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Document Type

Article

Abstract

[First paragraph]

During Cirque Du Soleil’s twenty-six years, Cirque has challenged the traditional concept of the circus as American’s have come to understand it, by delivering entertainment and spectacle that dramatically differs from circuses like those organized by memorable pioneers P.T. Barnum & Bailey©, or Ringling Brothers© whose roots are found in the earliest history of the circus. The distinguishing hallmark of all Cirque Du Soleil performances is the notable absence of these traditional circus characteristics, supplanted with theatricality, conceptually distinct musical scores, colorful architectural backgrounds, aerial and perpendicular acrobatics, stylized choreography, puppetry and martial arts. The artistic vision promulgated by Cirque Du Soleil illustrates theatrical performance that both assimilates traditional circus-like characteristics while simultaneously integrating new features and challenging conceptual themes which refreshingly deviate from tradition circus performances. This research examines Zumanity: The Sensual Side of Cirque Du Soleil. Written and directed by Dominic Champagne and René Richard Cyr, this performance departs from the other Cirque productions by incorporating a sexual theme that conceptually reflects part burlesque, part cabaret performance. Cirque Du Soleil presents an opportunity to ask some important and challenging questions like: Is Zumanity indicative of a change in how nouveau cirque or contemporary circus movement presents masculinity, femininity, and sexual desire? How does Zumanity conform to, or deviate from, binary heteronormative constructions of human sexuality? And finally, is Zumanity ultimately only a profit making product that serves to whet the appetite of a very select audience for titillation and spectatorship?

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