My program is a highlight of a period of reflection, creation, production of previous years. While questions about; composition, choreography, dramaturgy, performativity or stage design are dynamic art forms in constant mutation, we try to analyze which are the most adapted form of dramaturgy for the circus expression. In relation to these necessities, the program I am proposing is developed around a practice that will question the type of performativity suitable for the specificities and necessity for the Circus language which by its character basically is not a space for representation but rather the presentation of a more committed action of risk-taking performance. Furthermore, a very interesting element is to understand the phenomenology of the circle and circular spatiality as well as their artistic specificities and technical means.

 

All classes incorporate two complementary points of view; stage design and movement techniques form circus, dance and theatre. We intend to Inter-relate this subjects as a coherent whole that aims to produce a methodological progression for developing the artistic and creative work. The teaching is based on a practical research about the dynamics of movement and rhythm; throw the body as the primary element of recognition of the living being.

 

Our research focuses on the practice and analysis of movement techniques that we develop throw practice of guided improvisation. We consider the acrobatic elements not only as a movement technique but also as an attitude towards movement. This allows us to have more freedom to explore new perspective of using space and to renovate our possibilities of expression, creation and dramatic composition. The particularity of this method is different from the theatrical play, because it doesn’t seek to represent a history or fiction of reality.

 

There for, we incorporate the practice of Acrobatic to experience and explore the limits of human movement in different spatial configurations and also questions the body possibilities to live and evolve in different three dimensional space configurations. At the same time, this practice questions the psychological limits of human kind facing notions such as risk; vertigo, gravity, fall and even death.

 

This course proposes a movement material that provides extended possibilities of mobility by using: different body points of contact to the ground, such as: arms, shoulders, hands, heads, all of which enlarges our Proprioception its form and sensation. This physical notion defines physical and psychological engagement and is also the essence to discover different transpositions to develop a poetic representation to compose the dramaturgy of a given creation.

 

 

In a semiotic relation to circus dramaturgy we can define three main driving elements in a circus act, which envelops not only the technical movement but should consider a poetic concepts like: Verticality, repulsion and equilibrium.

Another important fact to mention is that "In a circular setting the relationship of performer to each other and to the public must be established in another mode. In this configuration, with no curtain, no backstage: in the 360° stage puts our actions in the present moment without before or after, it opens the perspective on a panoramic perspective, no chronology, a cyclic vision of time and a supremacy of body language.

 

All tough our field of research will be developed through the investigation of the scenic phenomena as a place to crystallization of all arts we constantly imagine that we could se the impression left in space by the trajectories of this body’s. This way we would appreciate a plastic representation in which we could expand from the plan surface growing this perception in to stereo metrical space, which allows developing the fields of the choreography as well as an specific kind of dramaturgy.

 

The class program:

 

Physical preparation

Contemporary dense, flying low, Partnering, Passing throw

 

Dramatic acrobatics, stage fighting

Cubique Juggling,

Circus and theatre clowns

The Comics (burlesque, absurd, eccentric)

Gestural languages, Mime of action

Play and re-play of daily life

The neutral (calm, silence, balance)

 

Movement analysis

Dynamic study of nature as performativity

Elements and materials

Colors and lights

Plants and animals

Creation of characters (situations, behaviors, passions)

Stylistic constraints (changing of space and time...)

Dynamic approach to poetry, painting and music

 

Theatre of objects

Creation of masks

Portable structures

Approach to writing for the stage