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Voici la splendide publication de l’exposition « Place au cirque! » présentée du 13 octobre 2021 au 6 mars 2022 au Musée Pointe-à-Callière qui propose une fabuleuse aventure à travers l’histoire des arts du cirque d’hier et d’aujourd’hui au Québec. Cette passionnante incursion dévoile page après page un sensible hommage aux familles et compagnies de cirque qui ont bâti les esthétiques uniques des arts du cirque québécois qui a conquis les cœurs des spectateurs à travers le monde.

Propos d'artistes recueillis au fil des mois, parfois avec des correspondants du bout du monde, un vaisseau de joie est avant tout une suite de témoignages émouvants, touchants, mais aussi passionnants pour ce qu'ils révèlent des mystères de la création, du sens de l'acrobatie aujourd'hui et... des méfaits du trac de participer à l'un des plus formidables évènements artistiques de l'année!

Un vaisseau de joie donne la parole à des artistes issus des sélections des dix dernières années du Festival Mondial du Cirque de Demain. Ils se confient avec sincérité, enthousiasme et courage et soulignent leur volonté de se mettre en danger, qu'il soit métaphorique ou bien réel. Ils parlent du danger de se blesser, de ne pas faire rire, de laisser s'échapper une balle, mais ils évoquent aussi celui de ne pas être aimés, peut-être le pire de tous...

Un vaisseau de joie reflète également les émotions de celles et ceux qui les admirent, les font briller, les accompagnent dans leurs carrières et les soutiennent en leur donnant, au propre comme au figuré, la vie. [résumé de l'éditeur]

"¡Señores y señoras!, ¡Damas y caballeros! ¡El mayor espectáculo del mundo ha llegado a su ciudad! Estas palabras son el preámbulo de la aparición de algo mágico, que despierta nuestro más tierno recuerdo. Existen pocas disciplinas que susciten en el espectador sentimientos tan universales como los de la risa, la admiración, la angustia, el suspenso, la alegría, el asombro, el miedo, el romance, la luz o la oscuridad. Todo eso... es el circo. Al igual que la música, la pintura o el teatro, el espectáculo circense surge de una necesidad de expresión del ser humano que trasciende los límites, explora el riesgo, la superación personal y las emociones.

Philip Astley first pegged out his circular 'ride' on the banks of the Thames in 1768 and so laid down the foundations of the modern circus. Performing feats of trick riding with his wife Patty Jones, little did he realise that before long women would become a dominant force in the circus. Sawdust Sisterhood explores how the circus empowered women and gave them the opportunity to compete and succeed as performers in their own right in an otherwise masculine world. Drawing upon historical news reports and contemporary interviews, the book explores the lives of female circus performers and focuses upon several of the more well-known artistes from across two centuries of circus, including; Madame Saqui, the renowned French wire-walker of the early nineteenth century; Nellie Chapman, the Victorian 'Lion Queen' of Wombwells's Menagerie and Circus; and Katie Brumbach, otherwise known as Sandwina, perhaps the most famous Strongwoman of the twentieth century. Sawdust Sisterhood acknowledges the role of the female circus performer across the centuries.

As paragons in heir field, these women became rich, famous and powerful despirte the prevailing sexist attitudes of their time. They often had to overcome undue criticism of their work and censure from those who felt their acts were at best inappropritate and at worst immoral. In performing remarkable, often death-defying physical feats, these women subverted the classic ideals of femininity and undoubtedly contributed to the later sexual revolution.

Sawdust sisterhood explores the journeys of these women and their contributions to the advancement of women's rights. Steve Ward, an expert on the circus, draws together various primary sources. newspaper articles, and feministe scholarship to give a full picture of the pivotal role of women in this medium. He also includes interviews with contemporary female performers and over thirty exquisite images. This is a detailed, personal, and deeply moving account of an often overloocked aspect of the struggle for female emancipation. [Editor's summary]

Rien ne prédestinait Alexandre Romanès à écrire. Dans ce livre, il conte à sa façon, toujours poétique, les innombrables histoires qui donnent vie aux proverbes issus de sa tribu nomade. Il évoque ses rencontres avec des hommes et des femmes d’une grande modestie, mais riches de sentiments. Et avec
des poètes qui deviendront ses amis : Jean Genet, Jean Grosjean, Jean-Marie Kerwich, Christian Bobin et Lydie Dattas, qui lui apprendra à lire. Que peut dire un gitan du peuple qui n’aime pas faire parler de lui et qui ne veut pas laisser de traces ? Pas tout. Mais quand il lève un coin du voile, sa sincérité est totale. [résumé de l'éditeur]

In a career that has spanned over four decades and three continents Johnny Yong, either performing with The Yong Sisters and Brothers, The Yong Brothers and Sister or The Yong Brothers, has been featured under the spotlight with the greatest circuses in the world from Cirque Bouglione to Ringling Brothers, in the world''s most majestic venues from Radio City and Circus Circus to Moulin Rouge and the Casino du Liban, and alongside the most renowned talent from the circus, stage, and screen.[4e de couv.]

After years of being out of print, the story behind "The Greatest Show on Earth" is back for new generations to discover. Through the early twentieth century, the Ringling Brothers created a spectacle like no one had ever seen, and one that still wows audiences to this day. Yet what most people do not know is that events behind the scenes rivaled the excitement and intrigue of the center ring.

Originally published in 1960, and told with remarkable honesty by the nephew of the original Ringling brothers, The Circus Kings remains a clear and unexaggerated telling of what the circus was like for those who lived it.

This pioneering study is one of the major publications in the increasingly popular and largely undocumented area of circus studies. Through photographs and illustrations, Peta Tait presents an extraordinary survey of 140 years of trapeze acts and the socially changing ideas of muscular action in relation to our understanding of gender and sexuality. She questions how spectators see and enjoy aerial actions, and what cultural identities are presented by bodies in fast, physical aerial movement. [editor summary]