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Which clippings match 'Circus' keyword pg.1 of 2
22 FEBRUARY 2015

Eye Appeal: Spectacle on Stage and in Life

"From ancient times to the present 'spectacle' (the visual aspects of human performance–architecture, scenery, costumes, makeup, lighting, special effects, and staging) has been used to expressively embody and evoke meaning in rituals, ceremonies, and artistic performances. This course [Eye Appeal: Spectacle on Stage and in Life at The University of North Carolina at Greensboro] will examine the use of spectacle as an expressive mode of communication in human performance from antiquity to the present."

(Bob Hansen, 2004)

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TAGS

2004 • aesthetician • antiquityart historyartifice • artistic performances • Ben Jonson • Bryan Holmes • ceremony • Cinquecento • circus • commanding form • costume design • court spectacles • creation of spectacle • dramatic literature • entertainment spectacle • expressive mode of communication • eyecatching • George Kernodle • high renaissance • human performance • Inigo Jones • Jean-Baptiste Poquelin • John Lahr • Jonathan Price • lecture programmeLeonardo da Vincilightingmake-upMichelangelo • Moliere • parade • Phyllis Hartnoll • physiological reactions • psychological reactions • public showsRaphael • religious rites • renaissanceritualscene designsceneryscenographysetting • Shakespeare • show (spectacle)special effectsspectacle • spectacles • spetakel • stage magic • stagecraft • staging • Susanne Langer • Sybil Rosenfeld • technical theatre • theatre architecture • Thomas Heck • TitianTiziano • Tiziano Vecelli • Tiziano Vecellio • University of North Carolina • University of North Carolina at Greensboro • visual and performance elements • visual spectaclevisual spectacular • visually striking

CONTRIBUTOR

Simon Perkins
07 OCTOBER 2012

The Bruce Lacey Experience: rich and diverse artistic production

"Bruce Lacey (born 1927) is one of Britain's great visionary artists. His lifetime pursuit of eccentric 'making and doing' has been a cathartic working–through of his experiences. This survey of a rich and diverse artistic production is a celebration of both his vibrant life (which includes working with Spike Milligan, The Beatles and Ken Russell) and his art which reveals telling links with the visual culture of the last 60 years. Co–curated by artist Jeremy Deller and art historian Professor David Alan Mellor, the exhibition charts Lacey's artistic development in a career encompassing painting, sculpture, robotised assemblages, theatrical performances and installations, as well as community arts and ritual action performances."

(Camden Arts Centre, 2012)

Fig.1 "Bruce Lacey Final H264 Widescreen 960x540" [Interview for The Bruce Lacey Experience, 7 July 2012 – 16 September 2012, Camden Arts Centre]

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TAGS

2012animated modelsart exhibitionassemblageautomate • Bruce Lacey • Camden Arts Centrecircuscontraptioncontraptionscybernetic art • David Alan Mellor • deviceeccentric • electric actors • electronic artengineering • George Harrison • ingenuityJeremy Deller • Jill Bruce • Ken Russellkinetic artkinetic automaton • ley line • making and doing • making something happen • New Realism • outrageous stunts • performance career • personal psychotherapy • Peter Sellers • ritual action performance • robotroboticrobotic artrobotised assemblagesRoyal College of ArtSpike MilliganstuntThe Beatles • theatrical performances • UK • variety theatre • visionary artist

CONTRIBUTOR

Simon Perkins
06 SEPTEMBER 2011

Female acrobats on trapezes at circus

Title: [Female acrobats on trapezes at circus]; Date Created/Published: c1890.; Medium: 1 print (poster) : lithograph, hand–colored.; Reproduction Number: LC–USZC4–2091 (color film copy transparency) LC–USZ62–1174 (b&w film copy neg.); Call Number: POS – CIRCUS – Misc. Co. 1890, no. 1 (C size) [P&P] [P&P] [P&P]; Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA; Notes:; 11126W U.S. Copyright Office.; Copyright by the Calvert Litho. Co., Detroit, Mich.; No. 63.; Subjects:; Aerialists––1890–1900.; Circus performers––1890–1900.; Women––Clothing & dress––1890–1900.; Format:; Circus posters––1890–1900.; Lithographs––Hand–colored––1890–1900.; Collections:; Miscellaneous Items in High Demand; Bookmark This Record:; http://www.loc.gov/pictures/item/93500071/

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TAGS

1890 • acrobats • aerialists • circus • circus performers • figures in spacegraphic representationLibrary of Congress • Prints and Photographs Division • trapezevisual depiction

CONTRIBUTOR

Simon Perkins
16 MARCH 2010

Platform Ireland: showcasing Irish arts and culture

"Platform Ireland showcases leading Irish arts and cultural content to audiences worldwide. It is an online venue which features all audiovisual arts content across Ireland from touring arts online to the writers backroom.

It also acts as an arts archive and features the latest arts news where new content can be presented and promoted with a forum for critical debate. Platform Ireland aims to bring Irish arts to a greater audience in order to engage and highlight the work that is taking place all throughout the country."

(Jessica Fuller)

Fig.1 Ulster Bank Dublin Theatre Festival 2009

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TAGS

2009artsarts and cultural practicesarts and culture channel • arts and culture sector • arts archive • arts news • arts online • arts organisationaudiovisualcircuscreative industriescreativity • cultural content • culturedancedesign and technologyDublinDublin Theatre FestivalDun Laoghaire Institute of Art • Enterprise Ireland • festivalforum • IADT • literaturemusicperformanceperforming arts • Platform Ireland • repositoryRepublic of Irelandshowcasespectacle • Still Point Productions • street theatretheatre • Ulster Bank • writers backroom

CONTRIBUTOR

Simon Perkins
05 NOVEMBER 2009

Alexander Calder magically breathed life into inanimate objects

"Alexander Calder magically breathed life into inanimate objects, using wire and recycled materials to create this army of circus characters. Beginning in 1927, Calder performed the Circus in Paris, New York, and elsewhere. He would issue invitations to his guests, who would sit on makeshift bleachers munching peanuts, just like the real circus. With the crash of cymbals and music from an old gramophone, the circus would begin. Many of the individual circus animals and performers include mechanized parts – Calder was originally trained as a mechanical engineer.

It wasn't the tricks or gimmicks of the circus that appealed to Calder, but the dynamic movement of bodies in space. He first went to the Ringling Brothers, Barnum & Bailey circus in 1925. He was inspired by the mechanics of the circus and made hundreds of drawings of the equipment and the ropes and the guy wires for the tents. Later in his career, Calder turned his attention to more abstract work. ... He went on to invent the mobile and other works of moving sculpture."

(Adam Weinberg, Whitney Museum of American Art)

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TAGS

19271955ad-hocAlexander Calderanimationart • Barnum & Bailey • bodies in spacecharacterchoreographycircusdrawing • dynamic movement • improvisationinanimate objects • mobile sculpture • motionmovement • moving sculpture • performancepioneerpuppetry • Ringling Brothers • theatreWhitney MuseumWhitney Museum of American Art

CONTRIBUTOR

Simon Perkins
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