Auteurs : Jacob, Pascal (Costumier) ; Ringling Bros. and Barnum & Bailey Circus (Producteur)

Date de publication : 1995

Description : 1 oeuvre d'art originale : crayon sur (2) feuilles ; 28 x 31 cm-21 x 30 cm.

Notes : 2 feuilles qui sont juxtaposées ensemble pour faire un seul dessin

Sujets :
Ringling Bros. and Barnum & Bailey Circus [compagnie de cirque]
Airiana [spectacle de cirque]
Compagnies de cirque - États-Unis
Costumes de cirque

Collection : Collection Pascal Jacob

Localisation : Affiches

Cote : RIN-38

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Clown AlleyThrough his own experience as performer and educator, and with vivid protraits of clowns ranging from such old-time masters of buffoonery as Otto Griebling and Lou Jacobs, down to the brand-new clowns ("joeys") joining the circus today, Ballantine takes us into the hearts and minds of clowns, while showing us how dramatically the American circus has changed since its days under canvas. Star-spangled with backstage anecdotes and rich in sawdust-and-greasepaint atmosphere, Clown Alley is a salty and affectionate memoir sure to delight the circus fan in all of us. [editor summary]
Those amazing Ringlings and their Circus
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The American circusThe circus is a source of nostalgia for Americans of all ages, either from memories of attending P. T. Barnum's "Greatest Show on Earth," or through the colorful evocations in many movies, television programs, and books. Interest in the circus phenomenon is unflagging, yet there have been few publications that look closely at how the circus's European origins were refashioned for an American audience. Lavishly illustrated and carefully researched, this volume explores how American culture, values, demography, and business practices altered the fundamental nature of the European circus, and how, by the end of the 19th century, they had transformed it into a distinctly American pastime.

At the peak of its cultural significance, the circus was a sophisticated combination of theater and business, and made effective use of advertising, train travel, and hyperbole. The subjects in The American Circus reflect this complexity, ranging widely from thematic explorations of circus music and elephants to more closely focused studies of objects such as circus toys, souvenirs, and performers' costumes. The book also explores the dark and even nefarious side of the circus, and its associations with marginalized dimensions of American life and culture. With contributions from leading scholars, this stylishly designed volume aims to identify the salient features of an Americanized cultural product and to analyze its appeal for American audiences.
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Circus life : performing and laboring under America's big top shows, 1830-1920The nineteenth century saw the American circus move from a reviled and rejected form of entertainment to the “Greatest Show on Earth.” Circus Life by Micah D. Childress looks at this transition from the perspective of the people who owned and worked in circuses and how they responded to the new incentives that rapid industrialization made possible.
The circus has long been a subject of fascination for many, as evidenced by the millions of Americans that have attended circus performances over many decades since 1870, when the circus established itself as a truly unique entertainment enterprise. Yet the few analyses of the circus that do exist have only examined the circus as its own closed microcosm—the “circus family.” Circus Life, on the other hand, places circus employees in the larger context of the history of US workers and corporate America. Focusing on the circus as a business-entertainment venture, Childress pushes the scholarship on circuses to new depths, examining the performers, managers, and laborers’ lives and how the circus evolved as it grew in popularity over time. Beginning with circuses in the antebellum era, Childress examines changes in circuses as gender balances shifted, industrialization influenced the nature of shows, and customers and crowds became increasingly more middle-class.
As a study in sport and social history, Childress’s account demonstrates how the itinerant nature of the circus drew specific types of workers and performers, and how the circus was internally in constant upheaval due to the changing profile of its patrons and a changing economy. [editor summary]

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