The Sunday Times bestseller from the bestselling author of The Doll Factory, Elizabeth Macneal. Set in a spectacular circus in the pleasure gardens of Victorian London, Circus of Wonders is an addictive novel about power, fame, and a love that is threatened by a terrible secret. 'Glitters and gleams . . . utterly beguiling' - Daily Mail 1866. In a coastal village in southern England, Nell lives set apart by her community because of the birthmarks that speckle her skin. But when Jasper Jupiter's Circus of Wonders arrives in the village, Nell is kidnapped. Her father has sold her, promising Jasper Jupiter his very own leopard girl. It is the greatest betrayal of Nell's life, but as her fame grows, and she finds friendship with the other performers and Jasper's gentle brother Toby, she begins to wonder if joining the show is the best thing that has ever happened to her. In London, newspapers describe Nell as the eighth wonder of the world. Figurines are cast in her image, and crowds rush to watch her soar through the air. But what happens when her fame eclipses Jasper's own? And as she falls in love with Toby, can he detach himself from his past and the terrible secret that binds him to his brother?

Part clown manual, part storytelling and part rant - The Clown Manifesto covers the experiences, philosophies and methods of the clown performer/director/teacher Nalleslavski. A book for clowns, physical comedians, actors, musicians, jugglers, puppeteers, magicians, street performers and dancers. Whatever form your clowning takes - theatre, street theatre, comedy, burlesque, magic, circus - the mischievously named Nalleslavski Method gives you practical tools to create comedy material that works universally, across cultural and language barriers.

In this volume, twenty-four creators come together with three scholars to discuss Contemporary Circus, bridging the divide between practice and theory. Lavers, Leroux, and Burtt offer conversations across four key themes: Apparatus, Politics, Performers, and New Work. Extensively illustrated with fifty photos of Contemporary Circus productions, and extensively annotated, Contemporary Circus thematically groups and contextualises extracts of conversations to provide a sophisticated and wide-ranging study supported by critical theory. Of interest to both practitioners and scholars, Contemporary Circus uses the lens of 'contestation,' or calling things into question, to provide a portal into ways of seeing today's circus performance. Conversations with: Lachlan Binns and Jascha Boyce (Gravity and Other Myths), Tilde Bjoerfors (Cirkus Cirkoer), Kim 'Busty Beatz' Bowers (Hot Brown Honey), Shana Carroll (The 7 Fingers), David Clarkson (Stalker), Philippe Decoufle (Compagnie DCA), Fez Faanana (Briefs), Mike Finch (Circus Oz), Daniele Finzi Pasca (Compagnia Finzi Pasca), Sean Gandini (Gandini Juggling), Firenza Guidi (ElanFrantoio, NoFit State Circus), Jo Lancaster and Simon Yates (Acrobat), Johann Le Guillerm (Cirque Ici), Yaron Lifschitz (Circa), Chelsea McGuffin (Company 2), Phia Menard (Compagnie Non Nova), Jennifer Miller (Circus Amok), Adrien Mondot (Compagnie Adrien M and Claire B), Charlotte Mooney and Tina Koch (Ockham's Razor), Philippe Petit (high wire artist), and Elizabeth Streb (STREB EXTREME ACTION).

[A] deservedly award-studded delight Strong Words Magazine 'A smart, scathing and bleakly funny cross of folk horror, satire and historical fiction' Toronto Star 'Reads like a modern fairy tale' New York Journal of Books 'Eerie and sensual' The Guardian 'So original, so beautifully done, and sinister and savage. I didn't want it to end' Chris Whitaker Franck and Lise, a French couple in the film industry, rent a cottage in the quiet hills of the French Lot to get away from the stresses of modern life. In this remote corner of the world, there is no phone signal. A mysterious dog emerges, looking for a new master. Ghosts of a dark past run wild in these hills, where a German lion tamer took refuge in the First World War ... Franck and Lise are confronted with nature at its most brutal. And they are about to discover that man and beast have more in common than they think. A literary sensation in France, Wild Dog is a dark, menacing tale of isolation, human nature and the infinite savagery of the wild.

The Routledge Circus Studies Reader offers an absorbing critical introduction to this diverse and emerging field. It brings together the work of over 30 scholars in this discipline, including Janet Davis, Helen Stoddart and Peta Tait, to highlight and address the field's key historical, critical and theoretical issues. It is organised into three accessible sections, Perspectives, Precedents and Presents, which approach historical aspects, current issues, and the future of circus performance. The chapters, grouped together into 13 theme-based sub-sections, provide a clear entry point into the field and emphasise the diversity of approaches available to students and scholars of circus studies. Classic accounts of performance, including pieces by Philippe Petit and Friedrich Nietzsche, are included alongside more recent scholarship in the field. Edited by two scholars whose work is strongly connected to the dynamic world of performance, The Routledge Circus Studies Reader is an essential teaching and study resource for the emerging discipline of circus studies. It also provides a stimulating introduction to the field for lovers of circus.

This book explores the circus as a site in and through which science and technology are represented in popular culture. Across eight chapters written by leading scholars - from fields as varied as performance and circus studies, art, media and cultural history, and engineering - the book discusses to what extent the engineering of circus and performing bodies can be understood as a strategy to promote awe, how technological inventions have shaped circus and the cultures it helps constitute, and how much of a mutual shaping this is. What kind of cultural and aesthetic effects does engineering in circus contexts achieve? How do technological inventions and innovations impact on the circus? How does the link between circus and technology manifest in representations and interpretations - imaginaries - of the circus in other media and popular culture? Circus, Science and Technology examines the ways circus can provide a versatile frame for interpreting our relationship with technology.

2017 Freedley Award Finalist, Theatre Library Association 2016 Best Circus Book of the Year, Stuart Thayer Prize, Circus Historical Society The 1960s American hippie-clown boom fostered many creative impulses, including neo-vaudeville and Ringling's Clown College. However, the origin of that impulse, clowning with a circus, has largely gone unexamined. David Carlyon, through an autoethnographic examination of his own experiences in clowning, offers a close reading of the education of a professional circus clown, woven through an eye-opening, sometimes funny, occasionally poignant look at circus life. Layering critical reflections of personal experience with connections to wider scholarship, Carlyon focuses on the work of clowning while interrogating what clowns actually do, rather than using them as stand-ins for conceptual ideas or as sentimental figures.

Never Quote the Weather to a Sea Lion (and other uncommon tales from the founder of the Big Apple Circus) is a celebration of Paul Binder's life in and around the circus. Drawing on thirty-five years with the show he created, the Big Apple Circus' founder and founding Artistic Director invites us inside the fence every kid peers through for an intimate look at the uncommon life of circus artists, their animal partners, and the roustabouts who spend their days in a world that is both close-knit and international, high-minded and low comedy, death-defying and ludicrous.

Never Quote the Weather to a Sea Lion (and other uncommon tales from the founder of the Big Apple Circus) balances the weird and the workaday, the curious and the commonplace, the exhilaration and the exhaustion of life in the circus, with simple portrayals of ordinary people going about the business of achieving the extraordinary.

The newspapers called him "Overshadowing Monarch Mastodon, " "Behemoth of Holy Writ" and "Prodigious Mountain." He was the main event at the greatest show on earth: Jumbo, at around 61/2 tons and almost 12 feet tall, the biggest elephant anyone had ever seen. Jumbos mere presence in the Barnum, Bailey and Hutchinson circus guaranteed an additional $3,000 a day in box office receipts. More of an exhibit than a performer, Jumbo was simply paraded around the three rings. But still the people came, just to marvel at the size of this monster pachyderm. This work traces Jumbos capture in East Africa, his life in the London Zoo, the controversy over his sale for $10,000 to American showman P.T. Barnum, his journey across the Atlantic, his life as the most famous attraction in Barnums circus, and his tragic death in a railway accident in Canada in 1885.

Highlighted in this volume is the detective play The Inspector and the Hero by Femi Osofisan, one of Africa's leading playwrights. The play has until now only been published in Nigeria. This open issue of African Theatre is a departure from the traditional themed format to showcase the plethora of styles, approaches and perspectives that populate the contemporary field of African theatre studies, with contributions from Ethiopia, Malawi, Nigeria, South Africa and Ghana. Focusing mainly on case studies, contributors engage a variety of performance forms, ranging from investigations into radical dramatic and popular musical performances, through "street theatre" (festivals and masquerade shows) and pop culture, to consideration of applied theatre, dance, audience, cultural performances and folktales. Articles address African American and African cultural dialogue; choreographic study; the carnivalization of indigenous African festivals; the stigmatization of disability; the performance of nationality, as well as orality and African performance aesthetics. Highlighted in this volume is the playscript of the detective play The Inspector and the Hero by Femi Osofisan, one of Africa's foremost playwrights. Volume Editor: CHUKWUMA OKOYE Series Editors: Yvette Hutchison, Reader, Department of Theatre & Performance Studies, University of Warwick; Chukwuma Okoye, Reader in African Theatre & Performance, University of Ibadan; Jane Plastow, Professor of African Theatre, University of Leeds.

Once dancers joined ballet, modern dance groups or chorus lines and did what they were directed to do. Today the art is more collaborative but still bound by old-fashioned structures impose by university dance studios. Today there are too many graduating students and little steady work, few auditions and decreasing opportunity for newcomers. The best dancers today are 'bodies for hire', those who are versatile, open-minded, independent and comfortable in every genre. Choreography has become a more democratic process in which dancers come to depend on each other.

Clowns' slapstick is their primary mode of performance and allows them to provoke audiences to laughter wherever they perform. This innovative book, focussing on contemporary practice in the USA and Europe over the last 50 years, investigates the nature and function of clown performance in modern society. Through analysis of clowning in a range of settings - theatre, the circus, hospitals, refugee camps and churches - Peacock establishes a theoretical framework for the evaluation of physical comedy.Peacock explores clowning that takes place outside of conventional venues, and also the therapeutic potential of clowning in clown doctor organisations, refugee camps and war zones. Serious Play: Modern Clown Performance is the first book of its kind to consider clowning performance venues and performance styles in the light of Play Theory, including comparisons of traditional clown comedy with contemporary circuses such as Circus OZ and Cirque du Soleil, and an in-depth look at famous clowns such as Nola Rae and Slava Polunin.

This book explores the circus as a site in and through which science and technology are represented in popular culture. Across eight chapters written by leading scholars - from fields as varied as performance and circus studies, art, media and cultural history, and engineering - the book discusses to what extent the engineering of circus and performing bodies can be understood as a strategy to promote awe, how technological inventions have shaped circus and the cultures it helps constitute, and how much of a mutual shaping this is. What kind of cultural and aesthetic effects does engineering in circus contexts achieve? How do technological inventions and innovations impact on the circus? How does the link between circus and technology manifest in representations and interpretations - imaginaries - of the circus in other media and popular culture? Circus, Science and Technology examines the ways circus can provide a versatile frame for interpreting our relationship with technology.

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.

The nineteenth century saw the American circus move from a reviled and rejected form of entertainment to the "Greatest Show on Earth." Circus Life by Micah D. Childress looks at this transition from the perspective of the people who owned and worked in circuses and how they responded to the new incentives that rapid industrialization made possible. The circus has long been a subject of fascination for many, as evidenced by the millions of Americans that have attended circus performances over many decades since 1870 when the circus established itself as a truly unique entertainment enterprise. Yet the few analyses of the circus that do exist have only examined the circus as its own closed microcosm-the "circus family." Circus Life, on the other hand, places circus employees in the larger context of the history of US workers and corporate America. Focusing on the circus as a business-entertainment venture, Childress pushes the scholarship on circuses to new depths, examining the performers, managers, and laborers' lives and how the circus evolved as it grew in popularity over time. Beginning with circuses in the antebellum era, Childress examines changes in circuses as gender balances shifted, industrialization influenced the nature of shows, and customers and crowds became increasingly more middle-class. As a study in sport and social history, Childress's account demonstrates how the itinerant nature of the circus drew specific types of workers and performers, and how the circus was internally in constant upheaval due to the changing nature of its patrons and a changing economy.

In this volume, twenty-four creators come together with three scholars to discuss Contemporary Circus, bridging the divide between practice and theory. Lavers, Leroux, and Burtt offer conversations across four key themes: Apparatus, Politics, Performers, and New Work. Extensively illustrated with fifty photos of Contemporary Circus productions, and extensively annotated, Contemporary Circus thematically groups and contextualises extracts of conversations to provide a sophisticated and wide-ranging study supported by critical theory. Of interest to both practitioners and scholars, Contemporary Circus uses the lens of 'contestation,' or calling things into question, to provide a portal into ways of seeing today's circus performance. Conversations with: Lachlan Binns and Jascha Boyce (Gravity and Other Myths), Tilde Bjoerfors (Cirkus Cirkoer), Kim 'Busty Beatz' Bowers (Hot Brown Honey), Shana Carroll (The 7 Fingers), David Clarkson (Stalker), Philippe Decoufle (Compagnie DCA), Fez Faanana (Briefs), Mike Finch (Circus Oz), Daniele Finzi Pasca (Compagnia Finzi Pasca), Sean Gandini (Gandini Juggling), Firenza Guidi (ElanFrantoio, NoFit State Circus), Jo Lancaster and Simon Yates (Acrobat), Johann Le Guillerm (Cirque Ici), Yaron Lifschitz (Circa), Chelsea McGuffin (Company 2), Phia Menard (Compagnie Non Nova), Jennifer Miller (Circus Amok), Adrien Mondot (Compagnie Adrien M and Claire B), Charlotte Mooney and Tina Koch (Ockham's Razor), Philippe Petit (high wire artist), and Elizabeth Streb (STREB EXTREME ACTION).

This first balanced picture of circus king John Ringling North explored the remarkable career of the man who ran Ringling Bros. and Barnum & Baily for thirty years. David Lewis Hammarstrom details how North guided the circus through adversities ranging from depressions and wars to crippling labor strikes and rapidly changing trends in American entertainment. Hammarstrom interviewed a host of circus figures including North himself; his formers, directors, and department heads who were involved with the circus when North owned and operated it.

On small-town ballfields and county fairgrounds, the sideshow performers set up their tents and trailers in the shadow of the Ferris wheel. There they amazed us with daring feats such as fire eating and sword swallowing, intrigued us with exhibitions of human oddities and various "anatomical wonders," and yes, deceived us with illusions such as "Atasha the Gorilla Girl" and even outright fakes. These bizarre spectacles engaged the mind as well as the eye. Was the human blockhead act, in which the performer pounded a large nail or ice pick into his nostril, real or fake? Was the so-called alligator boy genuine or a "gaffed" oddity, painted with glue to produce a scaly simulation of reptilian skin? While the sideshows have now all but vanished from the American landscape, they leave a fascinating legacy of romance and mystery. Many of their secrets remain, only grudgingly given up, if at all, by aging showmen and "bally talkers." Joe Nickell -- once a carnival pitchman, then a magician, a private detective, and an investigative writer -- has pursued sideshow secrets for years. He has interviewed the showmen and performers, collected carnival memorabilia, researched the published literature, and even performed some classic sideshow feats, such as eating fire and lying on a bed of nails while a cinderblock was broken on his chest. Secrets of the Sideshows reveals the specific methods and tricks behind the performances, the showmen's tactics for recruiting performers and attracting crowds, and more. Nickell also examines the behind-the-scenes secrets of sideshow life, including details of the remarkable personal lives of those men and women billed as "freaks."

A practical guide that outlines the differences between designing for for devised and scripted work

Costumes designed and made for devised or physical drama, for contemporary circus or for dance, differ radically from the more traditional costume work produced for naturalistic performance. For those working in the field--whether professional or student--these differences present challenges that this book seeks to highlight and explain, while offering effective solutions to overcome them. It also discusses the specialized designing, cutting, making, and fitting of costumes for dance, circus, and other physical work, as well as the role of the designer/maker in the devising company. There are tips on design invention in the rehearsal room as well as the management of both time and budget with the late changes that happen with devised work.

Masking Unmasked is a basic guide to using the ancient art of acting with masks to develop character and movement in four sections that correspond to mask size: Full-Face Masks, Clowning, Bag Masks, and Half-Face Masks. Each section addresses fundamental acting principles and shows how the ancient technique can be applied to the contemporary stage. It is the perfect book to use as background to traditional, non-masked acting principles. Actors in masks experience the primary goal of acting because they are required to tap into profound physical, vocal, emotional, and psychological transformations in the course of creating a character. In addition, masking promotes honest, believable, and detailed work. Illustrated profusely throughout, the hands-on exercises developed by Eli Simon teach actors to shift cleanly between beats, execute moment-to-moment specificity, unleash creative impulses, take risks, and expand character range, power, and vulnerability. Masking Unmasked is a book of ancient acting techniques that are indispensable for the actor of today.

The Routledge Circus Studies Reader offers an absorbing critical introduction to this diverse and emerging field. It brings together the work of over 30 scholars in this discipline, including Janet Davis, Helen Stoddart and Peta Tait, to highlight and address the field's key historical, critical and theoretical issues. It is organised into three accessible sections, Perspectives, Precedents and Presents, which approach historical aspects, current issues, and the future of circus performance. The chapters, grouped together into 13 theme-based sub-sections, provide a clear entry point into the field and emphasise the diversity of approaches available to students and scholars of circus studies. Classic accounts of performance, including pieces by Philippe Petit and Friedrich Nietzsche, are included alongside more recent scholarship in the field. Edited by two scholars whose work is strongly connected to the dynamic world of performance, The Routledge Circus Studies Reader is an essential teaching and study resource for the emerging discipline of circus studies. It also provides a stimulating introduction to the field for lovers of circus.

Freedom, adventure, romance; a spellbound audience, bright-eyed children, rolling drums, a brass band playing lively music; intrepid acrobats in colourful costumes and garishly made-up clowns. The same old stereotypes about the world of the circus are trotted out on many occasions. Over a period spanning more than 15 years, the photographer Oliver Stegmann visited different circuses to take photos of what happens behind the curtains. His muted images attempt to break the usual stereotypes. Again and again, the photographer captured protagonists in moments of unawareness, showing scenes that the audience would normally never get to see from the edge of the ring. Above all, Stegmann is interested in the atmosphere of tense expectation and utmost concentration when the artists are about to perform their hair-raising acts. Using neither colour nor flash, he creates an enigmatic atmosphere reminiscent of expressionist films. For his circus series, Stegmann develops a kind of imagery that has rarely been applied to the small world of the circus as consistently and confidently as in this case. In terms of subject-matter, design, and production, Circus Noir takes a different approach to this genre by adding an entirely unromantic perspective that focuses on the true essence of what it means to work in a circus. Text in English and German.