may provide seamless segues between acts instead of using the traditional role of the ringmaster.
Below is a table comparing several aspects of traditional and contemporary circus performances. It should be remembered though, that creating dichotomies is reductive, and there are many instances of circus productions that do not easily fit such neat categorisation.[10]
Traditional circus
Contemporary circus
Typically performed by
Circus families
Conservatory or self-trained artists
Typical staging format
Tiered seating around an oval or circular arena called a ring, under a large tent called the big top
Auditorium seating in front of proscenium stage, in the round, under a tent, in the streets, or other spaces
Series of theatrical, character-driven acts tied together by a central narrative or abstract theme.
Typical music
Uptempo marches, waltzes, etc. Music's purpose is to raise the energy level and create a sense of spectacle.
A variety of genres and moods. Music also assists in dramatizing the show's themes, characters, and/or narrative.
"Extreme circus" is a high-energy, street-inspired genre of contemporary circus whose aesthetic is more free-form and improvisational; its music may encompass hip hop, virtuosic percussion and beat-boxing.[11]
Social Circus
The social circus tradition of community training and sharing of skills sits alongside contemporary circus genres as much as it does classical.
^Mullett, Jane (2005). Circus Alternatives: The Rise of New Circus in Australia, the United States, Canada and France. (Unpublished doctoral dissertation) La Trobe University, Melbourne, Australia.
^St Leon, Mark (2011). Circus! The Australian Story. Melbourne Book. pp. 239–248. ISBN978-1-877096-50-1.
