Being nomadic is part of the nature of the circus. Yet the era of the epidemic has exiled artistic and cultural workers who have interacted closely with institutions, venues and market mechanisms, throwing creatives squarely back into their very local lives.
Two kinds of actions emerged from these global events in Taiwan. One is the return of circus workers to the places where their skills originated, to rediscover connections and their relationship with everyday society. The second is to use the digital tools that have flourished with the epidemic to give circus, which is completely outside of daily physical techniques of the average person, a virtual body, and to debate this aesthetic boundary between the real and the virtual. Both of these actions seem to respond to the characteristics and strengths of the circus nomads: people roving the realm, or wandering into digital space. The Nomad of Circus and the Return to the People How to “return to the people and society” has always been one of the topics of Taiwanese performing arts. This contradictory and confusing topic ( Is art so far from society?) shows that the concept a...
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