Practical and theory classes
The Ensac is an art school, meaning that the artistic element is the most important of all.
But it also means that without technical mastery of the disciplines practised, there can be no production of art, or of new forms and aesthetics.
This technical mastery is an instrument providing the skills that lead to creation. And while skill without artistic ambition is in vain, artistic creation without the necessary skill is also in vain.
The educational programme is therefore based on a crossover of circus disciplines, chosen by the students, with other art forms, in particular, the performing arts. A mixed team of permanent teachers and guest artists is on hand to teach the circus disciplines and additional artistic disciplines.
The course has included :
- systematic daily teaching in a specialized circus discipline,
- regular dance and theatre training,
- specific classes taught as weekly, half-day workshops in dance, theatre, music, arts and techniques of the show, and theoric teaching,
- research and creation workshops,
- performing repertory pieces,
- attending shows and meetings.
Systematic daily teaching in a specialized circus discipline, covering the following :
- structured work for each year group,
- joint work sessions for combined year groups,
- sessions known as "supplementary workshops" with an artist,
- additional regular general physical training (PPG) or specific physical training (PPS).
Specific classes
Taught as weekly, half-day workshops in theatre, dance, music, and the arts and techniques of the show (safety, light, sound, stage design), as well as theory classes (the history and philosophy of art, dramatic art, critical analysis, introduction to the laws and economics of the performing arts, etc.).
Research and creation workshops (ARC)
These are periods of work that aim to develop of the student's artistic identity, their technical and artistic research, and experimentation in the ring.
The ARCs are supported, to a greater or lesser degree, by a professional artist chosen by the Cnac, and who is sometimes assisted by a teacher of the circus speciality concerned. They can act simply as an external eye, or can participate more actively in writing, stage design, lighting and sound, or even direct a small piece of work.
Performing repertory pieces
Numerous "circus pieces" have left their mark on the history of the circus arts, and creation is not the only way of acquiring skill as a performing artist. That is why the idea of re-performing and re-creating other works and circus repertory is now a component of the Cnac programme.
A group show will be created using a pre-existing circus show. This is programmed in Dnsp 2. The work with a selected artist or company and their show is structured in 2 periods of 2-weeks each. The second period ends with 2 public presentations.In addition to being a militant act in favour of the history and memory of the circus arts, these performances of pre-existing works are a great networking opportunity for the Cnac and its students to develop relations within the profession.
Attending shows and meetings
Provides students with a range of possibilities, research and reflections, allowing them to discover and explore new aesthetics and creative processes in order to better question their own writing.
