In the Centre of the Ring!

Cirque du Soleil, Circus Oz and the International Chinese Acrobatic Circus are just some of the world's best circuses as they are simply spectacular! We are mesmerised by the performers' talents and originality and we leave the show with unforgettable memories.

But what of the performers themselves? We know that there must be a lot of work that goes on to produce such a show. What about the history behind the circus and the culture that underpins the craftsmanship behind each remarkable performance?

I recently interviewed an academic who's knowledge behind these questions is beyond any person I have ever known. She has spent decades not only attending circus performances but even more so studying the nuts and bolts of the circus itself.

Professor Peta Tait from La Trobe University in Melbourne who has written a book which speaks of the history and culture behind the world's greatest aerialists. I spoke to Peta Tait about how she went about writing the book, the difficulties and discoveries and her own opinion on the circus today.


Book title: Circus Bodies - Cultural Identity in Aerial Performance (2005)

Circus Bodies - Cultural identity in aerial performance

Above is the interview between myself and Peta Tait! Enjoy! (Photo is copyright of Cirque du Soleil)

Or alternatively, here is the url to my Youtube video which contains the ten minute interview between myself and Peta Tait. :)

http://www.youtube.com/profile?user=promenadewithme#grid/uploads

Below are the questions I asked throughout the interview:

1. Well firstly, I would like to ask, why did you choose to research circus bodies, focussing on the identities found in aerial performance?

2. During your research, when (if any) did you stumble on something that was challenging and how did you overcome this obstacle?

3. You go into great detail to explain aerialist, Luisita Leers' rise and fall in the industry. How did you go about finding information on her? Was it well publicised, especially because she was apparent leading up to and during World War II?

4. You go onto saying that Luisita Leers is a good example of an aerialist that was impacted by her wider social and historical context. Do you believe that aerialist's performances in circus today, are still profoundly affected affected by their cultural surroundings?

5. During the introduction of your book, you talk about how you are unwilling to talk about the backstage drama of aerial performance. Why did you feel the need to omit such information, when it seems that it would be a vital part of the crafts history?

6. You seem to reference elements of historical art and cinema, including pieces by well-known cinema writer, Tom Gunning. Were these fields part of your own personal interest? How did this shape your understanding and research of the topic?

7. In the later stages of the book, you talk about contemporary circus performance, for instance Cirque du Soleil. Did you attend any of these performances as a way to gain research for your text?

8. In the book, you spend a lot of time talking about the gender roes within aerial performances as a way to gain research for your text?

9. Your aim in the book is to talk about how circus became meaningful in culture. In saying this, how did culture impact the development of aerial performance?

10. And finally, can you give us some insight of your point of view on contemporary aerial performance? Do you believe it is dying art form? Where can you see it heading in the future?

Professor Peta Tait - Copyright La Trobe University AUS

Background surrounding Professor Peta Tait:

Professor Peta Tait is an academic scholar and playwright with an extensive background in theatre, dramatic literature, performance theory and creative arts practice. She researches in the interdisciplinary humanities fields of emotions, body theory and gender identity. Professor Tait has authored 4 scholarly books, and edited and co-edited 3 further books, with 60 other publications including articles in Theatre Journal, Modern Drama and Performance Research. She is sole writer of 5 produced plays, co-writer of 2, and writer for 3 contemporary performances.  Professor Tait came to LTU in 1996 and was awarded a personal chair 2004. She was elected to the Executive Board of Performance Studies International 2005-2009, and her visiting professorships include NYU Performance Studies in 2000 and the University of Helsinki in 2010. She regularly receives international invitations to present on circus body phenomenology. (This brief profile is copyright of La Trobe University, Australia)

I would love to hear from you. Send me your promenade to promenadewithme@hotmail.com

Thanks!

Gianna :)