(Source: The Brock News, Tuesday, July 12, 2016 | by Cathy Majtenyi)
Flying trapeze artists, elephants standing on one foot while balancing a ball, jugglers, sword swallowers, bearded ladies: these are among the images of the traditional travelling circus.
The circus is still going strong today and has gone mainstream. Think Cirque du Soleil, the Montreal-based entertainment company that has become a worldwide phenomenon.
“This positive news for circus companies, artists and audiences with a taste for thrilling entertainment also raises questions about circuses’ historic status as site for the celebration and exploitation of differences, from stagings of exceptional performing bodies to the display of ‘freakery,’” says Assistant Professor of Dramatic Arts Karen Fricker.
Fricker is part of an international team of academics, artists and producers researching the relationship of contemporary circus to the widespread practice in traditional circus of featuring people with unusual physical features, such as Siamese twins, women who grow beards, and in extreme cases, people living with a disease or condition that exaggerates certain body parts.
The team is interested in the ways in which today’s circus artists relate to this “freak show” tradition. Fricker is one of three leaders of the project, called “Circus and its Others,” along with Charles Batson of Union College, in New York and L. Patrick Leroux of Concordia University.
This month, they are co-organizing a conference about this subject as part of the Montreal Complètement Cirque Festival, with the assistance of two Brock graduate students, Hayley Rose Malouin and Taylor Zajdlik.
“There’s a large history of profound racism, sexism and ableism that I don’t think is present in contemporary circus in the same way, mostly because contemporary ideologies are very transformed,” says Malouin. “However, it’s interesting to see how some of those elements of sideshow ‘freakishness’ and how we view those born bodies finds its way into contemporary circus.”
Fricker explains that circuses are, in essence, “variety shows” that feature highly-trained people with extraordinary skills performing daring, risky and spectacular feats.
These acts are very physical; as a result, a lot of attention is focused on performers’ bodies. In traditional circuses, this focus extended to viewing bodies that were born unusual or made different from diseases or other factors beyond someone’s control.
But societies eventually became more aware of the struggles and rights of people living with physical challenges, and also increasingly became more sensitive to animal exploitation. For example, after 145 years of featuring elephants in its circus acts, Ringling Bros. and Barnum & Bailey announced that it has plans to retire its elephant herd by 2018.
The creation of Cirque du Soleil was a turning point in circus history. In the early 1980s, a troupe “juggled, danced, breathed fire and played music” for audiences in Baie-Saint-Paul near Quebec City, says the group’s website.
One of the performers, Guy Laliberté, took the show on the road in 1984 to celebrate the 450th anniversary of Jacques Cartier’s discovery of Canada.
“The show was a striking, dramatic mix of circus arts (without animals) and street performance that featured wild, outrageous costumes, magical lighting, and original music,” according to the website. Notably, one of the key features that distinguishes Cirque du Soleil from traditional circus is that it does not include animal acts, and rarely puts born difference on display in its shows.
Zajdlik says contemporary circuses such as Soleil largely feature “achieved bodies,” bodies “transformed into these powerful vessels that become circus performers” through intensive physical training.
“Are we gazing upon these spectacular bodies because they represent something that we nostalgically long for in what the freak once gave us?” says Zajdlik. “From aerial feats to contortions, these bodies are doing extraordinary things that you would not normally get to see. In a way, that kind-of represents what the ‘freak’ once represented for circus.”
The researchers note that there are circuses that feature unusual bodies, but in a very different way than in the past.
The keynote speaker at this month’s conference is Jennifer Miller, who founded Circus Amok in New York City and is also a professor at the Pratt Institute in Brooklyn.
Miller has had a beard since her early 20s. She is known as the “Bearded Lady,” who uses her performances to “ask people who look at her to think critically about what they understand as normatively female or male, masculine or feminine,” says Fricker.
“She challenges those boundaries,” says Fricker. “We’re in the age of gender fluidity. I think she speaks from, and to that, culture in an interesting way.”
The Circus and its Others conference was held in Montreal July 15 to 17, 2016.
Hello future DART students (and those still deciding):
Will Eno’s “The Flu Season” plays whack-a-mole with everything you expect love to be.
Become a STAGE NINJA – register for this Spring’s 2F04 Physical theatre intensive!
Beginning May 02, DART will be offering an intensive introduction to the basics of performance for Stage And Screen.
