With a billion-dollar industry centred in Montreal, the province of Quebec has established itself as a major hub for contemporary circus. Cirque du Soleil has a global presence, and troupes such as Cirque Éloize and 7 doigts de la main are state-of-the-art innovators. The National Circus School of Montreal - the only state-funded elite training facility in North America - is an influential leader in artistry and technique. Montreal-based Cirque du Soleil’s Cirque du Monde supports arts for social change on many continents and is renowned for its social-circus training and research. Cirque Global is the first book-length study of this new variety of circus and its international impact. The contributors offer critical perspectives on this rapidly developing art form and its aesthetics, ethics, business practices, pedagogical implications, and discursive significations. Essays explore creative, entrepreneurial, and cultural forces that are shaping Quebec’s dynamic nouveau cirque. Lavishly illustrated with photographs from circus performances, the volume showcases Quebec circus’s hybrid forms, which have merged the ethos and aesthetics of European circuses with American commercial and industrial creativity. Cirque Global is the definitive study of the phenomenon of Quebec circus and is an important model for future research on contemporary circus.

Le défi du patrimoine immatériel est de capturer l'essence du spectacle : l'idée de « capture » a cela d'intéressant qu'elle suppose que les professionnels impliqués dans la SIBMAS soient comme des chasseurs, sur la piste, de toutes sortes de façons, afin de coincer et de recueillir un petit quelque chose d'éphémère, qui en vaut la peine, et qui nous en apprend sur nous-mêmes et sur notre monde. Certains chasseurs se servent des bases de données, d'autres des écrits ou des images - mais tous partagent un même objectif : ne pas laisser se perdre un moment spécial, magique, que seule la vie du spectacle peut générer. The challenge of intangible heritage is to capture the essence of performance: the idea of capturing is interesting as it implies that the professionals, involved in SIBMAS, are on a hunt, a hunt in a number of different ways to pin down and preserve something ephemeral and something worth preserving, something that tells us more about ourselves and the world we live in. Some hunters use the database, some the written word, some the camera but all share a common goal: not to let go of a particular moment, a magic moment that only the live event can create.

This book identifies best practices, leadership styles, and organizational structures for the stimulation of organizational creativity, with an aim to help any company – not just companies in creative fields or industries – become an organization in which new ideas flow, new processes are developed, and new products are brought to market. Managers will find case studies describing exceptional organizational creativity and practical takeaways that can be applied in their own firms. Students will find concrete analytical frameworks for thinking about creativity in organizations, and academics will find a different approach to the study of creativity, one that is grounded in practice.

Sara Adeline Mazzolini wrote the poems and songs to praise the eternal beauty of imagination. Sara Adeline Mazzolini a écrit le livre de la beauté éternelle. Elle a photographié les images en créant son autoportrait. Elle a composé les paroles de chanson en France.

"Brief table of contents of vols. I-XX" in v. 21, p. [502]-618.