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==In The Spotlight==
 
==In The Spotlight==
  
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===LITTLE BILLY===
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===MARYSE BEGARY===
 
[[File:Little_Billy.jpg|right|400px]]
 
[[File:Little_Billy.jpg|right|400px]]
  
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Little Billy (1919-2001) was a very popular English auguste whose long and rich career, which began on the music-hall stage, took him to some of the most prestigious circuses of Britain and Europe. He truly came to the spotlight when he eventually partnered with the popular auguste Jacko Fossett, a successful association that began at Bertram Mills Circus and morphed into a lifelong friendship.
 
  
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He was born William Alfred Merchant on July 31, 1919, in Bristol, England. His father was unknown—and practically nothing is known of his mother, either. This lack of a father may be the reason why—along with the fact that William was afflicted with achondroplasia (dwarfism)—his mother chose to abandon him at an early age. Billy, as he became known, was placed in an orphanage in Bristol where he spent his childhood and adolescence.
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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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As a teenager, he became increasingly attracted to show business and spent his free time visiting the local music-halls, notably Bristol's Hippodrome and Empire theatres. In 1937, the Empire featured the celebrated troupe of performing "midgets" of John Lester (1870-1950), a former American aerialist turned impresario. Lester's troupe was mostly composed of little people, perfectly proportioned, as opposed to dwarves such as Billy. Nonetheless, he went to the theater to see John Lester. Asked by the impresario what he could do, Billy answered that he could tumble; that was good enough for a comedy part, and he was hired.
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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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Billy did a tumbling act with two diminutive partners that was in effect a visual parody of popular acts of the genre, such as The Craddocks and, later, The Charlivels. Lester was not the easiest of directors, and after a while, Billy, who now had stage experience, joined the acrobatic troupe of Joe Boganny (John Clifton, 1874-1943), whose act, very popular on the British variety circuit, traditionally included dwarf acrobats. With Boganny, Billy became truly exposed to "big time" variety and what is more, he could fully express his nascent comedic talents. He finally was in show business, and there to stay.... ([[Little Billy Merchant|more...]])
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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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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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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 [[Theatre Carré|Circus Carré]] in Amsterdam, then under the management of the [[Circus Strassburger|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...]])
  
 
==New Essays and Biographies==
 
==New Essays and Biographies==

Revision as of 03:36, 1 February 2023

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

In The Spotlight

MARYSE BEGARY

Little Billy.jpg


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).

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.

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.

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 trickAny specific exercise in a circus act., 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.

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 aerialistAny acrobat working above the ring on an aerial equipment such as trapeze, Roman Rings, Spanish web, etc., 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.... (more...)

New Essays and Biographies

New Videos

  • Bruno Togni, tiger act (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)
  • The Filinov Troupe, Russian swingGiant swing used to propel flyers into acrobatic figures onto the shoulders of a catcher, on a crash mat, or into a net. (2022)
  • Chu Thi Khanh Huyen, aerial sword balancing (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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