Through Almost Perfect, Erika Lemay shares how she became world-famous by creating a career out of her passion - the acrobatic world of Physical Poetry. The gritty detail of a life in the spotlight is exposed - rebuilding herself after a fall that left one of her limbs compromised and challenged all she had aspired to be, avoiding child abusers in the show business world, and keeping her cool when the unpredictable happens 30 metres in the air. More than this, Erika explains the methodology behind her success stories. With precise parameters, tips, and tricks, Almost Perfect is the guide she shares to a pain-free life, which explains how she maintains her physical conditions to Olympic-athlete level, and demonstrates how everyone can achieve the extraordinary - not by magical thinking but by designing a precise set of habits that can open doors to what most think is only accessible to the few. Almost Perfect is ideal for anyone that aspires to exceptional health, an extraordinary life, a head-turning physique, and an enviable career. Erika's carefully crafted methodology for excelling at specific goals is laid bare for the world to see. Nothing comes for free: a detail-oriented and elite mindset is the key to the most incredible life-changing path. Throughout Almost Perfect, readers learn to be the incarnation of coherence through iron discipline and unshakeable self-worth.

Spanning several decades and three continents, Modoc is one of the most amazing true animal stories ever told. Raised together in a small German circus town, a boy and an elephant formed a bond that would last their entire lives, and would be tested time and again; through a near-fatal shipwreck in the Indian Ocean, an apprenticeship with the legendary Mahout elephant trainers in the Indian teak forests, and their eventual rise to circus stardom in 1940s New York City. Modoc is a captivating true story of loyalty, friendship, and high adventure, to be treasured by animal lovers everywhere.

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.

Semiotics is long on theoretical, often obscure discourses, but short on applications that demonstrate with clarity the applicability of its methods. This book confronts a challenging object, the circus, and endeavors to describe its performances in ways that explain how circus acts produce meaning and cause a deep emotional involvement for their audiences. The approach is not top-down, such as would be a method that would dogmatically apply a particular theory to fully explain the phenomena in terms of this theory alone. Epistemologically, this book is an example of the bottom-up strategy, which consists of considering first the objects and heuristically calling upon methodological resources in a broad theoretical array to come to grips with the problems that are encountered. Any circus act is a complex event that has cognitive and emotional dimensions. It is also a part of a history and an institution, and cannot be abstracted from its cultural and sociological contexts. Thus the range of relevant theoretical and methodological approaches must include structural semiotics, biosemiotics, pragmatics, socio-semiotics, cultural anthropology, the cognitive sciences, the psychology and sociology of emotions, to name only the most important. But the ultimate focus of this book is to enable the readers to better understand the meaning of circus performances and to appreciate the skills and creativity of this traditional popular art, which constantly renews itself from generation to generation.

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.

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.

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.

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.

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.

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.

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.

In Truevine, Virginia, in 1899 everyone the Muse brothers knew was either a former slave, or a child or grandchild of slaves.

George and Willie Muse were just six and nine years old, but they worked the fields from dawn to dark. Until a white man offered them candy and stole them away to become circus freaks. For the next twenty-eight years, their distraught mother struggled to get them back. But were they really kidnapped? And how did their mother, a barely literate black woman in the segregated South, manage to bring them home? And why, after coming home, would they want to go back to the circus?

In Truevine, bestselling author Beth Macy reveals for the first time what really happened to the Muse brothers. It is an unforgettable story of cruelty and exploitation, but also of loyalty, determination and love.

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."

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.

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).

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.

Kicking Sawdust is a series of photos taken from 1988-1992 while on the road with the circus, carnival, sideshows. It is a personal documentation of friends and people Clayton Anderson encountered in his daily life while working and traveling in his family's food business. Shot on black and white film and developed by author while on the road, after hours.

In its heyday, the American circus was the largest showbiz industry the world had ever seen. From the mid-1800s to mid-1900s, traveling circuses performed for audiences of up to 14,000 per show, employed as many as 1,600 men and women, and crisscrossed the country on 20,000 miles of railroad in one season alone. The spectacle of death-defying daredevils, strapping superheroes and scantily clad starlets, fearless animal trainers, and startling "freaks" gripped the American imagination, outshining theater, vaudeville, comedy, and minstrel shows. This book sheds fresh light on the circus phenomenon. With photographic gems of early circus performers, as well as original posters, lithographs, sideshow banners and engravings from the 16th to 19th centuries illustrating the worldwide roots of the circus, readers are transported to a world of thrill and skill, grit and glamor. Highlights include iconic circus photographs by Mathew Brady, Cornell Capa, Walker Evans, Weegee, and Lisette Model, and little-known circus images by Stanley Kubrick and Charles and Ray Eames.

'A book of instructions to those who will dare one day the impossible. I bow my head in reverence' Werner Herzog 'Petit is an artist whose theatre is the sky' Robin Williams 'Fascinating. You will learn about the man, his work, his passion, his tenacity and lucidity' Marcel Marceau 'Petit outlines a whole approach to life. The lessons are simple, universal. Be committed. Feel alive. Give everything' Independent In cities you travel to, always remember to visit the highest monument. Remain at the top for many hours, looking into the void. In this poetic handbook, written when he was just twenty-three, the world-famous high-wire artist Philippe Petit offers a window into the world of his craft. Petit masterfully explains how preparation and self-control contributed to such feats as walking between the towers of Notre Dame and the World Trade Center. Addressing such topics as the rigging of the wire, the walker's first steps, his salute and exercises, and the work of other renowned high-wire artists, Petit offers us a book about the ecstasy of conquering our fears and reaching for the stars. Translated and introduced by Paul Auster A W&N Essential