“…(Agostinho, 2017, p. 623) The empty space and the audience's affectation (or lack thereof) creates possibilities for the show to metamorphose according to projects, preferences, objectives, identities, the number of artists, and the circus's size, as well as the presence of artists who are "ready for anything" in the crews. Agostinho (2017) reminds us that such possibilities are limited but interchangeable, and imply the exclusion, substitution, or adaptation of an element of the everyday life of that social group, whether the group is a circus, an NGO, a private or public organization, etc. Here, the fact that the artists are "ready for anything" denotes a demand for adaptation, which is admittedly a form of improvisation.…”