"Circus was quite a serious thing in nineteenth and early twentieth century Europe. Edmond and Jules de Goncourt noted in their Journal "We go to only one theater--the Circus. There we see clowns, tumblers....there is no false exhibition of talent..." Balzac believed that a circus equestrienne was worth more respect than an actress, a prima ballerina or an opera prima donna. And indeed, equestrians were the kings of the circus--and equestriennes, its idolized queens. For horsemanship was important then. It was more than mere entertainment. Wars had been won by good horsemen. Horses were still man's most valuable partner in so many aspects of everyday life. And the circus had been created by and for equestrians...Nelson takes us to a wonderful, often surprising journey with the greatest circus equestriennes of the nineteenth century, who reigned with so much flair over the most prestigious rings of Europe...puts back the spotlight on these unjustly forgotten stars of the circus of yore...' Many of the moves illustrated are very familiar 'haute ecole' moves in classical dressage--piaffe, Spanish walk, passage; as well as the more esoteric 'airs above of the ground' most familiar today as performed by the Spanish Riding School in Vienna and the Cadre Noir in Saumur. These moves include the courbette, capriole, levade, pesade, etc. And these circuses were housed in grand, theatrical palaces, not movable tents; but in buildings as exquisite as the equestrians/equestriennes and their horses, a fitting setting for these memorable equine artists. Includes an extensive glossary. The book is further enhanced by an Epilogue containing an account of the equestrian accomplishments of four contemporary ecuyeres: Catherine Durand Henriquet, Eloise Schwarz King, Geraldine Katharina Knie, and Katja Schumann Binder.
The book is further enhanced by an Epilogue containing an account of the equestrian accomplishments of four contemporary écuyeres: Catherine Durand Henriquet, Eloise Schwarz King, Géraldine Katharina Knie, and Katja Schumann Binder.
Author: Hilda Nelson
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.
Great Horsewomen of the 19th Century in the Circus. Franktown, VI: Xenophon, 2015. Nicholas, Jane. Canadian Carnival Freaks and the Extraordinary Body: 1900–1970s. Toronto: University of Toronto Press: 2018. Peacock, Louise.
Author: Gillian Arrighi
Publisher: Cambridge University Press
This book is the first, full-length scholarly examination of British women’s involvement in equestrianism from the eighteenth through the twentieth centuries, as well as the corresponding transformations of gender, class, sport, and national identity in Britain and its Empire. It argues that women’s participation in horse sports transcended limitations of class and gender in Britain and highlights the democratic ethos that allowed anyone skilled enough to ride and hunt – from chimney-sweep to courtesan. Furthermore, women’s involvement in equestrianism reshaped ideals of race and reinforced imperial ideology at the zenith of the British Empire. Here, British women abandoned the sidesaddle – which they had been riding in for almost half a millennium – to ride astride like men, thus gaining complete equality on horseback. Yet female equestrians did not seek further emancipation in the form of political rights. This paradox – of achieving equality through sport but not through politics – shows how liberating sport was for women into the twentieth century. It brings into question what “emancipation” meant in practice to women in Britain from the eighteenth through twentieth centuries. This is fascinating reading for scholars of sports history, women's history, British history, and imperial history, as well as those interested in the broader social, gendered, and political histories of the nineteenth and twentieth centuries, and for all equestrian enthusiasts.
50 Keith Chivers, “The Supply of Horses in Great Britain in the Nineteenth Century,” in F.M.L. Thompson, (ed.) ... 63 Hilda Nelson, The Great Horsewomen of the 19th Century Circus (Franktown, VA: Xenophon Press, 2015), 10. 64 Nelson, 4.
Author: Erica Munkwitz
"This work places the modern period (post-1700) at the center of the scholarship on horses as they relate to humans, showing how the horse has remained central to the accelerating culture of modernity. The contributors investigate specific equine cultures--from the performance of social power and the definition of heritage in Europe, Australia, and the Americas, to explorations of the ways horses figure in distinctively modern genres of the self, such as autobiography, biography, and photographic portraiture."--Supplied by publisher.
On female performers in the French circus see Baron de Vaux, Écuyers et écuyères: Histoire des cirques d'Europe, 1690–1891 (Paris: Rothschild, 1893), and more recently Hilda Nelson, Great Horsewomen of the Nineteenth Century in the ...
Author: Kristen Guest
Category: Animals and civilization
One of the most colorful breed of men in 19th-century circusdom was the press agent, whose duty was to act as "an umpire between the show and the newspapers," and promote his company's greatness in order to generate public interest in advance of the performances. Charles H. Day, one of the leading "puffers" of his time, was particularly active between 1872-87, but unlike many of his colleagues, was also published widely in the entertainment newspapers and magazines. William L. Slout has collected together the best of Day's colorful and evocative essays of 19th-century circus life, and has also added a helpful Circus Personnel Reference Roster, notes, and detailed index.
The circus, at best, was a most marvelous entertainment, bringing momentary joy to millions and millions of people. ... Early 19th century extravaganzas, such as "Timour the Tartar" and "The Cataract of the Ganges," were adapted for use ...
Author: Charles H. Day
Publisher: Wildside Press LLC
Category: Performing Arts
The culmination of more than thirty years of research, Olympians of the Sawdust Circle is an attempt to identify every major and minor player in the American circus world of the nineteenth century. This A-Z guide lists: surname, given name, dates of birth and death (if known), type of entertainment (and function) with which the individual was associated, and the companies and dates by whom the person was employed. Every researcher and library interested in American circus history will need this seminal guide. An absolutely astonishing piece of scholarship.
A Biographical Dictionary of the Nineteenth Century American Circus William L. Slout. fourth Street Theatre, NYC; ... 1877-79, ahead of Barlow, Wilson, Primrose & West's Minstrels; Allen's Great Eastern, 1880. LAINE, W. Welch & Lent, ...
Author: William L. Slout
Publisher: Wildside Press LLC
Category: Biography & Autobiography
For many people, the circus, with its clowns, exotic beasts, and other colorful iconography, is lighthearted entertainment. Yet for Greg Renoff and other scholars, the circus and its social context also provide a richly suggestive repository of changing attitudes about race, class, religion, and consumerism. In the South during the nineteenth and early twentieth centuries, traveling circuses fostered social spaces where people of all classes and colors could grapple with the region’s upheavals. The Big Tent relates the circus experience from the perspectives of its diverse audiences, telling what locals might have seen and done while the show was in town. Renoff digs deeper, too. He points out, for instance, that the performances of these itinerant outfits in Jim Crow-era Georgia allowed boisterous, unrestrained interaction between blacks and whites on show lots and on city streets on Circus Day. Renoff also looks at encounters between southerners and the largely northern population of circus owners, promoters, and performers, who were frequently accused of inciting public disorder and purveying lowbrow prurience, in part due to residual anger over the Civil War. By recasting itself as a showcase of athleticism, equestrian skill, and God’s wondrous animal creations, the circus appeased community leaders, many of whose businesses prospered during circus visits. Ranging across a changing social, cultural, and economic landscape, The Big Tent tells a new history of what happened when the circus came to town, from the time it traveled by wagon and river barge through its heyday during the railroad era and into its initial decline in the age of the automobile and mass consumerism.
In 1850, Jerome Bachler of the Great Western Circus entertained Geor— gians with “Tremendous Somersets” through “Hoops of ... Until the very end of the nineteenth century, equestrianism remained the centerpiece of circus performances.
Author: Gregory J. Renoff
Publisher: University of Georgia Press
"Circus was quite a serious thing in nineteenth and early twentieth century Europe. Edmond and Jules de Goncourt noted in their Journal "We go to only one theater--the Circus. There we see clowns, tumblers....there is no false exhibition of talent..." Balzac believed that a circus equestrienne was worth more respect than an actress, a prima ballerina or an opera prima donna. And indeed, equestrians were the kings of the circus--and equestriennes, its idolized queens. For horsemanship was important then. It was more than mere entertainment. Wars had been won by good horsemen. Horses were still man's most valuable partner in so many aspects of everyday life. And the circus had been created by and for equestrians...Nelson takes us to a wonderful, often surprising journey with the greatest circus equestriennes of the nineteenth century, who reigned with so much flair over the most prestigious rings of Europe...puts back the spotlight on these unjustly forgotten stars of the circus of yore...' Many of the moves illustrated are very familiar 'haute ecole' moves in classical dressage--piaffe, Spanish walk, passage; as well as the more esoteric 'airs above of the ground' most familiar today as performed by the Spanish Riding School in Vienna and the Cadre Noir in Saumur. These moves include the courbette, capriole, levade, pesade, etc. And these circuses were housed in grand, theatrical palaces, not movable tents; but in buildings as exquisite as the equestrians/equestriennes and their horses, a fitting setting for these memorable equine artists. Includes a glossary and index.
Nelson takes us to a wonderful, often surprising journey with the greatest circus equestriennes of the nineteenth century, who reigned with so much flair over the most prestigious rings of Europe...puts back the spotlight on these unjustly ...
Author: Hilda Nelson
To both young and old, the circus remains an icon of American entertainment, a wholesome pastime untouched by the passing years. But the modern circus, with its three rings, ringmaster, animals, and acrobats, is the product of nearly three hundred years of evolution. This intriguing work chronicles the history of the American circus from its roots in England through its importation to America to the end of the nineteenth century. It introduces the early pioneers of the circus, addresses business concerns such as management and training, and discusses the development of the show itself, including the incorporation of menageries, the need for animal training and care, the addition of circus music, the use of the tent, and the unique attractions of side shows and “freaks.” Personal stories of those who made their lives under the “big top” are woven throughout the narrative, adding an intimate perspective to one of America’s most enduring entertainments.
“Amphitheatre,” perhaps, had a closer association with gladiators and blood combat, while “circus” may have represented to the 18th and 19th century mind the idea of sport and exotic animals. From a purely uncomplicated standpoint, ...
Author: S.L. Kotar
Category: Performing Arts
Wherever cattle have been raised on a large scale horsemen have been there to handle them; and wherever these horsemen have existed they have left an indelible mark upon the history of the land. Frequently they have been ignorant, violent, and brutal. Always they have been vigorous and individualistic. They have taken their herds into frontier areas, opened new country, fought and driven off earlier inhabitants, participated in revolutions, battled among themselves, and generally lived lives which, colorful and somewhat frightening to their contemporaries, have become robust legends to those who followed them. Edward Larocque Tinker portrays the life of these people in the two Americas, the conditions which created them, and those that ultimately destroyed or transformed them. "Ever since I was a small boy, when my parents returned from Mexico bringing me a charro outfit complete with saddle and bridle, Latin America has beckoned with the finger of romance," Mr. Tinker recalls. "As soon as I was old enough, I made many trips to Mexico and, in the days of Porfirio Díaz, learned to know it from the border to the Isthmus of Tehuantepec. During the Revolution I was with General Álvaro Obregón when he was a Teniente Coronel in his Sonora Campaign, and, although I was only a lawyer on a holiday, took care of his wounded in the battel of San Joaquín. Later, in Pancho Villa's train, I was present at Celaya when he was defeated by Obregón. "Always an ardent horseman, I worked many a roundup with the vaqueros of Sonora and Chihuahua, and with the cowboys of our Southwest. . . . "I saw the similarity between the American cowboy, the Argentine Gaucho, and the Vaquero of Mexico. They all received their gear and technique of cattle handling from Spain, and developed the same independence, courage, and hardihood. I thought if these qualities were better known they might serve as a bridge to closer understanding throughout the Americas." From his study of the lives of these horsemen, Tinker proceeds to an examination of the literature that evolved among and then about them. The first and largest part of the book deals with the gaucho of Argentina and Uruguay. The second and third sections examine the charro of Mexico and the cowboy of the United States.
The excellent translation in English verse is byWalter Owen and the illustrations are by AlbertoGüiraldes. ... until in the last quarter of the nineteenth century, the fortuitous friendship of a circus clown and an old Frenchman served ...
Author: Edward Larocque Tinker
Publisher: University of Texas Press