Despite its vivacity, current circus writing, although present in the public space, struggles to intimately confront the particularities induced by distribution outside theatres and circus tents. How can we make the performance space a true partner in the creative process? What influences does the play space have on the spectacular performance? How can the links between a non-dedicated performance space and a circus work be explored, taking into account its social, cultural, territorial and political influences? In recent decades, art in the public space has redefined the modes of writing and the operating modes of many performing arts. It moves us away from the spatialization of ancient Greco-Roman theatre, placing the socio-architectural space at the heart of the process of creation and performance, and thus developing a democratization and mobility of culture. Increasingly present in the public space, it is becoming necessary for the circus to integrate this dynamic more thoroughly and to open up the scope and impact of its language. The choice of the performance venue, the creation method, the timing of the action, the people involved and the political dimension are all part of the dramaturgical line. La porosité entre les domaines scientifique et artistique est une manière évidente de se compléter pour que le changement puisse avoir lieu.
The aim of this research/creation is not to “tour” a show but an artistic protocol that will call on various artists chosen according to a precise circus language, a researcher on a chosen theme, a rich source of inspiration for each territory of action. Lastly, to respond to territorial issues through creation and artistic action in situ. Acting on reality. Writing with the gestural grammar of the circus as a language in and for the public space with community forces.