Auteurs : Hamon-Siréjols, Christine (Auteur)

Éditeur : Théâtre Aujourd'hui

Date de publication : 1998

Langue : Français

Description : Théâtre Aujourd'hui, n° 7 : p. 98-106, ill. coul.

Notes : Théâtre Aujourd'hui n° 7 : le cirque contemporain, la piste et la scène

Sujets :
Histoire des arts du cirque - 20e siècle
Influence des arts du cirque
Arts du cirque - Philosophie et théorie
Espace scénique au cirque
Cirque - Théâtre

Localisation : Référence

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L'émergence du nouveau cirque : 1968-1998Histoire des artistes (entre autres le Cirque Baroque, le Cirque Plume, Archaos) qui, dans les années 1970 en France, ont renouvellé les arts du cirque. L'auteur analyse les fondements culturels et institutionnels à partir desquels s'instaure, à partir des années 80, la légitimation du nouveau cirque.[4e de couv.]
A history of the circusThis 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The author's account is based on many years of research in unpublished manuscripts and museum collections, and he reverses some long.held errors of previous writers on the subject.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]
Women who fly : aerialists in modernity (1880-1930)Around 1900, Charmion (alias Laverie Vallée) introduced a provocative ‘trapeze disrobing act,’ combined with feats of strength to her audiences in vaudeville theaters in New York. She was one of a wave of female aerialists whose performances quite literally ‘flew’ in the face of Victorian values. Trapeze artists in circuses and in vaudeville theaters, as well as stunt flying aviators showcasing their courage and abilities during local fairs or aerial exhibitions from the 1910s on, indeed pushed the boundaries of what was deemed possible in terms of the human body’s physical capacities while challenging traditional notions of gender, race, class, and sexuality through their unconventional performances. In this study I explore three cases of aerialists who navigated both the demands of managers/spectators for spectacular and titillating acts and their personal aspirations within the confines of the increasingly capitalist entertainment industries in the West between 1880 and 1930. Besides Charmion, my study takes shape around the performances of “Barbette” or Vander Clyde who took Parisian theaters by storm with an amalgamation of trapeze artistry and female impersonation in interwar France; and Bessie Coleman, the first African American woman to gain a pilot license and to set up her own flying shows throughout the United States in the 1920s. For each case study I conducted exhaustive archival searches and analysed relevant newspaper articles, magazines, show reviews, photographs and silent film. I draw on Mikhail Bakhtin’s concepts of the carnivalesque and the grotesque, and on Victor Turner’s concept of liminality to illustrate how aerial performances between 1880 and 1930 functioned as sites of creative resistance, opening up possibilities for a rethinking and redefinition of social categories of gender, race, class, and sexuality. I show how the performances of Charmion, Coleman and Barbette simultaneously reflected and challenged the anxieties and optimism of a society forced to revisit traditional beliefs regarding the gendered/racialized/classed/sexualized body. In demonstrating how these performers helped question modernizing beliefs regarding the human body’s capacities, and the female body’s physical abilities and appearance in particular, I argue they suggested new types of embodied agency for both women and men at the time. [editor summary]
Inside the changing circus : a critic's guideStep right up to this eye-opening account of how circuses are scouted, produced, directed and ballyhooed — and forever reinventing themselves. Covering them all, from Big Apple Circus and Cirque du Soleil to the bottom feeder big tops, the author’s unflinching candor and rich historical grasp may change forever how you view and experience the great spangled parade! [editor summary]
Memento n° 4 : Histoires de cirque aux XIXéme et XXéme siècles
Une histoire du cirqueChacun 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]

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