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Circus Dictionary

Stevens, Geoff ; Barrett, Norman ; Toulmin, Vanessa

The modern circus has been around for almost 250 years. It has recently been the subject of a whole variety of writing - children's books, adult novels, thrillers, biographies and autobiographies, modern histories and research, not to mention specialist newspapers and journals, films and television documentaries. The technical words of the circus are therefore reaching a wider audience, among students, especially at the various circus schools, and circus enthusiasts, who wish to understand more about the origins, history or purpose of the technical aspects of what they see and enjoy in the circus ring, or in the case of transport enthusiasts, on the ground. The technical words are largely unchanged, and many easily cross the language barriers. The 'circus slang', however, is dying out rapidly in British circus, and is now spoken only among the old-established circus families, because of the influx of new non-circus-born promoters or entrepreneurs, and of artistes and workers from the former Eastern Bloc countries. This dictionary is an attempt to record and explain those words, at the start of the 21st century, to offer some highlights and to point the reader towards further sources of information.
The modern circus has been around for almost 250 years. It has recently been the subject of a whole variety of writing - children's books, adult novels, thrillers, biographies and autobiographies, modern histories and research, not to mention specialist newspapers and journals, films and television documentaries. The technical words of the circus are therefore reaching a wider audience, among students, especially at the various circus schools, ...


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ARTICLES DE PERIODIQUES

Celebrating 250 years of circus

Toulmin, Vanessa
Early Popular Visual Culture vol.16 n°3, p.231-234, 2019

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ARTICLES DE PERIODIQUES

Black circus performers in victorian britain

Toulmin, Vanessa
Early Popular Visual Culture vol. 16 no. 3, p. 267-289, 2018

The role and importance of Black British artists in the nineteenth-century British circus have yet to be fully explored. By contextualising and bringing together key biographies and material on People of Colour who operated in travelling circuses a wider examination of their contrasting fortunes and experiences can be discussed. The British and American circus tradition traversed different but overlapping histories and should not be seen as one economic and societal concept. The experiences of Black performers in the United Kingdom and Europe were markedly different to those operating in the United States; this research seeks to understand the complex societal changes and contexts that operated on both sides of the Atlantic that influenced the performance context in which African-Americans and Black British performers and those of African descent experienced and aspired to be successful.
The role and importance of Black British artists in the nineteenth-century British circus have yet to be fully explored. By contextualising and bringing together key biographies and material on People of Colour who operated in travelling circuses a wider examination of their contrasting fortunes and experiences can be discussed. The British and American circus tradition traversed different but overlapping histories and should not be seen as one ...

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ARTICLES DE PERIODIQUES

‘My wife to conclude performs the rest’ – Patty Astley the first lady of circus

Toulmin, Vanessa
Early Popular Visual Culture vol.16 n°3, p.290-300 , 2018

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ARTICLES DE PERIODIQUES

‘Bid me discourse, I will enchant thine ear’ : Frank Matcham in Blackpool (1889-1920)

Toulmin, Vanessa
Early Popular Visual Culture vol.12 n°1, p.37-56, 2014

Frank Matcham is one of the most acclaimed theatre architects of the nineteenth- and early twentieth-century British entertainment industry. Although overlooked by critics during his time and for much of the twentieth century, over the past 30 years his buildings have been internationally recognised as masterpieces of spectacle, intimacy and extravagance. The most important of his works occurred during a 30-year association with Blackpool, the largest and most popular Victorian seaside resort in the world, with three of his interiors still surviving. However, despite this Matcham’s work in Blackpool has not received the critical attention it deserves. This article will seek to examine his body of work, both surviving and lost, in the context of Blackpool as an emerging seaside resort at the later end of the nineteenth century. [editor summary]
Frank Matcham is one of the most acclaimed theatre architects of the nineteenth- and early twentieth-century British entertainment industry. Although overlooked by critics during his time and for much of the twentieth century, over the past 30 years his buildings have been internationally recognised as masterpieces of spectacle, intimacy and extravagance. The most important of his works occurred during a 30-year association with Blackpool, the ...

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