McMahan Matthew – författare

This is a history of circus clowning in the long nineteenth century, told through original documents. It demonstrates how particular types, acts and stunts originated, were performed and underwent variation over time. The equestrian and acrobatic clown, the august and the eccentric all receive attention. This constitutes a genealogy or “gagography” of clowning, told through eye-witness accounts, memoirs, contemporary reportage and interviews, accompanied by commentary and annotation. The coverage is international, moving beyond the anglophone world via translations from French, German, Swedish, Italian, Spanish and Portuguese sources. Although it covers the “usual suspects” from Ducrow to Grock, this book introduces the reader to many important and overlooked clowns.

This collection of primary sources brings together a series of documents derived from archives, journals, newspapers, out-of-print books, memoirs, letters, and other written materials pertaining to the circus during the long nineteenth century (1789-1919). Historians concur that the 'modern' circus emerged in London in the late-eighteenth century, following the entrepreneurial initiatives of Philip Astley (1742-1814). It soon spread to Scotland, Ireland, France, Russia, Scandinavia, and other regions of Europe. Introduced to the United States by and English equestrian, John Bill Ricketts, in 1793, the modern circus transformed into a movable tent show by 1825. Following the Civil War and the development of railroad transport, the uniquely American circus transformed again into an 'industrialized juggernaut' capable of entertaining a large and diverse population from coast to coast. Transmitted across the globe through the British colonial project, the circus flourished in the colonies of Australasia, South Africa, South- and Southeast Asia, and was nourished by traditional performance forms of China, Japan, India, and Southeast Asia. The modern circus evolved through interaction with different geographies, socio-political contexts, new technologies, cultural heritage, and absorption of vernacular performance forms. Accompanied by extensive editorial commentary, and edited by an international team of scholars, this collection will be of great interest to students and researchers of circus studies, theatre and performance studies and cultural history.