Estudio de la situación del circo en Europa (Spain)

En toda la Unión Europea, y que abarca las artes circenses tradicionales / clásicas y contemporáneas, los objetivos generales del Estudio son:

 

  • Proporcionar datos sobre la situación socioeconómica y un panorama general del sector.
  • Proporcionar un análisis del potencial innovador del sector circense.
  • Proporcionar una evaluación cuantitativa y cualitativa sobre las disposiciones de financiación de la UE para el sector del circo.
  • Proporcionar información sobre la situación educativa de los niños que viven en compañías de circo ambulantes en la UE.

 

La atención se centra en los profesionales que trabajan en el circo en cualquier capacidad y su actividad durante un período de tiempo determinado.

 

Métodos de recolección de datos:

 

Censo de circo

Se está realizando un censo de circo en Europa. Está dirigido a personas que trabajaron en un circo en un Estado de la Unión Europea entre el 1 de enero y el 31 de diciembre de 2018, empresas que crearon y presentaron trabajos y entidades como festivales, lugares y centros de creación que organizaron presentaciones en el mismo período. Los enlaces para el censo se pueden encontrar aquí:

 

Para profesionales – https://goo.gl/CaGHRE

Para organizaciones – https://goo.gl/kywmgg

 

Foro web

Se pueden agregar a las páginas del Foro específicas del país fuentes de publicaciones relevantes de la industria y contactos relacionados con trabajadores, patrones de trabajo, permisos de trabajo, educación de niños en gira, financiamiento, legislación, escuelas de circo y centros de creación, festivales de circo y lugares en los Estados miembros de la UE.

 

El estudio ha sido encargado por la Unión Europea y está siendo realizado por la investigadora Verena Cornwall en colaboración con el instituto de investigación Panteia. Los resultados se compartirán con todos los que participan y con otros, incluidos los responsables políticos y las universidades de toda Europa.

 

Cualquier duda puede dirigirse a combarts@gmail.com

1 Comment
  • Anonymous
    Posted at 18:29h, 07 January Reply

    From the CASA Guides, here is a brief overview:
    The first examples of street theatre in Catalonia in the 20th century are found in the time of the Spanish Civil War with the Guerrillas del Teatro, small wandering groups who performed didactic and propagandistic material without literary pretension.

    Years later, towards the end of Franco’s dictatorship in the 1960s, people began to retake the public spaces, and theatre shows, mime and street festivals were reborn. However, it was not until the 1970s, coinciding with the rise of the ‘Third Theatre’ in Europe, that we saw the appearance of a search for new forms of expression.

    The leading company was Comediants, created by Joan Font in 1971. Their theatre took the medieval tradition of carnival, popular festival and play, and mixed it with a wide range of techniques including music, circus and fireworks. Comediants managed to renew the imagery of folklore and the custom of appealing to the audience.

    There was also a boom in companies and creators who took the street as their venue. There were acts like La Cubana and La Fura dels Baus, pioneers of a way of relating to public spaces and audiences, and creators like Carles Santos and Albert Vidal, geniuses of performance who filled festival works with an ironic and political discourse.

    In 1981, Tàrrega town council commissioned Comediants to create the Fira de Teatre al Carrer. This now draws some 147,000 spectators each year. Other festivals, like Al Carrer (Viladecans), La Fira Mediterrània in Manresa, and Festus in Torelló, appeared over the following decades. Other companies came into being including Sémola Teatre, Xarxa Teatre, Sarruga, Artristras, and, recently, Obskené, Fadunito, and Insectotròpics. There are currently over seventy active street theatre companies in Catalonia.

    The circus also underwent a marked renewal during the 1970s with the appearance of groups like La Tràgica or the Circ Cric with Tortell Poltrona. Other companies, like Los Galindos, the Germans Totó or Petit Circ de Carrer, also came into being and festivals dedicated to the circus arts soon began to appear. These included one in La Bisbal, the International Clown Festival of Cornellà, and the Trapezi festival in Reus. Despite the lack of resources, schools and organisations were also born, such as the Rogelio Rivel Circus School, the Ateneu Popular 9 Barris, or, in 2004, the Association of Circus Professionals of Catalonia. The ACPC is an independent private entity whose purpose is to promote the circus in the country’s cultural, social and economic life.

    Moreover, in 2008 the Catalan administration began the First Integral Plan for the Circus to discover the needs of the sector and promote its growth. Despite this, there is still a shortage of venues and, according to the circus schools, a need for greater public and private financing.

    In 2015, the Street Arts Platform was born. Its aim was to bring all the street theatre festivals, fairs and shows together under one umbrella organisation. However, Catalonia still lacks a good exhibition circuit and the festivals have ended up taking on the role that the theatre schools should fulfil. (Verena)

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