He is also the founder of the Circopedia website-The Free Encyclopedia of the International Circus, which contains parts from this book, but is constantly updated with new information from the history of circus art, performance, but also architecture. In his book he described the most famous circuses in the eighteenth, nineteenth and twentieth centuries, with a greater emphasis on the western part of Europe. The chronological monitoring of these events observes the topicality of the circus spectacle in different periods and the changes that had an impact on the current state of the circus.Ī chronological and comprehensive view of the development of the circus, from its inception to the present day, has been presented through periods that have been mostly researched separately by certain authors.ĭominique Jando dealt with the history of circuses the most. To study these influences, which were present within the construction of circus facilities, the method of researching historical material was applied. The development of the circus, both performance and its building architecture, was influenced by historical and political changes. The complexity of researching circus buildings throughout history requires the application of different research methods. Accordingly, the specific objects have been built for this kind of artistic spectacle in Europe throughout the history. For staging circus disciplines, the space should have width and height.
This is the main difference comparing to other cultural buildings where the stage space is mostly rectangular and placed at one end, not in the central place of the hall. The complexity of research of circus facilities include the circus tents, too, but this paper will focus on stationary facilities because the mobile architecture of tents demands different approach, other methods of researches and different comparisons which would exceed the frames of one paper only.Ī circus building should have a circular stage for the performing of acrobats, surrounded by grandstands for the audience situated circularly, bordering the scene from all sides. Today, tent constructions are covered with tarpaulin and are used for the purpose of temporary camping in the nature, for having grand manifestation in the open but also for performing circus acrobatics. Worldwide, nomadic people, like Mongols, Indians, Bedouins, created their mobile space structures (yurts, wigwams). If we want to understand the architecture through history we would come to those artifacts which are saved and which resisted the ravages of time-architectural creations made of solid material. This space shape can be existing as an urban tissue, respectively, squares or streets. The third form of circus space is of the outdoor, least specified type, and today these performances are popularly called street performances (although most of them are actually circus performances). On the other hand, circus space can be of a transitional shape, a prefabricated building, better known as a circus tent. it can be a stationary facility built of solid material, which will be mostly discussed in this paper. Circus space can be described by a concrete physical space, i.e. Much less consideration is given to the interpretation of the term circus as a space, namely, as a place for a performance. There are various writings about the spectacle itself and its performances.
When using the term circus, one first thinks of its performing form, which we could describe as a stage form of an art spectacle.
The circus represents an original synthesis of many kinds of art: architecture, theater, music, dance, literature, painting, applied arts and all this is accompanied by a circus challenge, as an expression of the surprising possibilities of the human body and spirit (Dedushka 2016). On the contrary, it represents a complex set of everything that is considered to be art. That is, the circus has often been said and is still considered to be a worthless way of entertainment that does not require special knowledge, education and culture from the observer. The circus has been undeservedly accepted throughout history as a “lower” art, as a performance for the broad masses of all profiles (Yu 2010).
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