Titlebook: Circus, Science and Technology; Dramatising Innovati Anna-Sophie Jürgens Book 2020 The Editor(s) (if applicable) and The Author(s) 2020 Tec

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2947-5848 des a rich account of the circus’ past, how it was and is foThis book explores the circus as a site in and through which science and technology are represented in popular culture. Across eight chapters written by leading scholars – from fields as varied as performance and circus studies, art, media

Parabola

,Circus Matters: Engineering, Imagineering and Popular Stages of Technology—Introduction,e material, practical nature of popular entertainments, and to their imaginaries in other media. (Studying) circus contributes to a better understanding of the globalised modern culture of technological wonder, and how it is formative for the present and the future.

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Engineers of Curiosity: The Barnum Eraof human skill in motion, specialising in illusions, transformations and gravity-defying feats. This involved engineering in the broadest sense, from the design of new physical tricks to the construction of apparatus to enable them. In an era of imperial and industrial advancement, the Greatest Show

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Unreal Limbs: Erin Ball and the Extended Body in Contemporary Circus in her determination to re-imagineer her adaptive body and to explore the world of surreal prosthetic limbs in Contemporary Circus performance. The writing also explores the emerging collaboration between Erin Ball and Kristina Walsh, a Canadian prosthetics designer, currently Artist in Residence a

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The Circus and the Magic Lantern: A Portfolio of Hand-Painted Mechanical Magic Lantern Slidesmechanical glass slides. This chapter presents a curated selection of these slides drawn from private and public collections. The portfolio of images and sequences in the chapter will be contextualised by a discussion of the evolution of lantern and circus traditions in nineteenth-century colonial A

ALLEY

The Circus and Technologies of Animation early animation technologies and circus, including animated representations of circus. The chapter also draws attention to the new connections between animation and circus, invoking animation as a means to enact wonder—a ‘sleight-of-hand’ that foregrounds its constructed nature, producing an encoun