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The world of the circus has a long and colourful history, but it was with a man named Philip Astley that the 'modern' circus was founded. It was 250 years ago, in April 1768, that Astley pegged out a circular ride on the banks of the Thames and gave performances of trick riding to a paying audeince. Trick riding was nothing new, so what made Astley so popular? He was an accomplished horseman, a military hero and an instincitve showman. Above all, he was an entrepreneur who realized that people would pay good money to be entertained--and to be entertained well. He created the comic character of Billy Buttons, and other acts were added to his performances: clowns, rope dancers, tumblers, and strongmen. The circus, as we might recognize it today, was born. _Father of the Modern Circus-- 'Billy Buttons'_ investigates the life and times of this veritable giant of the circus world. From his early days as an apprentice cabinetmaker and his military exploits in the 15th Dragoons to the trials and tribulations of establishing himself as a respected performer and his international successes in France and Ireland, this book gives a detailed account of the larger than life figure that was Philip Astley. [editor summary]

In this fascinating and carefully researched book, Dominique Jando tells us when, why and how the former sergeant-major of a British Hussars regiment created the most universal form of entertainment, the Circus. It was not a chance occurrence: the place, the times and the social context, all led to this pivotal moment. Philip Astley became England's greatest showman, but if he was indeed a visionary, he was not a lone experimentalist: immediately, other equestrians followed his example and participated in the development and expansion of the circus in Europe and the Americas. This is the story, too, of these extraordinary and colorful pioneers who were Astley's contemporaries, whether pupils, competitors or colleagues: Charles Hughes, John Bill Ricketts, Philip Lailson, Antonio Franconi and a few others-including Astley's own son, John Conway Astley. Relying in large part on their contemporaries' testimony, Dominique Jando places these pioneers back in their historical and social context, as well as in the often-overlooked context of the nascent show business of the late eighteenth century-principally in Great Britain, but also in Europe and in America. [editor summary]

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]

Chacun possède sa propre vision du cirque, un univers aux richesses insoupçonnées et en constante évolution. Cet ouvrage en propose une histoire abondamment illustrée, de ses origines saltimbanques à ses formes les plus contemporaines.

Au fil des pages, affiches, dessins, estampes et photographies dévoilent les secrets de chacune des disciplines qui peuplent le grand chapiteau et offrent un voyage planétaire haut en couleurs. Né en Angleterre en 1768, développé en France, il magnifie avant tout le cheval. Entre 1880 et 1930, c’est l’âge d’or du dressage, de la splendeur allemande et du gigantisme américain motivé par le développement du chemin de fer. Viennent ensuite la révolution du cirque soviétique, la puissance d’évocation du théâtre acrobatique chinois, et le renouveau du cirque avec les écoles françaises, belges ou canadiennes.

Un ouvrage complet pour retrouver son âme d’enfant. [résumé de l'éditeur]

Beneath the Big Top is a social history of the circus, from its ancient roots to the rise of the 'modern' tented travelling shows. A performer and founder of a circus group, Steve Ward draws on eye-witness accounts and contemporary interviews to explore the triumphs and disasters of the circus world. He reveals the stories beneath the big top during the golden age of the circus and the lives of circus folk, which were equally colourful outside the ring : - Pablo Fanque, Britain's first black circus proprietor; - The Chipperfield dynasty, who started out in 1684 on the frozen Thames; - Katie Sandwina, world's strongest woman and part time crime-fighter; - The Sylvain brothers, who fell in love with the same woman in the ring [editor summary]

This is the story of one of the most famous and popular entrepreneurs of the 18th Century - a man dubbed "the father of the modern circus". Philip Astley was a teenager who yearned for adventure and above all who wanted to work with horses. He served in the British Army in the Seven Years War, learning how to train horses for battle, and then left to find his fortune in London giving riding lessons and putting on exhibitions of trick riding. In doing so he came up with a formula for entertaining thousands, with his demonstrations of clowning on horseback, juggling, rope walking and acrobatics. He dazzled with fireworks, he impressed with colour and he amazed his audiences with re-enactments of battles and sieges. In doing so he launched the modern circus, building circus premises across Europe and inspiring others to follow the trail which he blazed. It is a story of courage and resilience, and of how one man, in the right place at the right time, achieved a remarkable success in the field of popular entertainment. [editor summary]

At the turn of the 20th century, the circus was the most popular form of American entertainment, and New York City was the hub of circus-related activity. Featuring superb archival photography, this book documents a wide variety of ephemera, images, and artifacts relating to the history of the circus in the city, from the seminal equestrian displays of the 18th century to the iconic railroad circuses of the late 19th century. Matthew Wittmann offers a thorough history of the circus in New York City, including stories of P. T. Barnum's triumphant entry into the circus business, the famous dwarf General Tom Thumb, and Jumbo, the African elephant that touched off a craze known as "Jumbomania." The histories of the Ringling Bros. and Barnum & Bailey Circus, the WPA Circus of the Great Depression, and the Big Apple Circus are testaments to the enduring popularity of this American pastime.

This intriguing work chronicles the history of the American circus from its roots in England through its importation to America to the end of the nineteenth century. It introduces the early pioneers of the circus, addresses business concerns such as management and training, and discusses the development of the show itself, including the incorporation of menageries, the need for animal training and care, the addition of circus music, the use of the tent, and the unique attractions of side shows and "freaks." Personal stories of those who made their lives under the "big top" are woven throughout the narrative, adding an intimate perspective to one of America’s most enduring entertainments. [editor summary]

Este libro recupera para México la historia de su arte escénico circense con una gran precisión histórica, ricamente contextualizado dentro de la historia del circo mundial y entre personajes y políticos mexicanos importantes en las diversas épocas en las que nos introduce. Por su contenido y manera de abordar el tema, es un libro completamente original y pionero en su tipo.

Publicado por CONACULTA y Escenología, A.C., La Fabulosa Historia del Circo en México es una investigación de 511 páginas y 848 imágenes que recobra con detalle los últimos 200 años de la historia circense de México, precisando fechas, programas, empresas y artistas tanto nacionales como extranjeros que nos han visitado desde 1791. Su autor, el Lic. Julio Revolledo Cárdenas es egresado de la Facultad de Ciencias Políticas y Sociales de la UNAM, dentro de la especialidad de Relaciones Internacionales, quien ha publicado diversos artículos sobre tópicos políticos y artísticos. Él mismo realizó además una gira circense por todo México y América Latina durante 16 años lo que le ha permitido revelarnos una historia desde adentro mismo del corazón circense.
Este conocimiento es lo que le permite al autor escribir sobre la verdadera historia del circo en México, él mismo es miembro de la quinta generación de una familia tradicional de circo, los hermanos Suárez. Algunos otros historiadores de arte habían pretendido esta investigación, pero sus resultados fueron fragmentarios y superficiales. Con este texto podemos sumergirnos en la vida de todas las familias mexicanas más importantes que a lo largo de dos centurias han contribuido a mantener una tradición espectacular que trasciende más allá de nuestras fronteras. Nos hará reír con las ocurrencias de payasos de la talla de Ricardo Bell, icono de la primera centuria de la historia del circo en México, maravillarnos ante las proezas logradas por los malabares de Rudy Cárdenas, hasta sudar de nervios con los actos de trapecistas legendarios como Codona, Tito Gaona o Miguel Ángel Vázquez, quien fuera el primer hombre en el mundo que realizara un cuádruple salto mortal, y para orgullo de nosotros, todos ellos son mexicanos.

1768, Londres. Philip Astley, militaire fraîchement démobilisé, excellent cavalier, exécute d'étranges voltiges sur le dos d'un cheval lancé au galop. Triomphant sur sa monture, il exprime sa création, un acte simple et pourtant riche de conséquences : il est en train d'inventer le cirque. S'affranchissant de la rectitude du manège, il impose la piste circulaire de treize mètres. Confronté aux inconséquences climatiques des îles britanniques, il couvre son spectacle d'une coupole protectrice et crée le premier cirque stable. Enfin, entre chaque saynète équestre, ce génial inventeur insère exploits acrobatiques, funambulesques ou jonglés et une dimension nouvelle et rapidement indispensable, le comique.
De la naissance du cirque à son déclin vers le milieu du XXe siècle, en passant par son âge d'or au XIXe siècle et jusqu'à son renouveau ces trente dernières années, Pascal Jacob déroule pour nous la fabuleuse histoire du cirque. En piste ! [Résumé de l'éditeur]

This is a monumental history of that universally trancing, international phenomenon-the circus. It is the most complete chronicle of circuses and circus lore ever written in the english language. No reader can fail to be impressed by the scope of its coverage and the vividness of its descriptions. No lover of circus wonders can remain unmoved while reading of the people and performances that illuminated circus life.

The author reveals the origins of circus acts among Greek and Roman acrobats and medieval minstrels, tracing their development through eighteenth-century
fairs where they were combined with displays of horse riding in a circular ring to form a new style of presentation. He then follows the evolution of circuses during the nineteenth century, showing how novel acts and exhibitions of animal training were introduced to produce the circus we know today.

Mr. Speaight demonstrates the special way in which the circus grew in the United States, where three-ring circuses were transported over vast distances by railroad; and he describes the Golden Age of the circus in Europe, when circus riders ranked with ballet stars in popular esteem. Finally, he provides an up-to-the-minute account of circuses in the world today.

The author's account is based on many years of research in unpublished manuscripts and museum collections, and he reverses some long.held errors of previous writers on the subject. His book contains exhaustive notes and an appendix, listing circus buildings in London, New york and paris, which brings together information never before printed, giving the book great value as a permanent work of reference. [editor summary]

Extract : Marius Kwint “lines . . . addressed to Mr. Astley by a Lady, on seeing his performances” (1785) You at command make brutes obey, Walk, work, or dance, with movement gay. Your horses far excel report, Whose minuet might grace a Court; Their hornpipe quick to music true, They seem as if each step they knew, But all the art and skill’s with you. The monkey, though of race despis’d Unequall’d must by all be priz’d His excellence excites surprise; For e’en with man for fame he vies. The dancing dogs, where Lady Flaunt In chariot plac’d to take a jaunt With flirting airs so perfect seen, She seems to move a fairy queen. The hunting, where the taylors chace, A fox with mirth o’er spreads each face. The modern circus has a rather different form and content from the chariot races of its ancient Roman namesake because it is...