http://www.circopedia.org/index.php?title=SHORT_HISTORY_OF_THE_CIRCUS&feed=atom&action=historySHORT HISTORY OF THE CIRCUS - Revision history2024-03-29T11:23:49ZRevision history for this page on the wikiMediaWiki 1.24.1http://www.circopedia.org/index.php?title=SHORT_HISTORY_OF_THE_CIRCUS&diff=40359&oldid=prevDjando: /* Circus in the 21st Century */2023-10-14T21:56:19Z<p><span dir="auto"><span class="autocomment">Circus in the 21st Century</span></span></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>===Circus in the 21st Century===</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>===Circus in the 21st Century===</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The surge of teaching activity led to the creation of a multitude of avant-garde and experimental circus companies, especially in England, France, Germany, Australia, and Canada (some of them extremely successful, such as the French "heavy metal" circus [[Archaos]], or the German [[Circus Flic-Flac]]), as well as to a revival of the old variety theater, especially in Germany with the resurgence of German "varieté".  </div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>The surge of teaching activity led to the creation of a multitude of avant-garde and experimental circus companies <ins class="diffchange diffchange-inline">in the last decades of the 20th century</ins>, especially in England, France, Germany, Australia, and Canada (some of them extremely successful, such as the French "heavy metal" circus [[Archaos]], or the German [[Circus Flic-Flac]]), as well as to a revival of the old variety theater, especially in Germany with the resurgence of German "varieté".  </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Traditional circuses, however had to face a change of audience's perception regarding animal training, fueled in large part by animal-rights activists&mdash;in spite of massive positive changes in the presentation and keeping of wild animals, especially in Europe. This led to a swarm of local legislation that made it often difficult, and oftentimes even impossible for circuses to present wild animal acts. Many circuses had to adapt and gradually give up the presentation of animals, following in that the example of the very successful Cirque du Soleil.  </div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Traditional circuses, however had to face a change of audience's perception regarding animal training, fueled in large part by animal-rights activists&mdash;in spite of massive positive changes in the presentation and keeping of wild animals, especially in Europe. This led to a swarm of local legislation that made it often difficult, and oftentimes even impossible for circuses to present wild animal acts. Many circuses had to adapt and gradually give up the presentation of animals, following in that the example of the very successful Cirque du Soleil.  </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>However, in many countries, this had a devastating effect on the circus industry: large traveling circuses that relied in large part on their vast menageries and the presentation of their exotic and wild animals, where forced to dispose of them and eventually closed, thus putting animal trainers ans keepers out of work, and at the same time considerably reducing the employment <del class="diffchange diffchange-inline">market </del>opportunities for other artists. However, animal acts are still presented by many circuses, notably in Eastern Europe and in Russia, and wherever else they are offered, they largely remain audiences' favorites.</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>However, in many countries, this had a devastating effect on the circus industry: large traveling circuses that relied in large part on their vast menageries and the presentation of their exotic and wild animals, where forced to dispose of them and eventually closed, thus putting animal trainers ans keepers out of work, and at the same time considerably reducing the employment opportunities for other artists. However, animal acts are still presented by many circuses, notably in Eastern Europe and in Russia, and wherever else they are offered, they largely remain audiences' favorites.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>   </div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>   </div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Nonetheless, the circus, which has always been a highly adaptable performing art, is today undergoing important cosmetic changes, but its appeal as an universal form of entertainment remains, and a new expansion is to be expected.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Nonetheless, the circus, which has always been a highly adaptable performing art, is today undergoing important cosmetic changes, but its appeal as an universal form of entertainment remains, and a new expansion is to be expected.</div></td></tr>
</table>Djandohttp://www.circopedia.org/index.php?title=SHORT_HISTORY_OF_THE_CIRCUS&diff=40358&oldid=prevDjando: /* Circus Today */2023-10-14T21:53:06Z<p><span dir="auto"><span class="autocomment">Circus Today</span></span></p>
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<td colspan='2' style="background-color: white; color:black; text-align: center;">Revision as of 21:53, 14 October 2023</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>When, in the late 1950s, the [[Moscow Circus]] (a generic name adopted by all Soviet circus companies touring abroad) started showing in the West, those trained by the Soviet school contrasted favorably with those trained by the traditional circus families. Russian performers displayed originality, unparalleled artistry, and amazing technique, whereas the rest just repeated themselves in a desperate attempt to compete with both the Russian innovations and increasing competition from movies, radio, and television, which they did using the only weapons at their disposal: time-tested traditional acts. But resistance to change had transformed tradition into routine. The old circus families were losing touch with their audience's ever-transforming world.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>When, in the late 1950s, the [[Moscow Circus]] (a generic name adopted by all Soviet circus companies touring abroad) started showing in the West, those trained by the Soviet school contrasted favorably with those trained by the traditional circus families. Russian performers displayed originality, unparalleled artistry, and amazing technique, whereas the rest just repeated themselves in a desperate attempt to compete with both the Russian innovations and increasing competition from movies, radio, and television, which they did using the only weapons at their disposal: time-tested traditional acts. But resistance to change had transformed tradition into routine. The old circus families were losing touch with their audience's ever-transforming world.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>===<del class="diffchange diffchange-inline">Circus Today</del>===</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>===<ins class="diffchange diffchange-inline">Changes at the End of the 2oth Century</ins>===</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[File:Bertram_Mills.jpg|Bertram Mills (1923)|thumb|right|300px]]Old circus performers may have resisted change, but a few producers, at least, tried to shake up the shows in which they appeared by modernizing staging, lighting, musical accompaniment, and more: [[John Ringling North]] in the U.S.; [[Bertram Mills]] and his sons, [[Cyril Mills|Cyril]] and Bernard, in England; and [[Jérôme Medrano]] in Paris. Eventually, the new Russian style prevailed. In 1974, [[Annie Fratellini]] (heiress to the famous clowning dynasty) and [[Alexis Gruss Jr|Alexis Gruss, Jr.]] (heir to the last French equestrian dynasty) created in Paris the first two western circus schools. Both incorporated a performing arm&mdash;a circus in which creation was paramount&mdash;though both schools retained a more or less traditional approach. (Alexis Gruss called his circus ''Le Cirque à l'Ancienne'', the Old-Time Circus.)</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>[[File:Bertram_Mills.jpg|Bertram Mills (1923)|thumb|right|300px]]Old circus performers may have resisted change, but a few producers, at least, tried to shake up the shows in which they appeared by modernizing staging, lighting, musical accompaniment, and more: [[John Ringling North]] in the U.S.; [[Bertram Mills]] and his sons, [[Cyril Mills|Cyril]] and Bernard, in England; and [[Jérôme Medrano]] in Paris. Eventually, the new Russian style prevailed. In 1974, [[Annie Fratellini]] (heiress to the famous clowning dynasty) and [[Alexis Gruss Jr|Alexis Gruss, Jr.]] (heir to the last French equestrian dynasty) created in Paris the first two western circus schools. Both incorporated a performing arm&mdash;a circus in which creation was paramount&mdash;though both schools retained a more or less traditional approach. (Alexis Gruss called his circus ''Le Cirque à l'Ancienne'', the Old-Time Circus.)</div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Perhaps not coincidentally, all these changes came at a time when European intellectuals&mdash;mostly French&mdash;were fretting over the decline of the circus as a performing art. In 1975, Prince Rainier of Monaco (a longtime circus enthusiast) created the [[International Circus Festival of Monte-Carlo]], whose Gold and Silver Clown awards would become to the circus world what the Oscar® is to the movie industry. It was followed in 1977 by Paris's [[Festival Mondial du Cirque de Demain]] (World Festival of the Circus of Tomorrow), created to showcase and promote a new generation of circus performers, mostly trained in circus schools.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Perhaps not coincidentally, all these changes came at a time when European intellectuals&mdash;mostly French&mdash;were fretting over the decline of the circus as a performing art. In 1975, Prince Rainier of Monaco (a longtime circus enthusiast) created the [[International Circus Festival of Monte-Carlo]], whose Gold and Silver Clown awards would become to the circus world what the Oscar® is to the movie industry. It was followed in 1977 by Paris's [[Festival Mondial du Cirque de Demain]] (World Festival of the Circus of Tomorrow), created to showcase and promote a new generation of circus performers, mostly trained in circus schools.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>In this atmosphere, the Gruss/Fratellini model quickly stimulated other experiments. In 1977, [[Paul Binder]] and [[Michael Christensen]], who had performed as jugglers with Fratellini, created the New York School for Circus Arts and its performing branch, the [[Big Apple Circus]], which reintroduced the classical one-ring circus to America. The same year, Bernhard Paul and André Heller created [[Circus Roncalli]] in Germany, restoring the lost flamboyance of the German circus of yore. [[File:BAC_tent_at_Lincoln_Center_(2010).jpg|The Big Apple Circus at Lincoln Center (2010)|thumb|left|400px]]In Montréal, Canada, Guy Caron founded the Ecole Nationale de Cirque (National Circus School) in 1980, and in 1984, Guy Laliberté created the innovative [[Cirque du Soleil]], with Caron as its first Artistic Director. All were outsiders whose enterprises, each in its own way, were highly creative and gave a much-needed boost to the circus (and for Cirque du Soleil, a drastically different image). They also had a profound influence on the development of a "new circus" movement, which redefined the circus as a performing art, and on changes in the artistic and commercial attitude of many of the traditional circuses.</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>In this atmosphere, the Gruss/Fratellini model quickly stimulated other experiments. In 1977, [[Paul Binder]] and [[Michael Christensen]], who had performed as jugglers with Fratellini, created the New York School for Circus Arts and its performing branch, the [[Big Apple Circus]], which reintroduced the classical one-ring circus to America. The same year, Bernhard Paul and André Heller created [[Circus Roncalli]] in Germany, restoring the lost flamboyance of the German circus of yore.</div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins class="diffchange diffchange-inline"> </ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[File:BAC_tent_at_Lincoln_Center_(2010).jpg|The Big Apple Circus at Lincoln Center (2010)|thumb|left|400px]]In Montréal, Canada, Guy Caron founded the Ecole Nationale de Cirque (National Circus School) in 1980, and in 1984, Guy Laliberté created the innovative [[Cirque du Soleil]], with Caron as its first Artistic Director. All were outsiders whose enterprises, each in its own way, were highly creative and gave a much-needed boost to the circus (and for Cirque du Soleil, a drastically different image). They also had a profound influence on the development of a "new circus" movement, which redefined the circus as a performing art, and on changes in the artistic and commercial attitude of many of the traditional circuses.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>In 1985, the French government created the Centre National des Arts du Cirque, a professional circus college on the Russian model. Other schools, often private not-for-profit entities and with varying degrees of professionalism, were established in England, Belgium, Sweden, Italy, Australia, Brazil, and the U.S., among others, adding their numbers to the circus schools already in existence in the former Eastern Bloc.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>In 1985, the French government created the Centre National des Arts du Cirque, a professional circus college on the Russian model. Other schools, often private not-for-profit entities and with varying degrees of professionalism, were established in England, Belgium, Sweden, Italy, Australia, Brazil, and the U.S., among others, adding their numbers to the circus schools already in existence in the former Eastern Bloc.</div></td></tr>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Although China has a 2000-year-old [[The Chinese Acrobatic Theater|acrobatic theater]] tradition of its own, its many troupes&mdash;similarly to their Russisan counterparts&mdash;developed new training method]]s after the Communist revolution and found themselves welcome participants in the circus renaissance. Director [[Valentin Gneushev]] (certainly the most influential director in the contemporary circus) opened his own studio in post-communist Moscow, while others opened specialized schools, like André Simard's aerial-act studio, Les Gens d'R, in Canada.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Although China has a 2000-year-old [[The Chinese Acrobatic Theater|acrobatic theater]] tradition of its own, its many troupes&mdash;similarly to their Russisan counterparts&mdash;developed new training method]]s after the Communist revolution and found themselves welcome participants in the circus renaissance. Director [[Valentin Gneushev]] (certainly the most influential director in the contemporary circus) opened his own studio in post-communist Moscow, while others opened specialized schools, like André Simard's aerial-act studio, Les Gens d'R, in Canada.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The surge of teaching activity <del class="diffchange diffchange-inline">also </del>led to the creation of a multitude of avant-garde and experimental circus companies, especially in England, France, Germany, Australia, and Canada (some of them extremely successful, such as the French "heavy metal" circus [[Archaos]]), as well as to a <del class="diffchange diffchange-inline">recent </del>revival of the old variety theater, especially in Germany with the resurgence of German "varieté". <del class="diffchange diffchange-inline">Today</del>, the circus, which has always been a highly adaptable performing art, is undergoing cosmetic changes and a new expansion.</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins class="diffchange diffchange-inline">===Circus in the 21st Century===</ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>The surge of teaching activity led to the creation of a multitude of avant-garde and experimental circus companies, especially in England, France, Germany, Australia, and Canada (some of them extremely successful, such as the French "heavy metal" circus [[Archaos<ins class="diffchange diffchange-inline">]], or the German [[Circus Flic-Flac</ins>]]), as well as to a revival of the old variety theater, especially in Germany with the resurgence of German "varieté".  </div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins class="diffchange diffchange-inline">Traditional circuses, however had to face a change of audience's perception regarding animal training, fueled in large part by animal-rights activists&mdash;in spite of massive positive changes in the presentation and keeping of wild animals, especially in Europe. This led to a swarm of local legislation that made it often difficult, and oftentimes even impossible for circuses to present wild animal acts. Many circuses had to adapt and gradually give up the presentation of animals, following in that the example of the very successful Cirque du Soleil. </ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div> </div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins class="diffchange diffchange-inline">However, in many countries, this had a devastating effect on the circus industry: large traveling circuses that relied in large part on their vast menageries and the presentation of their exotic and wild animals, where forced to dispose of them and eventually closed, thus putting animal trainers ans keepers out of work, and at the same time considerably reducing the employment market opportunities for other artists. However, animal acts are still presented by many circuses, notably in Eastern Europe and in Russia, and wherever else they are offered, they largely remain audiences' favorites.</ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins class="diffchange diffchange-inline"> </ins></div></td></tr>
<tr><td colspan="2"> </td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div><ins class="diffchange diffchange-inline">Nonetheless</ins>, the circus, which has always been a highly adaptable performing art, is <ins class="diffchange diffchange-inline">today </ins>undergoing <ins class="diffchange diffchange-inline">important </ins>cosmetic changes<ins class="diffchange diffchange-inline">, but its appeal as an universal form of entertainment remains, </ins>and a new expansion <ins class="diffchange diffchange-inline">is to be expected</ins>.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>== Suggested Reading ==</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>== Suggested Reading ==</div></td></tr>
</table>Djandohttp://www.circopedia.org/index.php?title=SHORT_HISTORY_OF_THE_CIRCUS&diff=38495&oldid=prevDjando: /* Circus Today */2022-06-29T00:05:32Z<p><span dir="auto"><span class="autocomment">Circus Today</span></span></p>
<table class='diff diff-contentalign-left'>
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<td colspan='2' style="background-color: white; color:black; text-align: center;">← Older revision</td>
<td colspan='2' style="background-color: white; color:black; text-align: center;">Revision as of 00:05, 29 June 2022</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Perhaps not coincidentally, all these changes came at a time when European intellectuals&mdash;mostly French&mdash;were fretting over the decline of the circus as a performing art. In 1975, Prince Rainier of Monaco (a longtime circus enthusiast) created the [[International Circus Festival of Monte-Carlo]], whose Gold and Silver Clown awards would become to the circus world what the Oscar® is to the movie industry. It was followed in 1977 by Paris's [[Festival Mondial du Cirque de Demain]] (World Festival of the Circus of Tomorrow), created to showcase and promote a new generation of circus performers, mostly trained in circus schools.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Perhaps not coincidentally, all these changes came at a time when European intellectuals&mdash;mostly French&mdash;were fretting over the decline of the circus as a performing art. In 1975, Prince Rainier of Monaco (a longtime circus enthusiast) created the [[International Circus Festival of Monte-Carlo]], whose Gold and Silver Clown awards would become to the circus world what the Oscar® is to the movie industry. It was followed in 1977 by Paris's [[Festival Mondial du Cirque de Demain]] (World Festival of the Circus of Tomorrow), created to showcase and promote a new generation of circus performers, mostly trained in circus schools.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div><del class="diffchange diffchange-inline">[[File:BAC_tent_at_Lincoln_Center_(2010).jpg|The Big Apple Circus at Lincoln Center (2010)|thumb|left|400px]]</del>In this atmosphere, the Gruss/Fratellini model quickly stimulated other experiments. In 1977, [[Paul Binder]] and [[Michael Christensen]], who had performed as jugglers with Fratellini, created the New York School for Circus Arts and its performing branch, the [[Big Apple Circus]], which reintroduced the classical one-ring circus to America. The same year, Bernhard Paul and André Heller created [[Circus Roncalli]] in Germany, restoring the lost flamboyance of the German circus of yore. In Montréal, Canada, Guy Caron founded the Ecole Nationale de Cirque (National Circus School) in 1980, and in 1984, Guy Laliberté created the innovative [[Cirque du Soleil]], with Caron as its first Artistic Director. All were outsiders whose enterprises, each in its own way, were highly creative and gave a much-needed boost to the circus (and for Cirque du Soleil, a drastically different image). They also had a profound influence on the development of a "new circus" movement, which redefined the circus as a performing art, and on changes in the artistic and commercial attitude of many of the traditional circuses.</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>In this atmosphere, the Gruss/Fratellini model quickly stimulated other experiments. In 1977, [[Paul Binder]] and [[Michael Christensen]], who had performed as jugglers with Fratellini, created the New York School for Circus Arts and its performing branch, the [[Big Apple Circus]], which reintroduced the classical one-ring circus to America. The same year, Bernhard Paul and André Heller created [[Circus Roncalli]] in Germany, restoring the lost flamboyance of the German circus of yore. <ins class="diffchange diffchange-inline">[[File:BAC_tent_at_Lincoln_Center_(2010).jpg|The Big Apple Circus at Lincoln Center (2010)|thumb|left|400px]]</ins>In Montréal, Canada, Guy Caron founded the Ecole Nationale de Cirque (National Circus School) in 1980, and in 1984, Guy Laliberté created the innovative [[Cirque du Soleil]], with Caron as its first Artistic Director. All were outsiders whose enterprises, each in its own way, were highly creative and gave a much-needed boost to the circus (and for Cirque du Soleil, a drastically different image). They also had a profound influence on the development of a "new circus" movement, which redefined the circus as a performing art, and on changes in the artistic and commercial attitude of many of the traditional circuses.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>In 1985, the French government created the Centre National des Arts du Cirque, a professional circus college on the Russian model. Other schools, often private not-for-profit entities and with varying degrees of professionalism, were established in England, Belgium, Sweden, Italy, Australia, Brazil, and the U.S., among others, adding their numbers to the circus schools already in existence in the former Eastern Bloc.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>In 1985, the French government created the Centre National des Arts du Cirque, a professional circus college on the Russian model. Other schools, often private not-for-profit entities and with varying degrees of professionalism, were established in England, Belgium, Sweden, Italy, Australia, Brazil, and the U.S., among others, adding their numbers to the circus schools already in existence in the former Eastern Bloc.</div></td></tr>
</table>Djandohttp://www.circopedia.org/index.php?title=SHORT_HISTORY_OF_THE_CIRCUS&diff=38494&oldid=prevDjando: /* Circus Today */2022-06-29T00:04:42Z<p><span dir="auto"><span class="autocomment">Circus Today</span></span></p>
<table class='diff diff-contentalign-left'>
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<td colspan='2' style="background-color: white; color:black; text-align: center;">← Older revision</td>
<td colspan='2' style="background-color: white; color:black; text-align: center;">Revision as of 00:04, 29 June 2022</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>===Circus Today===</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>===Circus Today===</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[File:Bertram_Mills.jpg|Bertram Mills (1923)|thumb|right|<del class="diffchange diffchange-inline">200px</del>]]Old circus performers may have resisted change, but a few producers, at least, tried to shake up the shows in which they appeared by modernizing staging, lighting, musical accompaniment, and more: [[John Ringling North]] in the U.S.; [[Bertram Mills]] and his sons, [[Cyril Mills|Cyril]] and Bernard, in England; and [[Jérôme Medrano]] in Paris. Eventually, the new Russian style prevailed. In 1974, [[Annie Fratellini]] (heiress to the famous clowning dynasty) and [[Alexis Gruss Jr|Alexis Gruss, Jr.]] (heir to the last French equestrian dynasty) created in Paris the first two western circus schools. Both incorporated a performing arm&mdash;a circus in which creation was paramount&mdash;though both schools retained a more or less traditional approach. (Alexis Gruss called his circus ''Le Cirque à l'Ancienne'', the Old-Time Circus.)</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[File:Bertram_Mills.jpg|Bertram Mills (1923)|thumb|right|<ins class="diffchange diffchange-inline">300px</ins>]]Old circus performers may have resisted change, but a few producers, at least, tried to shake up the shows in which they appeared by modernizing staging, lighting, musical accompaniment, and more: [[John Ringling North]] in the U.S.; [[Bertram Mills]] and his sons, [[Cyril Mills|Cyril]] and Bernard, in England; and [[Jérôme Medrano]] in Paris. Eventually, the new Russian style prevailed. In 1974, [[Annie Fratellini]] (heiress to the famous clowning dynasty) and [[Alexis Gruss Jr|Alexis Gruss, Jr.]] (heir to the last French equestrian dynasty) created in Paris the first two western circus schools. Both incorporated a performing arm&mdash;a circus in which creation was paramount&mdash;though both schools retained a more or less traditional approach. (Alexis Gruss called his circus ''Le Cirque à l'Ancienne'', the Old-Time Circus.)</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>There was obviously a strong planetary need for a circus renaissance: That same year (1974), in Adelaide, Australia, a young company of clowns, acrobats and aerialists that called itself "New Circus" began to perform and attract attention. It was followed a year later by the Soapbox Circus; both companies merged in 1977, to become [[Circus Oz]]. Meanwhile, in 1975,  [[Larry Pizoni]] and Peggy Snyder launched the grassroots [[Pickle Family Circus]] in San Francisco, then the epicenter of the American counterculture movement.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>There was obviously a strong planetary need for a circus renaissance: That same year (1974), in Adelaide, Australia, a young company of clowns, acrobats and aerialists that called itself "New Circus" began to perform and attract attention. It was followed a year later by the Soapbox Circus; both companies merged in 1977, to become [[Circus Oz]]. Meanwhile, in 1975,  [[Larry Pizoni]] and Peggy Snyder launched the grassroots [[Pickle Family Circus]] in San Francisco, then the epicenter of the American counterculture movement.</div></td></tr>
</table>Djandohttp://www.circopedia.org/index.php?title=SHORT_HISTORY_OF_THE_CIRCUS&diff=38493&oldid=prevDjando: /* Circus Today */2022-06-29T00:04:26Z<p><span dir="auto"><span class="autocomment">Circus Today</span></span></p>
<table class='diff diff-contentalign-left'>
<col class='diff-marker' />
<col class='diff-content' />
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<td colspan='2' style="background-color: white; color:black; text-align: center;">← Older revision</td>
<td colspan='2' style="background-color: white; color:black; text-align: center;">Revision as of 00:04, 29 June 2022</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Although China has a 2000-year-old [[The Chinese Acrobatic Theater|acrobatic theater]] tradition of its own, its many troupes&mdash;similarly to their Russisan counterparts&mdash;developed new training method]]s after the Communist revolution and found themselves welcome participants in the circus renaissance. Director [[Valentin Gneushev]] (certainly the most influential director in the contemporary circus) opened his own studio in post-communist Moscow, while others opened specialized schools, like André Simard's aerial-act studio, Les Gens d'R, in Canada.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>Although China has a 2000-year-old [[The Chinese Acrobatic Theater|acrobatic theater]] tradition of its own, its many troupes&mdash;similarly to their Russisan counterparts&mdash;developed new training method]]s after the Communist revolution and found themselves welcome participants in the circus renaissance. Director [[Valentin Gneushev]] (certainly the most influential director in the contemporary circus) opened his own studio in post-communist Moscow, while others opened specialized schools, like André Simard's aerial-act studio, Les Gens d'R, in Canada.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>The surge of teaching activity also led to the creation of a multitude of avant-garde and experimental circus companies, especially in England, France, Germany, Australia, and Canada (some of them extremely successful, such as the French "heavy metal" circus [[Archaos]]), as well as to a recent revival of the old variety theater, especially in Germany with the resurgence of German "varieté". <del class="diffchange diffchange-inline">At the dawn of the twenty-first century</del>, the circus, which has always been a highly adaptable performing art, is undergoing cosmetic changes and a new expansion.</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>The surge of teaching activity also led to the creation of a multitude of avant-garde and experimental circus companies, especially in England, France, Germany, Australia, and Canada (some of them extremely successful, such as the French "heavy metal" circus [[Archaos]]), as well as to a recent revival of the old variety theater, especially in Germany with the resurgence of German "varieté". <ins class="diffchange diffchange-inline">Today</ins>, the circus, which has always been a highly adaptable performing art, is undergoing cosmetic changes and a new expansion.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>== Suggested Reading ==</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>== Suggested Reading ==</div></td></tr>
</table>Djandohttp://www.circopedia.org/index.php?title=SHORT_HISTORY_OF_THE_CIRCUS&diff=38492&oldid=prevDjando: /* The American Traveling Circus */2022-06-29T00:02:55Z<p><span dir="auto"><span class="autocomment">The American Traveling Circus</span></span></p>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>In the early nineteenth century, the United States was a new, developing country with few cities large enough to sustain long-term resident circuses. Furthermore, settlers were steadily pushing the American frontier westward, establishing new communities in a process of inexorable expansion. To reach their public, showmen had little choice but to travel light and fast.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>In the early nineteenth century, the United States was a new, developing country with few cities large enough to sustain long-term resident circuses. Furthermore, settlers were steadily pushing the American frontier westward, establishing new communities in a process of inexorable expansion. To reach their public, showmen had little choice but to travel light and fast.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[File:Ringling_Program_Cover_1940.jpg|thumb|right|<del class="diffchange diffchange-inline">250px</del>|Ringling Bros. and Barnum & Bailey Circus on tour (1940)]]In 1825, [[Joshuah Purdy Brown]] (1802?-1834) became the first circus entrepreneur to replace the usual wooden construction with a full canvas tent, a system that had become commonplace by the mid-1830s. J. Purdy Brown came from the region of Somers, New York, where a cattle dealer named Hachaliah Bailey (1775-1845) had purchased a young African elephant, which he exhibited around the country with great success. Soon the addition of other exotic animals led to the creation of a bona fide traveling menagerie. Bailey's increasing prosperity convinced other farmers from the Somers area to go into the traveling-menagerie business&mdash;to which some added circus performances. In 1835, a group of 135 enterprising farmers and menagerie-owners, most of them from the vicinity of Somers, joined forces in creating the Zoological Institute, a trust that controlled thirteen menageries and three affiliated circuses, thus cornering the country's traveling-circus and menagerie business.</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[File:Ringling_Program_Cover_1940.jpg|thumb|right|<ins class="diffchange diffchange-inline">300px</ins>|Ringling Bros. and Barnum & Bailey Circus on tour (1940)]]In 1825, [[Joshuah Purdy Brown]] (1802?-1834) became the first circus entrepreneur to replace the usual wooden construction with a full canvas tent, a system that had become commonplace by the mid-1830s. J. Purdy Brown came from the region of Somers, New York, where a cattle dealer named Hachaliah Bailey (1775-1845) had purchased a young African elephant, which he exhibited around the country with great success. Soon the addition of other exotic animals led to the creation of a bona fide traveling menagerie. Bailey's increasing prosperity convinced other farmers from the Somers area to go into the traveling-menagerie business&mdash;to which some added circus performances. In 1835, a group of 135 enterprising farmers and menagerie-owners, most of them from the vicinity of Somers, joined forces in creating the Zoological Institute, a trust that controlled thirteen menageries and three affiliated circuses, thus cornering the country's traveling-circus and menagerie business.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>With that, the unique character of the American circus emerged: It was a traveling tent-show coupled with a menagerie and run by businessmen, a very different model from that of European circuses, which for the most part remained under the control of performing families.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>With that, the unique character of the American circus emerged: It was a traveling tent-show coupled with a menagerie and run by businessmen, a very different model from that of European circuses, which for the most part remained under the control of performing families.</div></td></tr>
</table>Djandohttp://www.circopedia.org/index.php?title=SHORT_HISTORY_OF_THE_CIRCUS&diff=38491&oldid=prevDjando: /* Philip Astley: The Father Of The Modern Circus */2022-06-29T00:02:28Z<p><span dir="auto"><span class="autocomment">Philip Astley: The Father Of The Modern Circus</span></span></p>
<table class='diff diff-contentalign-left'>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>===Philip Astley: The Father Of The Modern Circus===</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>===Philip Astley: The Father Of The Modern Circus===</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>[[Image:Philip_Astley.jpg|thumb|right|<del class="diffchange diffchange-inline">200px</del>|Philip Astley]]The modern circus was actually created in England by [[Philip Astley]] (1742-1814), a former cavalry Sergeant-Major turned showman. The son of a cabinet-maker and veneer-cutter, Astley had served in the Seven Years' War (1756-63) as part of Colonel Elliott's 15th Light Dragons regiment, where he displayed a remarkable talent as a horse-breaker and trainer. Upon his discharge, Astley chose to imitate the trick-riders who performed, with increasing success, all over Europe. Jacob Bates, an English equestrian based in the German States, who performed as far away as Russia (1764-65) and America (1772-73), was the first of these showmen to make a mark. Bates's emulators&mdash;Price, Johnson, Balp, Coningham, Faulkes, and "Old" Sampson&mdash;had become fixtures of London's pleasure gardens and provided Philip Astley with his inspiration.</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>[[Image:Philip_Astley.jpg|thumb|right|<ins class="diffchange diffchange-inline">300px</ins>|Philip Astley]]The modern circus was actually created in England by [[Philip Astley]] (1742-1814), a former cavalry Sergeant-Major turned showman. The son of a cabinet-maker and veneer-cutter, Astley had served in the Seven Years' War (1756-63) as part of Colonel Elliott's 15th Light Dragons regiment, where he displayed a remarkable talent as a horse-breaker and trainer. Upon his discharge, Astley chose to imitate the trick-riders who performed, with increasing success, all over Europe. Jacob Bates, an English equestrian based in the German States, who performed as far away as Russia (1764-65) and America (1772-73), was the first of these showmen to make a mark. Bates's emulators&mdash;Price, Johnson, Balp, Coningham, Faulkes, and "Old" Sampson&mdash;had become fixtures of London's pleasure gardens and provided Philip Astley with his inspiration.</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>In 1768, Astley settled in London and opened a riding-school near Westminster Bridge, where he taught in the morning and performed his "feats of horsemanship" in the afternoon. In London at this time, modern commercial theater (a word that encompassed all sorts of performing arts) was in the process of developing. Astley's building featured a circular arena that he called the ''circle'', or ''circus'', and which would later be known as the ring.</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>In 1768, Astley settled in London and opened a riding-school near Westminster Bridge, where he taught in the morning and performed his "feats of horsemanship" in the afternoon. In London at this time, modern commercial theater (a word that encompassed all sorts of performing arts) was in the process of developing. Astley's building featured a circular arena that he called the ''circle'', or ''circus'', and which would later be known as the ring.</div></td></tr>
</table>Djandohttp://www.circopedia.org/index.php?title=SHORT_HISTORY_OF_THE_CIRCUS&diff=36554&oldid=prevDjando: /* Suggested Reading */2021-09-24T02:56:33Z<p><span dir="auto"><span class="autocomment">Suggested Reading</span></span></p>
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<td colspan='2' style="background-color: white; color:black; text-align: center;">← Older revision</td>
<td colspan='2' style="background-color: white; color:black; text-align: center;">Revision as of 02:56, 24 September 2021</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>* Gisela Winkler, ''Von Fliegenden Menschen und Tanzenden Pferden'', 2 vol. (Grandsee, Edition Schwarzdruck, 2015) &mdash; ISBN 978-3-935194-71-6 and ISBN 978-3-935194-70-9</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>* Gisela Winkler, ''Von Fliegenden Menschen und Tanzenden Pferden'', 2 vol. (Grandsee, Edition Schwarzdruck, 2015) &mdash; ISBN 978-3-935194-71-6 and ISBN 978-3-935194-70-9</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>* Dominique Jando, ''Philip Astley & The Horsemen who invented the Circus'' (A [[Circopedia Books|Circopedia Book]], 2018) &mdash; ISBN 978-<del class="diffchange diffchange-inline">1984041319</del></div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>* Dominique Jando, ''Philip Astley & The Horsemen who invented the Circus'' (A [[Circopedia Books|Circopedia Book]], 2018) &mdash; ISBN 978-<ins class="diffchange diffchange-inline">1-98404131-9</ins></div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>==Image Gallery==</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>==Image Gallery==</div></td></tr>
</table>Djandohttp://www.circopedia.org/index.php?title=SHORT_HISTORY_OF_THE_CIRCUS&diff=30662&oldid=prevDjando: /* Suggested Reading */2019-06-29T03:35:43Z<p><span dir="auto"><span class="autocomment">Suggested Reading</span></span></p>
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<td colspan='2' style="background-color: white; color:black; text-align: center;">← Older revision</td>
<td colspan='2' style="background-color: white; color:black; text-align: center;">Revision as of 03:35, 29 June 2019</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>* Sylke Kirschnick, ''Manege Frei! &mdash; Die Kulturgeschichte des Zirkus'' (Stuttgart, Konrad Theiss Verlag GmBH, 2012) &mdash; ISBN 978-3-8062-2703-1</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>* Sylke Kirschnick, ''Manege Frei! &mdash; Die Kulturgeschichte des Zirkus'' (Stuttgart, Konrad Theiss Verlag GmBH, 2012) &mdash; ISBN 978-3-8062-2703-1</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>* Linda Simon, ''Greatest Shows on Earth &mdash; A History of the Circus'' (London, Reaktion Books, Ltd., 2014) &mdash; ISBN 978-78023-358-1</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>* Linda Simon, ''Greatest Shows on Earth &mdash; A History of the Circus'' (London, Reaktion Books, Ltd., 2014) &mdash; ISBN 978<ins class="diffchange diffchange-inline">-1</ins>-78023-358-1</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>* Gisela Winkler, ''Von Fliegenden Menschen und Tanzenden Pferden'', 2 vol. (Grandsee, Edition Schwarzdruck, 2015) &mdash; ISBN 978-3-935194-71-6 and ISBN 978-3-935194-70-9</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>* Gisela Winkler, ''Von Fliegenden Menschen und Tanzenden Pferden'', 2 vol. (Grandsee, Edition Schwarzdruck, 2015) &mdash; ISBN 978-3-935194-71-6 and ISBN 978-3-935194-70-9</div></td></tr>
</table>Djandohttp://www.circopedia.org/index.php?title=SHORT_HISTORY_OF_THE_CIRCUS&diff=30661&oldid=prevDjando: /* Suggested Reading */2019-06-29T03:29:20Z<p><span dir="auto"><span class="autocomment">Suggested Reading</span></span></p>
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<td colspan='2' style="background-color: white; color:black; text-align: center;">← Older revision</td>
<td colspan='2' style="background-color: white; color:black; text-align: center;">Revision as of 03:29, 29 June 2019</td>
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<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>* George Speaight, ''A History of the Circus'' (San Diego and New York, A. S. Barnes and Company, 1980) &mdash; ISBN 0-498-02470-9</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>* George Speaight, ''A History of the Circus'' (San Diego and New York, A. S. Barnes and Company, 1980) &mdash; ISBN 0-498-02470-9</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'>−</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #ffe49c; vertical-align: top; white-space: pre-wrap;"><div>* Anders Enevig, ''Cirkus i Danmark'', 3 vol. (Copenhagen, Dansk Historisk Håndbogsforlag, 1982) &mdash; ISBN 87-85207-59-4 <del class="diffchange diffchange-inline">AND </del>ISBN 87-85207-61-6</div></td><td class='diff-marker'>+</td><td style="color:black; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #a3d3ff; vertical-align: top; white-space: pre-wrap;"><div>* Anders Enevig, ''Cirkus i Danmark'', 3 vol. (Copenhagen, Dansk Historisk Håndbogsforlag, 1982) &mdash; ISBN 87-85207-59-4 <ins class="diffchange diffchange-inline">and </ins>ISBN 87-85207-61-6</div></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"></td></tr>
<tr><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>* Mark St Leon, ''Sprangles & Sawdust &mdash; The Circus In Australia'' (Richmond, Victoria, Greenhouse Publications, 1983) &mdash; ISBN 0-909104-61-1</div></td><td class='diff-marker'> </td><td style="background-color: #f9f9f9; color: #333333; font-size: 88%; border-style: solid; border-width: 1px 1px 1px 4px; border-radius: 0.33em; border-color: #e6e6e6; vertical-align: top; white-space: pre-wrap;"><div>* Mark St Leon, ''Sprangles & Sawdust &mdash; The Circus In Australia'' (Richmond, Victoria, Greenhouse Publications, 1983) &mdash; ISBN 0-909104-61-1</div></td></tr>
</table>Djando