my research says
traditional circus came from the marginalised
they wore their 'outsider' status like a badge, a costume. They became performers of their own lives. Art always mirrors society's interests and at that time of colonialism it was the exotic and nature that was being examined. 'Otherness' and mans triumph over nature were some of the most progressive and exciting things to be explored - travelling shows carried the news - even helping to spread word of Darwin's theory of Evolution (Corameli).
In the intervening times, art and entertainment have changed with society. Sometimes addressing societies search for purity, more recently expressing it's joy in hybridity (clarify), where once pure ballet or painting might have reigned, it has now become multi-disciplinary. eg. gandini, forkbeard, prison break
Currently, in the comfortable west, or at least in Bristol, we are seeking, perhaps, tangible experiences which link us to the here and now. Something we can feel. (the moment is of utmost importance)
Some current themes are 1) a search inside - to examine how far a human might go in search of focus, excellence etc. Contemporary circus certainly reflects this shift in the same way traditional circus reflected earlier concerns. A recent conference showcased 10 new shows thought to be some of the most exciting circus currently in development. Some of these could be described as (for example) a puppet show or a clown show referencing circus, these were the only ones to contain 'drum roll tricks', the others all used the circus skills as visual, metaphorical tools in a relatively understated manner. The themes within were emotion, politics... all about our human landscapes. One interesting thing to be noted is the treatment of gender. From a brief look at historical circus material, women were always sexualised although it is also interesting to take note of Peta Tait's theory of it being a refuge for unconventional bodies. Whilst they still are sexualised more than the men, it is now possible, in more unconventional pieces for a woman to, for example, break the 'aerialists mask' and speak. (talk about FOoD.... dynamism/glamourisation). Historically, it was only male performers who spoke - men, women and animals in unspeaking roles being 'other' and 'exotic' rather than 'human'.
People used the skills to interact in different ways - becoming part of an animation on screen (sugar beast & illona) and with different themes - science, painting, relationships, our work life/inner worlds and also used it as a performance of a performance (caribena) which was particularly interesting in that it was a new marginalised group demonstrating, referencing, the 'otherness' of a different marginalised group.
Another trend (eeks) I've become aware of is the move towards more and more immersive works, especially that of games. permeable, experiential activities where what is at stake is a raising of the pulse, a heightened awareness. I would suggest this has to do with our relative distance from our evolutionary states, as we become more removed from our bodies, the more the notion of physical freedom - flying, running or swimming takes hold (elaine morgan) and also from our current ability to be involved, media's coming of age - with the possibility for any one of us to become worldwide phenomenon's from our bedrooms, we can have our say, we can, or at least feel that we can, have an affect on society, on policy, on politics, via our internet connection. The computer geek is master of all S/he surveys - but we are physical creatures too. We need to use our bodies. (evidence of art & involvement)(slingshot) (relevant to rise of computer games & dungeons & dragons type too?)
In terms of circus, these narcissistic shifts towards our innerworlds/human excellence and the need to use our increasingly irrelevant bodies comes to mean that contemporary circus is 'putting the 'us' in circus'. At the forefront of this, in light of the desire we have to 'be involved', it would seem that Il Pixel Rosso (and to some extent invisibles) and You Me Bum Bum Train (where you actually have to have a medical to ensure you're healthy enough to be part of the audience), are at the absolute cutting edge or what society is exploring. Il Pixel Rosso are making a conceptual circus piece where through the use of (???) technology, the audience are given the experience of being in the circus, on the flying trapeze.
Although they this can also be seen in the way the audience at festivals/invis gigs/prison break etc join in, even this adult play event, keen to be part of it.
