Circus in Yonderre: Difference between revisions
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Tag: 2017 source edit |
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[[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. | ||
The early twentieth century of Yonderian circus tradtion was marked by a renewed interest in individual artistes. While the trend towards the late-nineteenth century had been that of grand displays of several dozen riders or other performers in the ring simultaneously, the trend switched to the intricate displays of individual artistes or small groups who would even perform entirely solo on the stage, accompanied only by the circus orchestra. While these included individual equestrians performing on horseback, just as Phillip Estmann had done in the mid-to-late eighteenth century, acrobats, jugglers and tightrope walkers were now sharing the stage on equal terms with their | The early twentieth century of Yonderian circus tradtion was marked by a renewed interest in individual artistes. While the trend towards the late-nineteenth century had been that of grand displays of several dozen riders or other performers in the ring simultaneously, the trend switched to the intricate displays of individual artistes or small groups who would even perform entirely solo on the stage, accompanied only by the circus orchestra. While these included individual equestrians performing on horseback, just as Phillip Estmann had done in the mid-to-late eighteenth century, acrobats, jugglers and tightrope walkers were now sharing the stage on equal terms with their mounted counterparts. Clowns, however, were still looked down on as simple entertainment between acts, a reputation only seldom broken except by truly talented acts like [[Adolphe Lineuer]] (1899-1984). | ||
Yonderian circuses peaked in attendance in the first half of the twentieth century, even in spite of the [[Great War|Great Wars]] and [[Great Depression]]. With the popularization of television in the 1950s, however, circus attendance began dropping in the afflicted countries. 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, 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. | Yonderian circuses peaked in attendance in the first half of the twentieth century, even in spite of the [[Great War|Great Wars]] and [[Great Depression]]. With the popularization of television in the 1950s, however, circus attendance began dropping in the afflicted countries. 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, 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. | ||