![]() The first chapter focuses on experiences from contemporary circus. The experience is then discussed from three approaches: the cognitive approach, focusing on the meaning created intellectually the embodied approach, focusing on how the meaning appears in and through the body and the relational approach, focusing on the experience of intersubjective relations. Using a method of performance analysis and autoethnography shifts the focus from the performance to the experience of the performance. Starting from an embodied understanding of phenomenology, as the body is the place from where we experience, the focus is on the meaning created through the experience, both as thoughts and emotions. The questions that guide the exploration are what experiential meanings do the bodies create, how does the meaning appear to the subjective consciousness, and how is the experience informed by the situation and the context. The aim of this dissertation is to explore the attraction of these genres by focusing on the spectatorial experience of the bodies on stage. The revival brought with it a new framing and a realignment to contemporary values and beliefs, but the core of the genres is still the sensational bodies on stage. ![]() Seemingly something in the genres still has a strong appeal to the spectators. ![]() At the end of the 20th century, the three genres circus, burlesque, and freak show were revived after a long period of decline.
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