By Lexi DeFilippo, Communications Intern Spring 2019
This summer, FringeArts’ annual circus festival Hand to Hand returns to bring the wonder of contemporary circus to the heart of Philadelphia. In partnership with Circadium School of Contemporary Circus, the first and only diploma-granting circus program in the US, we’re excited to highlight some of the new and innovative performers taking on the circus scene. And in honor of World Circus Day (third Saturday in April, ie. April 20, 2019), we’re taking a look back at the history behind contemporary circus worldwide.
Sometimes known as new circus or nouveau cirque, contemporary circus can be perceived as an enigma. On a structural level, contemporary circus challenges the traditional circus by rejecting the use of animals, acts without any connected through line, and (in most cases) the big top tent as a performance space. Another notable difference from traditional circus is the shift in who is performing contemporary circus acts. Instead of the circus family model where skills are passed down generations to produce family units that travel with a circus and live on the road, contemporary circus productions employ conservatory-trained professionals from all over the world. These conscious steps away from the kitsch of traditional circus have helped push contemporary circus into the spotlight as a more intention-driven form of entertainment that highlights the excitement, finesse, and true artistry of the circus arts.
Contemporary circus began to emerge in the late 1960s-early 70s when groups in Australia, France, United Kingdom, and the West Coast of the United States began to combine the circus arts with more theatrical elements. One of the earliest circus companies credited with incorporating theater into their routines is the Royal Lichtenstein Circus, founded in San Jose by a Jesuit priest in 1971. They were also one of the first groups to use a one-ring format which allowed for the performers to create a more intimate connection with the audience.
This clip from their side-show in 1984 is an example of how the Royal Lichtenstein Circus used theater as a to tell stories through their performances. The choreography acts as a vessel to bring an abstract idea to life while showing off the physicality of the performers.
Another early contemporary circus group, the Pickle Family Circus, formed in 1975 by members of a mime troupe, was one of the first groups to start threading social commentary into their work. The troupe prided itself on being a democratic organization in which all of the performers received equal pay and played an integral part in the operation of the circus as well as the production. The Pickle Family Circus is known for telling a narrative with their productions and using circus acts to move the story along while keeping the audience at the edge of their seats with amazement.
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