Etude sur la situation du cirque en Europe (Belgium Flanders)

Dans l’ensemble de l’Union européenne et englobant les arts du cirque traditionnels / classiques et contemporains, les objectifs généraux de l’étude sont les suivants:

 

  • Fournir des données sur la situation socio-économique et une image globale du secteur
  • Fournir une analyse du potentiel d’innovation du secteur du cirque
  • Fournir une évaluation quantitative et qualitative des dispositions de financement de l’UE pour le secteur du cirque.
  • Fournir des informations sur la situation éducative des enfants vivant dans des compagnies de cirque itinérantes dans l’UE

 

L’accent est mis sur les professionnels du cirque à quelque titre que ce soit et sur leur activité pendant une période donnée.

 

Méthodes de collecte de données:

 

Recensement du cirque

 

Entre le 2 janvier et le 28 février 2019, un recensement du cirque en Europe est en cours. Il s’adresse aux personnes ayant travaillé dans le cirque dans un État de l’Union européenne du 1er janvier au 31 décembre 2018, aux sociétés qui créent et présentent des œuvres et à des entités telles que des festivals, des lieux de spectacle et des centres de création qui ont accueilli des spectacles au cours de la même période. Les liens pour le recensement peuvent être trouvés ici:

 

Pour les professionnels – https://goo.gl/CaGHRE

Pour les organisations – https://goo.gl/kywmgg

 

Forum Web

Les sources de la documentation pertinente de l’industrie et les contacts concernant les travailleurs, les régimes de travail, les permis de travail, l’éducation des enfants en tournée, le financement, la législation, les écoles de cirque et les centres de création, les festivals de cirque et les lieux de diffusion dans les États membres de l’UE peuvent être ajoutés aux pages du forum.

 

Cette étude a été commandée par l’Union européenne et est entreprise par la chercheuse Verena Cornwall en collaboration avec l’institut de recherche Panteia. Les résultats seront partagés avec tous les participants et avec d’autres, y compris les décideurs et les universités de toute l’Europe.

 

Toutes les questions peuvent être adressées à combarts@gmail.com

1 Comment
  • Anonymous
    Posted at 18:26h, 07 January Reply

    From the CASA Guide, here is a brief overview:
    In Belgium, modern street theatre emerged from the events of May ‘68 and in the seventies it was mostly known for its political content. In the eighties the form became more important than the content and the Flemish street theatre became mostly pure entertainment. In these years the first companies were founded, but practically all of them never left Belgian soil to give a performance. In the Walloon provinces, Chassepierre was founded in 1973, but Flanders would still have to wait ten more years for its first meaningful festival. It was at the end of the eighties and the beginning of the nineties that the largest Flemish festivals emerged; from the start they kept a focus on the European and international scene without forgetting local artists. In the heyday of the Belgian family circuses there were about twenty traditional travelling circuses, but since the fifties their number has been dropping because of the rise of new forms of entertainment. The traditional circus had been travelling from town to town for decades, but it was at the festivals at the end of the nineties that the public got to know a new form of circus. The Belgium circus left the family environment, and young artists tried out new material on the streets, in tents, and at site-specific locations.

    In 2008 the Circus Decree gave wings to the Flemish circus, but even today festivals like MiramirO, Theater op de Markt and Perplex still play an important role in the development of the Belgium scene. They co-produce new spectacles, and because there are very few agents or organisations with a specific focus on circus and street art, they are quite valuable for helping circulate work through the Belgian scene. Circus in Flanders is, as in the rest of Europe, becoming more and more professional. Where it used to be pure entertainment for markets and fairgrounds, Flemish circus is evolving into a real contemporary art form that uses different art disciplines such as street theatre, video, performance, dance, etc. As it becomes more professional the circus craft is also being removed from its family context, and today every young person who wants to become a circus artist has the means to do so.

    In the seventies Flemish artists chose the street as a playground because there was no other place to take their political theatre. Today we see that contemporary theatre-makers want to escape from the traditional black box to confront actual reality with their work, and more and more they do this by using the street, a tent, or a specific location to present their performance. Once again the festivals are there to help them with this new quest, and give them pointers on how to deal with the administrative paperwork and interact with these new types of public. Alongside this trend, there are also Flemish circus artists who are slowly becoming integrated into the programmes of regular theatre venues. A neat evolution, and an interesting challenge that gives the Flemish circus and street theatre scene something to work on in the decades to come… (Verena)

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