Katie Lavers - Böcker

In this volume Social Circus is explored in depth by three Circus Studies scholars working with the aim of creating new ways of engaging with the field.Lavers, Burtt, and Bochud investigate the way that Social Circus transforms in response to its immediate environment, and particularly its social, political, and cultural context. Extensively illustrated, with photos of different Social Circuses around the world, and extensively annotated, Circus for Social Change: Social Circus in Context provides a portal into ways of seeing today’s Social Circus and is of interest to practitioners and scholars. Social Circuses explored in this volume include Cirqiniq in far North Canada; Galway Community Circus in the Republic of Ireland; Zip Zap Circus in Cape Town, South Africa; Circus Harmony in St. Louis, Missouri; Circus Laheto in Central Brazil; Women’s Circus in Melbourne, Australia; the Mobile Mini Children’s Circus (the MMCC) in various locations across Afghanistan; Cirque Hors Piste in Montreal, Canada; Sencirk in Dakar, Senegal; the Slow Circus Academy in Yokohama, JDS/Juggling de Shinshu, and the Moon Night Project in Nagano, Japan; Ponleu Selpak’s Performing Arts School and Phare Circus in Cambodia; Sirkus Magenta in Helsinki, Finland; and Le Plus Petit Cirque du Monde in Bagneux in the outskirts of Paris, France.This book will be of great interest to the general reader, to practitioners working within Social Circus or arts for social change, and to scholars, teachers, and students in schools, colleges, and universities.

In this volume Social Circus is explored in depth by three Circus Studies scholars working with the aim of creating new ways of engaging with the field.Lavers, Burtt, and Bochud investigate the way that Social Circus transforms in response to its immediate environment, and particularly its social, political, and cultural context. Extensively illustrated, with photos of different Social Circuses around the world, and extensively annotated, Circus for Social Change: Social Circus in Context provides a portal into ways of seeing today’s Social Circus and is of interest to practitioners and scholars. Social Circuses explored in this volume include Cirqiniq in far North Canada; Galway Community Circus in the Republic of Ireland; Zip Zap Circus in Cape Town, South Africa; Circus Harmony in St. Louis, Missouri; Circus Laheto in Central Brazil; Women’s Circus in Melbourne, Australia; the Mobile Mini Children’s Circus (the MMCC) in various locations across Afghanistan; Cirque Hors Piste in Montreal, Canada; Sencirk in Dakar, Senegal; the Slow Circus Academy in Yokohama, JDS/Juggling de Shinshu, and the Moon Night Project in Nagano, Japan; Ponleu Selpak’s Performing Arts School and Phare Circus in Cambodia; Sirkus Magenta in Helsinki, Finland; and Le Plus Petit Cirque du Monde in Bagneux in the outskirts of Paris, France.This book will be of great interest to the general reader, to practitioners working within Social Circus or arts for social change, and to scholars, teachers, and students in schools, colleges, and universities.

The Routledge Circus Studies Reader offers an absorbing critical introduction to this diverse and emerging field. It brings together the work of over 30 scholars in this discipline, including Janet Davis, Helen Stoddart and Peta Tait, to highlight and address the field’s key historical, critical and theoretical issues. It is organised into three accessible sections, Perspectives, Precedents and Presents, which approach historical aspects, current issues, and the future of circus performance. The chapters, grouped together into 13 theme-based sub-sections, provide a clear entry point into the field and emphasise the diversity of approaches available to students and scholars of circus studies. Classic accounts of performance, including pieces by Philippe Petit and Friedrich Nietzsche, are included alongside more recent scholarship in the field. Edited by two scholars whose work is strongly connected to the dynamic world of performance, The Routledge Circus Studies Reader is an essential teaching and study resource for the emerging discipline of circus studies. It also provides a stimulating introduction to the field for lovers of circus.

In this volume, twenty-four creators come together with three scholars to discuss Contemporary Circus, bridging the divide between practice and theory. Lavers, Leroux, and Burtt offer conversations across four key themes: Apparatus, Politics, Performers, and New Work. Extensively illustrated with fifty photos of Contemporary Circus productions, and extensively annotated, Contemporary Circus thematically groups and contextualises extracts of conversations to provide a sophisticated and wide-ranging study supported by critical theory. Of interest to both practitioners and scholars, Contemporary Circus uses the lens of ‘contestation,’ or calling things into question, to provide a portal into ways of seeing today’s circus performance. Conversations with: Lachlan Binns and Jascha Boyce (Gravity and Other Myths), Tilde Björfors (Cirkus Cirkör), Kim ‘Busty Beatz’ Bowers (Hot Brown Honey), Shana Carroll (The 7 Fingers), David Clarkson (Stalker), Philippe Decouflé (Compagnie DCA), Fez Faanana (Briefs), Mike Finch (Circus Oz), Daniele Finzi Pasca (Compagnia Finzi Pasca), Sean Gandini (Gandini Juggling), Firenza Guidi (ElanFrantoio, NoFit State Circus), Jo Lancaster and Simon Yates (Acrobat), Johann Le Guillerm (Cirque Ici), Yaron Lifschitz (Circa), Chelsea McGuffin (Company 2), Phia Ménard (Compagnie Non Nova), Jennifer Miller (Circus Amok), Adrien Mondot (Compagnie Adrien M and Claire B), Charlotte Mooney and Tina Koch (Ockham’s Razor), Philippe Petit (high wire artist), and Elizabeth Streb (STREB EXTREME ACTION).

In this volume, twenty-four creators come together with three scholars to discuss Contemporary Circus, bridging the divide between practice and theory. Lavers, Leroux, and Burtt offer conversations across four key themes: Apparatus, Politics, Performers, and New Work. Extensively illustrated with fifty photos of Contemporary Circus productions, and extensively annotated, Contemporary Circus thematically groups and contextualises extracts of conversations to provide a sophisticated and wide-ranging study supported by critical theory. Of interest to both practitioners and scholars, Contemporary Circus uses the lens of ‘contestation,’ or calling things into question, to provide a portal into ways of seeing today’s circus performance. Conversations with: Lachlan Binns and Jascha Boyce (Gravity and Other Myths), Tilde Björfors (Cirkus Cirkör), Kim ‘Busty Beatz’ Bowers (Hot Brown Honey), Shana Carroll (The 7 Fingers), David Clarkson (Stalker), Philippe Decouflé (Compagnie DCA), Fez Faanana (Briefs), Mike Finch (Circus Oz), Daniele Finzi Pasca (Compagnia Finzi Pasca), Sean Gandini (Gandini Juggling), Firenza Guidi (ElanFrantoio, NoFit State Circus), Jo Lancaster and Simon Yates (Acrobat), Johann Le Guillerm (Cirque Ici), Yaron Lifschitz (Circa), Chelsea McGuffin (Company 2), Phia Ménard (Compagnie Non Nova), Jennifer Miller (Circus Amok), Adrien Mondot (Compagnie Adrien M and Claire B), Charlotte Mooney and Tina Koch (Ockham’s Razor), Philippe Petit (high wire artist), and Elizabeth Streb (STREB EXTREME ACTION).