Unit 34: Circus Acrobatics
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8 Places to Run Away with the Circus
chicagoparent.com http://www.chicagoparent.com/magazines/going-places/2016-spring/circus 8 places to run away with the circus The Actors Gymnasium Run away with the circus without leaving Chicago! If your child prefers to hang upside down while swinging from the monkey bars or tries to jump off a kitchen cabinet to reach the kitchen fan, he belongs in the circus. He’ll be able to squeeze out every last ounce of that energy, and it’s the one place where jumping, swinging, swirling and balancing on one foot is encouraged. Here are some fabulous places where your child can juggle, balance and hang upside down. MSA & Circus Arts 1934 N. Campbell Ave., Chicago; (773) 687-8840 Ages: 3 and up What it offers: Learn skills such as juggling, clowning, rolling globe, sports acrobatics, trampoline, stilts, unicycle 1/4 and stage presentation. The founder of the circus arts program, Nourbol Meirmanov, is a graduate of the Moscow State Circus school, and has recruited trained circus performers and teachers to work here. Price starts: $210 for an eight-week class. The Actors Gymnasium 927 Noyes St., Evanston; (847) 328-2795 Ages: 3 through adult (their oldest student at the moment is 76) What it offers: Kids can try everything from gymnastics-based circus classes to the real thing: stilt walking, juggling, trapeze, Spanish web, lyra, contortion and silk knot. Classes are taught by teachers who graduated from theater, musical theater and circus schools. They also offer programs for kids with disabilities and special needs. Price starts: $165 for an 8-10 week class. -
Circus Friends Association Collection Finding Aid
Circus Friends Association Collection Finding Aid University of Sheffield - NFCA Contents Poster - 178R472 Business Records - 178H24 412 Maps, Plans and Charts - 178M16 413 Programmes - 178K43 414 Bibliographies and Catalogues - 178J9 564 Proclamations - 178S5 565 Handbills - 178T40 565 Obituaries, Births, Death and Marriage Certificates - 178Q6 585 Newspaper Cuttings and Scrapbooks - 178G21 585 Correspondence - 178F31 602 Photographs and Postcards - 178C108 604 Original Artwork - 178V11 608 Various - 178Z50 622 Monographs, Articles, Manuscripts and Research Material - 178B30633 Films - 178D13 640 Trade and Advertising Material - 178I22 649 Calendars and Almanacs - 178N5 655 1 Poster - 178R47 178R47.1 poster 30 November 1867 Birmingham, Saturday November 30th 1867, Monday 2 December and during the week Cattle and Dog Shows, Miss Adah Isaacs Menken, Paris & Back for £5, Mazeppa’s, equestrian act, Programme of Scenery and incidents, Sarah’s Young Man, Black type on off white background, Printed at the Theatre Royal Printing Office, Birmingham, 253mm x 753mm Circus Friends Association Collection 178R47.2 poster 1838 Madame Albertazzi, Mdlle. H. Elsler, Mr. Ducrow, Double stud of horses, Mr. Van Amburgh, animal trainer Grieve’s New Scenery, Charlemagne or the Fete of the Forest, Black type on off white backgound, W. Wright Printer, Theatre Royal, Drury Lane, 205mm x 335mm Circus Friends Association Collection 178R47.3 poster 19 October 1885 Berlin, Eln Mexikanermanöver, Mr. Charles Ducos, Horaz und Merkur, Mr. A. Wells, equestrian act, C. Godiewsky, clown, Borax, Mlle. Aguimoff, Das 3 fache Reck, gymnastics, Mlle. Anna Ducos, Damen-Jokey-Rennen, Kohinor, Mme. Bradbury, Adgar, 2 Black type on off white background with decorative border, Druck von H. G. -
Circus Trailer *
* CIRCUS TRAILER * 4 GROUPS With the 4 circus techniques JUGGLING ---------- Gonzalo, François, Tjaz ---------- Target gropup: 6-9 years old, begginers Welcome: Magic Space General presentations: Whisper the facilitators names. a) Movements with one ball, the group repeats. b) Call somebody only with the movement made Specific Wam up: Desplacements throughout the space, dancing, with music and one ball each other a) block the ball b) write your name with the ball c) make differents throughts d) come back to the circle and present how you've written your name Exercise with juggling balls 2 groups. Chose a leader. a) The rest of the group, takes a marker all toghether, and with eyes closed, the Leader says to them the directions of the lines that they have to draw. b) transform the lines drawed in throughts and CatXing movements, giving them a number. c) put in order the number and create a groups choreograph d) present the choreography With scarfs: 3 each one a) Everyone with 3 scarfs, two on the hands and one on the floor. Standing up, through the scarf and take the one from the floor. 3 scarfs cascade. b)Try to move around the space once you can throw and catch. c) In a circle, through 1 sacrf and move to the right, catching the scarf of the one that is at your right. Diabolo/ and balls : Calm down: Each participant one diabolo in the head, with a ball inside the diabolo. Walk within letting down the diabolo, and change de ball inside with another. If the diablo falls, you frizz until somebody putts the diabolo/ball in your head. -
Woodstock & the Circus
LOCAL HISTORY WOODSTOCK & MCHENRY COUNTY Woodstock and the Circus by Kirk Dawdy Soon after its establishment in 1852 Woodstock became a consistent destination for circus shows. Several different outfits visited Woodstock over the years, including the Burr Robbins, Forepaugh, Cole, W.B. Reynolds, Gollmar Brothers, Ringling Brothers and Barnum circuses. The first documented circus in Woodstock was “Yankee” Robinson’s Quadruple Show in October of 1856. Robinson, a direct descendant of Pastor John Robinson, religious leader of the "Pilgrim Fathers" who journeyed to North America aboard the Mayflower, established his first travelling circus in 1854, two years prior to visiting Woodstock. An ardent abolitionist, Robinson included in his circuses minstrel shows based on Harriet Beecher Stowe's 1852 book Uncle Tom’s Cabin. In fact, Robinson was the very first to ever take a dramatized version of Uncle Tom’s Cabin on the road. In “Yankee” Robinson’s 1856 Woodstock visit, in addition to presenting a band of African-American minstrels performing in a production of Uncle Tom’s Cabin, he also exhibited live animals (including an elephant), a museum of curiosities, Dilly Fay the Shanghai Clown and Miss Paintero, a ‘Creole Lady’ who made a grand ascension on a 400 foot tightrope to the very top of the circus tent. Also advertised for “Yankee’s” visit was a grand parade around the Woodstock square. Circus parades were a crowd favorite and staple for all other circuses that visited Woodstock, weather permitting. Feeling his name sounded too foreign, especially during the anti-immigrant sentiments of the mid-1850s, Fayette Lodawick Robinson adopted the professional name “Yankee”. -
Linguistic Variation of the American Circus
Abstract http://www.soa.ilstu.edu/anthropology/theses/burns/index.htm Through the "Front Door" to the "Backyard": Linguistic Variation of the American Circus Lisa Burns Illinois State University Anthropology Department Dr. James Stanlaw, Advisor May 1, 2003 Abstract The language of circus can be interpreted through two perspectives: the Traditional American Circus and the New American Circus. There is considerable anthropological importance and research within the study of spectacle and circus. However, there is a limited amount of academic literature pertaining to the linguistics and semiotics of circus. Through participant observation and interviewing, of both circus and non-circus individuals, data will be acquired and analyzed. Further research will provide background information of both types of circuses. Results indicate that an individual's preference can be determined based on the linguistic and semiotic terms used when describing the circus. Introduction Throughout my life, I have always been intrigued by the circus. As a result, I joined the Gamma Phi Circus, here at Illinois State University, in order to obtain a better understanding of circus in our culture. A brief explanation of the title is useful in understanding my paper. I chose the title "Through the 'Front Door' to the 'Backyard'" because "front door" is circus lingo for the doors that a person goes through on entering the tent. The word "backyard" refers to the area in which behind the tent where all the people in the production of the circus park their trailers. This title encompasses the range of information that I have gathered from performers, to directors, to audience members. -
Circus Class Overview & Links to Victorian Curriculum
Circus Class Overview & Links to Victorian Curriculum FunFit Circus classes assist students to develop a variety of circus skills that are increasingly popular today. There is nothing like learning a new skill for satisfaction and self-approval. With our huge range of different circus disciplines, there’s something for everyone. Most are individual activities so students can learn at their own pace and hone in on the circus toys they love. They can then work together on partner and group skills and even create short or long circus shows. Circus skills are also something that students can take home and develop. Families and friends love watching as students proudly perform their new circus tricks! Each class addresses the Victorian Curriculum learning area of Health and Physical Education through the strand and sub-strands identified below: Health and Physical Education: Movement and Physical Activity • Moving the body • Understanding movement • Learning through movement Circus classes may also align to the following learning areas and capabilities: • Health and Physical Education: Personal, Social and Community Health • The Arts: Dance • The Arts: Drama • The Arts: Music • Personal and Social Capability • Critical and Creative Thinking Capability For a more detailed understanding of what and how the Movement and Physical Activity content descriptors are addressed through our Circus classes see below: Foundation Level – Includes Juggling, Hula Hoops, Acrobalance, Poi, Staff, Diabolo and Clowning Movement & Physical Activity: Sub-Strand Curriculum (what) - Content Description Pedagogy (how) – Through these circus workshops students will: Practice fundamental movement skills and Practice a variety of fundamental movement skills through a fun warm up activity. -
Circuscape Workshops BOOKLET.Indd
CircusCape presents Fun Family Fridays, Payomet’s Circus Camp became an accredited summer camp last Super Saturdays, and more! year as a result of our high standards conforming to stringent The Art of Applying and state and local safety and operational requirements. Auditioning / Creating Our team of 5 professional Career Paths in Circus & instructors, lead by Marci Diamond, offers classes over Related Performing Arts 7-weeks for students, with Marci Diamond ages 7-14. Cost: $30 Every week will include aerial Fri 8/24 • 10-noon at Payomet Tent arts, acrobatics, juggling, mini-trampoline, physical comedy/ There are a wide range of career paths for the improv, puppeteering, object aspiring professional circus/performing artist, and manipulation, rope climbing and in this workshop, we will explore some possible physical training geared to the steps toward those dreams, as well as practical, interests and varying levels of individual students. effective approaches to applications and auditions. Applying and Auditioning for professional training programs (from short-term intensive workshops to 3 year professional training programs and universi- ty B.F.A. degrees) in circus and related performing arts, as well as for professional performance opportunities, can be a successful adventure of personal & professional growth, learning, and network-building. And it can be done with less stress than you may think! Come discuss tips for maximizing your opportunities while taking care of The core program runs yourself/your student/child. Practice your “asks and 4 days a week (Mon - Thurs) intros” with the director of the small youth circus from July 9 to August 23 at troupe, a professional circus performer and union the Payomet Tent. -
It's a Circus!
Life? It’s A Circus! Teacher Resource Pack (Primary) INTRODUCTION Unlike many other forms of entertainment, such as theatre, ballet, opera, vaudeville, movies and television, the history of circus history is not widely known. The most popular misconception is that modern circus dates back to Roman times. But the Roman “circus” was, in fact, the precursor of modern horse racing (the Circus Maximus was a racetrack). The only common denominator between Roman and modern circuses is the word circus which, in Latin as in English, means "circle". Circus has undergone something of a revival in recent decades, becoming a theatrical experience with spectacular costumes, elaborate lighting and soundtracks through the work of the companies such as Circus Oz and Cirque du Soleil. But the more traditional circus, touring between cities and regional areas, performing under the big top and providing a more prosaic experience for families, still continues. The acts featured in these, usually family-run, circuses are generally consistent from circus to circus, with acrobatics, balance, juggling and clowning being the central skillsets featured, along with horsemanship, trapeze and tightrope work. The circus that modern audiences know and love owes much of its popularity to film and literature, and the showmanship of circus entrepreneurs such as P.T. Barnum in the mid 1800s and bears little resemblance to its humble beginnings in the 18th century. These notes are designed to give you a concise resource to use with your class and to support their experience of seeing Life? It’s A Circus! CLASSROOM CONTENT AND CURRICULUM LINKS Essential Learnings: The Arts (Drama, Dance) Health and Physical Education (Personal Development) Style/Form: Circus Theatre Physical Theatre Mime Clowning Themes and Contexts: Examination of the circus style/form and performance techniques, adolescence, resilience, relationships General Capabilities: Personal and Social Competence, Critical and Creative Thinking, Ethical Behaviour © 2016 Deirdre Marshall for Homunculus Theatre Co. -
From Technical Movement to Artistic Gesture the Trampoline, Training Support for Propulsion
PEDAGOGICAL GUIDE FROM TECHNICAL MOVEMENT TO ARTISTIC GESTURE THE TRAMPOLINE, TRAINING SUPPORT FOR PROPULSION 01 TEACHING PROPULSION DISCIPLINES 1 02 A BRIEF SUMMARY OF THE INTENTS PROJECT 05 FOREWORD 07 INTRODUCTION 01 09 TEACHING PROPULSION DISCIPLINES MODALITIES AND TRANSFERS 11 A review of the trampoline’s place in the teaching of circus disciplines 15 Methodology of technical progression on the trampoline 19 The technical movement: mastery and safety 27 Transfers from one discipline to another 31 Observing the body moving through the air 02 39 FROM A SPORT TO AN ARTISTIC GESTURE WHEN LEARNING DISCIPLINES WITH PROPULSION 41 From an athletic to an artistic jump: questions of intent A detour by gesture analysis 47 Defining and developing an acrobatic presence 53 Artistic research on propulsion pieces of equipment From improvisation to staging 62 CONCLUSION 64 BIBLIOGRAPHY 66 ANNEXES TEACHING MANUAL FROM TECHNICAL MOVEMENT TO ARTISTIC GESTURE THE TRAMPOLINE, TRAINING SUPPORT FOR PROPULSION ASSOCIATED AUTHOR : AGATHE DUMONT Published by the Fédération Française des Écoles de Cirque and the European Federation of Professional Circus Schools 1 A brief summary of the INTENTS project The INTENTS project was born out of the necessity and desire to give structure to the professional circus arts training, to harmonise it, and to increase its professionalism and credibility; the INTENTS project specifically addresses the training of circus arts’ teachers. BACKGROUND A teachers’ consultation launched by FEDEC in 2011 The teachers’ continuing professional development is (SAVOIRS00) highlighted the lack of teaching tools and key to ensuring a richer and evolving training method common methodologies with regards to initial and continu- for their students. -
An Overview of Circus and Street Arts in Morocco
AN OVERVIEW OF KAHWA MEETINGS MOROCCO STREET AND CIRCUS ARTS IN MOROCCO ARTCENA is the National Centre for Circus, Street and Theatre Arts, This publication was created by the French Ministry of written by Claudine Culture. It coordinates Circostrada Dussollier and edited and has a permanent seat on its by Circostrada Steering Committee. It works closely with sector professionals and offers them publications and Since 2003, Circostrada Network has been multimedia resources through its working to develop and structure the fields digital platform. It develops mentoring, training, tools and services to of circus and street arts in Europe and beyond. help them in their daily practices. With more than 100 members from over 30 It provides support to contemporary countries, it helps building a sustainable future creation through national programmes and encourages for these sectors by empowering cultural international development of these players through activities in observation and three sectors. research, professional exchanges, advocacy, European Network capacity-building and information. Co-funded by the Circus and Street ArtS Creative Europe Programme of the European Union FOREWORD What is the landscape and what project(s) exist relating to street and circus arts? In Morocco, cultural figures are strengthening the links between artistic creativity and place(s), on a local, regional and international level. Since the inaugural États Généraux de la Culture (General Assembly on Culture) in 2014, the landscape for street and circus arts has evolved considerably, with the arrival on the scene of new companies and projects, the creation of a Moroccan street arts federation as well as international cooperation projects. -
Term 2, 2021 Timetable
TERM 2, 2021 TIMETABLE Switchfit Gym 4/73 Montague St, Fairy Meadow AERIAL CLASSES CIRCUS SKILLS BEGINNER/INTERMEDIATE ACROBALANCE Mondays 19th April - 21st June (inclusive) Wednesday 21st April - 23rd June (inclusive) (NO CLASS on Monday 14th June due to public holiday) 7:00pm - 9:00pm 6:00pm - 7:30pm $235 Full Term / $205 Concession $180 Full Term / $155 Concession Otherwise known as the fine art of standing on your Trainer: Jane Davis friend…. Acrobalance is the circus art of creating This class is perfect for beginners and intermediate students, partner balances and acrobatic skills with two or and includes skills on silks, static trapeze and Lyra. more people. Due to Covid-19 restrictions, we ask that people enrol in the classes with a friend who they would like to work with. Please contact us if you are interested in participating but aren’t sure who to work with DEVELOP AN AERIAL ACT and we’ll see if we can help you connect with someone. Mondays 19th April - 21st June (inclusive) (NO CLASS on Monday 14th June due to public holiday) 7:00pm - 9:00pm HOOPS $235 Full Term / $205 Concession Saturdays 24th April - 26th June (inclusive) Trainer: Jane Davis 11:00am - 12:30pm This class is aimed at those who would like some structure and $180 Full Term / $162 Concession support to create an aerial act, with a view towards performing it Get your hoop on with Sarah each Saturday! towards the end of Term 2. We explore the technical, creative and dance elements of hooping in a fun and supportive environment. -
How to Plan and Organize a Circus Workshop Page 2 Basics of Acrobalance Page 3
Index How to plan and organize a circus workshop page 2 Basics of acrobalance page 3 - Part 1 page 4 - Part 2 page 9 Basics of circus props page 15 - Juggling with balls page 17 - Chinese plate page 27 - Diabolo page 23 - Pois page 25 Balloon twisting workshop page 28 How to make your own props page 31 How to prepare a show page 33 Balance and equilibrism page 35 - Slack line page 36 - Stilts page 38 Anja in Denis Mikič Crovella: Circus pedagogy 2016, Cirkus La Bulle and Association CIK How to plan and organize a circus workshop There are several ways to build a program of circus workshops. The planning, organization and implementation of the workshop will depend on various factors. First of all: your pedagogical project . Consider the goals and aims of your organization. What is their main vision? Is it the personal development of the participants? Their physical development? In some cases you will organize workshop in collaboration with other organization. Also consider the goals and aims of your partners. Are they institutional partners? Etc. Then you have to think about yourself . What do you want to achieve by implementing a circus workshop? What are your pedagogical objectives? And how can you reach them? Do you aim to develop personal and social competences of your participant or do you want them only to have fun? Do you want to create a show with the participants? You will have to adapt your objectives to your capacities, that mean that you will have to think about your technical skills and your teaching skills (group management, organization…).