During the 80’s the Nouveau Cirque Français has deeply modified the way of thinking the circus and street performing arts. Anyway, the innovations behind this phenomenon - today largely outside French borders – are in continuity with 20th century avant-gardes principles, first focused on renewing the circus from an artistic and creative viewpoint and then, during the 70’s, using the circus as an “repository of ideas”, that is to say as an aesthetic resource for radically reform performing arts. French CNAC – Centre National des Arts du Cirque, settled by Ministry of Culture Jack Lang – has been essential in developing Nouveau Cirque, drawing on the Russian practice to teach circus arts in specific schools. The teaching of circus techniques in schools was the key of renewal: educational methods adopted in schools are in fact radically different by those of traditional circus families. Performers issued from CNAC are free from traditional heritage and they’re also more open to other languages because of the multidisciplinary approach of the Center. Considering the first Nouveau Cirque show, Le Cri du Caméléon was the CNAC’s 7th class final work: the sensation of novelty, in contrast to commercial circus, let the reviewers talk about “new circus”. From then Anomalie, Archaos, Plume and other companies had opened the French and international circus to many practices and genres creating a context in which is actually very difficult to define what the Nouveau Cirque and its aesthetical features really are.
Valerio Iacobini è critico, operatore teatrale e fotografo di scena. È titolare di due dottorati di ricerca, all’Université de Paris VIII e a “La Sapienza” di Roma, dove dal 2010 collabora con la cattedra di Storia del teatro del Dipartimento di Italianistica e Spettacolo. I suoi interessi scenici spaziano dal teatro rinascimentale alla post-avanguardia. Ha curato: Conversazioni sul dubbio. Il teatro di Rodrigo Garcìa in 7 interviste, Roma, Editoria&Spettacolo, 2007. firstname.lastname@example.org