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Journal articles on the topic 'Circus animals in art'
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Januszczyk, Maria. "Niehumanitarność przepisów w zakresie działalności cyrkowej z udziałem zwierząt jako argument za nowelizacją ustawy o ochronie zwierząt i aktów pochodnych." Studia Iuridica, no. 86 (June 14, 2021): 74–90. http://dx.doi.org/10.31338/2544-3135.si.2020-86.5.
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The article explores the issues of circus performances involving animals based on the legal regulations in force in Poland. It contains a short history of the circus and outlines the development of legal institutions regulating its activity according to the legislation of various countries. Moreover, the article discusses current Polish legislation, pointing to its inaccuracies, and provides examples of ineffective law enforcement. It also presents the attempts of local authorities intended to limit circus shows with animals, advances arguments in favor of changing the existing regulations, and formulates de lege ferenda postulates.
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Repertório, Teatro &. Dança. "O CIRCO NA HISTÓRIA: A PLURALIDADE CIRCENSE E AS REVOLUÇÕES FRANCESA E SOVIÉTICA [Mario Fernando Bolognesi]." REPERTÓRIO, no. 15 (July 7, 2010): 11. http://dx.doi.org/10.9771/r.v0i15.5207.
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<div>Este artigo trata do circo como arte plural, que tende a reafirmar a supremacia do homem diante dos animais e da natureza, através da exposição espetacular das suas habilidades. O circo é por excelência o espetáculo da maioridade humana na história, cabendo ressaltar dois momentos históricos em que as artes circenses foram apropriadas: as revoluções francesa e russa.<br /></div><div><div><br>This article deals with the circus as plural art, which tends to testify the supremacy of human being before the animals and nature through the spectacular display of his skills. The circus is par excellence the spectacle of human majority in history, it is worth highlighting two historical moments in which the circus was appropriate: the French and Russian revolutions.</div></div>
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Jia, Susan. "Chinese Circus and its Audiences: Past and Present." New Theatre Quarterly 35, no. 04 (October 8, 2019): 365–72. http://dx.doi.org/10.1017/s0266464x1900040x.
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Circus in China until the 1760s was primarily regarded as an equestrian court performance to entertain nobles of the Qing Dynasty at the inauguration of the Chinese New Year, or to amuse foreign dignitaries bringing tributes. Since that time, circus has transformed into a popular entertainment art, featuring the integration of human, animal, dance, acrobatics, music, vocal, multi-media, and new technologies. In this article Susan Jia revisits the history of circus in China, and then focuses on its latest form of presentation in Shanghai Circus World (SCW), the premier circus establishment in China. The two core pieces in the SCW repertoire – ‘ERA: Intersection of Time’ and ‘Happy Circus’ – are examined to construct a representative miniature of modern Chinese circus, and from audiences’ perspective, the many comments written for online communities are analyzed to explore their understanding of modern circus. Susan Jia is an assistant professor in the School of Business and Management, Shanghai International Studies University. She researches means of developing the leisure and entertainment services industries.
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Bauer, Belinda. "Lions and Chickens: A specimen biography approach to unprovenanced natural history objects." Biodiversity Information Science and Standards 2 (May 22, 2018): e25661. http://dx.doi.org/10.3897/biss.2.25661.
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Taxidermy made for display is often considered less significant in museum research collections. This is because historical taxidermy material often becomes disassociated with key data and through the rigours of public display, end up in poor physical condition. However by tracing a specimen's biography as a living animal and following its transition into a museum afterlife, much can be revealed about the development of natural history collections and changing attitudes towards animals. This presentation will investigate several pieces of taxidermy in the zoology collection of the Tasmanian Museum and Art Gallery (TMAG) (http://www.tmag.tas.gov.au/collections_and_research/zoology/collections), where research has uncovered surprising stories and helped reassess the significance and cultural value of this material. An unregistered lion head, identified as animal celebrity John Burns, tells the story of the golden age of Australian and New Zealand circuses, changing attitudes around animal ethics in the circus and the negotiations between scientific institutions in acquiring exotics species in the late nineteenth century. A collection of taxidermied domestic chickens from the 1940s is found to mark the modernisation of the TMAG public displays in communicating current research and the development of a dedicated museum education unit. The colourful afterlife of these specimens in the museum collection highlights struggles with storage issues, changes in collecting priorities and evolution of public display and education at TMAG.
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Stokes, John. "‘Lion Griefs’: the Wild Animal Act as Theatre." New Theatre Quarterly 20, no. 2 (April 21, 2004): 138–54. http://dx.doi.org/10.1017/s0266464x04000041.
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This essay is concerned with the history of wild animal training between the early nineteenth and the mid-twentieth centuries, specifically with circus acts involving ‘big cats’. The author, John Stokes, is sympathetic to the view that such performances are inhumane, degrading to animal and human alike, but rather than simply rehearsing familiar attitudes, he subjects the ‘big cat’ act to a performance analysis based on established criteria, in the belief that, if performance theory is to have the widespread application that its advocates claim, then it should be able to elucidate many different kinds of theatrical event. His primary materials are the myriad biographies and autobiographies of wild animal trainers that were produced during the heyday of their art, and which he finds to be frequently characterized by an unexpected thoughtfulness and breadth of experience, besides being highly informative about performance aesthetics. John Stokes is Professor of Modern British Literature in the Department of English, King's College London. He is a regular theatre reviewer for the Times Literary Supplement and co-author, together with Michael R. Booth and Susan Bassnett, of Bernhardt, Terry, Duse: the Actress in Her Time (Cambridge, 1988) and Three Tragic Actresses (Cambridge, 1996).
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Timoshenkov, Volodymyr. "What is needed to preserve at least one animal species in a particular protected area?" Novitates Theriologicae, no. 12 (June 16, 2021): 334–41. http://dx.doi.org/10.53452/nt1253.
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The article attempts to find out what role small reserves of protected steppe play in animal conservation. What can be preserved with the help of small reserves: species, population, or a group of individuals? What role do reserves play in each case? The work is based on the author's observations of animals in the territory of Striltsivsky Steppe (division of Luhansk Nature Reserve of the National Academy of Sciences of Ukraine), which at that time occupied an area of 522.7 hectares, as well as and in Khomutovsky Steppe (division of the Ukrainian Natural Steppe Reserve of the National Academy of Sciences of Ukraine) with an area of 1030.4 hectares in the period from 1985 to 2007. Materials of the Chronicles of Nature of these two reserves are also analysed. The problem of species protection is considered on the example of four species: common hamster (Cricetus cricetus), meadow hawk (Circus pygargus), pink starling (Sturnus roseus), and barn owl (Asio flammeus). It is investigated how the protection regime affects the conservation of these species. Reserves here act as territories, as state organizations, and as scientific institutions. It is shown how the use of different functions of reserves and their combinations in relation to a particular animal species can contribute to its conservation.
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Layton, Robert. "Shamanism, Totemism and Rock Art: Les Chamanes de la Préhistoire in the Context of Rock Art Research." Cambridge Archaeological Journal 10, no. 1 (April 2000): 169–86. http://dx.doi.org/10.1017/s0959774300000068.
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Les Chamanes de la Préhistoire: Transe et Magie dans les Grottes Ornées, by Jean Clottes & David Lewis-Williams, 1996. Paris: Éditions Seuil; ISBN 2-02-028902-4 hardback 249FF, 110 pp., 114 colour ills.The Shamans of Prehistory: Trance and Magic in the Painted Caves, by Jean Clottes & David Lewis-Williams, 1996. New York (NY): Harry N. Abrams; ISBN 0-8109-4182-1 hardback, US$49.50, 120 pp., 116 colour ills.Jean Clottes and David Lewis-Williams' recent book Les Chamanes de la Préhistoire builds on a body of rock art research which has come to dominate the field, marginalizing interest in other cultural themes such as totemism and records of everyday foraging. Shamanism and totemism are, however, two of the most pervasive indigenous theories of being to have been discussed in the anthropological literature. The word totem comes from the Ojibwa, a native North American people, while the word shaman comes from the Tungus of central Siberia. Their use cross-culturally to refer to types of religion (i.e. shamanism and totemism), is an artefact of anthropology. Shamanism can be applied to customs that are inferred to have arisen independently in different parts of the world; customs in a single circum-arctic culture area; or scattered survivals from an allegedly original human condition. The cross-cultural validity of shamanism has been considered by Eliade, Lewis, Hultkrantz and Vitebsky. Shamanism refers to the use of spirits as guardians and helpers of individuals, contacted through trance. The validity of totemism as a cross-culturally-valid category has been vigorously debated in anthropology. It is generally agreed to refer to the use of animals or plants as emblems or guardians of social groups celebrated in ritual. The rationale of totemism is that each group is identified with a different species; the significance of each species derives from its place in the cognitive structure. Group A is kangaroo because it is not emu or python. While Durkheim interpreted totemism as the original human religion, Lévi-Strauss persuasively argued that totemism is a product of human cognition, which has developed independently in North America, Australia and Africa.
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Cotgreave, P. "Trained circus animals." British Dental Journal 202, no. 10 (May 2007): 584. http://dx.doi.org/10.1038/bdj.2007.436.
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Share, Bernard, and Brian Sibley. "The Circus Animals' Desertion." Books Ireland, no. 102 (1986): 61. http://dx.doi.org/10.2307/20625718.
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Pospielov, Oleh. "Copyright in the Contemporary Circus Art." Culturology Ideas, no. 14 (2'2018) (2018): 184–91. http://dx.doi.org/10.37627/2311-9489-14-2018-2.184-191.
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The article is dedicated to the research of the problems of obtaining and protecting copyright in the circus industry, the problem of plagiarism in circus art, and the problem of professionalism in the circus performing arts. In Ukraine there is no special Law on Circuses. Because of that there are some difficulties with the application of the Law on Copyright to Circus Arts, in particular to the original stunts, acts and show programs created by circus performers and directors. In the EU, copyright issue is also an important factor for circus artists. The circus performer as a creator of the original act needs legal protection of an individual artistic creation, but it is very difficult to prove and legally justify the individual features of a certain stunt in the circus art. Another performer may bring some small changes to the same trick, and declare it as his original one, and even prove that it differs from the one created by another artist. In the Circus Art, the reproduction and copying of stunts is more in the field of ethics than of legal issues. There is no obvious and quick solution of this problem today.
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Korniienko, V. V. "Circus Industry in the Context of State Culture Policy: Culturological Analysis." Culture of Ukraine, no. 71 (April 2, 2021): 34–40. http://dx.doi.org/10.31516/2410-5325.071.04.
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The aim is to conduct the culturological analysis of circus industry in modern Ukraine in the context of the state culture policy, define and substantiate the essential contents of the state regulation of circus industry in the context and within its legislative and normativelegal field.
The relevance of the main provisions of this study in the formation of the latest scientific discourse in the field of circus art is substantiated. The basic concept of circus industry was updated, which lies in formation of a legislative and regulatory framework for the development of national circus art. The culturological analysis of the circus development program is carried out. It is emphasized that the legislative and regulatory framework of the sphere of culture has universal, on the one hand and on the other hand specific provisions, inherent only in a particular art form. Emphasis is made on the need to introduce a modern, civilized paternalistic state policy for the development of circus art, in particular. It is emphasized that modern civilized paternalism will allow to maintain a stable presence of the national circus product at the national and world market of cultural and artistic services, and through this — to provide the stable development of domestic circus industry. It is updated that thanks to modern paternalism and enhanced budget support for all components of the circus industry, such as: training systems for creative and managerial staff, amateur circus art system, stationary circuses system, will ensure sustainable development of the national circus industry in its entirety.
Therefore, the purpose of the article is to carry out a culturological analysis of circus in modern Ukraine in the context of state culture policy, to determine and justify the essence of state regulation of circus, in the context and within its legislative and regulatory framework.
As the most scientific ones for the study of circus industry in the context of state culture policy can be considered the following methodological approaches: culturological analysis of the legislative and regulatory field of culture; convergentdivergent approach, which considers the legislative and regulatory framework in a dynamic aspect as an integral system that normalizes the relations between the state and the sphere of culture and creates conditions for the development of arts; the principle of comparative analysis, aimed at identifying specific components and finding universal, peculiar to the entire artistic sphere legislative and regulatory documents.
Thus, the scientific novelty of the represented work is that the state culture policy in the field of circus industry is considered as an integral, systemic phenomenon, the basic component of which is the legislative and regulatory field.
Conclusions. Since Ukraine’s independence, the state has formed and pursued a culture policy that regulates the relationship between the cultural and artistic spheres and the state. After all, the state provides the development of culture and art, free access to cultural heritage, provides comprehensive artistic and aesthetic education of the population, supports the activities of cultural industries. The basic component of the state culture policy is the legislative and regulatory field.
Ukraine has formed a meaningful and extensive legal framework for all types of art that are developing in our country. The legislative base of the culture sphere ensures the sustainable development of culture and art, the formation of an integral system of institutions and institutions that produce cultural and artistic products, train artistic personnel for the field of culture and art.
It can be stated that the circus industry in Ukraine, unfortunately, was left out of the attention of culture sphere politicians and statesmen, because currently not developed and adopted the Law of Ukraine “On Circus Industry and Circus Art”, which would ensure further development of circus and circus art. The adoption of this law is timely and extremely relevant in the current sociocultural realities.
Prospects for further research. Cultural theorizing of circus, in particular in the context of state culture policy, creates the preconditions for the emergence of the latest humanities — circology, a science that will carry out an integral analysis of circus. A new scientific discipline — circology, will provide a harmonious combination of theory and practice of circus, both within the national boundaries of scientific discourse and in the field of international scientific theorizing of art in general.
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Erokhina, Tatiyana I., and Ruslan E. Shamshadinov. "«Soviet school of juggling»: ideological and aesthetic aspects." Yaroslavl Pedagogical Bulletin 2, no. 119 (2021): 182–89. http://dx.doi.org/10.20323/1813-145x-2021-2-119-182-189.
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The article is devoted to understanding the ideological and aesthetic aspects of the formation of the Soviet circus art. The authors turn to the analysis of the origins of the Soviet circus, noting its genetic connection with pre-revolutionary circus performances, as well as with the attitudes of the Soviet state to the formation of a new Soviet art and Soviet man. The purpose of the study was to understand the genesis of the Soviet school of juggling, the formation of which falls at the beginning of the formation of the Soviet state. The article considers the factors that influenced the ideological and aesthetic specifics of Soviet circus art, as well as the factors that influenced the transformation of the concept of circus performance in Soviet culture. Turning to the history of circus art, the authors analyze the sociocultural context of the formation of the «Soviet school of juggling», noting the synthesis of ideological attitudes that position the Soviet circus as a means of forming and educating a new personality, and aesthetic activities that create a life-affirming image of the Soviet circus artist. The authors note the signs of the «Soviet circus school», focus on thetheatricality of circus performances, the formation of specialized educational institutions in the Soviet state for the training of a new generation of professional circus artists. Referring to the performances and techniques of the most outstanding Soviet jugglers-E. Abert, A. Kiss, S. Ignatov – the authors come to the conclusion that the concept of «Soviet school of juggling» was the result of the aesthetic and ideological attitudes of the Soviet state. The «Soviet School of Juggling» is a metaphor that aims to emphasize the ideological differences between the Soviet state and the capitalist countries, as well as to assert the superiority of Soviet art.
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Bell, Jessica. "“There Is No Wild”." Society & Animals 23, no. 5 (November 3, 2015): 462–83. http://dx.doi.org/10.1163/15685306-12341377.
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This paper documents the discourse used by contemporary circuses to justify their exploitation of nonhuman animals. The circus is undergoing redefinition due to cultural changes, animal welfare concerns, and political legislation. Critical Discourse Analysis is applied to a sample of articles (N= 128) on animals in circuses published inusnewspapers and magazines from 2007 to 2012. Analyses revealed that circus discourse attempts to (a) promote the circus as an ecologically important endeavor, (b) minimize the differences between human and nonhuman animals, (c) naturalize culturally induced behavior, (d) assert that captivity is preferable to the wild, and (e) collapse domesticity and wildness. These discursive strategies serve to legitimize, naturalize, and produce consent for the use of nonhuman animals in circuses. Furthermore, circus discourse conceptualizes nature and culture in ways that are ideologically significant and detrimental to the promotion of a conservation mindset.
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Sokolova, Alla N. "The “Dance with Daggers” as an Ethno-Marker of Adyghe Culture." Vestnik of Saint Petersburg University. Arts 11, no. 1 (2021): 39–55. http://dx.doi.org/10.21638/spbu15.2021.103.
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This article reviews the history, semantic scope and meaning of the “dance with daggers”, which has survived today as a solo male stage number. The dance is becoming a very important part of academic dance concerts in the North Caucasus, and at the same time dancers with daggers are invited to traditional weddings and corporate parties. Сamechas (kъамэчIас) are identified as military sports and exercises, while also being a modern dance concert number with the same name. The military sport, circus and dance characteristics of this action are revealed in the article. It is proved that the dance is based on the demonstration of military merits, such as the ability to handle sharp knives freely and easily, to throw them at a target, to overcome any obstacles through high jumps, to keep a visible space in sight, to control the body gracefully and to conquer physical pain. In the history of the development of the dance, a multilayered literary text is formed that has mythological and ethno-informational codes. The meaning of using twelve daggers and a papakha (sheepskin hat), symbolizing intellect/reason and equal to any Caucasian man’s head is revealed. The movements on toes allowing one to “rise”, to be close to the gods and to conform to the contours of the mountain landscape, are comparable to the fine graceful movements of mountain animals using any stone or mound as support. Jumping, whirling, lunging, and manipulating with a large number of daggers are considered as signs that reveal deep ethnic values. The choreographic and musical component of the dance is analyzed as well as tricks that are included in the plot of the dance, allowing the performer to demonstrate traditional hand positions, certain steps, jump height, spin speed. The Western Adyghes have formed a stable musical composition for the “dance with daggers”, which consists of three tunes: “Dzherakai Zafak”, “Kabardinka” and an Ossetian melody arranged by the famous Adyghe accordionist Kim Tletseruk. “Gathering” music also symbolically represents the “dance with daggers” as a product and artistic practice of the entire Caucasus.
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Wilson, David A. H. "Circus animals and the illusion of wildness." Early Popular Visual Culture 15, no. 3 (July 3, 2017): 350–66. http://dx.doi.org/10.1080/17460654.2017.1383018.
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Kashuba, Y. "SPECIFIC FEATURES OF CIRCUS ACROBATICS: POWER ACROBATICS, ANALYSIS OF THE SCENIC METHOD IN THE KIEV MUNICIPAL ACADEMY OF VARIETY AND CIRCUS ART." INNOVATIVE SOLUTIONS IN MODERN SCIENCE 6, no. 25 (October 26, 2018): 100. http://dx.doi.org/10.26886/2414-634x.6(25)2018.12.
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The article considers the stage method according to the genre "Circus Acrobatics", the technique “Power Duet Acrobatics” in the context of art education of the circus movement. Analyzed research in the field of circus, the historical information of the Kiev school of circus acrobatics. Clarified the definition of "Power Acrobatics". Given the characteristics of the forms and techniques for solitary and pair acrobatics, to understand their specifics. Exercises in power acrobatics for students of the "Circus acrobatics" genre are described.Key words: circus art, circus genre, acrobatics, power acrobatics, circus acrobatics, scenic method, Kyiv municipal academy of Circus art.доцент, Юрий Кашуба, Специфические особенности в цирковой акробатике: силовая акробатика, сценический метод в Киевской муниципальной академии эстрадного и циркового искусств / Киевская муниципальная академия эстрадного и циркового искусств, Украина, Киев.В статье рассмотрен сценический метод по жанру «Цирковая акробатика», техника «Силовая дуэтная акробатика» в контексте художественного образования циркового направления. Проанализированы исследования в области цирковедения, указаны исторические сведения Киевской школы цирковой акробатики. Уточнена дефиниция "Силовая акробатика". Даны характеристики форм и техник по силовой и парной акробатике, для понимания их специфики. Описаны упражнения по силовой акробатики для студентов жанра «Цирковая акробатика». Ключевые слова: цирковое искусство, цирковой жанр, силовая акробатика, цирковая акробатика, сценический метод.
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Nisha, P. R. "Ban and benevolence: Circus, animals and Indian state." Indian Economic & Social History Review 54, no. 2 (April 2017): 239–66. http://dx.doi.org/10.1177/0019464617695676.
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Social sciences and humanities have recently begun posing enquiries such as do animals have histories, memories and subjectivities. Circus animals hardly figure in the discourses on animals while a wide variety of animals existed in the rings globally as performers and workers. The ban of the training and performance of certain wild animals by the Ministry of Environment and Forests, India in 1991 was a watershed moment for the almost 150-year-old circus industry in the subcontinent. This article explores the legal battle that followed the ban, various discourses around animals, both wild and captive, the human and non-human association in circuses and the history of animal training and performance and critically examines the ideas of rescue, rehabilitation and conservation. The acquisition, taming and trade of animals are implicated in the history of hunting, wildlife policies of the colonial and postcolonial states in India. The ‘rescue’ and ‘rehabilitation’ of animals from the ‘private’ circus companies to the ‘public’ zoos would unravel how the very idea of scientific conservation becomes a violent guile of state and civil society actively propagating the binary of cruelty and mercy. The article will also briefly discuss the questions of intimacy and emotions between the animal and the animal trainer beyond the common representations.
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Stenzel, D. J., M. F. Cassidy, and P. F. L. Boreham. "Morphology of Blastocystis sp. isolated from circus animals." International Journal for Parasitology 23, no. 5 (August 1993): 685–87. http://dx.doi.org/10.1016/0020-7519(93)90179-3.
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Shapovalova, Yuliia. "The Contemporary Circus Art of Ukraine in the Context of International Cultural and Arts Cooperation." Culturology Ideas, no. 14 (2'2018) (2018): 94–101. http://dx.doi.org/10.37627/2311-9489-14-2018-2.94-101.
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The article is devoted to the analysis of the current state of international cooperation of the circus industry of Ukraine as a component of the cultural field. The aspects of common trends in the development of Ukrainian and European cultural policy are considered. It was emphasized that one of the main strategic goals of Ukrainian cultural policy is the development of international activities and popularization of Ukrainian culture. It was also noted that international cooperation in the field of culture is an important factor in the development of international partnership. The information base of international and all-Ukrainian competitions, festivals and other periodical cultural and artistic events, which are under the direction of the Ministry of Culture of Ukraine, is analysed. It is established that the proportion of activities in which circus art is present in relation to the total number is very small. The main provisions of the Draft Law “On Circuses and Circus Activities in Ukraine” are considered and analysed. Examples of successful participation of Ukrainian circus institutions and individual performers in various circus international events, creation of creative interaction between young artists of different cultural backgrounds in Europe are presented. It is concluded that for the development of the circus industry it is necessary to create a legislative framework that would conform to European standards, new socio-political and economic realities.
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Degerbøl, Stine. "Et fast greb i rebet – om Claras levede erfaringer som nycirkus artistelev." Nordic Journal of Dance 3, no. 2 (December 1, 2012): 24–37. http://dx.doi.org/10.2478/njd-2012-0009.
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Abstract The article concerns the lived experiences of Clara practicing to become a contemporary circus artist. Clara’s narratives reflect contemporary circus as a movement pedagogical practice in relation to theories about aesthetic learning and in relation to the aims of a circus performer education in Copenhagen, Denmark. Furthermore her narratives provide a discussion of educational settings on the fringe of ordinary youth education. Firstly contemporary circus is presented as a counterculture to the traditional circus and secondly it describes how the development of contemporary circus as an art form influenced the establishment of contemporary circus schools. Body phenomenology and narrativity are the main theoretical and methodological inspirations for reflections about aesthetic learning processes taking point of departure in Clara as a case.
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Stetsenko, A., and S. Dobrovolskaya. "SPECIFIC FEATURES OF THE SCENIC METHOD IN THE GENRE "CIRCUS GYMNASTICS": FORMAL TECHNICAL CHARACTERISTICS, AS WELL AS ANALYSIS OF TRICKS ON "SHVUNG TRAPE" (TRAPEZIUM)." INNOVATIVE SOLUTIONS IN MODERN SCIENCE 6, no. 25 (October 26, 2018): 95. http://dx.doi.org/10.26886/2414-634x.6(25)2018.11.
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The article discusses the features of the stage method in accordance with the genre of "Circus gymnastics" in the context of art education of the circus movement. Considering the terminological characteristics of individual concepts in gymnastics, understand their specificity. Elements of work in aerial gymnastics on a trapeze are described. Certain features of individual exercises and elements on the trapezoid.Keywords: circus art, circus genre, gymnastics, circus gymnastics, scenic method.Анатолий Стеценко, Светлана Добровольская, доценты кафедры цирковых жанров, заслуженные артисты Украины. Специфические особенности в сценическом методе жанра «Цирковая гимнастика»: формально-технические характеристики, а также анализ работы воздушной гимнастики на трапеции / Киевская муниципальная академия эстрадного и циркового искусств, Украина, Киев.В статье рассмотрены особенности сценического метода по жанру «Цирковая гимнастика», в контексте художественного образования циркового направления. Даны терминологические характеристики отдельных понятий по гимнастике, для понимания их специфики. Описаны элементы работы в воздушной гимнастике на трапеции. Уточнены особенности выполнения отдельных упражнений и элементов на трапеции.Ключевые слова: цирковое искусство, цирковой жанр, гимнастика, цирковая гимнастика, сценический метод.
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Shumakova, Svetlana. "Circus Art: an Aspect of Cross-Cultural Dialogue." Dialogue and Universalism 24, no. 2 (2014): 205–12. http://dx.doi.org/10.5840/du201424239.
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Pozharska, O. Yu. "Circus art as a factor in cultural change." Science and Education a New Dimension VI(31), no. 185 (December 20, 2018): 7–12. http://dx.doi.org/10.31174/send-hs2018-185vi31-01.
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Bondarchuk, Yaroslava. "Display of the Ancient Religious Bone Cults in the Late Acheulean–Mousterian Art." NaUKMA Research Papers. History and Theory of Culture 4 (June 15, 2021): 35–45. http://dx.doi.org/10.18523/2617-8907.2021.4.35-45.
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The relevance of research. One of the most important unsolved problems of cultural studies, religious studies, art history, and history is to determine the time of the origin of religious ideas: that of the beginning of the spiritual evolution of the mankind, which at a certain stage of development begins to master not only the material world but also tries to comprehend the supernatural transcendent reality. The views of scholars regarding the time of the birth of religious beliefs is divided into two opposing points of view. According to one of them, expressed in the works of R. Marett, F. Ratzel, V. Kabo, A. Zubov, religious representations were inherent in the primitive man since the beginning of existence. A serious argument against this version is the fact that art the site of Olduvai culture no object was found that did not have a utilitarian purpose and that could be interpreted as a cult object. However, this fact can be explained by the fact that the rational awareness of the highest supernatural power was preceded by its subconscious (intuitive) sensation, which did not require objectivation in cult objects. Religious ideas were primitive so that they did not need any cult objects. According to other scholars, one can speak of the emergence of religious ideas only from the moment when the cult artefacts appeared; the pre-religious period had lasted until the end of the Mousterian era. However, the discovery of a number of archaeological sites in the second half of the 20th century at the beginning of the 21st century makes it possible to move the beginning of the appearance of Religious beliefs back until the period of the late Acheulean–beginning of Mousterian era.The purpose of the article: to establish the time of the origin and evolution of the earliest religious beliefs associated with the cult of bones, based on the analysis of the most ancient artefacts currently known, which testify to the ritual activities of the primitive man. The considered artefacts lead to the conclusion that the most ancient evidence of the cults of bones belongs to the era of the late Acheulean and Mousterian. Animal bones were among the first objects that the primitive man singled out from the environment as sacred, and endowed with a supernatural ability to revive the lives of animals and humans. Symbolic compositions of bones and signs carved in them became sacred attributes used for magical rites. The first acts of the ritual symbolization marked the emergence of sacred art and magic, which, radically different from the directly useful work, passed into a special plane of connection of men with the supernatural force. The earliest monuments (Torralba, Ambrona, Azykh), which testify to magical actions with bones, date back to about 400–200 thousand years BC. Thus, more than 2 million years passed from the appearance of man (ca. 2.7 million years ago) to the emergence of religious ideas, which required objectification in cult items and the performance of certain rituals. Although it cannot be denied that the intuitive subconscious sense of the supernatural power has been inherent in man since the beginning of his existence, purposefully by cultic magical actions that called on higher powers for help, he began to practice from the period of the late Acheulean. In the Mousterian era, in addition to the cult of bones, the cult of the skull arose as a container of special energy capable of renewing human life. Despite the fact that there are only a few examples of skull burials in the Mousterian period, apart from Mount Circeo, in Zhoukoudian (1929), Ngandonga (1931–1933) and Steingheim (1933), it can be assumed that about 70–50 thousand years ago, along with burials, an undissected body could be another rite of separation of the skull, which as a container of a special vital energy of man was buried in some parts of the caves on piles of bones and stones, just as at about the same time separately buried the skulls of bears in stone boxes and niches in caves of Regurdu, Azykh, Drachenloh, Wildenmannlisloch, and others. Later, with the development of ideas about the soul, the cult of skulls is further developed, based on the realization of the power of the extracorporeal spiritual essence of the revered dead (= ancestors), the concentration of which requires a magical container.
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Orel, Dmitriy. "SYSTEMATIC TRAINING OF PROFESSIONAL CIRCUS ARTISTSБ (ACROBATS-VOLTIGERS AND AIR GYMNASTS ON THE CORDE-DE-PÉRIL) IN THE INSTITUTION OF HIGHER EDUCATION OF ART SPHERE." ART-platFORM 1, no. 1 (May 14, 2020): 126. http://dx.doi.org/10.51209/platform.1.1.2020.126-140.
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The article outlines the possibility of a systematic principle of training a circus artist in today's conditions.
The purpose of the study is to systematically review the training of the future professional circus artist − an acrobat and gymnast. The system of humanitarian, artistic, pedagogical, scientific and professional competencies is traced. The specificity and characteristics of the educational process in the circus industry are determined.
The research methodology is based on the desire for an integrated approach to the study of circus culture of related art forms. In addition, empirical, descriptive, and general scientific methods of comparative analysis and synthesis are used. A The scientific novelty consists to identify the characteristic features of specificity and the training of a professional circus artist in genres − acrobatic voltage and air gymnastics on the cord de péril.
The circus culture in the process of evolution is enriched with the modern interaction of the performing arts: from introducing stunt elements from sports acrobatics and gymnastics; contemporary theater, in particular acting and psychophysical training; neoclassical ballet school and popular youth styles in contemporary choreography with the borrowing of modern dance, jazz dance; plastic and facial aspects of the school of contemporary pantomime; circus genres − manual balancing, juggling, as well as the humanities and art cycle of instruction. The uniform load of the professional cycle in combination with the artistic and humanitarian opens up new opportunities in the preparation of a contemporary circus artist with professional skills. The emphasis on the student’s use while learning the great possibilities of modern technologies for independent work is electronic sites, video presentations, master classes, training and practical training, creative events create unlimited opportunities for becoming a professional circus artist in the modern labor market, both in Ukraine and abroad.
Keywords: circus genres, acrobatics, gymnastics, voltige acrobatic, aerial gymnastics on the cord de parel, circus stunt, stage representation, circus number, choreography, pantomime.
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Araujo, Patxi. "The Trained Particles Circus: Dealing with Attractors, Automatons, Ghosts and Their Shadows." Leonardo 52, no. 4 (August 2019): 389–94. http://dx.doi.org/10.1162/leon_a_01781.
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The Trained Particles Circus proposes an improbable, precarious and potentially dangerous meeting place caged between the real and the virtual worlds. Embodied in the relationship between synthetic biomechanics and an automaton, it recreates the figure of the circus artist, the puppet with its own life or the fantastic animal; and it places us as spectators into a contemporary spectacle of hybrid and augmented subjects that conjugate light and shadow, fake and magic, virtual and physical reality, machine and organism [1].
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Tait, Peta. "Controversy about a human–animal big cat stunt in Fillis’s Circus." Early Popular Visual Culture 7, no. 2 (July 2009): 199–211. http://dx.doi.org/10.1080/17460650903010733.
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Arhar, Nika. "Circus choreographies of bodies and things." Maska 34, no. 198 (December 1, 2019): 116–20. http://dx.doi.org/10.1386/maska.34.198-199.116_1.
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Abstract The text reflects on the 12th Festival of New Circus and Contemporary Clown Klovnbuf through the prism of contemporary circus' character and its slippery position in contemporary performing arts practices. Following a short overview of developments that have helped shape today's context, the performance analysis focuses mainly on tendencies incorporating critical thinking and the exploration of original forms, means (the trained circus body) and conditions, thereby expanding perspectives in this field of art. It also addresses the issue of the position of contemporary circus in this local environment characterised by a small circle of people involved, challenging working conditions, vulnerable production and weak scientific discourse.
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Shcherbakova, D. V. "Circus Art Through the Eyes of Russian Print Media." Human Culture Education, no. 2 (2020): 136–49. http://dx.doi.org/10.34130/2233-1277-2020-2-136-149.
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Leber, Sylvie, Susan Hawthorne, and Kim Baston. "The Art of Falling is Never Landing The Multi-strategic Maribyrnong Falls Prevention Project, Move Safely - Age Well Transmits its Message via a Collaborative Community Circus Project." Australian Journal of Primary Health 7, no. 1 (2001): 128. http://dx.doi.org/10.1071/py01023.
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In 1998, a unique collaboration commenced between the Performing Older Women's Circus (POW), older residents of the municipality of Maribyrnong, and the Maribyrnong City Council. This collaboration culminated in the circus show The Art of Falling is Never Landing. The show, combines a positive ageing message with the message that falls amongst older people are preventable in a way that crosses linguistic and cultural barriers.
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Marra, Kim. "Wild and Dangerous Performances: Animals, Emotions, Circus by Peta Tait." Theatre Journal 65, no. 3 (2013): 433–34. http://dx.doi.org/10.1353/tj.2013.0091.
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Tait, Peta, and Rosemary Farrell. "Protests and circus geographies: exotic animals with Edgley's in Australia." Journal of Australian Studies 34, no. 2 (June 2010): 225–39. http://dx.doi.org/10.1080/14443051003721163.
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Lawton, Graham. "Fleadom or death: reviving the art of the flea circus." New Scientist 216, no. 2896-2897 (December 2012): 53–55. http://dx.doi.org/10.1016/s0262-4079(12)63266-7.
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Siedlecka, Sylwia. "The Institutionalization of the Bulgarian Circus between 1944 and 1957." Balkanistic Forum 30, no. 1 (January 5, 2021): 165–78. http://dx.doi.org/10.37708/bf.swu.v30i1.10.
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This article analyzes the process of institutionalization of the Bulgarian circus be-tween 1944 and 1957. The appreciation of circus as “an equal member of the large family of socialist arts” was rooted in a belief that it was a democratic spectacle which transcended social divisions and classes. The source of the perception of the circus as an instrument of social change can be traced to pre-war Soviet tradition, when the circus became not only a tool of state cultural policy, but also inspired the most important creators of literary and theater avant-garde. In post-war Bulgaria, in order to improve the quality of performances, interinstitutional cooperation of the circus with literary and theater circles was initiated, and with the purchase of circuses by the state, numerous regulations were introduced in the profession of a circus artist. This purchase was not synonymous with nationalization: the state bought the circuses from the hands of their pre-war owners, allowing them to continue to perform strategic functions in the circuses.At the same time, despite deep institutional changes, the circus after 1944 main-tained its semi-peripheral status of an entertainment spectacle, not worth considering on the part of intellectual elites and unfit for the project of national high art. It is this peripheral potential of the circus as a spectacle not shaped by the refinement of the elites, that opens up new research perspectives which allow us to view the circus as a laboratory of social and cultural change. As a nomadic travelling institution, the circus crossed geographical boundaries and communicated with viewers from cities and villages, as well as representatives of various social groups and strata. On the other hand, multiethnic, international environment of the circus was a space for inten-sive transfer and intercultural dialogue, both in the artistic dimension and in the sphere of everyday interpersonal practices.
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Rosenfeld, Andree, and Howard Morphy. "Animals Into Art." Man 25, no. 3 (September 1990): 533. http://dx.doi.org/10.2307/2803722.
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Fuller, Matthew. "Art for animals." Journal of Visual Art Practice 9, no. 1 (December 2010): 17–33. http://dx.doi.org/10.1386/jvap.9.1.17_1.
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McHugh, Susan. "Art and Animals." Anthrozoös 26, no. 3 (September 2013): 474–77. http://dx.doi.org/10.2752/175303713x13697429464032.
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Albrecht, Ernest. "Le nouveau cirque américain." Dossier — Cirque et théâtralité : nouvelles pistes, no. 32 (May 5, 2010): 37–46. http://dx.doi.org/10.7202/041503ar.
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On peut dire que depuis ses débuts, vers les 1870, le cirque américain a connu des périodes où il aspirait au grand art et où il empruntait au théâtre des artistes, des techniques et la dramaturgie. Ce n’est qu’en 1975, lorsque des artistes ont abandonné l’idéal américain de la grandeur pour adopter le modèle européen de la piste simple que ce mouvement a connu son véritable essor. Le Big Apple Circus, le Pickle Family Circus, le Cirque du Soleil et Circus Flora ont réussi à théâtralisé le cirque américain. Même le géant du cirque à trois pistes, le Ringling Bros. and Barnum & Bailey, a commencé à donner à ses spectacles une allure plus théâtrale. Le Midnight Circus, Circus Sarasota ainsi que Barnum’s Kaleidoscape, entre autres, ont continué à trouver de nouvelles façons d’allier le cirque et le théâtre. Des écoles de cirque ont été fondées afin de fournir aux nouveaux cirques des artistes formés aux nouvelles techniques. Tous visent à faire évoluer le cirque vers la forme d’art à laquelle il a toujours aspiré.
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Orel, D. "ACROBATICAL-VOLTAGE IN THE SYSTEM OF HIGHER EDUCATION: AN ANALYSIS OF THE SCENIC METHOD FOR PRACTICAL STUDY OF THE INCREASED COMPLEXITY FOR THE SPECIALIZATION "CIRCUS ACROBATICS"." INNOVATIVE SOLUTIONS IN MODERN SCIENCE 6, no. 25 (October 26, 2018): 106. http://dx.doi.org/10.26886/2414-634x.6(25)2018.13.
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In the article the definitions of the acrobatic genre, in particular the peculiarities of acrobatical-voltage, are considered. An analysis of the scenic method in practice for studying acrobatic exercises of increased complexity is given. Examples are given of special jumps, as well as voluntarily acrobatics in the genre "Circus acrobatics", in the context of artistic education of the circus. Also, the historical information of the Kiev school of circus acrobatics is briefly indicated. Ontological characteristics of certain terms for acrobatics are given, to understand their specific features.Key words: circus art, circus genre, acrobatics, acrobatical-voltage, circus acrobatics, scenic method, Kyiv municipal academy of Сircus art.Дмитрий Орёл, Акробатический вольтиж в системы высшего образования: анализ сценического метода в практическом изучении повышенной сложности для специализации «Цирковая акробатика» / Киевская муниципальная академия эстрадного и циркового искусств, Украина, КиевВ статье рассмотрены дефиниции акробатического жанра, в частности особенности вольтижной акробатики. Дан анализ сценического метода на практике для изучения акробатических упражнений повышенной сложности. Приведены примеры специальных прыжков, а также вольтижной акробатики по жанру «Цирковая акробатика», в контексте художественного образования циркового направления. Также, кратко указаны исторические сведения Киевской школы цирковой акробатики. Даны онтологические характеристики отдельных терминов по акробатике, для понимания их специфики. Ключевые слова: цирковое искусство, цирковой жанр, акробатика, акробатический вольтиж, цирковая акробатика, сценический метод, Київська муніципальна академія естрадного та циркового мистецтва.
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Marková, Jiřina, Tereza Machačová, Eva Bártová, Kamil Sedlák, Marie Budíková, Pasquale Silvestre, Paolo Laricchiuta, Marco Russo, and Vincenzo Veneziano. "Toxoplasma gondii , Neospora caninum and Encephalitozoon cuniculi in Animals from Captivity (Zoo and Circus Animals)." Journal of Eukaryotic Microbiology 66, no. 3 (October 8, 2018): 442–46. http://dx.doi.org/10.1111/jeu.12688.
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Cataldi, Suzanne Laba. "ANIMALS AND THE CONCEPT OF DIGNITY:CRITICAL REFLECTIONS ON A CIRCUS PERFORMANCE." Ethics & the Environment 7, no. 2 (September 2002): 104–26. http://dx.doi.org/10.2979/ete.2002.7.2.104.
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Nevill, C. H., and T. H. Friend. "The behavior of circus tigers during transport." Applied Animal Behaviour Science 82, no. 4 (August 2003): 329–37. http://dx.doi.org/10.1016/s0168-1591(03)00066-2.
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Hanes, Michael J. "Utilizing the circus phenomenon as a drawing theme in art therapy." Arts in Psychotherapy 24, no. 4 (January 1997): 375–84. http://dx.doi.org/10.1016/s0197-4556(97)00023-3.
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Repertório, Teatro &. Dança. "A RENOVAÇÃO DO CIRCO E O CIRCO SOCIAL [Fabio Dal Gallo]." REPERTÓRIO, no. 15 (July 7, 2010): 25. http://dx.doi.org/10.9771/r.v0i15.5209.
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<div>A partir de considerações sobre a renovação do espetáculo na história do circo, são apresentados pontos de vista em relação às inf uências da organização do circo e da finalidade dos espetáculos na estética circense. Sublinhandose que o circo social traz mudanças na fi nalidade do espetáculo, faz-se uma descrição do que é o circo social, de como se constitui e como atua. É realizada uma análise dos fundamentos pedagógicos que interferem na criação do espetáculo de circo social, encontrando-se uma relação com o horizonte teórico dos Estudos da Performance. Conclui-se que o circo social renova a cena circense contemporânea e colabora com os outros movimentos artísticos que destacam a importância da arte e do espetáculo como recursos pedagógicos.<br /><br>Beginning with considerations about the renovation of the show in the circus history, are presented points of view about the influences of the circus organization and the finality of the shows in the circus aesthetics. Underlining that the social circus brings change in the finality of the show, is developed a description of what is the social circus, how it is constituted and how it acts. Is realized an analysis of the pedagogic bases that interfere in the creation of the show and is found a relation with the theory of the Performance Studies. The conclusion is that the social circus renews the circus contemporary scene and collaborates with other artistic movements that evidence the importance of the art and the show like pedagogic resources. </div>
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Hikmatova Muqadas Nurilloevna. "Mythology in folklore and its features." Middle European Scientific Bulletin 6 (November 18, 2020): 63–66. http://dx.doi.org/10.47494/mesb.2020.6.117.
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In the article, folk art - artistic, creative-practical and amateur activity of the masses; folklore, folk music (folklore), folk theater (performing arts), folk dances (dances), puppetry, wood and wooden foot games (folk circus), folk fine and applied arts of traditional material and intangible culture information and examples of art and technical and artistic hobbies
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O'Shea, Thomas, and David J. Whitin. "Reviewing and Viewing: New Books: For Students." Arithmetic Teacher 41, no. 9 (May 1994): 562–66. http://dx.doi.org/10.5951/at.41.9.0562.
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This counting book for young readers borrows it structure from “The Twelve Days of Christmas man.” A young boy and his sister watch various events unfold in twelve circus rings that feature animals, acrobats, and clowns.
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Vander Meer, Elizabeth. "Returning to Wild? Four lions’ journey from circus to “sanctuary.”." Humanimalia 10, no. 2 (February 7, 2019): 180–202. http://dx.doi.org/10.52537/humanimalia.9507.
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Four lions, Skinny, Little, Sid and Sammy, have been subjected to dramatic changes as a result of a shifting political landscape. Each experienced a life of performance in a travelling French circus until authorities seized them in Belgium after the country enacted a ban on use of wild animals in circuses in 2014. The lions then spent almost two years in temporary rescue in Belgium awaiting transport to a permanent home at a UK zoo. These lions as individuals and their movement from circus to “sanctuary” with a conception that they are being returned to a more “wild life” are the subject of this multi-species, multi-sited ethnography. The temporary rescue context is considered in terms of animal viewing, lion-human interactions and particular physical spaces of captivity, while findings in circus and zoo sites serve as comparison and contrast.
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Mulyosantoso, Greta Ariati, and Chrisdina Wempi. "Adaptation of Nusantara Fable Story in a Circus Show." Idealogy Journal 5, no. 2 (September 28, 2020): 49–58. http://dx.doi.org/10.24191/idealogy.v5i2.225.
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Along with the times, traditional arts slowly began to fade. So, it is with traditional folk tales. It is important to keep traditional stories known and understood by children. Introducing the arts, especially performing arts, can be done from an early age, carried out by parents, teachers, to certain communities. For children, of course, an easy and interesting way is needed so that they can be enjoyed until a show is over. The concept of the show 'The Fabulous Fable Show; Circus and Theater 'is a concept that was initiated as a form of love for the local culture of the archipelago, collaborated with circus performances as one of the main branches of the performing arts. Circus shows generally feature attractions such as juggling, spinning, acrobatics, or attractions that use animals such as lions, tigers, elephants, and others. To make this show even more interesting, the concept maker included a theatrical element by bringing up the fable story from Indonesia. The fable story was chosen because the characters used were taken from animals and made children interested in the play that was performed. From there, children can recognize emotional expressions, such as joy or sadness that arise from a dance movement or song that is played.
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Krawczel, P. D., T. H. Friend, and A. Windom. "Stereotypic behavior of circus tigers: Effects of performance." Applied Animal Behaviour Science 95, no. 3-4 (December 2005): 189–98. http://dx.doi.org/10.1016/j.applanim.2005.04.010.
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Heitmann, Annegret. "Nordic Modernists in the Circus. On the Aesthetic Reflection of a Transcultural Institution." Humanities 7, no. 4 (November 6, 2018): 111. http://dx.doi.org/10.3390/h7040111.
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Around 1900 the circus was not only an important and highly popular cultural phenomenon all over Europe, but also an inspiration to writers and artists at the onset of Modernism. As an intrinsically intermedial form with international performers, it can be seen as an expression of certain important characteristics of modern life like innovation, mobility, dynamics, speed and vigor. Its displays of color and excitement, of bodies in motion and often provocative gender relations were experienced by authors as a challenge to create new aesthetic forms. However, the circus does not only figure prominently in well-known works by Kafka and Thomas Mann and paintings by Degas, Macke or Leger, it is also thematized in texts by Scandinavian authors. When writers like Henrik Ibsen, Herman Bang, Ola Hansson and Johannes V. Jensen referred to the circus in their works, they represented it as an experience of modernity and addressed themes like alterity, mobility, voyeurism, new gender relations and ambivalent emotions. As a self-reflexive sign, the circus even served to represent the fragile status of art in modernity and thus made an important contribution to the development of Modernism.