To verticalize. To move from the highest to the deepest. To climb, to dig.
One of the great feats of the circus is to achieve verticality. The artist is far from the ground, in jumps, in suspension. The object of creation, the stunt, is so high, and this can be achieved by occupying this vertical space. The circus conducts in-depth research in circus techniques in order to reach virtuosity.
To horizontalize. To move in a multi-language plane, in multiple directions. Multidisciplinary.
There’s a lot of movement here. There are shifts from the circus towards dance, music, theater, visual arts. From the arena to the stage, to the street, to the hospital, to the water. Bamboo, paper sheets, elastics, wood. At each of these points, the circus verticalizes some knowledge to create its work. Although Brazil doesn’t have a higher education space for the development of research and training of masters, a formal space to verticalize the knowledge about the circus, we seek space among its scenic pairs, theater and dance, to produce and to systematize the empirical knowledge of artists and companies. Here we create the circus in increasingly precarious conditions, but the show goes on, because it “has sequence”.
We, circus performers, verticalize movement, but don’t verticalize enough knowledge. The circus is widely performed, but little thought is given to it.
We are living in times when valuing dialogue based on the aesthetic diversity of the work also represents a chance to witness cultural diversity and to value it. In the fifth edition of Circos – Sesc International Circus Festival we will see the world from the perspective of artists from 20 countries and several spots in Brazil. It will be a great opportunity to expand our horizons.
We affirm this aesthetic diversity as a value and understand that we, circus performers, must also embrace writing, studying, word and thought. That is why the educational activities of Circos 2019 seek to verticalize reflections about the space of direction and dramaturgy, as these roles become increasingly responsible for the power of contemporary pieces. We will discuss how directors, playwrights and circus artists have been translating “tricks”, stunts – fundamental cells of the language -, exercising the understanding of the proposed metaphors and positioning their works in circus history.
Another vertical axis is circus criticism. It aims to understand and “translate” the works to the general public, by analyzing the performances and building an understanding of what is being done in the Brazilian circus today. Critics place us in perspective with our times and with art history and this perspective allows the language to advance.
To those young and old with curious spirits, five labs will offer an introduction to the techniques and principles that surround the circus arts, in a playful and creative way.
These eleven days are an opportunity to think, write, question, experiment, provoke, create relationships and put yourself in perspective, in check. This stimulates our growth in multiple directions.
Lisa Gianetti is a cultural educator at Fábrica de Cultura Itaim Paulista, at Catavento Cultural, where she teaches circus lessons to children, teenagers and adults; She was a body trainer for the performance Movacidade at the 11th São Paulo International Architecture Biennial; She directed Festa do Circo at Liceu Pasteur de São Paulo, with over 400 children in scene; She was Circus Curator of Casa de Cultura e Cidadania, a social initiative for children and young adults; She was an artistic and pedagogical advisor for Cia Cênica Aruanã; She was a member of the coordinating team and art educator at Cooperação Criativa, which combined storytelling, circus arts and visual arts;
Rodrigo Matheus is the founder and artistic director of Circo Mínimo. He graduated in Circus Arts at São Paulo’s Circo Escola Picadeiro and Fool Time Circus Arts in Bristol (England). He holds a Master’s degree in Performing Arts from Unesp (Universidade Estadual Paulista), with research on the contemporary circus in Brazil. He was one of the founders, creators and directors of Central do Circo and of Cefac (Centro de Formação Profissional em Artes Circenses). His work as director of circus performances includes pieces for Nica (National Institute of Circus Arts), in Melbourne (Australia) and Circus Space, in London (England), among others. He is also an instructor of circus techniques and practices related to contemporary circus.