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Circus in Yonderre: Difference between revisions
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Inspired by Estmann's troupe, other circuses began appearing in the 1770s, initially also centred around equestrian performances and often manned by veteran cavalrymen of the [[Grand Ducal Army]]. Estmann's ''Troupe Chevalistes'' was the first of these to perform this novel concept of circus abroad when they toured parts of the [[Holy Levantine Empire]] in 1773. In 1777, the [[Grand Ducal Army]] formed the [[Grand Ducal Army Chevalistes Company|Chevalistes Company]], an exhibition unit intended to perform for audiences as a recruiting tool and to instill a sense of pride in the finer functions of the equestrian art forms. By the 1780s, circus performances in Yonderre were often held in purpose-built buildings in large cities, such as the [[Collinebourg 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 were produced with an extraordinary wealth of realistic display. | Inspired by Estmann's troupe, other circuses began appearing in the 1770s, initially also centred around equestrian performances and often manned by veteran cavalrymen of the [[Grand Ducal Army]]. Estmann's ''Troupe Chevalistes'' was the first of these to perform this novel concept of circus abroad when they toured parts of the [[Holy Levantine Empire]] in 1773. In 1777, the [[Grand Ducal Army]] formed the [[Grand Ducal Army Chevalistes Company|Chevalistes Company]], an exhibition unit intended to perform for audiences as a recruiting tool and to instill a sense of pride in the finer functions of the equestrian art forms. By the 1780s, circus performances in Yonderre were often held in purpose-built buildings in large cities, such as the [[Collinebourg 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 were produced with an extraordinary wealth of realistic display. | ||
In the early nineteenth century, itinerant circuses that could be fitted-up quickly were becoming popular in Yonderre in particular and [[Catholic Levantia]] in general. With the advent of a series of [[Derian identity|Deric]] circus traditions, not least that of the [[Rhotia|Rhotians]] that soon garnered a reputation as untrustworthy borderline-con | In the early nineteenth century, itinerant circuses that could be fitted-up quickly were becoming popular in Yonderre in particular and [[Catholic Levantia]] in general. With the advent of a series of [[Derian identity|Deric]] circus traditions, not least that of the [[Rhotia|Rhotians]] that soon garnered a reputation as untrustworthy borderline-con artists, Yonderian circuses began emphasizing their Yonderian nature, doubling down on equestrian artistry and often performing to music associated with Yonderre such as ''[[Yonderre our land]]'' and the ''[[Chant of the Cavalryman]]''. Faux-[[Yonderian Mêlée|jousts]], in which equestrian artistes wearing plate armour simulated jousting against one another, became very popular during the revived interest in Yonderian renaissance history of the mid-nineteenth century as part of [[Yonderian national romanticism]]. [[Derian identity|Deric]] circuses often attempted to emulate Yonderian circuses, not least because their Yonderian counterparts had greater public appeal and thus tickets sales, with some circuses claiming Yonderian heritage whether through artistes masquerading as Yonderians or by claiming training by Yonderians, if not directly claiming to be a Yonderian operation. Conversely, many of the more talented [[Derian identity|Deric]] artistes often found employment in Yonderian circuses, which in turn contributed to a weakened pool of artistes for the already-worse off [[Derian identity|Deric]] circuses, perpetuating the poor nature of their respective traditions. | ||
[[Burgundie|Bergendii]] circus impresario Raphael Maxim brought the Yonderian circus tradition to the [[Burgoignesc colonial empire]] in the early 1840s, leaving a lasting impression in the soon-to-be-independent duchies that subsequently developed their own circus traditions from the mid-nineteenth century, derived from the Yonderian mold using local characteristics. Yonderian circuses also toured beyond Levantia in the mid-nineteenth century, travelling to [[Sarpedon]] and [[Great Kirav]], inspiring similar traditions to emerge there. | [[Burgundie|Bergendii]] circus impresario Raphael Maxim brought the Yonderian circus tradition to the [[Burgoignesc colonial empire]] in the early 1840s, leaving a lasting impression in the soon-to-be-independent duchies that subsequently developed their own circus traditions from the mid-nineteenth century, derived from the Yonderian mold using local characteristics. Yonderian circuses also toured beyond Levantia in the mid-nineteenth century, travelling to [[Sarpedon]] and [[Great Kirav]], inspiring similar traditions to emerge there. | ||