Odd symbiosis

The aim of this chapter is to analyse the bizarre symbiosis between parasite and human that led to the creation of the Flea Circus, with a focus on its history and on how practices of exploitation and interdependence changed alongside evolving sociocultural attitudes towards hygiene and human–insect relations. The text includes a reflection on the symbolic representation and use of the figure of the flea in various areas of art and culture, focusing particularly on the European context. The extended analysis is based on found texts, archives, interviews with artists, media representations/reports, and journalistic materials. Pulex irritans, the human flea, entered the world of performance in the 17th century and has performed on the stages of Europe since then, up to and including today. As she can leap dozens of times the length of her body, carrying a weight many times her own, she could become an inconspicuous athlete, an actress drawing her strength from the blood of her host/trainer. She has transcended her physical manifestation to become a symbol of precision and craftsmanship. While one part of her family was busy decimating the human and animal population, spreading deadly typhus and plague, she was pulling golden chariots, with reins of the finest metal, across a miniature stage. Pulex irritans, the human flea, quickly found her place in the circus space, occupying an arena created especially for her, forcing the enthusiastic spectator to be particularly focused and attentive. The flea&s;s entry into the world of performance mixes orders, redefines spaces, and changes the perspective on the human–insect relationship. The status of the performer subversively changes its meaning and place in the ecosystem.