Difference between revisions of "Main Page"

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==In The Spotlight==
 
==In The Spotlight==
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[[File:Woodcock_RBBB.jpg|right|400px]]
 
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===BILL & BARBARA WOODCOCK===
 
  
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William "Buckles" Woodcock was born on February 26, 1935 in Lancaster, Missouri, to an old American circus family. Although his father, William H. Woodcock (1904-1963), was a first-generation circus man (and became a legendary elephant trainer with a passion for circus history), his mother was Sarah "Babe" Orton (1902-1988), whose grandfather, Hiram , a former sailor and tavern-keeper of British origin, had started a circus in Wisconsin in 1854. As the feisty Babe would often say, "My family was in the circus when the Ringling brothers were still wearing wooden shoes."
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===FRANZ ALTHOFF===
  
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Bill (to differentiate him from his father, William) Woodcock grew up around animals, elephants in particular. When he was a toddler, he was often buckled to his mother on a harness to keep him in check and safe around his father's elephants, thus his nickname. At age 11, he began working in the circus as a candy butcher. But Buckles had other plans: in 1951, over his father's objections, he found a job as an animal handler with another elephant trainer, Eugene "Arky" Scott, who worked with Ringling Bros. and Barnum & Bailey.
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Germany's Circus Franz Althoff, "Europe's Largest Hippodrome-Circus," was truly, in the 1950s and 1960s, one of the continent's largest and more original circuses. Although it was active for no more than two decades after WWII, it was a circus industry’s trendsetter in several aspects. Its director, Franz Althoff (1908-1987), brilliantly developed collaborative strategies with foreign colleagues, and his circus was the first to regularly visit countries outside the German borders in the early postwar era. Circus Franz Althoff was also the first European circus of that era to develop an acceptable compromise between the grandiosity of the American-style three-ring circus and the refinement and intimacy of the traditional European circus.
  
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Obviously, there was not much William Senior could do. He and Buckles reunited two years later and began working together. Since his father's vision was failing, Buckles's role in the partnership became increasingly more prominent. In 1951, William Woodcock had acquired a four-year old Burmese woodland elephant, Anna May, from the Al G. Kelly-Miller Bros. Circus, and Buckles began working with her. Anna May, who was a remarkably smart and talented performer, would become America's most famous elephant and stay in the Woodcock family until May 2004, when she went into retirement at Riddle's Elephant and Wildlife Sanctuary in Greenbrier, Arkansas. She died there that same year, on December 21.... ([[William Woodcock, Jr.|more...]])
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Franz Althoff also improved the circus performing space, introducing innovative concepts in big-top engineering and design. At the same time, he foresaw the potential the development of large indoor sport arenas offered to the European circus industry, and he participated in the emergence of the so-called "circus festivals" of the 1950-60s, which were held in these arenas and proved an efficient way to catch the attention of a public solicited by an increasing number of emerging forms of entertainment such as music recording, television and wide-screen movie spectacles.
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The broadness and scope of his circus project, as well as his genial personality, helped him close important deals with the American movie industry. A remarkably gifted animal trainer, he created spectacular yet elegant presentations of horses and elephants; his forty-eight-horse liberty act remains the largest in circus history. His shows, with their impressive variety of animal acts, spectacular production numbers and top international talents, are remembered as a modern paradigm of what a large-scale classic traveling circus was meant to be.... ([[Fanz Althoff|more...]])
  
 
==New Biographies==
 
==New Biographies==

Revision as of 02:45, 1 October 2020

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

In The Spotlight

FRANZ ALTHOFF

Germany's Circus Franz Althoff, "Europe's Largest Hippodrome-Circus," was truly, in the 1950s and 1960s, one of the continent's largest and more original circuses. Although it was active for no more than two decades after WWII, it was a circus industry’s trendsetter in several aspects. Its director, Franz Althoff (1908-1987), brilliantly developed collaborative strategies with foreign colleagues, and his circus was the first to regularly visit countries outside the German borders in the early postwar era. Circus Franz Althoff was also the first European circus of that era to develop an acceptable compromise between the grandiosity of the American-style three-ring circus and the refinement and intimacy of the traditional European circus.

Franz Althoff also improved the circus performing space, introducing innovative concepts in big-top engineering and design. At the same time, he foresaw the potential the development of large indoor sport arenas offered to the European circus industry, and he participated in the emergence of the so-called "circus festivals" of the 1950-60s, which were held in these arenas and proved an efficient way to catch the attention of a public solicited by an increasing number of emerging forms of entertainment such as music recording, television and wide-screen movie spectacles.

The broadness and scope of his circus project, as well as his genial personality, helped him close important deals with the American movie industry. A remarkably gifted animal trainer, he created spectacular yet elegant presentations of horses and elephants; his forty-eight-horse liberty"Liberty act", "Horses at liberty": Unmounted horses presented from the center of the ring by an equestrian directing his charges with his voice, body movements, and signals from a ''chambrière'' (French), or long whip. act remains the largest in circus history. His shows, with their impressive variety of animal acts, spectacular production numbers and top international talents, are remembered as a modern paradigm of what a large-scale classic traveling circus was meant to be.... (more...)

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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
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