jeudi 27 septembre 2012
ARLETTE GRUSS 2013: LA BANDE ANNONCE!
La troupe Zola ( éléphant d'or au festival de Figueres 2012, Latina 2012), Tommy dieck Jr, un frère Nichols... seront des attractions du prochain programme 2013
CHARLES KNIE 2012: AVEC KENNETH HUESCA
Cela fait plusieurs saisons que Kenneth Huesca, issu d'une grande lignée d'artistes italiens, assure le show au cirque Charles Knie. Toujours avec beaucoup d'aisance, il est un amuseur et ne manque pas de renverser l'audience entière du chapiteau.
FESTIVAL DE LATINA: More Italian performers added to the cast of the Festival.
With less than three weeks to go until the opening night of the Festival at 9pm on Thursday, October 18th, the cast of competing performers is almost complete. Amongst the Italians already announced – Nancy and Carlo Triberti, competing, and Vinicio Togni, the only guest star at this edition of the Festival – we can now announce the participation of three more Italian numbers: Los Saly Brothers, Elisabetta Bizzarro, and the Rastelli Clowns. This significant group of 5 Italian acts will be representing their country on an international level at the Festival, helping to contribute to the worldwide prestige of the Circus “made in Italy”. Also announced today, the participation in the competition of a pair of Russian clowns, The Kolganovs.
Real-life brothers and working partners in the ring, Los Saly Brothers present a “bolas” number. The bolas, from the Spanish words bola, or ball, are long leather thongs with balls attached to one end and a handle attached to the other. Historically, bolas were used for hunting and as weapons, being thrown as a sort of unattached lasso. Los Saly Brothers, who are Italian, reinterpret Argentinian folklore as “gauchos” with spectacular choreography as they whirl the bolas at high speed to the rhythm of their drums.
Numbers with big cats are a staple of the traditional Circus. Although this type of number is represented in circuses all over the world, it’s very rare that the trainer and performer in the ‘cage’ is a woman. Elizabetta Bizzarro, Italian and a member of one of Italy’s most renowned Circus families, presents an elegant number with four lions. The number of lions in this number is a deliberate choice of the performer, who likes to establish a more personal and intense rapport with each of her working companions. The resulting feel of the number comes from the exclusive use of the technique of “positive reinforcement” during all phases of training.
No Circus would be complete without the presence of clowns and, like any ordinary Circus, even an International Circus Festival needs the humour and laughs that only a good supply of clowns can supply! The Rastelli Clowns, from Italy, will be popping up in all of our shows, bringing joy and laughter to the whole audience but especially to a very special part of our audience: the children. So sit back and enjoy a few moments of carefree hilarity and remember: laugh like nobody is watching!
Just like every year, the presence of clowns within the rich tapestry of the Festival is a must, and along with the acrobats and jugglers they occupy a special place in Circus rings around the world. Kolganov Clowns, from Russia, will definitely guarantee the giggles of all the children present under the Big Top: these two brothers came to Italy from Russia with their bags packed full of fun and comedy, so if any of you adults want to get in touch with your inner child, this is the time, and this is the place!
Real-life brothers and working partners in the ring, Los Saly Brothers present a “bolas” number. The bolas, from the Spanish words bola, or ball, are long leather thongs with balls attached to one end and a handle attached to the other. Historically, bolas were used for hunting and as weapons, being thrown as a sort of unattached lasso. Los Saly Brothers, who are Italian, reinterpret Argentinian folklore as “gauchos” with spectacular choreography as they whirl the bolas at high speed to the rhythm of their drums.
mardi 25 septembre 2012
EUROCIRCUSMODELS REPRODUIT LA ROULOTTE BAR DU CIRQUE RONCALLI
ref Ron 01 / Cafe des Artistes du Cirque RONCALLI. Kit disponible au prix de 130 euros chez Eurocircusmodels.fr. Pour le montage, consulter la société.
ref Ron 02 / porteur MAN prix du kit 70 euros chez Eurocircusmodels.fr
(enfin disponible grace a l aide de David et Francesco et l autorisation de Mr Bernhard Paul)
Ref Ron 03 / soit les deux kits Ron 01 et Ron 02 au prix de 180 Euros l'ensemble chez Eurocircusmodels.fr (avec l autorisation de Mr Bernhard Paul)
A MOSCOU: OURS BLANCS, GUÊPARDS, LION DE MER, KANGOUROU,CHAMEAUX...
"L'île des rêves", le nouveau spectacle du Bolshoi.
CHARLES KNIE 2012: TANGO PASSION, AVEC AMBRA ET IVES NICHOLS
Ce duo, à la ville comme à la scène,réunit Ambra (Faggioni) et Yves Nichols, tous deux héritiers d'illustres familles circassiennes italiennes et espagnoles. leur création aux tissus aériens est un pur moment de plaisir , sur des airs inoubliables, à l'image du célèbre "libertango" d'Astore Piazzolla. Bientôt, le couple sera l'une des attractions de l'hiver parisien, au parc des expositions du Bourget pour la nouvelle production Bouglione" Tous à Rio!"
lundi 24 septembre 2012
LA SEMAINE DOMONTOISE...
Le chapiteau du cirque d'Hiver Bouglione est prêt pour accueillir le prochain festival du cirque du Val d'Oise.Rendez vous vendredi, samedi et dimanche prochain pour la 13ème édition.3000 spectateurs prendront place sous la toile à chacune des séances.42 artistes sont prévus pour cette nouvelle édition, au programme si relevé!
dimanche 23 septembre 2012
samedi 22 septembre 2012
USA: Circus and the City: New York, 1793-2010
The Exhibition
From September 21, 2012, to February 3, 2013, the Bard Graduate Center: Decorative Arts, Design History, Material Culture (BGC) will present Circus and the City: New York, 1793-2010, an exhibition that uses New York City as a lens through which to explore the extraordinary development and spectacular pageantry of the American circus. Through a wide variety of ephemera, images, and artifacts, the exhibition documents the history of the circus in the city, from the seminal equestrian displays of the late eighteenth century through the iconic late nineteenth-century American railroad circus to the Big Apple Circus of today. From humble beginnings, the circus grew into the most popular form of entertainment in the United States. By the turn of the twentieth century, New York City was its most important market and the place where cutting-edge circus performances and exhibitions were introduced to the nation.
Curated by Matthew Wittmann, a curatorial fellow at the BGC, the exhibition features more than two hundred objects and images selected from both local and national collections, including the New-York Historical Society, the International Center of Photography, the Somers Historical Society, the John and Mable Ringling Museum of Art, the New York State Museum, the Circus World Museum, the Barnum Museum, the Library of Congress, the Witte Museum, and the Shelburne Museum.
The exhibition begins by looking at how the advent and growth of the American circus paralleled New York City’s rise as a cultural capital during the nineteenth century. This story began in the fall of 1793, when John Bill Ricketts, a Scotsman, opened the first circus on Greenwich Street with performances that primarily consisted of displays of equestrian skill. In the decades that followed, a variety of transitory circuses and menageries sprang up to entertain the burgeoning population. By mid-century, more permanent circus venues featuring a mix of equestrian, animal, and acrobatic acts were established. Although a succession of influential impresarios, such as Dan Rice and Lewis B. Lent, were transforming the circus business in the United States, no figure was more important to the New York’s emerging popular entertainment industry than Phineas Taylor Barnum (1810–1891). Loans from the Barnum Museum illustrate the breadth of his endeavors, from his early years with Barnum’s American Museum to his triumphant entry into the circus business in the early 1870s. Advertising and artifacts from this era demonstrate how the American circus evolved from modest beginnings into the celebrated and massive railroad circuses of the late nineteenth century and reveal the signature role that New York City played in this process.
The exhibition also features a series of thematic displays about parades, music, toys, elephants, posters, and other aspects of the circus business. These displays include wonderful prints and photographs of circuses parading through the city in different eras, as well as impressive wooden carvings by Samuel A. Robb, New York’s preeminent manufacturer of show and shop figures. Circus and the City explores the particular appeal that the circus held for children, as the large number of toys and books produced by the McLoughin Bros. and other companies attests. The star of the elephant section is Jumbo, the African elephant that arrived in New York Harbor in 1882 and touched off a craze known as “Jumbomania,” which was a boon to the circus business and generated a deluge of ephemera and memorabilia. Perhaps the most noted legacy of the American circus is the plethora of brightly colored posters that were put up all over the city whenever a circus was in town. Indeed, this exhibition delineates the history of show printing in New York and features many fine examples of this industrial art.
Finally, the exhibition takes the story of the circus and the city through the twentieth century by focusing on the Ringling Bros. and Barnum & Bailey Circus, which has visited Madison Square Garden every spring. This section consists of displays about the first visit of the Ringling Brothers to New York City in 1909; the WPA Circus during the Great Depression; Arthur Feelig’s (aka Weegee) circus photography; and works of art by Walt Kuhn, Milton Avery, and other New York City artists who were inspired by the circus. A final section of the exhibition is devoted to the performers who so thrilled New York audiences, featuring the animal trainer Clyde Beatty, the high-wire aerialist Karl Wallenda, the equestrienne May Wirth, and the clown Felix Adler. Overall, Circus and the City promises to be one of the grandest exhibitions about the American circus ever mounted, and it offers a compelling look at how New York City influenced and inspired this iconic form of American popular entertainment.
Publications
The Bard Graduate Center will publish an illustrated catalogue with an extended essay by curator Matthew Wittmann tracing the history of the circus in New York City and highlighting its evolving role in the city’s cultural landscape. This catalogue will also feature entries on noteworthy objects, including spectacular color letterpress and chromolithograph posters specially conserved for the exhibition and giving the history of a few of the more unusual items, such as Leonard Volk’s marble bust of Dan Rice and a riding jacket fitted for a monkey equestrian act. An illustrated checklist will provide an overall look at the range of objects included in the exhibition.
In conjunction with the exhibition, the BGC will publish with Yale University Press The American Circus, a collection of essays about the history of the circus in the United States. This interdisciplinary volume includes contributions by renowned experts from various disciplines that reveal the historical and intellectual complexity of the circus. Edited by Susan Weber, Kenneth L. Ames, and Matthew Wittmann, this publication ranges widely from thematic explorations of circus music and elephants to more narrowly focused studies of such objects as circus toys, tents, and costumes. With contributions from Leon Botstein, Janet Davis, Fred Dahlinger, and other leading scholars from universities and museums around the country, this publication also examines the transnational history of the American Circus in Victorian Britain, the Americanization of the circus clown, and the government-sponsored WPA Circus of the 1930s.
Together these two volumes mark an important advance in understanding the complex and culturally significant history of the American circus.
EN RUSSIE: SEPTEMBRE ET NOVEMBRE.
A Moscou, l'île des rêves débute le 22 septembre.
Et bientôt le Vème festival des clowns.
jeudi 20 septembre 2012
15 FEVRIER 2013: ATTENTION, HAUTE TENSION!
Le cirque allemand Flic-Flac repart en tournée!
Sous un chapiteau géant de 110 mètres de long, 60 mètres de large, le spectacle risque d'être spectaculaire!
Découvrez le communiqué de presse suivant EN CLIQUANT SUR CE LIEN !
mercredi 19 septembre 2012
HOLIDAY-BOUGLIONE: SOUVENIRS , EN MARGE DU LIVRE...
CHARLES KNIE 2012: ELVIS ON TOUR, PART II
Suite de notre rencontre avec le cirque Charles Knie. L'un des meilleures spectacles d'europe désormais avec l'incontournable Elvis Errani et ses pachydermes. comment dit on en italien? indimenticabile...
mardi 18 septembre 2012
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