Difference between revisions of "Main Page"

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==In The Spotlight==
 
==In The Spotlight==
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[[File:Maryse_Begary_(Promotional_Picture).jpg|right|400px]]
 
  
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===MARYSE BEGARY===
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===ELENA SERAFIMOVICH===
  
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Born Andrée Auclère on February 20, 1926 in Paris, France, the daughter of a baker, Maryse Begary (1926-2007) was one of the most accomplished and celebrated aerialists of her day, famous for her exceptional handstand on the trapeze bar—which she could hold for more than one minute—and her spectacular series of rotating one-arm planches (also known as "dislocations"), with which she emulated her idol, Lillian Leitzel (1892-1921).
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Elena Serafimovich was born in Minsk, Belarus (then in the USSR) on February 18, 1972 in a family that was not connected with the circus: Both her parents worked for import-export companies. As a child, the mixture of dance and acrobatics that rhythmic gymnastics offers attracted her, and she started training at age six. She participated in many national competitions, and eventually obtained a Master degree in Rhythmic-Gymnastics.
  
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Young Andrée started training on the trapeze on her doctor’s recommendation, to improve a poor health condition. She became apprentice to a celebrated gymnast on horizontal bars, Nicolas Marcoud, who had a successful career with the Marcoud-Banola Troupe. Andrée adopted his name (as was the tradition then, in the circus, when a young performer had apprenticed to a famous master) when she started her performing career. Thus, under the name of Andrée Marcoud, she made her professional debut at Paris’s Cirque Medrano on April 14, 1939; she was thirteen years old.
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But Elena wanted to see the world, to go out of the confined atmosphere of the Soviet Union; so she did what many former gymnasts there did: she enrolled in Kiev’s State Institute of Variety and Circus Arts in Ukraine (still part of the Soviet Union at the time). The year was 1987. In 1989, she was hired as a top mounter in the famous perch-pole balancing act of Aleksei Sarach—although she was still technically a student of the school. She graduated as a "generalist" (a performer without a specific act) in 1991.  
  
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Andrée Marcoud quickly made a name for herself: Her handstand on her trapeze bar didn’t fail to impress circus professionals and aficionados, and her act continued to improve over the years. After the German occupation of France during World War II, Andrée was featured in 1946 (and again in 1950) at Paris’s (and the world's) oldest permanent circus, the Cirque d’Hiver. The following year, she went on tour with the French Cirque Figuier under her real name, Andrée Auclère: Raymonde Marcoud, Nicolas Marcoud’s niece, was also performing at that time, and Andrée didn’t want to create any confusion.
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Elena worked with Sarach in the Soviet Union and on foreign tours of the Moscow Circus for eight years. Meanwhile, she longed to create an act of her own, and in 1993, she began to train on the aerial hoop, or cerceau—an apparatus that was ideal to showcase her amazing grace and flexibility. While doing so, she caught the attention of Tatiana Assovskaya, then director of SoyuzGosTsirk (later, RosGosTsirk), the Soviet Union's state central circus organization.
  
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That same year, 1947, Andrée married Franz Begary, a former pilot in the French Air Force who had just left the military. Andrée Marcoud-Auclère finally became Andrée Begary, and changed her first name for the more romantic Maryse. It is under that name, Maryse Begary, that she continued her career—thus confusing a few circus chroniclers and historians: Andrée Marcoud and Maryse Begary are sometimes mentioned as "the two only aerialists" who, after the creator of the trick, Miss Fillis (Nicolas Marcoud's daughter), were able to hold a handstand on their trapeze bar! Franz Begary became Maryse’s assistant and manager, a marital partnership that would last until Maryse’s death.
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With Assovskaya’s help, Elena further developed her act during a long engagement of the Moscow Circus with Circus Williams-Althoff in Germany, where she eventually premiered it in 1995. Her beautifully choreographed aerial presentation, combined with Elena’s natural grace and elegance, was an immediate sensation.... ([[Elena Serafimovich|more...]])
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The amazing Maryse Begary was much in demand in France and Europe. In the winter 1949-1950, she was featured at Bertram Mill’s Circus at London’s Olympia, where she shared the bill with another legendary aerialist, Alma Piaïa. The next winter, she appeared at Circus Carré in Amsterdam, then under the management of the Strassburger family; she was twice featured at Glasgow’s Kelvin Hall in Scotland, and performed at Blackpool’s Tower Circus in England, Cirkus Schumann in Copenhagen, and Circo Americano-Castilla in Spain, among many other prestigious European venues.... ([[Maryse Bégary|more...]])
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==New Essays and Biographies==
 
==New Essays and Biographies==

Revision as of 20:47, 28 February 2023

Welcome! ✫ Bienvenue! ✫ Willkommen! ✫ Добро Пожаловать!
Bienvenida! ✫ Benvenuto! ✫ 歡迎 ! ✫ Vítejte! ✫ Καλώς ήρθατ ε!
Üdvözöljük! ✫ Добре Дошли! ✫ Welkom! ✫ Ласкаво Просимо!
Velkommen! ✫ Tervetuloa! ✫ Дабро Запрашаем! ✫ Välkommen!

Circopedia was originally inspired and funded by the Shelley & Donald Rubin Foundation.

In The Spotlight

ELENA SERAFIMOVICH

Elena Serafimovich was born in Minsk, Belarus (then in the USSR) on February 18, 1972 in a family that was not connected with the circus: Both her parents worked for import-export companies. As a child, the mixture of dance and acrobatics that rhythmic gymnastics offers attracted her, and she started training at age six. She participated in many national competitions, and eventually obtained a Master degree in Rhythmic-Gymnastics.

But Elena wanted to see the world, to go out of the confined atmosphere of the Soviet Union; so she did what many former gymnasts there did: she enrolled in Kiev’s State Institute of Variety and Circus Arts in Ukraine (still part of the Soviet Union at the time). The year was 1987. In 1989, she was hired as a top mounterIn an acrobatic or balancing act, the performer who holds the top position (on a human column, for instance). in the famous perch-poleLong perch held vertically on a performer's shoulder or forehead, on the top of which an acrobat executes various balancing figures. balancing act of Aleksei Sarach—although she was still technically a student of the school. She graduated as a "generalist" (a performer without a specific act) in 1991.

Elena worked with Sarach in the Soviet Union and on foreign tours of the Moscow Circus for eight years. Meanwhile, she longed to create an act of her own, and in 1993, she began to train on the aerial hoopA heavy metallic hoop used as a variance of trapeze, usually with contortion moves. (Also called Cerceau.), or cerceau(French) See Aerial Hoop.—an apparatus that was ideal to showcase her amazing grace and flexibility. While doing so, she caught the attention of Tatiana Assovskaya, then director of SoyuzGosTsirk (later, RosGosTsirk), the Soviet Union's state central circus organization.

With Assovskaya’s help, Elena further developed her act during a long engagement of the Moscow Circus with Circus Williams-Althoff in Germany, where she eventually premiered it in 1995. Her beautifully choreographed aerial presentation, combined with Elena’s natural grace and elegance, was an immediate sensation.... (more...)

New Essays and Biographies

New Videos

  • Louis Knie, elephants and tigers act (1976)
  • Bruno Togni, tiger act (2023)
  • RenéCasselly, Jr., acrobat on horseback (2023)
  • Anatoliy Ruban Troupe, teeterboardA seesaw made of wood, or fiberglass poles tied together, which is used to propel acrobats in the air. (2022)
  • The Ayala Troupe, high wireA tight, heavy metallic cable placed high above the ground, on which wire walkers do crossings and various acrobatic exercises. Not to be confused with a tight wire. (2022)

New Oral Histories

Circopedia Books

A Message from the Founder

CIRCOPEDIA is a constantly evolving and expanding archive of the international circus. New videos, biographies, essays, and documents are added to the site on a weekly—and sometimes daily—basis. Keep visiting us: even if today you don't find what you're looking for, it may well be here tomorrow! And if you are a serious circus scholar and spot a factual or historical inaccuracy, do not hesitate to contact us: we will definitely consider your remarks and suggestions.

Dominique Jando
Founder and Curator
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