De l’art de l’émerveillement à celui du détournement
The circus environment was deeply transformed in Europe since the end of the 20th century. The "new circus" came to enrich the shows offer, with classic companys (Pinder, Bouglione, etc.). Nevertheless, no survey was specifically interested in the ways of perceiving circus shows. To mitiga...
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| Format: | Article |
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Presses universitaires de Paris Nanterre
2017-12-01
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| Series: | Terrains/Théories |
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| Online Access: | http://journals.openedition.org/teth/985 |
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doaj-eaf700c294074ceabf56127318fb9f1c2020-11-24T23:48:13ZfraPresses universitaires de Paris NanterreTerrains/Théories2427-91882017-12-01710.4000/teth.985De l’art de l’émerveillement à celui du détournementÉmilie SalaméroSamuel JulheThe circus environment was deeply transformed in Europe since the end of the 20th century. The "new circus" came to enrich the shows offer, with classic companys (Pinder, Bouglione, etc.). Nevertheless, no survey was specifically interested in the ways of perceiving circus shows. To mitigate this lack, an European program chooses to combine sociologies of cultural attendance, reception and the mediation, by taking support on four cultural structures for their varied status, regularly spreading contemporary circus. The results show on one hand, that circus, classic or new, takes place differently in the "cultural universe" of spectators and, on the other hand, that news circus are appreciated with regard to their "aesthetic orientations", built during their spectators' career. These preferences also establish a way of positioning towards all circassian productions, and of distinguishing itself besides spectators.http://journals.openedition.org/teth/985circuspublicsaudience receptionaesthetic orientations |
| collection |
DOAJ |
| language |
fra |
| format |
Article |
| sources |
DOAJ |
| author |
Émilie Salaméro Samuel Julhe |
| spellingShingle |
Émilie Salaméro Samuel Julhe De l’art de l’émerveillement à celui du détournement Terrains/Théories circus publics audience reception aesthetic orientations |
| author_facet |
Émilie Salaméro Samuel Julhe |
| author_sort |
Émilie Salaméro |
| title |
De l’art de l’émerveillement à celui du détournement |
| title_short |
De l’art de l’émerveillement à celui du détournement |
| title_full |
De l’art de l’émerveillement à celui du détournement |
| title_fullStr |
De l’art de l’émerveillement à celui du détournement |
| title_full_unstemmed |
De l’art de l’émerveillement à celui du détournement |
| title_sort |
de l’art de l’émerveillement à celui du détournement |
| publisher |
Presses universitaires de Paris Nanterre |
| series |
Terrains/Théories |
| issn |
2427-9188 |
| publishDate |
2017-12-01 |
| description |
The circus environment was deeply transformed in Europe since the end of the 20th century. The "new circus" came to enrich the shows offer, with classic companys (Pinder, Bouglione, etc.). Nevertheless, no survey was specifically interested in the ways of perceiving circus shows. To mitigate this lack, an European program chooses to combine sociologies of cultural attendance, reception and the mediation, by taking support on four cultural structures for their varied status, regularly spreading contemporary circus. The results show on one hand, that circus, classic or new, takes place differently in the "cultural universe" of spectators and, on the other hand, that news circus are appreciated with regard to their "aesthetic orientations", built during their spectators' career. These preferences also establish a way of positioning towards all circassian productions, and of distinguishing itself besides spectators. |
| topic |
circus publics audience reception aesthetic orientations |
| url |
http://journals.openedition.org/teth/985 |
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AT emiliesalamero delartdelemerveillementaceluidudetournement AT samueljulhe delartdelemerveillementaceluidudetournement |
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