This research deals with circus modalities in the Theater Degree course at the
School of Theater and Dance of the Federal University of Pará (ETDUFPA) and aims
to highlight the contribution of fundamental circus activities for the better
development of body expressions and expanded knowledge. The Theater Degree
course, for now, offers the disciplines of Clown and Animation Theater, in which I
interned as a participating researcher and, in addition to observation and participation
in classes, I interviewed students and teachers. Supported by authors from the circus
area such as: Ermínia Silva, Mario Bolognesi, Eliene Benicio, Rodrigo Dupratt, Marco
Bortoleto, Marton Maués, Aníbal Pacha, among others, I focus on the interweaving of
circus and theater that has taken place since the beginning of the show, emphasized
in the show created by Philip Astley in 1770. In this conception, the circus starts to
dialogue systematically with other artistic languages. Since the creation of circus
schools in 1970, the knowledge transmitted under the canvas has spread to other
spaces, including academia. Through this diffusion, circus modalities start to
constitute the curricula of several courses related to the performing arts and corporal
practices. The research unfolds in four moments: a synthesis about the origins of the
circus show and its modalities; the contributions of circus arts to the educational
environment and the interweaving between the modalities already existing in the
curriculum of the Degree in Theater; in addition to the affections existing in the
researcher's teaching practice. The research also points out the need for the
inclusion of other modalities in the initial training of the theater teacher, as desired by
the interviewees.
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