By Louis Patrick Leroux, Charles R. Batson
With a billion-dollar targeted in Montreal, the province of Quebec has demonstrated itself as an enormous hub for modern circus. Cirque du Soleil has an international presence, and troupes reminiscent of Cirque Éloize and seven doigts de los angeles major are state of the art innovators. The nationwide Circus tuition of Montreal - the single state-funded elite education facility in North the United States - is an influential chief in artistry and process. 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 worldwide is the 1st book-length examine of this new number of circus and its foreign impression. The participants supply serious views in this quickly constructing paintings shape and its aesthetics, ethics, company practices, pedagogical implications, and discursive significations. Essays discover artistic, entrepreneurial, and cultural forces which are shaping Quebec’s dynamic nouveau cirque. Lavishly illustrated with images from circus performances, the amount showcases Quebec circus’s hybrid varieties, that have merged the ethos and aesthetics of ecu circuses with American advertisement and commercial creativity.
Cirque worldwide is the definitive examine of the phenomenon of Quebec circus and is a crucial version for destiny learn on modern circus.
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Extra info for Cirque Global: Quebec’s Expanding Circus Boundaries
What has tended to distinguish (and to position in terms of marketability) one artist over another is not general aptitude, but rather the specificity of their trade – their “trick,” rarely described or broken down to outsiders. Add to this the very secretive nature of a highly successful commercial environment known for poaching audience-drawing acts, and you have the makings of a protective milieu, bent on developing its own research and development capabilities independent of academic outsiders.
This is the beginning of the story, the moment when all these practices, autonomous from Antiquity to the Renaissance, suddenly become techniques and proclaimed disciplines of the circus. Circus acts, even. 1 Early Cirque du Soleil big top in the Gaspésie region, 1984 developed without really progressing. And then in 1968, exactly 200 years later, the circus abruptly underwent almost daily metamorphosis. Amid the social, political, and cultural revolutions of the time, the branches reached to the skies, yielding fruit that fell to the ground and fertilized it.
It is interesting to consider that Quebec has produced such an unlikely marriage of art and investment in such a short period. This corporate Walt-Disneyfication of the bohemian troupe from rural Quebec was, perhaps, inevitable, but fortunately for the circus arts emanating from Quebec, Cirque du Soleil does not stand alone as a force in this art form. Like a locomotive, Cirque du Soleil has pulled the development of large numbers of circus artists and companies. And it continues to do so. Its sale to American and Chinese investment bankers whose business is to ensure their assets are profitable and, to a certain extent, driven by prestigious, recognizable brands, should give leverage to what had become a very large, sprawling corporation to accomplish what it might have lost the will and ability to achieve in the past few years.