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==In The Spotlight==
 
==In The Spotlight==
  
===THE KORNILOV DYNASTY===
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===CIRQUE MEDRANO, PARIS===
[[File:Kornilov_Attraction_(2016).jpeg|400px|right]]
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[[File:Medrano_Farewell.jpg|right|thumb|350px|Violette and Jérôme Medrano (1963)]]
There never have been many elephant acts in the Soviet and Russian circus. Several members of the Durov family have included one pachyderm or two in their animal presentations and a small number of animal trainers, such as Boris Fedotov, Sarvat Begbudi and Msistlav Zapashny have trained elephants. The Kornilov Dynasty, however, is the exception that confirms the rule: Since 1929, they have not only been the great Russian elephant-training specialists, but they also have been among the world’s very best—and the productions of their magnificent acts remain unequaled.
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(...) In February of 1959, following the advice of his lawyers, Jérôme Medrano created a new corporate entity for the exploitation of his circus—in all probability to generate new legal hurdles for the Bougliones and continue to stall a situation whose obvious conclusion was unfortunately inexorable. When the 1959-60 Season began in September, Violette Medrano was conspicuously listed on the program as the circus’s sole Director. (She was also the Director of the new corporation.) Although he was still in actuality at the artistic helm of his circus, Jérôme remained in the shadows.
  
Born November 22, 1903 in Russia, Aleksandr Nikolaievich Kornilov (1903-1977), the founder of the Dynasty, began his professional life as a sailor. At the end of the 1920s, he landed in Samara, the great port city on the Volga river, where he discovered the traveling menagerie of Ivan Lazarevich Filatov (1873-1956)—the father of the legendary Russian bear trainer Valentin Filatov, and scion of an old family of itinerant animal trainers.
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Yet Violette’s personal touch could be felt: The overall style of Medrano was modernized and refreshed, notably with usherettes in elegant and colorful dresses instead of circus uniforms, and the use of air freshener in the corridors and the bar to mask the smell of the menagerie. (The latter innovation was strongly criticized by hardcore circus fans!) Marcellys took over the orchestra, in addition to his role as host. Violette also conceived the idea of an already built-up steel arena coming down from the cupola for the cage acts. This was a good innovation, although it couldn’t be used in conjunction with major aerial acts, such as flying trapeze and high wire, and thus influenced to some extent the composition of the programs (either big aerial act or cage act, but not both). Covered with fabric, it also served as a ring curtain in a few productions.
  
This unforeseen encounter changed Kornilov’s life: Although he was indeed fascinated by the Filatov Menagerie exhibitions, he was even more attracted to Masha, the pretty young girl who handled the box office. Masha (Maria Ivanovna Filatova, 1904-1975) was Ivan Lazarevich’s daughter: They quickly fell in love, and Aleksandr decided to stay on dry land and follow Masha, whom he eventually married.  
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In May 1960, the season ended with an interesting show titled ''Cavalcade sur Glace 60''. It was entirely performed on ice, including Erie Klant's polar-bear act presented Corry Vermeeren, Stella Fratellini and her chimpanzee Georgie, and, most amazingly, the high school act of Elvira Vonderp. The featured star of the show was the former French champion ice-skater Raymonde Du Bief, but its true stars were the Barios, who had spent most of the 1959-60 Season at Medrano, and were at the height of their creative and comedic talents. They performed wonderful original entrées (on skates, like everyone else in the show), and gave the production its soul as well as its laughs. ([[Cirque Medrano (Paris)|more...]])
 
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Now part of the family, Aleksandr had to bring his contribution to his father-in-law’s business. Working as a simple cage and stable boy, he did his apprenticeship on the job. After having acquired enough experience caring for the menagerie’s animals, he finally made his public debut as a trainer in 1929 with a group that included brown bears, polar bears and lions. He presented also the menagerie’s single elephant in a sketch titled ''The Elephant at the Restaurant''. ([[The Kornilov Dynasty|more...]])
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==New Biographies==
 
==New Biographies==
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==New Videos==
 
==New Videos==
  
* [[Kong_Haitao_Video_(2018)|Kong Haitao]], Hand Balancer (2018)
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* [[Thierry_Bouglione_Video_(c2010)|Thierry & Sandrine Bouglione]], Magic Act (c.2010)
* [[Mstislav_Zapashny_Video_(1980)|Mstislav & Dolores Zapashny]], Tigers and Elephants Act (1980)
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* [[Pellegrini_Video_(2016)|The Pellegrini Brothers]], Hand-to-Hand Balancing (2016)
* [[Aragorn_Video_(2000)|Duo Aragorn]], Aerial Cradle (2000)
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* [[Moira_Orfei_Video_(1991)|Moira Orfei]], Elephant Act (1991)
* [[Elena_Lev_Video_(1999)|Elena Lev]], Hula-Hoops (1999)
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* [[Martin_Lacey_Video_(2000)|Martin Lacey, Jr.]], Lion Act (2000)
* [[Michael_Ferreri_Video_2018|Michael Ferreri]], Juggler (2018)
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* [[Heroes_Video_(2018)|Bogdanov Troupe (''Heroes'')]], Flying Act (2018)
  
 
==Featured Oral Histories==
 
==Featured Oral Histories==

Revision as of 01:52, 18 August 2018

Welcome! ✫ Bienvenue! ✫ Willkommen! ✫ Добро Пожаловать!
Bienvenida! ✫ Benvenuto! ✫ 歡迎 ! ✫ Vítejte! ✫ Καλώς ήρθατε!
Üdvözöljük! ✫ Добре Дошли! ✫ Welkom! ✫ Ласкаво Просимо!
Velkommen! ✫ Tervetuloa! ✫ Дабро Запрашаем! ✫ Välkommen!

Circopedia was originally created with the support of the Big Apple Circus,
and has been inspired and funded by the Shelley & Donald Rubin Foundation.

In The Spotlight

CIRQUE MEDRANO, PARIS

Violette and Jérôme Medrano (1963)

(...) In February of 1959, following the advice of his lawyers, Jérôme Medrano created a new corporate entity for the exploitation of his circus—in all probability to generate new legal hurdles for the Bougliones and continue to stall a situation whose obvious conclusion was unfortunately inexorable. When the 1959-60 Season began in September, Violette Medrano was conspicuously listed on the program as the circus’s sole Director. (She was also the Director of the new corporation.) Although he was still in actuality at the artistic helm of his circus, Jérôme remained in the shadows.

Yet Violette’s personal touch could be felt: The overall style of Medrano was modernized and refreshed, notably with usherettes in elegant and colorful dresses instead of circus uniforms, and the use of air freshener in the corridors and the bar to mask the smell of the menagerie. (The latter innovation was strongly criticized by hardcore circus fans!) Marcellys took over the orchestra, in addition to his role as host. Violette also conceived the idea of an already built-up steel arena coming down from the cupola for the cage acts. This was a good innovation, although it couldn’t be used in conjunction with major aerial acts, such as flying trapezeAerial act in which an acrobat is propelled from a trapeze to a catcher, or to another trapeze. (See also: Short-distance Flying Trapeze) and high wireA tight, heavy metallic cable placed high above the ground, on which wire walkers do crossings and various acrobatic exercises. Not to be confused with a tight wire., and thus influenced to some extent the composition of the programs (either big aerial act or cage act(English/American) Act performed in a cage, such as lion or tiger acts., but not both). Covered with fabric(See: Tissu), it also served as a ring curtain in a few productions.

In May 1960, the season ended with an interesting show titled Cavalcade sur Glace 60. It was entirely performed on ice, including Erie Klant's polar-bear act presented Corry Vermeeren, Stella Fratellini and her chimpanzee Georgie, and, most amazingly, the high schoolA display of equestrian dressage by a rider mounting a horse and leading it into classic moves and steps. (From the French: Haute école) act of Elvira Vonderp. The featured star of the show was the former French champion ice-skater Raymonde Du Bief, but its true stars were the Barios, who had spent most of the 1959-60 Season at Medrano, and were at the height of their creative and comedic talents. They performed wonderful original entrées (on skates, like everyone else in the show), and gave the production its soul as well as its laughs. (more...)

New Biographies

New Videos

Featured Oral Histories

Featured Circopedia Book

A Message from the Editor

CIRCOPEDIA is a constantly evolving and expanding archive of the international circus. New videos, biographies, essays, and documents are added to the site on a weekly—and sometimes daily—basis. Keep visiting us: even if today you don't find what you're looking for, it may well be here tomorrow! And if you are a serious circus scholar and spot a factual or historical inaccuracy, do not hesitate to contact us: we will definitely consider your remarks and suggestions.

Dominique Jando
Founder and Curator