Spaces and Technologies of the Circus Spectacle
Main Article Content
Abstract
Contemporary circus is a complex, interdisciplinary form of performing arts. The new circus was built on the basis of the traditional one, but it is more complex than it and brings a combination of elements of acrobatics, dance and drama theater, shadow theater, puppet theater, as well as contemporary visual arts and digital technologies. The circus spectacle, its architectural concept and its content, have changed over the centuries, following social events and the cultural framework of the time. Although the spectacle is still adapting and changing, we ask the question, whether stationary circuses have managed to adapt and transform for the needs of modern society. In this paper, through a brief history of the circus spectacle and important typological characteristics of the objects, one of the most significant objects of this spectacle will be analysed.
Article Details
References
„Circus and Performance Spaces”, Proceedings of International Conference „UpSideDown - Circus and Space“, Münster (Germany), 28 - 30 June, (2017), https://www.unimuenster.de/Kulturpoetik/en/zirkuswissenschaft/konferenz/UpSideDown2017.html
A.J. Shner and R.E. Slavsky, „Circus Art” in Little Encyclopedia, Soviet Encyclopedia, Moscow (Russia), pp. 15-18, (1973)
D. Jando, „Histoire mondiale du cirque”, Jean-Pieere Delarge, Paris (France), p.82, (1977)
E. Domingues Michelatto, A. Aguiar and A. de Pádua Carrieri, „Brasilian canvas circuses. A field in constant motion and symbolic transformation“, Brazilian Journal of Management / Revista de Administração da UFSM., 2019, Vol. 12, Issue 2, pp.233-254, https://doi.org/10.5902/19834659, (2019)
F. G. Bardian, „Soviet circus on five continents“, Iskusstvo, Moscow (Russia), pp. 70-73, (1977)
T. Markschiess-Van and J.N. Bernhard. „Artisten und zirkus plakate”, Edition Leipzig, Leipzig (Germany), pp. 42, (1976)
S.G. Zmuel and B.A. Mihanko, „Architectural typology of buildings and structures: Textbook for universities“, Archi-tectura-S, Moscow (Russia), pp. 151-154, (2004)
M.Cairoli, „The architectural acoustic design for a circus: The case study of Rigas Cirks”, Applied Acoustics, February 2021, p.173, https://doi.org/10.1016/j.apacoust.2020.107726, (2021)
https://synthart.livejournal.com/188077.html
G.Arrighi, „Synthesising circus aesthetics and science: Australian circus and variety theatre at the turn of the twen-tieth century”, Early Popular Visual Culture, July 2018, 16(3), pp. 235-253, https://doi.org/10.1080/17460654.2019.1569843, (2018)
http://niv.ru/doc/dictionary/brockhaus- efron/articles/214/cirk.htm
S. Quintana, M. Fernandez and M. Machimbarrena, “The Circus-Theater of Albacete: Acoustic characterization and analysis of its double stage configuration”, Applied Acoustics, February 2022, p.189, https://doi.org/10.1016/j.apacoust.2021.108574, (2022)
О. Đurić, „Adria ide dalje: od Artističkog preduzeća do akcionarskog društva: 1948-1998.“, Čigoja, Belgrade (Ser-bia), pp. 14, (1999)
http://architektonika.ru/2007/06/27/zdanie_cirka_na_vernadskom_prospekte_v_moskve_1971_god.html
M.Yu. Sorvina, „Circus in Russian films (1910-1989): the influence of the expressive means of the circus on the cinema”, PhD Thesis, State Institute of Art Studies of Moscow (Russia), (2010)
D.Efremov, „The Circus Buildings of the Former USSR: An Exceptional Landmark of International Modernism”, Historic Environment: Policy & Practice; Jun-Sep 2020, Vol. 11 Issue 2/3, pp. 410-412, https://doi.org/10.1080/17567505.2020.1760007, (2020)
https://zateevo.ru/?section=page&alias=cirk_manezhi
http://xn--tvkultua-cch.xn--u-4tb/a%D1%80ticle/show/a%D1%80ticle_id/146284/