Traditional Circus vs Contemporary Circus Essay

Traditional Circus vs Contemporary Circus - Essay ensampleThe origins of coeval circus (or cirque nouveau) can be found in 70s. In this circus a separate story is told to the earshot in a chain of different small performances, unlike a traditional circus, where no separate story was told. This new movement has non theoretical background and in that respect is no a clear intention to be separated from a traditional circus. The main submit was to popostureion a contemporary circus as a kind of incarnation from a traditional circus. For example, there is no total abandonment of the use of animals during performances, because animals argon poor narrative means. In the contemporary circus animals be often used with success. in that location are different means to amaze the audition in the contemporary circus, because acrobatics, juggling or clown acts are often not unique for the audience and are not very fascinating. In accordance with the artists from one of the contemporary ci rcuses Circus in cosmopolitan has its own tradition but at the Cirque, we try to regroup and or add multiple corrective approaches to synergize the creation process. Every time we add a new collection, we have to capture the relationship surrounded by the information sources and the usage (Spencer 2007, p. 23).In the contemporary circus the main emphasis is made on a story told to the audience through a number of different acts of performance instead of separate sequent performances of jugglers, clowns or animals. There is more about topic in the recent circus and the spirit of modern times. Thus, the artists of the contemporary circus are able to appeal for the emotions and feelings of the audience by referring to the most critical themes, such(prenominal) as love, friendship, children et cetera. They develop a chain of their actions on the background of one common theme. There are no circus families performing in the contemporary circus, but rather conservatory-trained artist s character-driven acts are conveyed to the audience through a chain of narratives embodied in a series of successive acts of performance. The audience has the ability to sit in front of the stage and get involved in the story told by the contemporary circus. There is no ringmaster in the contemporary circus anymore, because a number of performances are connected by a common theme. Thus, the representatives of the contemporary circus Nanjing I claim It seems that the cultural signifiers related to training do not obviously jump from one body to another but are embodied through slow, repetitive ongoing application tally to a set of cultural values imported from China. The project challenged the attitudes to training of the trainers, students and administrators of Nanjing I and encouraged them to suspicion their cultural assumptions (Farrel 2008, p. 2). Thus, there is a special atmosphere and environment in the contemporary circus, which depends on the note and thematic connection among different acts of performance. To reach a wholeness of narration, the artists in the contemporary circus salute different changes in their performance, music and costumes. This is an evident difference between a traditional circus and the contemporary circus. The modern artists wear simple leotards and there are no traditional costumes for clowns. Human bodies of the modern artists are moving in such enchanting manner that it is really fascinating to watch movements of their strong bodies and not to pay attention to their weird costumes, wigs or any other