While in university I studied History and Social Sciences and I was a member of the Social Sciences Research unit of ENS-EHESS during ten years (Ecole normale supérieure, Ulm and Ecole des Hautes Etudes en Sciences sociales) which is now part of the Centre Maurice Halbwachs Research Unit.

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I began my research on the history of circus somehow by chance. Initially I wanted to explore a subject on sociability, cultural practices, and audiences that had not yet been studied in French modern cultural history. One day I overheard some traditional circus music on the radio and here it was! I shared my idea with Daniel Roche, my professor at the Sorbonne Paris-I and EHESS, and later at the Collège de France, whose course on sociability I was attending: I wanted to study the people who went to circus shows in late 18th century to understand the meaning of it (who went, was it popular, in what sense, etc.). He found the concept intriguing and suggested I look into equestrian history. I replied that my focus was on the circus, not on horses! He responded: "Alright, go ahead; let’s see what comes of it." ;-))

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Long story short, I ended up studying both the circus AND equestrian culture because, to understand the audiences fully, it was essential to connect these two areas. I also chose a comparative approach, focusing on both France and England, since the modern circus originated in England. At the time of my research, there was no Erasmus program, very little comparative research, few works bridging modern and contemporary history (in France Modern and Contemporary History are2 distinct departments in all universities as pre and post Revolution (1789) periods), and few historians were engaging with social sciences.

This intersection of interests led me to specialize in the cultural history of leisure, with a particular focus on the circus. While the circus itself was my primary research subject, my work expanded to examine the strategies of entrepreneurs, the conditions under which shows were produced and received by the public, the shared references that shaped collective understanding and common culture, + the tactical, technical, and narrative methods that fueled and renewed audience curiosity. My research also delved into cultural practices and innovations within this field.

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To truly understand the past, I believed it was essential to understand the present as well, and vice versa. This led me to study Sociology alongside History, marking my entry into the social sciences. During my research, I spent nearly two years in England to work with English sources, and I also engaged closely with French cultural organizations involved in contemporary circus. This was during a time of rapid change in French entertainment venues and policies in the early 1990s. Strong institutional and artistic debates reshaped strategies, support policies, and fostered competition among venues and entrepreneurs. These shifts sparked numerous discussions among circus artists, street performers, and institutions.

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For two years, I worked at the Museum of Popular Arts and Traditions (now part of the Mucem) on a campaign to acquire circus-related artifacts. I also collaborated with Hors Les Murs (now Artcena), the official association for street and circus arts, where I interviewed many circus directors and artists, attended shows and festivals, and interacted with collectors and curators. Additionally, I led seminars and taught courses on topics such as historiography, leisure, and the circus.

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After completing my Ph.D. in June 2004, I was invited to work on a major leisure and foundation project (Fondation Louis Vuitton at the Jardin d'Acclimatation, Paris), followed by another project related to museums (the Louvre Lens). This led me to become a consultant and advisor in cultural engineering, supporting projects in cultural development and programming. From there, I transitioned into communications and strategic planning, collaborating with agencies and advertisers, all rooted in the same goal: understanding the context, positioning a cultural project effectively, and building common culture. This work involved crafting messages that engage and unite audiences—a skill that aligns with what is now called “cultural intelligence,” “social insights,” and “knowledge brokering.”

Over the years, several publishers approached me to publish my research. However, balancing work, family, and everyday demands prevented me from taking on these opportunities. Then, in 2017, Guillaume Henry from Editions Belin reached out, and, along with Nicolas Chaudun (many thanks to both!), he encouraged me to finally publish my work, which remained highly relevant. No one else had delved into the specific sources and issues I had explored, so my research was still timely. In fact, the publication may have come at an ideal moment, as cultural entrepreneurship and innovation have become valued fields, prompting a renewed interest in understanding not only creative genius but also those who orchestrate creativity, produce cultural works, and build cultural enterprises.

Believing strongly that understanding the past can inspire us today, I am thrilled that the book and the accompanying website, www.theatrecirque.com, are now available. I hope that, beyond the history of the circus, they contribute to a wider understanding of the commercialization of leisure, the transfer of knowledge, and the development of shared culture and references.

It is also a profound honor to have Daniel Roche write the preface. My deepest gratitude goes to him—an extraordinary historian, professor, and humanist—for his confidence in this subject and his early recognition of its importance and potential impact.

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Dr. Caroline Hodak, 2018