METHODOLOGICAL ISSUES The setting We felt that a seminar was the best setting for conducting an initial in-depth study of this little known professional sector with its endless different branches. The meeting focused on a panel of individuals representing the multiple facets of the industry: circus (classic and contemporary), cabaret, festivals (competitions for young artists or established professionals), artistic agencies, casting companies, preparatory schools and schools. The work took place in Saint-Denis at the Académie Fratellini. Objectives and methods of study The first part of the study consists of defining the skill sets of circus artists as required by the respective markets. A collection of data is recommended in order to assess the positioning of the schools according to a diverse range of educational approaches, notably regarding the relationship between the performing artist and that of the author. Differences in the motivations and objectives of the schools should also be taken into account whether they are based in Russia, Europe or North America. The aim is to draw parallels between the multitude of skills in evidence at the various training centres. What is most important? Performance without spirit or spirit without performance? Is the addition of an exclusive sporting dimension and its implications for training and the show a danger or a guarantee of success? The first expected result is to establish an approach for each of the different skill sets required by each branch of the industry, starting with the principle that there is not just one market, but several. Each of these markets has specific requirements in terms of skills.
This analysis should also enable us to establish the foundations for a broader reflection with the aim of persuading the ‘producers’ and ‘consumers’ to favour the integration of new elements into their artistic and technical work and to validate the relevance of certain acquisitions with regard to the demands of level and performance. The second phase involves devising a precise and adapted skill set which should make it easier to understand the expectations of the different branches. Once all of the written questionnaires and oral interviews had been completed, an initial memorandum was compiled, falling somewhere between a catalogue and an inventory, in order to obtain maximum benefit from these respective experiences and anticipate the next. The work carried out during the seminar enabled us to ascertain a number of lines of thought which were revealed in this report. This text is not a record of the seminar proceedings. Instead it is based on the thoughts shared over the course of these 2 days when representatives from the Cirque du Soleil, Dragone, Wintergarten in Berlin, Cirque Phénix, the ECA, International Circus Festival of Tomorrow, Cirque Archaos, Cirque Starlight, artistic agents and directors of the schools and preparatory schools came together to discuss what differentiates them and, more importantly , what they have in common. It reflects and reconstructs the issues addressed, classified as a form of study and analysis and presented according to three themes: historical landmarks and definitions, typologies of the professional sector and forms of transmission.
The analyses and viewpoints given by the panel, representative of their professions and respective sectors of the industry, were ascertained through some 50 or so investigations based on written questionnaires and around 15 oral interviews with other representatives of the sector.
INTRODUCTION
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