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| Cirque Plume | |
|---|---|
| Name | Cirque Plume |
| Founded | 1984 |
| Location | Saint-Vit, Doubs, Bourgogne-Franche-Comté, France |
| Genre | Contemporary circus, street theatre, physical theatre |
Cirque Plume is a French contemporary circus company founded in 1984 that blended acrobatics, music, puppetry, visual arts, and theatrical staging. Based in Saint-Vit in the Doubs department, the company became known for touring productions that bridged traditions from Théâtre du Châtelet, Comédie-Française, and Moulin Rouge-style spectacle to contemporary festivals like Festival d'Avignon and Edinburgh Festival Fringe. Over decades Cirque Plume collaborated with artists connected to institutions such as Opéra de Paris, Palais Garnier, Centre Pompidou, and international venues including Lincoln Center and Sydney Opera House.
Cirque Plume emerged in the early 1980s amid broader European cultural shifts involving groups such as Pina Bausch's Tanztheater, Les Arts Sauts, and the new circus movement exemplified by Cirque du Soleil and NoFit State Circus. Founders drew inspiration from street-theatre ensembles like Compagnie Royal de Luxe, carnival traditions seen in Notting Hill Carnival, and experimental theatre companies such as Théâtre du Soleil and Grand Magic Circus. Early seasons toured alongside programming at Avignon Festival, Festival d'Automne à Paris, Biennale de Lyon, and regional French houses like Maison de la Culture de Grenoble. Financial and institutional support involved contact with bodies including Ministry of Culture (France), regional councils like Conseil régional de Bourgogne-Franche-Comté, and creative residencies at venues such as Maison de la Culture d’Amiens and Le Parvis Tarbes.
Throughout the 1990s and 2000s Cirque Plume expanded its technical vocabulary influenced by collaborations with scenographers linked to Centre National des Arts Plastiques, composers associated with IRCAM, and choreographers from companies like Ballet National de Marseille and Maurice Béjart. Tours increasingly intersected with international presenters such as Teatro Colón, La Scala, Teatro Real Madrid, and festivals like Spoleto Festival USA, Berlin Festival, and São Paulo International Circus Festival.
Cirque Plume cultivated an aesthetic combining elements from Commedia dell'arte traditions, Jacques Tati-inspired physical comedy, and the visual poetics of artists like Christian Boltanski and Niki de Saint Phalle. Productions showcased original scores informed by composers with ties to IRCAM and performers trained in schools such as École Nationale de Cirque and Académie Fratellini. Notable works fused narrative flavors reminiscent of Charles Dickens adaptations with stagecraft echoes from Georges Méliès cinema and scenography reminiscent of Gustave Doré engravings.
Signature shows employed puppetry techniques akin to Compagnie Philippe Genty, aerial arts resonant with Aerial Chamber Company, and maskwork recalling Jacques Lecoq pedagogy. Set designers referenced practices from Christo and Jeanne-Claude installations and lighting designers with credits at Festival de Cannes-adjacent galas. Costuming sometimes nodded to ateliers that worked with Yves Saint Laurent and Christian Lacroix.
The company operated with a core ensemble model similar to Royal Shakespeare Company and Comédie-Française, supplemented by guest artists from institutions like La Scala Ballet and Cirque Éloize. Leadership included artistic directors who had studied at conservatories such as Conservatoire de Paris and training schools like École Jacques Lecoq. Technical teams collaborated with engineers who previously worked on productions at Opéra Garnier and touring crews experienced with logistics for Glastonbury Festival, Roskilde Festival, and major European opera houses.
Cirque Plume's administration liaised with producers and cultural networks including Archaos, Les Subsistances, and managers who had worked with promoters like Live Nation and presenters such as Sadler's Wells Theatre and Barbican Centre. Musicians and composers in the company had links to ensembles like Orchestre National de France and groups connected to Maison de la Radio.
Cirque Plume toured extensively across Europe, North America, Asia, Africa, and Oceania, appearing at major stages including Festival d'Avignon, Edinburgh International Festival, Lincoln Center Festival, Sydney Festival, Teatro Colón, and Royal Albert Hall. The company was invited to international showcases alongside troupes like Cirque du Soleil, Les Arts Sauts, and Compagnie du Hanneton, performing at events such as World Expo cultural programs, Biennale di Venezia collateral events, and national celebrations hosted by institutions such as Palais des Festivals and municipal festivals like Fête de la Musique.
Notable seasons included residencies at La Villette, summer runs at Théâtre de la Ville, and guest engagements at Théâtre du Châtelet and Opéra de Lyon. Tours often required collaboration with logistics partners experienced with productions at Palau de la Música Catalana, Teatro Real, and international touring circuits managed by agencies like TICKETS-style promoters.
Over its career the company received accolades from cultural bodies such as Molière Awards-adjacent juries, regional arts councils including Conseil Général du Doubs, and festival juries at Festival d'Avignon and Edinburgh Festival Fringe. Artists received individual honors comparable to fellowships granted by Ministry of Culture (France), awards from institutions like SACD, and recognition in arts publications including Le Monde, The Guardian, and The New York Times. Institutional recognition included invitations to national cultural seasons organized by Institut Français and designated support from the Centre National du Théâtre.
Cirque Plume influenced subsequent generations of companies in the new circus movement alongside Cirque du Soleil, Cirque Éloize, and NoFit State Circus, informing pedagogical approaches at schools such as Académie Fratellini and curricula at conservatories like Conservatoire National Supérieur d'Art Dramatique. Its hybrid aesthetic resonated with contemporary directors linked to Pina Bausch's successors, scenographers associated with Grec Festival of Barcelona, and festival programmers at events like Biennale de Lyon and Avignon Festival. Legacy initiatives include cultural partnerships with regional museums like Musée des Beaux-Arts de Besançon and programs supporting touring infrastructure through networks such as European Festivals Association.
Category:Contemporary circus