Fernando, who oversaw the box office, decided to let the painters work freely in the circus during rehearsals and watch the performances free of charge - a tradition that will remain under the subsequent management of Gerónimo Medrano.įernando Beert eventually gave the management of his circus to his stepson, Louis, known as Louis Fernando (1851-?). They brought in their wake members of the Parisian "bohème", writers, journalists, actors, who generated publicity for the circus. Designed by the architect Gustave Gridaine, the new Cirque Fernando opened on June 25, 1875.īecause of its proximity to Montmartre, the circus attracted many artists ( Renoir, Degas, Lautrec, among many others), who came to sketch the performers in action, which sometimes resulted in full paintings. He therefore managed to obtain a thirty-year lease on his piece of land to build a permanent circus. He had considerable success there, which went far beyond the context of the fair. Fernando thus went on to search for a suitable empty lot nearby, and found it on the Boulevard de Rochechouart, between the rue des Martyrs and the present rue Viollet-le-Duc. The following year, he came to Paris to perform at the Fête de Montmartre, but the traditional fairgrounds for this annual fair were on the very spot on which the Church of the Sacré-Cœur was being built. Īn acrobat and equestrian, Fernando started his Cirque Fernando in Vierzon, France, in 1872. ![]() Note the stylish audience that attended circus performances in 19th-century Paris. The purpose of this study is to reassess the existing and introduce new mechanisms of urban policy of the post-socialistic cities, with a particular focus on Podgorica, thus enabling facilitation of legal frameworks and an institutional approach to the further process.Toulouse-Lautrec's oil on canvas painting, Ecuyère au Cirque Fernando, 1887–88, shows Louis Fernando leading the horse of an equestrienne. Likewise, in Podgorica, such effects reflected in restructuring of previously known urban structure, inducing creation of new town districts to the full extent. The effects of this phenomenon on the urban tissue are similar in all cities of Central and East Europe. ![]() marks the beginning of consumerism in the consumer society that has formerly been exclusively oriented to industrial production. The structural transformation resulted in creation of polycentric cities, deindustrialization and revitalisation of suburban zones and led to emerging of commercial developments as a manifestation of activity of new urban players. This paper considers transformation of urban form of post-socialistic cities arising from the transition from socialism to capitalism. My hope is that this dissertation will contribute some strength to the case for well-designed programmes of circus activities for young people, in both formal and informal settings. In either case, a child involved in circus activities has a chance to make good some deficits, by experiencing constructive physical risk, aspiration, trust, fun, self-individuation and hard work. In other parts of the world, and in some Western populations, childhood has other problems, linked to deprivation, exploitation and physical danger. ![]() I argue that contemporary Western childhood presents unexpected hazards, mostly involving passivity and over-protection. The discoveries shed light on the aesthetic code of circus itself, leading to the conclusion that circus works as an artform because its essential composition recalls profound experiences of childhood. ![]() I then conduct a wide exploration of both the real and the imagined circus, showing how these elements occur or are evoked there, and I establish a correspondence or 'homology' between the two entities - childhood and circus. To explain this I first introduce six 'elements' of childhood, whose absence often seems to result in an incomplete personal maturity. This thesis proposes that circus as education is more effective when both teacher and student have a better understanding of circus as an art form. However, it is in the paradoxical nature of circus that it operates in a way both mysterious and easily accessible. Circus is increasingly being used as a developmental and remedial activity for children.
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