Performing Animals 1930

Curator: This is André Dunoyer de Segonzac’s “Performing Animals,” dating to 1930. The work, realized in ink and pencil on paper, captures a vibrant circus scene. Editor: It strikes me as more of a sketch, or a collection of impressions, really. There’s such lightness in the lines; almost dreamlike. The starkness emphasizes the inherent performativity and fleeting spectacle. Curator: Absolutely, the quick, economical lines reveal the artist’s working method. We can see the bare minimum of what is required to make us perceive performing animals. And notice how the artist utilized the absorbent quality of the paper in conjunction with a thin ink to create a ghostly effect. Consider also the printmaking techniques employed; this would have allowed for wider distribution, placing it within the broader landscape of popular entertainment and the economics of leisure. Editor: Segonzac is certainly hinting at the ephemeral nature of spectacle. Note how he places a human figure to the right, crowned with bird-like appendages. The association of humans and trained creatures asks: are we the audience or are we also being performed? Perhaps a comment on societal constraints or the loss of innocence in modern life. Curator: And let’s consider that term, "performing." Segonzac really lays bare the labor required in producing an animal show, hinting, through the deliberate nature of the sketched line, at both the act and the making-of. Editor: Indeed. I also see echoes of ancient theatrical traditions. These are archetypes in motion. The animals may also reference pagan beliefs wherein animals have a sacred importance as symbols and messengers, particularly if we explore this from a mythopoetic or dreamlike lens. Curator: It does invite these lines of thinking! And it speaks volumes about artistic intention and audience engagement across mediums. Editor: I’ll certainly never look at a circus quite the same way again. Segonzac has imbued what may appear simple with such potency and psychological depth!