Contemporary circus is a young discipline — as a formal pedagogical field, it is less than fifty years old. The schools that defined its teaching emerged primarily in France, Belgium and the United Kingdom between the 1970s and 1990s, and today form a European reference network that exports professionals to circuits worldwide. For anyone seeking serious training in contemporary circus, here is the map — from Catalonia out to the world.

In Catalonia

Escola de Circ Rogelio Rivel (Barcelona) is the starting point for many Catalan circus artists. Barcelona’s municipal circus school, named after the legendary clown and acrobat Rogelio Rivel (Sants, 1899 — Barcelona, 1982), is far more than an introductory centre: it is the place where generations of circus artists have taken their first steps in acrobatics, juggling, equilibristics and clown, and from where many have gone on to access the great European schools. The name is no coincidence — Rivel was one of the most internationally recognised Catalan circus artists of the 20th century, and the school bearing his name has kept alive the tradition of training circus artists from the ground up. For anyone starting out in Barcelona, this is the first rung of a path that can end at CNAC or ESAC.

In Spain

There is no higher circus school equivalent to the CNAC or ESAC in Catalonia, but there are solid resources for the early years of training:

  • Carampa (Madrid): the reference circus school in Spain. Two- and three-year professional training programmes. Many Catalan and Spanish artists have trained here before making the leap to Europe.
  • FIRA de Tàrrega: Catalonia’s reference festival and market for circus and street arts. Not a school, but the place where you see the sector’s trends and build real professional networks.

In Europe

CNAC — Centre National des Arts du Cirque (Châlons-en-Champagne, France)

The global benchmark. A two-year postgraduate programme for professionals, with highly selective access and auditions held in Paris. Graduates have founded some of the most important companies in the European scene: Cirque Plume, Compagnie 14:20, Galapiat Cirque, among many others. Access requires a very consolidated artistic and physical level — most accepted candidates already have ten or more years in their discipline. This is not the first step; it is the summit.

ESAC — École Supérieure des Arts du Cirque (Brussels, Belgium)

Three years of higher education. Belgium is one of the richest contemporary circus ecosystems in Europe, with a tradition of generous public funding and a highly active network of venues and festivals. ESAC is widely recognised and works across a broad range of disciplines: acrobatics, juggling, equilibristics, trapeze, clown. An excellent environment for anyone seeking high-level training and connections to the Flemish and Francophone circuits.

Circomedia (Bristol, United Kingdom)

The reference circus school in the UK, and the most accessible option for native English speakers or those targeting the Anglophone market. It offers two- and three-year programmes, embedded in Bristol’s cultural life, with strong connections to the British performing arts circuit and the English-language street arts festival scene.

DOCH — Stockholm University of the Arts (Stockholm, Sweden)

The DOCH circus programme is the Scandinavian reference. Based at Stockholm University of the Arts, it combines a contemporary artistic perspective with a research vocation. Teaching is conducted in Swedish and English, and the programme connects directly to the Nordic circuit — one of the most active in Europe for contemporary creation.

ACAPA — Academie voor Circus en Performance Art (Tilburg, Netherlands)

A four-year Bachelor programme. Excellent for circus and performance disciplines. The contact network with the Dutch and Belgian markets is very strong, and the programme integrates circus with other performing arts in a way that is uncommon in other European schools.

Regional schools in France

France has a very rich network of regional schools — in Toulouse, Bordeaux, Montpellier and Nantes, among others — offering training that feeds into the national schools. They are often the entry point into the French professional training system for candidates who do not yet have the level required for the large national schools.

The European network: FEDEC

FEDEC — Fédération Européenne des Écoles de Cirque Professionnel is the network that brings together Europe’s professional circus schools. Its directory lists all recognised schools with their programmes, durations and access criteria. It is the starting point for any serious research into where to study and which profile best fits a given career path.

How to apply

Auditions for the major schools (CNAC, ESAC, Circomedia) typically take place between October and February for programmes starting in autumn. The standard process includes:

  • Audition video (3 to 5 minutes of performance in the main discipline)
  • Artistic motivation letter
  • In-person audition at the school (or, in some cases, at a decentralised location)
  • Artistic interview with the teaching faculty

The implicit prerequisite is clear: higher-level schools expect candidates with solid mastery of one discipline — acrobatics, trapeze, juggling, clown, equilibristics — and, in many cases, real performance experience. Prior technical training at a school like Carampa, or through a community circus club, is the norm, not the exception.

Grants and funding

Studying at CNAC or ESAC comes with significant costs for international students: living expenses, rent in Châlons-en-Champagne or Brussels, and tuition fees. Some resources worth exploring:

  • Erasmus+ grants for mobility in higher artistic education, if the home institution is recognised within the programme.
  • National and regional arts councils in your country may have mobility grants for professional training abroad — worth checking with your local arts funding body.
  • Each school’s own grants: CNAC and ESAC have them — competitive, but real. Check each school’s website well in advance, as deadlines don’t always align with audition timelines.

The funding landscape for higher artistic education in Europe is complex and varies greatly by country. The recommendation is to contact the schools you’re interested in directly to understand the actual cost and available support for international students.

Ressona supports circus artists and companies in building the professional materials that programmers need: EPK, website and presence in distribution circuits. If you’re at a professional turning point — finishing a training, launching a company, trying to enter the festival circuit — get in touch.

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