The training of circus artists:

an analysis with a gender perspective

Abstract

Throughout history you can find comical situations that relate to entertain the public, on the one hand you have the facts and rituals and, on the other, the parties, celebrations and comedies. The circus involves the party as part of the collective imagination because it handles symbols from its own trench and uses the signs it requires to perform its mission, that is, the representations have a double meaning ranging from seriousness, sobriety and exacerbated denotation of the extraordinary physical abilities, the expansion of a variety of artistic specialties to the comic and satirical rejoicing of the critique of a society that can portray situations of raw naturalness that allow the reflection of a situated and specific reality. In the present article the formation of circus artists is analyzed from a gender perspective. The methodology used is qualitative with a descriptive approach through an intentional non-probabilistic sampling for exploratory purposes, seven students of circus arts from different companies were selected. The instrument used was an interview guide and the study technique was the interview. The findings reveal that gender violence and discrimination are two elements that form part of the training of circus artists and the reproduction of sexist stereotypes is justified in the logic of a macho society that assumes as superior the male figure, however, the circus can represent a space of inclusion, equity and development of opportunities between people.