SHRINE CIRCUS PROMOTIONAL MATERIAL Circus Carnival Sideshow Photos vintage

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Seller: memorabilia111 ✉️ (808) 100%, Location: Ann Arbor, Michigan, US, Ships to: US & many other countries, Item: 176277815898 SHRINE CIRCUS PROMOTIONAL MATERIAL Circus Carnival Sideshow Photos vintage. A PRESS RELEASE KIT FOR MOSLEM TEMPLE SHRINE CIRCUS STATE FAIR COLISEUM WITH MANY 8X10 INCH PHOTOS BELINDA MAYNARD AMANDIS THE NEVERLESS NOCKS CLOWNS TARZAN ZERBINI CIRCUS FRANCONI DUO THE CENTRONS SUGAR & SPICE AMERICA'S FAVORITE DOG CATCHER THE GREAT WALLENDAS DUO APOLLO THE LIVING STATUE BEAR ON CYCLES LION TAMER BOBBY MOORE'S PERFORMING ELEPHANTS JOSEPH DOMINIC BAUER RINGMASTER JOSEPH DOMINIC BAUER AND HIS GIANT SPACE WHEEL CAPTAIN CIRCUS THE HUMAN CANNONBALL JANETTE RIX AND HER PERFORMING BEARS RIETTA WALLENDA GODDESS OF THE GALAXY BALANCING JUGGLER THE KING CHARLES TROUPE LION TAMER ELEPHANT TAMER CLOWNS TARZAN ZERBINI, LORD OF THE JUNGLE DOLLY JACOBS JOSEPH DOMINIC BAUER AND HIS GIANT SPACE WHEEL CARRILLO BROTHERS MYSTIFYING MOTORCYCLE TROUPE SAMURAI KOMA KURU (TORN) THE FLYING CACERES (TORN) TARZAN ZERBINI, LORD OF THE JUNGLE DOLLY JACOBS JOSEPH DOMINIC BAUER AND HIS GIANT SPACE WHEEL CARRILLO BROTHERS MYSTIFYING MOTORCYCLE TROUPE SAMURAI KOMA KURU THE FLYING CACERES
The Flying Caceres troupe, today headed by George Caceres (as of 2012), was created by Miguel Caceres in 1982 for the 112th Edition of Ringling Bros. and Barnum & Bailey Circus. Born in Paz de Rio, Colombia on December 17, 1952, Miguel Caceres was the second child in a family of six children. His father was a miner, and his mother stayed at home to take care of her large brood. It was not an easy life, and when he was about thirteen years old, Miguel "ran away and joined the circus," as they say. Miguel Caceres Miguel became a flying trapeze artist. His wife, Luz Guttierez, was born in La Dorada, Colombia on February 9, 1954; she was the daughter of a clown, Rafael Guttierez, better known in Colombia as Cocoli. Together, Miguel and Luz went to the United States in 1976 on a contract with the Flying Segreras; at the time, Miguel was the first flyer to present both a triple and a triple-and-a-half somersaults in the same act (a difficult feat, since the difference of tempo between the two tricks can become quite confusing), and within a few months, they were hired by Ringling Bros. and Barnum & Bailey. The Flying Segreras, with Miguel as their main flyer, participated in the International Circus Festival of Monte Carlo in 1977. When Miguel's Flying Caceres own troupe was eventually put together in 1982, its original members were Miguel, Scott Osgood, Laura Rappa, and the catcher John Zimmerman. Later, Miguel's wife, Luz, their son George and their daughter Krizia would be part of the act. In 1983, Miguel Caceres returned to the International Circus Festival of Monte Carlo; his troupe included his son, George, Alix Giutterez, and the catcher Manuel Zuniga. The Flying Caceres performed in the United States with both the Red and Blue units of Ringling Bros. and Barnum & Bailey, at Circus Circus Hotel and Casino (in both Reno and Las Vegas), with the Big Apple Circus for the PBS special, The Pops Join The Circus (on which occasion Dolly Jacobs joined the act), and with Bentley Bros. Circus, the Royal Hanneford Circus, Tarzan Zerbini Circus, Hamid Circus Royale, among many others. The Flying Caceres have also been featured abroad with Circo Mundial in Spain, the Monumental Circo do Coliseu do Porto, in Portugal, Circo Atayde Hnos. in Mexico, and Circo Moscu in the Dominican Republic. They have participated in several circus festivals, including the Festival International du Cirque de Grenoble (France) in 2006—where George Caceres debuted his new "double-decker" Flying Caceres act, which mixes traditional flying (from trapeze to catcher) with the original form, flying from trapeze to trapeze—both styles being performed on two superposed levels. Enter George Caceres George Caceres took over the destiny of The Flying Caceres in 2006, two years after his father retired from performing (he went on to train other flyers). Born in Brooklyn, New York, on January 9, 1978, George began training on the flying trapeze at the age of four. One year later, in 1983, he was the youngest flying trapeze artist ever to participate in the International Circus Festival of Monte Carlo, and at the age of ten, he became one of the youngest flyers ever to catch a triple somersault. Before re-forming The Flying Caceres, George performed with different troupes and circuses around the world—notably with the French all-aerial show Les Arts-Sauts in Australia, Pop Circus in Japan, the Hippodrome in Great Yarmouth, England, and the Big Apple Circus in 2001, where he was part of The Jokers troupe. Then George built up his original and spectacular new act with his sister Krizia Carr, Elena Egorova, Colby Balch, and expert wire-walker Walter Guerrero, who helped him design the apparatus. The new Flying Caceres became the featured attraction of the 140th edition of Ringling Bros. and Barnum & Bailey Circus in 2010, with a troupe that included Tara Ogren, Erica Hause, Jessica Togni, Colby Balch, Ingrid Silva, and quadruple somersaulter Ivo Silva, Jr. Dolly Jacobs was born to a circus family: her father, the celebrated clown Lou Jacobs (1903-1992), was for decades associated with Ringling Bros. and Barnum & Bailey, where he performed from 1925 to 1985. Her mother was born Jean Rockwell. An adventurous woman, she was a photographer, a published writer, a model and cover girl, and even held a pilot's license—all this at a time when women were supposedly destined to become homemakers regardless of their own inclinations. In 1948, Jean ran away and joined the circus. She became a showgirl with the Ringling Bros. This was still the era of the giant traveling big tops and circus trains, and the job not only meant dancing, but also riding elephants, parading in elaborate costumes, and participating in ensemble aerial presentations. Jean's circus career was short-lived. On May 5, 1948, a few days after her debut at Madison Square Garden, she fell from an aerial revolving ladder while working in the aerial ballet. Lou Jacobs visited the beautiful aerialist in the hospital as often as he could. When Jean recovered, they married. They had two daughters, Lou Ann and Dolly Jean. Born in Sarasota, Florida, winter home of Ringling Bros. and Barnum & Bailey until 1958, Dolly, like many other circus children in the area, began training at Sailor's Circus, the Sarasota High School's youth circus. After graduating from Sarasota High, she followed in her mother's footsteps and, at age thirteen, joined the Ringling show's battalion of showgirls, which allowed her to be near her father. From Showgirl To Star Aerialist While in the show, Dolly began developing an act of her own. She first tried the tight wire, but preferred the freedom of aerial work and eventually decided on an aerial act. Her godmother, Margie Geiger, came to help. Margie was married to Joe Geiger, a member of the original Wallendas, and she was herself a former aerialist who had enjoyed a brilliant career in North America with a Roman Rings act, which was partially performed in full swing: It was something rarely seen in Roman Rings acts, which were usually performed in a static version. ]After attempting to develop a trapeze act for Dolly, Margie took her old rings from their box and, during the summer of 1976, in three hot months of unrelenting work, the two women managed to create a presentable first version of Dolly's Roman Rings act—just in time to audition for Ringling Brother's new show. Dolly's act was accepted, and she debuted it in the 1976 edition of The Greatest Show On Earth. At first, of course, Dolly's was just another act in a show that, at the time, featured dozens of acts. But she had all the qualities of a circus star: a hardworking perfectionist, she had ambition and a keen artistic sense, and she never took no for an answer. Moreover, she was strikingly beautiful and had a charismatic personality. In 1977, Irvin Feld sent her to the International Circus Festival of Monte-Carlo. Dolly came back with the coveted Dame du Cirque award. Even so, she felt she had gone there unprepared, and decided to return to Monaco one day with an act that could win the highest awards of the Festival—a Gold or a Silver Clown. For the next two years, Dolly worked on fine-tuning her act. She also trained on the flying trapeze with Armando Farfan, whose act, the Flying Farfans, was one of the show's highlights. This came in handy when Joe Geiger thought of an idea for Dolly's finale: he had seen an aerialist, Frank Sheppard, who, at the end of his act, jumped from his trapeze to catch a vertical rope. Even though Sheppard actually killed himself doing this trick (his rope's attachment broke one day under the shock of his catch), Dolly thought it was worth a try. She began practicing Sheppard's trick with the help of high-wire walker Pedro Carillo and bear trainer Wally Naghtin. The first step was to find the right distance between her release point and the rope. Then she improved on Sheppard's flight by transforming it into a layout somersault instead of a straight flight. She presented her new act in 1979 to Irvin Feld, who gave her a solo spot above the center ring in the new production of The Greatest Show On Earth. Dolly Jacobs was an immediate sensation: a star was born. Silver Clown and Circus Sarasota Dolly Jacobs & Pedro Reis at Circus Sarasota In 1984, Dolly left Ringling and joined the Big Apple Circus, with which she performed until 1985, and again in 1987 and 1988. She then returned to the International Circus festival of Monte Carlo. This time, she won a Silver Clown. Dolly met South African aerialist Pedro Reis when he joined the Ringling show in 1984 with his aerial act, The Survivors. They were smitten with each other. Although they worked in different shows, they managed to develop a strong bond. In 1990, Pedro, who was then featured at the Big Apple Circus as a solo performer with a Cloud Swing act, proposed to Dolly. It was July 4. Two days later, he had an accident that grounded him for a long time. The marriage was put off for a startling length of time—until October 26, 2007. Meanwhile, in 1994, after Pedro had fully recovered, he and Dolly began performing an aerial duet together, titled On Wings Of Love. Then, in 1997, Dolly and Pedro created Circus Sarasota, a non-profit organization devoted to teaching circus arts and celebrating Sarasota's rich circus heritage through high-quality circus performances. In spite of its short winter season, Circus Sarasota has become one of the most respected circuses in the United States, and Dolly appears regularly in its shows. In 2010, Circus Sarasota inherited Sarasota's very own Sailor Circus, one of the oldest and most successful youth circuses in the US, created in 1948. In 2013, Pedro and Dolly renamed their organization "The Circus Arts Consevatory", thus embracing all its activities: performance, circus education, and various outreach activities. Rightly considered one of the brightest stars of the American circus, Dolly Jacobs was honored in 1997 by a plaque on the Circus Ring of Fame at St. Armands Circle in Sarasota. The following year, she was honored by Sarasota's John and Mable Ringling Museum of Art. In 2015, she was awarded a National Heritage Fellowship by the National Endowment for the Arts. We welcome renowned Ringmaster, Joseph Bauer, Jr. back to the center ring to introduce a cast of incredible circus artists!  A star of Bauer’s Circus Maximus and a 15th generation member of one of Switzerland’s oldest circus families, Bauer has his roots embedded in the circus arts.  His father came to the United States to perform in 1954, and since then, he and his illustrious Swiss family have called Sarasota home. Bauer began performing at a young age when he joined the family daredevil act, The Fabulous Fearless Bauers. In his early teens, he was featured in a number of thrilling acts including the motorcycle on the incline wire, skywalks on the high wire, the death-defying 90 foot swaypole and the challenging, 50-foot whirling Wheel of Destiny. The multi-talented Bauer is not only known for his death-defying bravery, but also for his elegance and prodigious skills as a Ringmaster.  His accomplishments have taken him around the world to many notable circus venues, as well as in numerous TV appearances and competitions. And now, Joseph Bauer, Jr. once again presents artists to thrill and delight “Children of All Ages” in our show to benefit the circus arts. A circus is a company of performers who put on diverse entertainment shows that may include clowns, acrobats, trained animals, trapeze acts, musicians, dancers, hoopers, tightrope walkers, jugglers, magicians, ventriloquists, unicyclists, as well as other object manipulation and stunt-oriented artists. The term circus also describes the performance which has followed various formats through its 250-year modern history. Although not the inventor of the medium, Philip Astley is credited as the father of the modern circus. In 1768, Astley, a skilled equestrian, began performing exhibitions of trick horse riding in an open field called Ha'Penny Hatch on the south side of the Thames River.[1] In 1770, he hired acrobats, tightrope walkers, jugglers and a clown to fill in the pauses between the equestrian demonstrations and thus chanced on the format which was later named a "circus". Performances developed significantly over the next fifty years, with large-scale theatrical battle reenactments becoming a significant feature. The traditional format, in which a ringmaster introduces a variety of choreographed acts set to music, developed in the latter part of the 19th century and remained the dominant format until the 1970s. As styles of performance have developed since the time of Astley, so too have the types of venues where these circuses have performed. The earliest modern circuses were performed in open-air structures with limited covered seating. From the late 18th to late 19th century, custom-made circus buildings (often wooden) were built with various types of seating, a centre ring, and sometimes a stage. The traditional large tents commonly known as "big tops" were introduced in the mid-19th century as touring circuses superseded static venues. These tents eventually became the most common venue. Contemporary circuses perform in a variety of venues including tents, theatres and casinos. Many circus performances are still held in a ring, usually 13 m (42 ft) in diameter. This dimension was adopted by Astley in the late 18th century as the minimum diameter that enabled an acrobatic horse rider to stand upright on a cantering horse to perform their tricks. Contemporary circus has been credited with a revival of the circus tradition since the late 1970s, when a number of groups began to experiment with new circus formats and aesthetics, typically avoiding the use of animals to focus exclusively on human artistry. Circuses within the movement have tended to favour a theatrical approach, combining character-driven circus acts with original music in a broad variety of styles to convey complex themes or stories. Contemporary circus continues to develop new variations on the circus tradition while absorbing new skills, techniques, and stylistic influences from other performing arts. Contents 1 Etymology 2 History 2.1 Origin 2.2 Modern format 2.2.1 Astley and early British circus 2.2.2 Ricketts and the first American circus 2.2.3 Expansion of the American format 2.2.4 Touring 2.2.5 Russia 2.2.6 China 2.3 Contemporary circus 3 Performance 3.1 Acts 3.2 Animal acts 3.2.1 Controversy and laws 3.2.2 United States 3.2.3 England 3.2.4 Wales 3.2.5 Scotland 3.2.6 Worldwide 4 Buildings 5 International awards 6 In art, music, films, plays and books 7 See also 8 Notes 9 References 10 Further reading 11 External links Etymology First attested in English 14th century, the word circus derives from Latin circus,[2] which is the romanization of the Greek κίρκος (kirkos), itself a metathesis of the Homeric Greek κρίκος (krikos), meaning "circle" or "ring".[3] In the book De Spectaculis early Christian writer Tertullian claimed that the first circus games were staged by the goddess Circe in honour of her father Helios, the Sun God.[4] History Sells Brothers Circus with Great Danes File:1954 Episode of the TV series "Super Circus".ogv Video of a circus from 1954. The modern and commonly held idea of a circus is of a Big Top with various acts providing entertainment therein. However, the history of circuses is more complex, with historians disagreeing on its origin, as well as revisions being done about the history due to the changing nature of historical research, and the ongoing circus phenomenon. For many, circus history begins with Englishman Philip Astley, while for others its origins go back much further—to Roman times. Origin In Ancient Rome, the circus was a building for the exhibition of horse and chariot races, equestrian shows, staged battles, gladiatorial combat, and displays of (and fights with) trained animals. The circuses of Rome were similar to the ancient Greek hippodromes, although circuses served varying purposes and differed in design and construction, and for events that involved re-enactments of naval battles, the circus was flooded with water. The Roman circus buildings were, however, not circular but rectangular with semi circular ends. The lower seats were reserved for persons of rank; there were also various state boxes for the giver of the games and his friends. The circus was the only public spectacle at which men and women were not separated. Some circus historians such as George Speaight have stated "these performances may have taken place in the great arenas that were called 'circuses' by the Romans, but it is a mistake to equate these places, or the entertainments presented there, with the modern circus" [5] Others have argued that the lineage of the circus does go back to the Roman circuses and a chronology of circus-related entertainment can be traced to Roman times, continued by the Hippodrome of Constantinople that operated until the 13th century, through medieval and renaissance jesters, minstrels and troubadours to the late 18th century and the time of Astley.[6][7] The first circus in the city of Rome was the Circus Maximus, in the valley between the Palatine and Aventine hills. It was constructed during the monarchy and, at first, built completely from wood. After being rebuilt several times, the final version of the Circus Maximus could seat 250,000 people; it was built of stone and measured 400m in length and 90m in width.[8] Next in importance were the Circus Flaminius and the Circus Neronis, from the notoriety which it obtained through the Circensian pleasures of Nero. A fourth circus was constructed by Maxentius; its ruins have helped archaeologists reconstruct the Roman circus. For some time after the fall of Rome, large circus buildings fell out of use as centres of mass entertainment. Instead, itinerant performers, animal trainers, and showmen travelled between towns throughout Europe, performing at local fairs. Modern format This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Find sources: "Circus" – news · newspapers · books · scholar · JSTOR (April 2018) (Learn how and when to remove this template message) Astley and early British circus Astley's Amphitheatre in London, c.1808 The origin of the modern circus has been attributed to Philip Astley, who was born 1742 in Newcastle-under-Lyme, England. He became a cavalry officer who set up the first modern amphitheatre for the display of horse riding tricks in Lambeth, London, on 4 April 1768.[9][10][11] Astley did not originate trick horse riding, nor was he first to introduce acts such as acrobats and clowns to the English public, but he was the first to create a space where all these acts were brought together to perform a show.[12] Astley rode in a circle rather than a straight line as his rivals did, and thus chanced on the format of performing in a circle.[13] Astley performed stunts in a 42 ft diameter ring, which is the standard size used by circuses ever since.[12] Astley referred to the performance arena as a circle and the building as an amphitheatre; these would later be known as a circus.[14] In 1770, Astley hired acrobats, tightrope walkers, jugglers, and a clown to fill in the pauses between acts.[12] Astley was followed by Andrew Ducrow, whose feats of horsemanship had much to do with establishing the traditions of the circus, which were perpetuated by Hengler's and Sanger's celebrated shows in a later generation. In England circuses were often held in purpose-built buildings in large cities, such as the London Hippodrome, which was built as a combination of the circus, the menagerie, and the variety theatre, where wild animals such as lions and elephants from time to time appeared in the ring, and where convulsions of nature such as floods, earthquakes, and volcanic eruptions have been produced with an extraordinary wealth of realistic display. Joseph Grimaldi, the first mainstream clown, had his first major role as Little Clown in the pantomime The Triumph of Mirth; or, Harlequin's Wedding in 1781.[15] The Royal Circus was opened in London on 4 November 1782 by Charles Dibdin (who coined the term "circus"),[16] aided by his partner Charles Hughes, an equestrian performer.[17] In 1782, Astley established the Amphithéâtre Anglais in Paris, the first purpose-built circus in France, followed by 18 other permanent circuses in cities throughout Europe.[18][19] Astley leased his Parisian circus to the Italian Antonio Franconi in 1793.[20] In 1826, the first circus took place under a canvas big top.[21] Trapeze artists, in lithograph by Calvert Litho. Co., 1890 Ricketts and the first American circus The Englishman John Bill Ricketts brought the first modern circus to the United States. He began his theatrical career with Hughes Royal Circus in London in the 1780s, and travelled from England in 1792 to establish his first circus in Philadelphia. The first circus building in the US opened on 3 April 1793 in Philadelphia, where Ricketts gave America's first complete circus performance.[22][23] George Washington attended a performance there later that season.[24] Expansion of the American format In the Americas during the first two decades of the 19th century, the Circus of Pepin and Breschard toured from Montreal to Havana, building circus theatres in many of the cities it visited. Victor Pépin, a native New Yorker,[25] was the first American to operate a major circus in the United States.[26] Later the establishments of Purdy, Welch & Co., and of van Amburgh gave a wider popularity to the circus in the United States. In 1825, Joshuah Purdy Brown was the first circus owner to use a large canvas tent for the circus performance. Circus pioneer Dan Rice was the most famous pre-Civil War circus clown,[27] popularizing such expressions as "The One-Horse Show" and "Hey, Rube!". The American circus was revolutionized by P. T. Barnum and William Cameron Coup, who launched the travelling P. T. Barnum's Museum, Menagerie & Circus, the first freak show. Coup also introduced the first multiple-ring circuses, and was also the first circus entrepreneur to use circus trains to transport the circus between towns. Circus parade around tents, in lithograph by Gibson & Co., 1874 Touring In 1838, the equestrian Thomas Taplin Cooke returned to England from the United States, bringing with him a circus tent.[28] At this time, itinerant circuses that could be fitted-up quickly were becoming popular in Britain. William Batty's circus, for example, between 1838 and 1840, travelled from Newcastle to Edinburgh and then to Portsmouth and Southampton. Pablo Fanque, who is noteworthy as Britain's only black circus proprietor and who operated one of the most celebrated travelling circuses in Victorian England, erected temporary structures for his limited engagements or retrofitted existing structures.[29] One such structure in Leeds, which Fanque assumed from a departing circus, collapsed, resulting in minor injuries to many but the death of Fanque's wife.[30][31] Three important circus innovators were the Italian Giuseppe Chiarini, and Frenchmen Louis Soullier and Jacques Tourniaire, whose early travelling circuses introduced the circus to Latin America, Australia, Southeast Asia, China, South Africa, and Russia. Soullier was the first circus owner to introduce Chinese acrobatics to the European circus when he returned from his travels in 1866, and Tourniaire was the first to introduce the performing art to Ranga, where it became extremely popular. Lion tamer, in lithograph by Gibson & Co., 1873 After an 1881 merger with James Anthony Bailey and James L. Hutchinson's circus and Barnum's death in 1891, his circus travelled to Europe as the Barnum & Bailey Greatest Show On Earth, where it toured from 1897 to 1902, impressing other circus owners with its large scale, its touring techniques (including the tent and circus train), and its combination of circus acts, a zoological exhibition, and a freak show. This format was adopted by European circuses at the turn of the 20th century. The influence of the American circus brought about a considerable change in the character of the modern circus. In arenas too large for speech to be easily audible, the traditional comic dialogue of the clown assumed a less prominent place than formerly, while the vastly increased wealth of stage properties relegated to the background the old-fashioned equestrian feats, which were replaced by more ambitious acrobatic performances, and by exhibitions of skill, strength, and daring, requiring the employment of immense numbers of performers, and often of complicated and expensive machinery. Painting by Venezuelan Arturo Michelena, c. 1891, depicting a backstage area at the circus From the late 19th century through the first half of the 20th century, travelling circuses were a major form of spectator entertainment in the US and attracted huge attention whenever they arrived in a city. After World War II, the popularity of the circus declined as new forms of entertainment (such as television) arrived and the public's tastes became more sophisticated. From the 1960s onward, circuses attracted growing criticism from animal rights activists. Many circuses went out of business or were forced to merge with other circus companies. Nonetheless, a good number of travelling circuses are still active in various parts of the world, ranging from small family enterprises to three-ring extravaganzas. Other companies found new ways to draw in the public with innovative new approaches to the circus form itself. Russia In 1919, Lenin, head of Soviet Russia, expressed a wish for the circus to become "the people's art-form", with facilities and status on par with theatre, opera and ballet. The USSR nationalized Russian circuses. In 1927, the State University of Circus and Variety Arts, better known as the Moscow Circus School, was established; performers were trained using methods developed from the Soviet gymnastics program. When the Moscow State Circus company began international tours in the 1950s, its levels of originality and artistic skill were widely applauded. China Circuses from China, drawing on Chinese traditions of acrobatics, like the Chinese State Circus are also popular touring acts. Contemporary circus Main article: Contemporary circus Cirque du Soleil performing Dralion in Vienna, 2004 Contemporary circus (originally known as cirque nouveau) is a performing arts movement that originated in the 1970s in Australia, Canada, France,[32] the West Coast of the United States, and the United Kingdom. Contemporary circus combines traditional circus skills and theatrical techniques to convey a story or theme. Compared with the traditional circus, the contemporary genre of circus tends to focus more attention on the overall aesthetic impact, on character and story development, and on the use of lighting design, original music, and costume design to convey thematic or narrative content. For aesthetic or economic reasons, contemporary circus productions may sometimes be staged in theatres rather than in large outdoor tents. Music used in the production is often composed exclusively for that production, and aesthetic influences are drawn as much from contemporary culture as from circus history. Animal acts rarely appear in contemporary circus, in contrast to traditional circus, where animal acts have often been a significant part of the entertainment. Early pioneers of the contemporary circus genre included: Circus Oz, forged in Australia in 1977 from SoapBox Circus (1976) and New Circus (1973);[33] the Pickle Family Circus, founded in San Francisco in 1975; Ra-Ra Zoo in 1984 in London; Nofit State Circus in 1984 from Wales; Cirque du Soleil, founded in Quebec in 1984; Cirque Plume and Archaos from France in 1984 and 1986 respectively. More recent examples include: Cirque Éloize (founded in Quebec in 1993); Sweden's Cirkus Cirkör (1995); Teatro ZinZanni (founded in Seattle in 1998); the West African Circus Baobab (late 1990s);[34] and Montreal's Les 7 doigts de la main (founded in 2002).[35] The genre includes other circus troupes such as the Vermont-based Circus Smirkus (founded in 1987 by Rob Mermin) and Le Cirque Imaginaire (later renamed Le Cirque Invisible, both founded and directed by Victoria Chaplin, daughter of Charlie Chaplin). The most conspicuous success story in the contemporary genre has been that of Cirque du Soleil, the Canadian circus company whose estimated annual revenue now exceeds US$810 million,[36] and whose cirque nouveau shows have been seen by nearly 90 million spectators in over 200 cities on five continents.[37] Performance Ticket Sale of Sirkus Finlandia in Jyväskylä, Finland Fire breathers risk burns, both internal and external, as well as poisoning in the pursuit of their art. A traditional circus performance is often led by a ringmaster who has a role similar to a Master of Ceremonies. The ringmaster presents performers, speaks to the audience, and generally keeps the show moving. The activity of the circus traditionally takes place within a ring; large circuses may have multiple rings, like the six-ringed Moscow State Circus. A circus often travels with its own band, whose instrumentation in the United States has traditionally included brass instruments, drums, glockenspiel, and sometimes the distinctive sound of the calliope. Acts See also: List of circus skills ‹ The template below (World circus bans) is being considered for deletion. See templates for discussion to help reach a consensus. › vteWorldwide laws on animal use in circuses[38]    Nationwide ban on all animal use in circuses    Partial ban on animal use in circuses1    Ban on the import/export of animals for circuses    No ban on animal use in circuses    Unknown 1certain animals are excluded or the laws vary internally Common acts include a variety of acrobatics, gymnastics (including tumbling and trampoline), aerial acts (such as trapeze, aerial silk, corde lisse), contortion, stilt-walking, and a variety of other routines. Juggling is one of the most common acts in a circus; the combination of juggling and gymnastics is called equilibristics and includes acts like plate spinning and the rolling globe. Acts like these are some of the most common and the most traditional. Clowns are common to most circuses and are typically skilled in many circus acts; "clowns getting into the act" is a very familiar theme in any circus. Famous circus clowns have included Austin Miles, the Fratellini Family, Rusty Russell, Emmett Kelly, Grock, and Bill Irwin. Daredevil stunt acts, freak shows, and sideshow acts are also parts of some circus acts, these activities may include human cannonball, chapeaugraphy, fire eating, breathing, and dancing, knife throwing, magic shows, sword swallowing, or strongman. Famous sideshow performers include Zip the Pinhead and The Doll Family. A popular sideshow attraction from the early 19th century was the flea circus, where fleas were attached to props and viewed through a Fresnel lens. Animal acts Part of a series on Animal rights A paw Overview The Movement Aspects Ideas Related topics Caribou from Wagon Trails.jpg Animals portal vte Female lion tamer and leopard. Elephants from Cole Brothers Circus parade through downtown Los Angeles, 1953 Circus horse act A variety of animals have historically been used in acts. While the types of animals used vary from circus to circus, big cats (namely lions, tigers, and leopards), camels, llamas, elephants, zebras, horses, donkeys, birds (like parrots, doves, and cockatoos), sea lions, bears, monkeys, and domestic animals such as cats and dogs are the most common. The earliest involvement of animals in circus was just the display of exotic creatures in a menagerie. Going as far back as the early eighteenth century, exotic animals were transported to North America for display, and menageries were a popular form of entertainment.[39] The first true animals acts in the circus were equestrian acts. Soon elephants and big cats were displayed as well. Isaac A. Van Amburgh entered a cage with several big cats in 1833, and is generally considered to be the first wild animal trainer in American circus history.[26] Mabel Stark was a famous female tiger-tamer. Controversy and laws Circus baby elephant training Elephant act at a 2009 circus in Pachuca, Hidalgo, Mexico. In December 2014, as a response to reports of animal mistreatment, the Mexican Congress passed a law banning the use of animals in any circus in the country.[40] The law set fines for violations and required circuses to submit lists of the wildlife they possessed, which would then be made available to zoos interested in taking the animals.[40] Animal rights groups have documented many cases of animal cruelty in the training of performing circus animals.[41][42] The animal rights group People for the Ethical Treatment of Animals (PETA) contends that animals in circuses are frequently beaten into submission and that physical abuse has always been the method for training circus animals. It is also alleged that the animals are kept in cages that are too small and are given very little opportunity to walk around outside of their enclosure, thereby violating their right to freedom. United States According to PETA, although the US Animal Welfare Act does not permit any sort of punishment that puts the animals in discomfort,[43] trainers will still go against this law and use such things as electric rods and bullhooks.[44] According to PETA, during an undercover investigation of Carson & Barnes Circus, video footage was captured showing animal care director Tim Frisco training endangered Asian elephants with electrical shock prods and instructing other trainers to "beat the elephants with a bullhook as hard as they can and sink the sharp metal hook into the elephant's flesh and twist it until they scream in pain".[44] On behalf of the Ministry of Agriculture, Nature and Food Quality of the Netherlands, Wageningen University conducted an investigation into the welfare of circus animals in 2008.[45] The following issues, among others, were found: 71% of the observed animals had medical problems. 33% of tigers and lions did not have access to an outdoor enclosure. Lions spend on average 98% of their time indoors. An average enclosure for tigers is only 5 m2. Elephants are shackled in chains for 17 hours a day on average. Elephants spend on average 10 hours a day showing stereotypic behaviour. Tigers are terrified of fire but are still forced to jump through fire rings. Since 1990 there have been over 123 cases of lion attacks at circuses. Animals are trained through discipline.[clarification needed] Based on these findings, the researchers called for more stringent regulation regarding the welfare of circus animals. In 2012, the Dutch government announced a ban on the use of wild circus animals.[46] In testimony in U.S. District Court in 2009, Ringling Bros. and Barnum & Bailey Circus CEO Kenneth Feld acknowledged that circus elephants are struck behind the ears, under the chin and on their legs with metal tipped prods, called bullhooks. Feld stated that these practices are necessary to protect circus workers. Feld also acknowledged that an elephant trainer was reprimanded for using an electric shock device, known as a hot shot or electric prod, on an elephant, which Feld also stated was appropriate practice. Feld denied that any of these practices harm elephants.[47] In its January 2010 verdict on the case, brought against Feld Entertainment International by the American Society for the Prevention of Cruelty to Animals et al., the Court ruled that evidence against the circus company was "not credible with regard to the allegations".[48] In lieu of a USDA hearing, Feld Entertainment Inc. (parent of Ringling Bros.) agreed to pay an unprecedented $270,000 fine for violations of the Animal Welfare Act that allegedly occurred between June 2007 and August 2011.[49] A 14-year litigation against the Ringling Bros. and Barnum & Bailey Circus came to an end in 2014 when The Humane Society of the United States and a number of other animal rights groups paid a $16 million settlement to Feld Entertainment.[50] However, the circus closed in May 2017 after a 146-year run when it experienced a steep decline in ticket sales a year after it discontinued its elephant act and sent its pachyderms to a reserve.[51] On 1 February 1992 at the Great American Circus in Palm Bay, Florida, an elephant named Janet (1965 – 1 February 1992) went out of control while giving a ride to a mother, her two children, and three other children. The elephant then stampeded through the circus grounds outside before being shot to death by police.[52] Also, during a Circus International performance in Honolulu, Hawaii, on 20 August 1994, an elephant called Tyke (1974 – 20 August 1994) killed her trainer, Allen Campbell, and severely mauled her groomer, Dallas Beckwith, in front of hundreds of spectators. Tyke then bolted from the arena and ran through the streets of Kakaako for more than thirty minutes. Police fired 86 shots at Tyke, who eventually collapsed from the wounds and died.[53] In December 2018, New Jersey became the first state in the U.S. to ban circuses, carnivals and fairs from featuring elephants, tigers, and other exotic animals.[54] England In 1998 in the United Kingdom, a parliamentary working group chaired by MP Roger Gale studied living conditions and treatment of animals in UK circuses. All members of this group agreed that a change in the law was needed to protect circus animals. Gale told the BBC, "It's undignified and the conditions under which they are kept are woefully inadequate—the cages are too small, the environments they live in are not suitable and many of us believe the time has come for that practice to end." The group reported concerns about boredom and stress, and noted that an independent study by a member of the Wildlife Conservation Research Unit at Oxford University "found no evidence that circuses contribute to education or conservation."[55] However, in 2007, a different working group under the UK Department for Environment, Food and Rural Affairs, having reviewed information from experts representing both the circus industry and animal welfare, found an absence of "scientific evidence sufficient to demonstrate that travelling circuses are not compatible with meeting the welfare needs of any type of non-domesticated animal presently being used in the United Kingdom." According to that group's report, published in October 2007, "there appears to be little evidence to demonstrate that the welfare of animals kept in travelling circuses is any better or any worse than that of animals kept in other captive environments."[56] A ban prohibiting the use of wild animals in circuses in England was due to be passed in 2015, but Conservative MP Christopher Chope repeatedly blocked the bill under the reasoning that "The EU Membership Costs and Benefits bill should have been called by the clerk before the circuses bill, so I raised a point of order". He explained that the circus bill was "at the bottom of the list" for discussion.[57] The Animal Defenders International non-profit group dubbed this "a huge embarrassment for Britain that 30 other nations have taken action before us on this simple and popular measure".[58] On 1 May 2019 Environmental Secretary Michael Gove announced a new Bill to ban the use of wild animals in travelling circuses.[59] The Wild Animals in Circuses Act 2019 came into effect on 20 January 2020.[60] Wales A petiton from RSPCA Cymru urging the Welsh Government to ensure an outright ban on the use of wild animals in circuses; October 2015 A bill to ban the use of wild animals in travelling circuses in Wales was introduced in June 2019, and subsequently passed by the Welsh Parliament on 15 July 2020.[61] Over 6,500 responses were made by the people of Wales, to the public consultation on the draft Bill, 97% of which supported the ban. Scotland The use of wild animals in travelling circuses has been banned in Scotland. The Wild Animals in Travelling Circuses (Scotland) Act 2018 came into force on 28 May 2018. Worldwide Tigers in a transport cage in a travelling circus There are nationwide bans on using some if not all animals in circuses in India, Iran, Israel, Singapore, Austria, Belgium, Bosnia and Herzegovina, Bulgaria, Croatia, Czech Republic, Cyprus, Denmark, Estonia, Finland, Greece, Hungary, Ireland, Italy, Malta, Netherlands, Norway, Poland, Portugal, Slovenia, Sweden, Switzerland, Bolivia, Colombia, Costa Rica, Ecuador, El Salvador, Mexico, Panama, Paraguay and Peru.[62][63] Germany, Spain, United Kingdom, Australia, Argentina, Chile, Brazil, Canada, and the United States have locally restricted or banned the use of animals in entertainment.[63] In response to a growing popular concern about the use of animals in entertainment, animal-free circuses are becoming more common around the world.[64] In 2009, Bolivia passed legislation banning the use of any animals, wild or domestic, in circuses. The law states that circuses "constitute an act of cruelty." Circus operators had one year from the bill's passage on 1 July 2009 to comply.[65] In 2018 in Germany, an accident with an elephant during a circus performance, prompted calls to ban animal performances in circuses. PETA called the German politicians to outlaw the keeping of animals for circuses.[66] A survey confirmed that on average, wild animals spend around 99 to 91 percent of their time in cages, wagons, or enclosure due to transportation. This causes a huge amount of distress to animals and leads to excessive amounts of drooling.[67] City ordinances banning performances by wild animals have been enacted in San Francisco (2015),[68] Los Angeles (2017),[69] and New York City (2017).[70] These bans include movies, TV shows, ads, petting zoos, or any showcase of animals where they are in direct contact with the audience. The reason being the high chance of the animals to harm someone in the audience. This is due to their instincts which humans cannot control.[71] Greece became the first European country to ban any animal from performing in any circus in its territory in February 2012, following a campaign by Animal Defenders International and the Greek Animal Welfare Fund (GAWF).[72] On 6 June 2015, the Federation of Veterinarians of Europe adopted a position paper in which it recommends the prohibition of the use of wild animals in travelling circuses.[73][74] Despite the contemporary circus' shift toward more theatrical techniques and its emphasis on human rather than animal performance, traditional circus companies still exist alongside the new movement. Numerous circuses continue to maintain animal performers, including UniverSoul Circus and the Big Apple Circus from the United States, Circus Krone from Munich, Circus Royale and Lennon Bros Circus from Australia, Vazquez Hermanos Circus, Circo Atayde Hermanos, and Hermanos Mayaror Circus[75] from Mexico, and Moira Orfei Circus[76] from Italy, to name just a few. Buildings Circus building Paper postcard of the Old Kharkiv Wood Circus A tent of Sirkus Finlandia In some towns, there are circus buildings where regular performances are held. The best known are: Blackpool Tower Circus Budapest Circus Circus Krone Building in Munich Cirque d'hiver, Paris Cirque Jules Verne in Amiens[77] Hippodrome Circus, Great Yarmouth La Tohu in Montreal Moscow Circus on Tsvetnoy Boulevard in Moscow Shanghai Circus World in Shanghai Turkmen State Circus in Ashgabat Riga Circus in Riga Belarus State Circus in Minsk "Globus" Circus in Bucharest In other countries, purpose-built circus buildings still exist which are no longer used as circuses, or are used for circus only occasionally among a wider programme of events; for example, the Cirkusbygningen (The Circus Building) in Copenhagen, Denmark, Cirkus in Stockholm, Sweden, or Carré Theatre in Amsterdam, Netherlands. International awards The International Circus Festival of Monte-Carlo[78] has been held in Monaco since 1974 and was the first of many international awards for circus performers. In art, music, films, plays and books See also: Circus music The Circus, by Georges Seurat, painted 1891. Original in Musée d'Orsay, Paris. Circus seals Erich Kästner's children's books Der kleine Mann [de] 1963 (The Little Man) and Der kleine Mann und die kleine Miss [de] 1967 (The Little Man and the Little Miss) are largely set in a circus where the orphaned young protagonist grows up as a ward of the show's magician. The atmosphere of the circus has served as a dramatic setting for many musicians. The most famous circus theme song is called "Entrance of the Gladiators", and was composed in 1904 by Julius Fučík. Other circus music includes "El Caballero", "Quality Plus", "Sunnyland Waltzes", "The Storming of El Caney", "Pahjamah", "Bull Trombone", "Big Time Boogie", "Royal Bridesmaid March", "The Baby Elephant Walk", "Liberty Bell March", "Java", Strauss's "Radetsky March", and "Pageant of Progress". A poster for Pablo Fanque's Circus Royal, one of the most popular circuses of Victorian England, inspired John Lennon to write Being for the Benefit of Mr. Kite! on The Beatles' album, Sgt. Pepper's Lonely Hearts Club Band. The song title refers to William Kite, a well-known circus performer in the 19th century. Producer George Martin and EMI engineers created the song's fairground atmosphere by assembling a sound collage of collected recordings of calliopes and fairground organs, which they cut into strips of various lengths, threw into a box, and then mixed up and edited together randomly, creating a long loop which was mixed into the final production.[79] Another traditional circus song is the John Philip Sousa march "Stars and Stripes Forever", which is played only to alert circus performers of an emergency. Plays set in a circus include the 1896 musical The Circus Girl by Lionel Monckton, Polly of the Circus written in 1907 by Margaret Mayo, He Who Gets Slapped written by Russian Leonid Andreyev 1915 and later adapted into one of the first circus films, Katharina Knie written in 1928 by Carl Zuckmayer and adapted for the English stage in 1932 as Caravan by playwright Cecily Hamilton, the revue Big Top written by Herbert Farjeon in 1942, Top of the Ladder written by Tyrone Guthrie in 1950, Stop the World, I Want to Get Off written by Anthony Newley in 1961, and Barnum with music by Cy Coleman and lyrics and book by Mark Bramble, Roustabout: The Great Circus Train Wreck written by Jay Torrence in 2006. Following World War I, circus films became popular. In 1924 He Who Gets Slapped was the first film released by MGM; in 1925 Sally of the Sawdust (remade 1930), Variety, and Vaudeville were produced, followed by The Devil's Circus in 1926 and The Circus starring Charlie Chaplin, Circus Rookies, 4 Devils; and Laugh Clown Laugh in 1928. German film Salto Mortale about trapeze artists was released in 1931 and remade in the United States and released as Trapeze starring Burt Lancaster in 1956; in 1932 Freaks was released; Charlie Chan at the Circus, Circus (USSR) and The Three Maxiums were released in 1936 and At the Circus starring the Marx Brothers and You Can't Cheat an Honest Man in 1939. Circus films continued to be popular during the Second World War; films from this era included The Great Profile starring John Barrymore (1940), the animated Disney film Dumbo (1941), Road Show (1941), The Wagons Roll at Night (1941) and Captive Wild Woman (1943). Tromba, a film about a tiger trainer, was released in 1948. In 1952 Cecil B. de Mille's Oscar-winning film The Greatest Show on Earth was first shown. Released in 1953 were Man on a Tightrope and Ingmar Bergman's Gycklarnas afton (released as Sawdust and Tinsel in the United States); these were followed by Life Is a Circus; Ring of Fear; 3 Ring Circus (1954) and La Strada (1954), an Oscar-winning film by Federico Fellini about a girl who is sold to a circus strongman. Fellini made a second film set in the circus called The Clowns in 1970. Films about the circus made since 1959 include Disney's Toby Tyler (1960), the B-movie Circus of Horrors (also in 1960); the musical film Billy Rose's Jumbo (1962); A Tiger Walks, a Disney film about a tiger that escapes from the circus; and Circus World (1964), starring John Wayne. Mera Naam Joker (1970) a Hindi drama film directed by Raj Kapoor which was about a clown who must make his audience laugh at the cost of his own sorrows. In the film Jungle Emperor Leo (1997), Leo's son Lune is captured and placed in a circus, which burns down when a tiger knocks down a ring of fire while jumping through it. The Greatest Showman, a musical film loosely based on the life of P. T. Barnum, was released in 2017. The TV series Circus Humberto, based on the novel by Eduard Bass, follows the history of the circus family Humberto between 1826 and 1924. The setting of the HBO television series Carnivàle, which ran from 2003 to 2005, is also largely set in a travelling circus. The circus has also inspired many writers. Numerous books, both non-fiction and fiction, have been published about circus life. Notable examples of circus-based fiction include Circus Humberto by Eduard Bass, Cirque du Freak by Darren Shan, and Spangle by Gary Jennings. The novel Water for Elephants by Sara Gruen tells the fictional tale of a circus veterinarian and was made into a movie with the same title, starring Robert Pattinson and Reese Witherspoon. Circus is the central theme in comic books of Super Commando Dhruva, an Indian comic book superhero. According to this series, Dhruva was born and brought up in a fictional Indian circus called Jupiter Circus. When a rival circus burnt down Jupiter Circus, killing everyone in it, including Dhruva's parents, Dhruva vowed to become a crime fighter. A circus-based television series called Circus was also telecast in India in 1989 on DD National, starring Shahrukh Khan as the lead actor. See also Animal training Chautauqua, tent shows that preceded American circus Circus clown Clown alley Circus skills Cirque du Soleil Clown Contemporary circus Dog and pony show Flea circus History of Indian circus International Circus Festival of Monte-Carlo Traveling carnival
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