As produções circenses dos ex-alunos das escolas de circo de São Paulo, na década de 1980 e a constituição do Circo Mínimo
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Data
2016-06-02
Autores
Matheus, Rodrigo Inácio Corbisier [UNESP]
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Universidade Estadual Paulista (Unesp)
Resumo
Por meio do levantamento de reportagens da mídia impressa, da bibliografia existente e de entrevistas com pessoas que participaram do processo, este trabalho investiga o processo de constituição das primeiras escolas de circo da cidade de São Paulo, a Academia Piolim de Artes Circenses em 1978 e o Circo-Escola Picadeiro em 1984 e as transformações, internas e externas ao modo de organização do trabalho circense, que contribuíram para as distintas formas de produção da linguagem circense, em particular do circo paulistano e brasileiro. A partir dessas escolas, levantamos os grupos que surgiram, formados e fundados por alunos ou ex-alunos, com o intuito de explorar o conhecimento circense adquirido nas escolas e suas estéticas, propondo alterações nos modos de produção e constituição dos espetáculos circenses, assim como do próprio modo de organização do trabalho e do modo de formação e aprendizagem do circo. Esse levantamento permite discutir os conceitos “representação” (DELEUZE e GUATTARI, 1992, p. 19-20), ou seja, generalizações, resultando nos rótulos “universais” que surgiram para definir os circos no século XX, a maior parte dos quais associados a essa produção pós-escolas de circo, como Circo Contemporâneo, Circo Tradicional e Circo Novo, todos resultantes de uma disputa de poderes e saberes entre os atores históricos e sua relação entre si, com o poder público e com a mídia. Na parte final, apresenta-se um levantamento da trajetória artística do Circo Mínimo, o seu processo de constituição e uma análise de suas obras mais relevantes a partir das reações da imprensa escrita, à luz do que foi discutido até então. O trabalho termina concluindo sobre a diversidade sobre a linguagem das artes do circo, da impossibilidade de determinar sobre seus limites e fronteiras e como as condições históricas recentes do Brasil, em particular a ditadura civil-militar, contribuíram para aquelas transformações.
Through a research amongst reports on printed media, the existing literature and interviews with some of the people who took part in the process, this work investigates the process of constitution of the first circus schools in the city of São Paulo: Piolim Academy of Circus Arts in 1978, and the Circo-Escola Picadeiro, in 1984. It also investigates the changes and transformations, both internal and external to the “method of organizing the circus work”, which contributed to the different forms of production in circus language, particularly in São Paulo. From those schools we point the groups that emerged, formed and founded by students or former students in order to explore the circus knowledge acquired in the schools and their aesthetics, proposing changes in the modes of production and creation of circus shows, as well as the method of organizing work and the way of training and learning circus. This survey allows us to discuss the concepts "representation" (DELEUZE and GUATTARI, 1992, p. 19-20) or generalizations, resulting into the "universal" labels that were created to define the circus diversity in the twentieth century, most of which related to this circus schools post-production, such as Contemporary, Traditional and New Circus, all emerging from the power and knowledge disputes between historical actors and their relationship with each other, the government and the general media. This survey allows us to discuss the concepts-representation linked to universal labels that came to the circus in the twentieth century, most of them associated with this circus of post-school production, such as Contemporary Circus, Traditional Circus and New Circus, all emerging from power and knowledge disputes between historical actors and their relationship with each other, the government and the media. In the final part, we made a gathering of the artistic career of the Circo Mínimo, the process of its constitution and an analysis of the most important works, based on the written press reactions, in the light of what has been discussed in this work so far. The work ends concluding on the diversity of the language of circus arts, since it is impossible to determine on its limits and boundaries and how recent historical conditions in Brazil, particularly the civil-military dictatorship, contributed to those changes.
Through a research amongst reports on printed media, the existing literature and interviews with some of the people who took part in the process, this work investigates the process of constitution of the first circus schools in the city of São Paulo: Piolim Academy of Circus Arts in 1978, and the Circo-Escola Picadeiro, in 1984. It also investigates the changes and transformations, both internal and external to the “method of organizing the circus work”, which contributed to the different forms of production in circus language, particularly in São Paulo. From those schools we point the groups that emerged, formed and founded by students or former students in order to explore the circus knowledge acquired in the schools and their aesthetics, proposing changes in the modes of production and creation of circus shows, as well as the method of organizing work and the way of training and learning circus. This survey allows us to discuss the concepts "representation" (DELEUZE and GUATTARI, 1992, p. 19-20) or generalizations, resulting into the "universal" labels that were created to define the circus diversity in the twentieth century, most of which related to this circus schools post-production, such as Contemporary, Traditional and New Circus, all emerging from the power and knowledge disputes between historical actors and their relationship with each other, the government and the general media. This survey allows us to discuss the concepts-representation linked to universal labels that came to the circus in the twentieth century, most of them associated with this circus of post-school production, such as Contemporary Circus, Traditional Circus and New Circus, all emerging from power and knowledge disputes between historical actors and their relationship with each other, the government and the media. In the final part, we made a gathering of the artistic career of the Circo Mínimo, the process of its constitution and an analysis of the most important works, based on the written press reactions, in the light of what has been discussed in this work so far. The work ends concluding on the diversity of the language of circus arts, since it is impossible to determine on its limits and boundaries and how recent historical conditions in Brazil, particularly the civil-military dictatorship, contributed to those changes.
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Palavras-chave
Artes circenses, Circo contemporâneo, Escola de circo, Circo mínimo, Grupo de circo, Circus arts, Contemporary circus, Circus schools, Circus groups