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An authoritative introduction to the specialised histories of the modern circus, its unique aesthetics, and its contemporary manifestations and scholarship, from its origins in commercial equestrian performance, to contemporary inflections of circus arts in major international festivals, educational environments, and social justice settings.
The Cambridge Companion to the Circus provides a complete guide for students, scholars, teachers, researchers, and practitioners who are seeking perspectives on the foundations and evolution of the modern circus, the contemporary extent of circus studies, and the specialised literature available to support further enquiries. The volume brings together an international group of established and emerging scholars working across the multi-disciplinary domain of circus studies to present a clear overview of the specialised histories, aesthetics and distinctive performances of the modern circus. In sixteen commissioned essays, it covers the origins in commercial equestrian performance during the late-eighteenth century to contemporary inflections of circus arts in major international festivals, educational environments, and social justice settings.
A wide-ranging set of essays that explain what theatre history is and why we need to engage with it.
An international team of scholars explores the historical origins, cultural dissemination and continuing literary and psychological power of fairy tales.
The first ever companion to theatre and science brings together research on key topics, performances, and new areas of interest.
#1 NATIONAL BESTSELLER • Two starcrossed magicians engage in a deadly game of cunning in the spellbinding novel that captured the world's imagination. • "Part love story, part fable ... defies both genres and expectations." —The Boston Globe The circus arrives without warning. No announcements precede it. It is simply there, when yesterday it was not. Within the black-and-white striped canvas tents is an utterly unique experience full of breathtaking amazements. It is called Le Cirque des Rêves, and it is only open at night. But behind the scenes, a fierce competition is underway: a duel between two young magicians, Celia and Marco, who have been trained since childhood expressly for this purpose by their mercurial instructors. Unbeknownst to them both, this is a game in which only one can be left standing. Despite the high stakes, Celia and Marco soon tumble headfirst into love, setting off a domino effect of dangerous consequences, and leaving the lives of everyone, from the performers to the patrons, hanging in the balance.
What is theatre? What is performance? What connects them and how are they different? How have they been shaped by events, people, companies, practices and ideas in the twentieth and twenty-first centuries? And where are they heading next? The Routledge Companion to Theatre and Performance offers some answers to these big questions. This third edition has been updated to now include over 160 entries, with all entries brought up to date and new topics added, including Caryl Churchill, Black Lives Matter and Hamilton, among others. This book provides an accessible, informative and engaging introduction to important people and companies, events, concepts and practices that have defined the complementary fields of theatre and performance studies. Three easy-to-use alphabetized sections include entries on topics and people ranging from performance artists Marina Abramović and Pope.L to directors Vsevolod Meyerhold and Robert Wilson, the haka, Taking the Knee and disability, theatre and performance. Each entry includes important historical and contextual information, extensive cross-referencing, detailed analysis and an annotated bibliography. The Routledge Companion to Theatre and Performance is a perfect reference guide for the keen student and the passionate theatre-goer alike.
This collection aims to map a diversity of approaches to the artform by creating a 360° view on the circus. The three sections of the book, Aesthetics, Practice, Culture, approach aesthetic developments, issues of artistic practice, and the circus’ role within society. This book consists of a collection of articles from renowned circus researchers, junior researchers, and artists. It also provides the core statements and discussions of the conference UpSideDown—Circus and Space in a graphic recording format. Hence, it allows a clear entry into the field of circus research and emphasizes the diversity of approaches that are well balanced between theoretical and artistic point of views. This book will be of great interest to students and scholars of circus studies, emerging disciples of circus and performance.
Bringing together an extraordinary range of international scholars and practitioners that include contemporary visual artists, poets, choreographers, activists, film-makers, theatre-makers, magicians, and circus artists, the contributors situate their rebellious practices of knowledge production and upheaval in the academy and in society.
Female solo aerialists of the 1920s and early 1930s were internationally popular performers in the largest live performance mass entertainment of the period in the UK and USA. Yet these aerialists and this period in circus history have been largely forgotten despite the iconic image of ‘the’ female aerialist still flaring in the popular imagination. Kate Holmes uses insights gained as a practitioner to reconstruct in detail the British and American performances and public personae of key stars such as Lillian Leitzel, Luisita Leers, and the Flying Codonas, revealing what is performed and implicit in today’s practice. Using a wealth of original sources, this book considers the forgotten stars whose legacy of the cultural image of the female aerialist echoes. Locating performers within wider cultural histories of sport, glamour, and gender, this book asks important questions about their stardom, including: Why were female aerialists so alluring when their muscularity challenged conservative ideals of femininity and how did they participate in change? What was it about their movements and the spaces they performed in that activated such strong audience responses? This book is vital reading for students and practitioners of aerial performance, circus, gender, popular performance, and performance studies.