Adam's Tarot Weblog Entries from 6th July 2010. Go to Archive 1 - entries from 21st November 2006 to 30th April 2007. Go to Archive 2 - entries from 1st May 2007 to. Circus news from Denmark 2014. The circus year 2014 in review. The circus year in review is an annual review published on this website by the end. 31/12/05 - Carnet rose : Pascal fidCircus Sarrasani - Circopedia. Hans Stosch- Sarrasani (c. By Raffaele De Ritis. The legendary Circus Sarrasani was created in Germany in 1. Impalement arts are a type of performing art in which a performer plays the role of human target for a fellow performer who demonstrates accuracy skills in. The definitive site on the ancient art of Sword Swallowing and the Internet's most comprehensive list of Sword Swallowers past and present. Hans Stosch (1. 87. Sarrasani remains one of the most celebrated circus names in both Europe and South America. The title was alive throughout the entire twentieth century, under a succession of owners of more or less legitimate lineage. In circus lore, Sarrasani is still a fabled name that evokes a history of epic proportions with sociopolitical undertones, dominated (and occasionally brought close to bankruptcy) by the larger- than- life personality and extravagant vision of its famous founder, Hans Stosch- Sarrasani. Stosch had a matchless ability to mix together industry, stagecraft, propaganda, literature, foreign politics, a specific style of circus management and circus aesthetics—as well as innovative techniques that stand today as milestones in the history of modern circus. His achievements influenced rivals such as Carl Krone, colleagues and admirers such as J. He was the son of Albrecht Friedrich Stosch, a chemist and glass factory owner, and Hedwig Charlotte Catharina Stosch, n. Hans had five siblings: Marie Louise Albertine Walpurgis, known as Wally, born in 1. Therese Edwig, born in 1. Elizabeth Friederike Erdmuthe, born in 1. Hans’s mother died in 1. Since at the funeral of their mother, only Wally, Hans, and Friedrike were present, one can surmise that the twins died in infancy. Nonetheless, he was sent to study chemistry in Berlin, where he began to frequent assiduously the famous Circus Renz. There and then, Hans Stosch discovered that he was much more attracted to the circus than to chemistry or glassware. At Circus Renz, he had met the clowns Didic and Eugen Veldeman, and he decided to follow them as an apprentice. There he performed as a clown. Generic term for all clowns and augustes. In 1. 89. 2, he adopted the exotic stage name of . It is more than likely that Albrecht Friedrich Stosch didn’t approve of Hans’s choice to become a performer—let alone a clown. Generic term for all clowns and augustes. Sarrasani appears to have had steady employment, and worked in first- class circuses and variety theaters, from Saint Petersburg’s Circus Ciniselli to Madrid’s Circo Parish. In 1. 89. 3 Hans Stosch married twenty- year- old Anna Albertina Augusta Maria Ballhorn (1. Together they would have two children, Hedwig (1. Hans, Jr. Then, Hans Stosch had an epiphany that would change the course of his career. Circus companies traveling under canvas were few, small, and generally limited themselves to rural areas. Typically, you went to the circus; the circus rarely came to you. The immense assemblage of canvas tents, the swiftness of their setup and tear- down, the technical efficiency of the circus’s operations, the special trains on which it moved, the enormous big top. The circus tent. America: The main tent of a traveling circus, where the show is performed, as opposed to the other tops. It also impressed Hans Stosch. He found a partner in his old friend and fellow performer Robert Milde- Milton, and in 1. Radebeul (a town in the suburbs of Dresden, in Saxony) to build their show. Hans Stosch was familiar with the area: His parents had lived in Dresden until the birth of Hans’s elder sister, Walpurgis, in 1. In December, Stosch gave a foretaste of his show at the Apollo Theater in Brandenburg an der Havel, in the neighboring province of Brandenburg. The program consisted principally of acrobatic acts. The new circus was initially a modest affair, whose second- hand equipment had been bought from a couple of small French circuses and from the Dutch Circus Carr. The two- pole canvas tent was masked by an imposing fa. Initially the only animals were horses, but a first elephant bought from Hagenbeck was soon added, and seven more would follow in 1. Leipzig Zoo. From the bankruptcy of Berlin’s Circus Renz (in 1. Their owners had all been influenced by the European triumphs of Barnum & Bailey, which was the first circus to have traveled on the Old Continent with a vast, bona- fide menagerie. He was also the first of them to grow, and his middle- class background and upbringing—wholly different from the traveling- entertainer milieu and education of most of his competition—informed his particular choices and aesthetics. Another of his historical firsts was the use of steam- engine tractors to pull the circus’s rolling stock from the railway station to the circus lot. With his friend Max Friedl. The high quality of Sarrasani’s programs and productions topped it all. National recognition came in Berlin, the capital of the German Empire, where Sarrasani erected a wooden construction(French) A temporary circus building, originally made of wood and canvas, and later, of steel elements supporting a canvas top and wooden wall. Yet, following the Buffalo Bill’s Wild West’s fifth European tour in 1. Sarrasani’s show offered a . This theme, which would eventually become a Sarrasani fixture, had a German cultural relevance too: Wild West stories had been popularized in Germany by the prolific and extremely successful Saxon novelist Karl May (1. Radebeul resident and friend of Sarrasani. He also pioneered in Germany winter shows given in vast exhibition halls, as in Frankfurt in 1. Zirkus Sarrasani was flourishing indeed and had become a force to reckon with. By 1. 91. 0, Hans Stosch- Sarrasani felt financially strong enough to achieve his ambition: To have his own, state- of- the- art circus building. He first set his views on Berlin, where Circus Busch (Circus Renz’s successor) already reigned supreme, but met with too strong a resistance from the city—undoubtedly fueled by Paul Busch. The old Cirkus Schumann constructed toward the end of the nineteenth century in L. Thus the road was free, and not only the City Fathers welcomed Sarrasani’s project, they were also willing to support it. The circus had often played Saxony’s capital in the past: The first time was in 1. M. It is this empty lot at K. It was sold to Sarrasani for the purpose of building a large circus that would correspond to the technical requirements of modern times and to the typical architecture of the city, and could be used also for large gatherings, musical performances, and other events. The price was set at eighty Marks per square meter (thus a total of 4. Marks, or about 5,7. Euros today). The deal was closed on May 2. Heilmann & Littmann were put in charge of the construction(French) A temporary circus building, originally made of wood and canvas, and later, of steel elements supporting a canvas top and wooden wall. The circus was equipped with a traditional circus ring, 1. Paris’s Nouveau Cirque. There was also a fully equipped stage behind the ring, approximately 1. The height of the circus auditorium under cupola was 2. In addition to the dressing rooms, offices, and various rental spaces, the building housed a restaurant for the performers, an . Behind the circus itself, a vast connected annex housed the menagerie and stables (which could accommodate 1. However, the Cirque Metropole, too big and badly designed, was neither profitable nor successful, and was eventually demolished in 1. Circus Sarrasani, on the other hand, was truly the world’s most modern circus building, and would be Europe’s (and the World’s) largest circus building after the Parisian circus’s demise; it would remain successfully so until the carpet bombing of Dresden by the British and American Forces in 1. A special souvenir program was printed for the occasion on white silk framed in green—the colors of Saxony’s flag, which would soon become Sarrasani’s colors. It just followed the first European . For the appearances of Two- Two’s tribe in the show, short Western movies were shot, and were projected on a screen on the stage between the acts. Sarrasani’s inspired press agents also created a national sensation by having the Indians making a pilgrimage to the grave of Karl May, the novelist who had popularized the American West stories in Germany and who had just passed away the previous year. Sarrasani, whose programs always contained vast contingents of Japanese, Russians and other . Arranging a quick return to Dresden, Stosch saved his company's image with a typically opportunistic circus move. The first one was Europe in Flames (1. The Maharajah’s outfit worn by its leading actor, Gunnar Tolnaer, apparently left such strong an impression on Hans Stosch- Sarrasani’s imagination that he would switch after the War his trademark cowboy outfit for the elaborate costume of a Marharajah—certainly more attuned to his newly reached status of . It is in a Maharajah costume, replete with elaborate turban and jewelry, that Hans Stosch- Sarrasani would henceforth present his huge elephant act, and appear on advertising photographs and posters. And then, after the war was lost in 1. Germany was hit by a galloping inflation; by the early 1. The circus tent. America: The main tent of a traveling circus, where the show is performed, as opposed to the other tops. Sarrasani, with a large contingent of performers who had escaped the Bolshevik revolution in Russia, barely survived by performing either outdoors, on theatre stages, or in large halls (like in Frankfurt in 1. Alfred Schneider and his famous group of 7. Hans Stosch had previously met one of Germany’s most powerful men, the industrialist Hugo Stinnes (1. A member of the Reichstag, who went down in German history as . Stosch made a deal with Stinnes, who accepted to fund a South- Amercian tour of Circus Sarrasani. Not fortuitously, Sarrasani converted his circus vehicles for road transportation (the circus originally moved by rail), a change that would promote the innovative German automobile industry at home and abroad. Not to be forgotten in this scheme was Stinnes’s ownership of large tracks of land in South America, and his control of Argentina’s largest oil concession: South America was undeniably important to his, and Germany’s, business interests.
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