Reviravoltas circenses: os múltiplos sentidos dos truques circenses sob o prisma dos gestos dançados entre percursos geracionais na Escola Nacional de Circo Luiz Olimecha

Abstract

The current research aims to perceive, recognize, and reflect on the knowledges circus arts engages under a generational perspective, walked across many generations trained by Luiz Olimecha National School of Circus (Escola Nacional de Circo Luiz Olimecha). Thus, was chosen to enquire about which expressivities circus bodies handle that are more than the “tricks” they perform, in order to touch in the symbolic values held in the learning processes, realization and sharing of these circus tricks that can give shape for the substrates hidden in the circus corporalities through there transformations over time. Assuming a research that goes from and with movement practice, the Laban/Bartenieff Movement System, as well as works developed by José Gil, Hubert Godard, Christine Roquet and some other writers with a strong path with dance, was taken as the main point of reference in an attempt to chart a transversality between what dance has been addressing as “expressive gesture”, in order to feel-act on what could be the circus expressive gestures and their senses. It is thus proposed, under Christine Roquet inspiration, to ask how perceive-read the expressive gestures danced by circus artists might open the glances launched to circus arts? For the field study and analysis, the aim was to depart from the intercessions between dance and circus, in order to inquire about five generations of circus artists that have been formed or have worked in Luiz Olimecha National School of Circus (Escola Nacional de Circo Luiz Olimecha), and its ways of produced and re-produced, create and think circus arts since its foundation. Which meanings the circus corporalities and gestures can produce and share that overflow the technical input, usually noticed, and how this “plus” could be propagated over the last decades? In an endless experience of turning around itself and together with the universe that surround the self, between countless objects, apparatus, and specific tools, it is intended to ask in which measures the expressive circus gestures has a meaning in itself. Therefore, it will be examined if there is a proper subversion that can follow the transformations of the circus expertise, and how the last are constituted in its bodies in movement, to compose a proper form of knowledge