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The "Cabinet of Dr. Caligari" in the same silent film classic by Robert Wiene from 1920 is a show booth in which the seemingly prophetic "somnambulist" Cesare occurs.

Herrrrrreinspaziert! This can be seen for the first time - Cesare, the somnambulist! Cesare miracle - Twenty-three old years asleep for twenty-three years of continuous day and night - Cesare will rise before your eyes from the rigor mortis - Herreinspaziert "

(...)

" My esteemed gentlemen! Cesare the somnambulist will answer all questions. Cesare knows all the secrets - Cesare knows the past and looks into the future for yourself - If you approach! Ask!

This event tied to well to real role models. With the "fortune telling" is often less spectacular exhibitions or simple illusion shows have been upgraded, so, for example, operated by mirror tricks "misleading" information or Women's albinos often called "clairvoyant" or "mind reader".

"somnambulist" were of a very mysterious effect on the audience and besides the usual practices and convoluted instructions for "reading" the idea of individual viewers had to present in "Trance" "media" command no art skills.

At the beginning of her performance , the "mind reader" is often first in an alleged "hypnotic" or "sleepwalking" mixed state, sometimes with funding from the "magnetism".

clairvoyant, which were also sometimes given as "somnambulist" were, from their "office hours" usually after the show booth programs: "Finally, the somnambulist is talking."

movie quotes and scene image a reprint of the script, published Wiedleroither, Stuttgart 2000

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Valentine wonders

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Oktoberfest show booth (Valentin)

Munich, cabaret Charivari 1920

The flute plays Bertolt Brecht, Karl Valentin, the tuba. The rush hour on the bell is Liesl Karlstadt.

It is no surprise that the recommendations or the fantastic and bizarre explanations of the rush hour-show booths at the Oktoberfest Karl Valentin numerous suggestions for funny scenes delivered, with original and parody often not very likely to have such distinguished from each other ...

Get in his scene "Oktoberfest Show" with a "big lady" and a "Fakir" or "muscle phenomenon typical show booth attractions in appearance.

" The attraction program with Miss Lilly Wiesi Wiesi, the greatest woman ever to be shown in Europe, the Dame is 2-3 m tall and weighs 280 pounds (...).. their size maintain, eats the lady only elongated food such as asparagus, macaroni, rhubarb and Salzstangerln. drinks could be drinking bubbly hot as the hot fluids are ingested in the mouth due to the long esophagus usually cold in the stomach and lead to stomach cold. (...)"

"In the second division they see 'Tafit', the man with the giant ears. (...) At the age of 12 years and 16 months he was in the teaching of a Neapolitan shoemaker in Ceylon. In his more than 40 years working as a shoemaker's boy, in which he characterized by laziness, insolence and licentiousness, his master was given the opportunity to pull him in incessant way in the ears, (...). As a result of many years of expansion of the ears, this same have accepted such enormous dimensions as you now have the opportunity to admire. Due to the enormous bulge of the ears has to Mr. Tafit the sound recording capability increased so much that Mr Tafit grow, as the saying goes, the grass in the dark listening. The crushing of a flea is heard from Mr. Tafit like a cannon shot. When storm winds, can Mr Tafit not venture into the street, because the ears would catch the wind and him from harm could not protect. In his giant ears produces annually 12 cwt Mr. Tafit ears fat, which he always gives to a car lubricant manufacturers, and recorded in the proceeds of that has a very nice extra income. Mr. Tafit is the favorite of all ladies. It is built entirely normal except for the two ears - it's no illusion - no dizziness - all real. (...)"

In the last section - Valentin Wau, the muscle phenomenon - the man with the iron stomach. - The invulnerable Fakir It is heavy iron objects such as railroad tracks - concrete piers - Crooked turn Artelleriesäbel heavy on his arms and muscles. (...) He is able to eat ordinary coal. - Proper and genuine he will drink hydrochloric acid (drinks and shakes) - this is the usual nervous twitch, which must occur after drinking poison, but it will be over again in a few minutes. (...) Valentin Wau, the invulnerable Fakir, he's able to can be sharp objects such as needles, nails, etc. pushed by any body part with all their might. A hat pin him now, we pushed through the nose. (...) In his closing attraction itself is Mr Valentin Wau lay on the floor and is occupied by a car with five people, run over . Let (...)"

access, access, ladies and gentlemen, is just the beginning - the beginning of the new idea no one should leave the festival site without having attended our imagination.. (...)

to spot the chapel is the last character you do not have long to wait -. the most beautiful places are still available -. you are now paying discounted prices - that is to checkout - access, - The artists go into the theater - the chapel is the last character and the show begins.

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Text Source: Karl Valentin: All works in eight volumes, ed. Bach by H. Maier and M. Faust. Munich, Zurich 1995th Volume 3: Scenes, p.26-30

Source: Elmar Buck: Vision - room - scene. Paintings, prints, sculpture, poster, photograph, film in the Theatre Archive Schloss Wahn, Cologne University. Kassel 2001, S.430f

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Rheinisches Panopticon Kommern

Wax Museums have become scarce. In Germany there are still the traditional Hamburg panopticon and more recently an offshoot of the Tussauds Group in Berlin.

A particularly beautiful wax figure exhibition experience beyond the visitors of the R Heinisch Open Air Museum A in the Eifel foothills. In a nondescript large hall in the middle of the idyllic Museum grounds there is the issue "We Rhinelander" shown. The path leads through an authentically designed and decorated town scenery, starting in the French period the end of the 18th Century and ending in the "economic miracle".

The real name attraction are the 240 full-scale remarkably realistic wax figures that feed the various scenes. Some carry the heads of prominent Rhinelander, both past and present.

Actually the whole thing resembles an old long-distance stationary wax museum. The brothers Castan certainly have their enjoyment.

www.we-rheinlaender.lvr.de

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"Therefore to Barum" Greetings from

cuts at Barum: Characteristic was the zebra-painted the train and shunting.

I love a good circus - and I really liked: Circus Barum!

Circus My enthusiasm goes back to childhood, when now and then small Familiencircusse lost in our village. Large circuses guest appearances in the district town 20 km away, but my father took me only for animal show and the rehearsals in the big tent - which greatly increased the expectations of an idea in a big circus. When it finally was, it was in the mid 70s, of course, Barum - Adherent experience in my memory.

Barum was one of the largest circuses, not least Gerd Siemoneit with the popularity as a star trainer and animal psychologist "related. For him it is probably due primarily to the serious classical Animal Circus, despite all the polemics dogmatic defender of animals, many people still have a positive image.

was based above all the long-term success of Siemoneit-Barum on a strong and distinctive style to make Circus.

After a contraction of the early 80s, combined with a short experimental interlude, this style was quickly found that his audience again and again on New's enthusiastic and took care that the big top was occupied, in contrast to the tents of many competitors often surprisingly good to very good.

What made now from this special and so very successful style? He was straightforward to work without depressing, in the truest sense of the word, not rushed, "atmospheric" without trying Stacked characteristics, every detail thought through, serene, and not least afloat, but.

... all in the service of a highly successful, entertaining and varied program composition without lengths and Füllnummern.

Siemoneit always had a special Knack for originality and audience appeal acrobatic feats with class. Libretti with second and third numbers was not his thing, quality over quantity was - and here was less really more! was

Larger 's troops usually only before the finals and the classically designed furious final numbers, such as a daring cavalry - just pure exhilarating Circus.

Star numbers were seen again and again and caused lasting memories and the general public, such as Don Martinez with his wonderful comic performance trampoline.

Finally Barum was for the large-animal circus - and Barum this was occupied for many of the critical opposing contemporaries not critical to the contrary. For this reason, his end is so pitiful. With the Animal Circus Barum lost in our country's most prominent representative in positive ways.

For the reputation as THE animal Circus Barum were of course the famous dressage groups of human heads - but the other groups of animals of the house, with a long time the best dress for your Barum were. Of course, the dressage tests were first class, and especially the presentation of the horses and exotic birds raised they clearly differ from the competition. This was shown in a special way the style of the house - and the sure sense of absolutely coherent musical arrangements, played by an outstanding orchestra with a full big band sound.

The importance of the musical accompaniment of the program can not be overstated. Many tunes have I remembered correctly, the Rota music as the opening, the company of a long flying trapeze group or the cheerful upbeat melody for the finale.

beginning of the new millennium, the children involved Gerd Siemoneit increasingly in the design of programs and the latter did not have the special entertaining style and lost to class.

2008, then the end of the traditional circus announced, said the program was again in parts of the old qualities.

So I once again experienced a good idea in my favorite Circus, who I knew for over 30 years and have visited since the mid 80's with great pleasure at least once a year.

... Circus, which I liked more than any other in our country, classical, big circus with its unique atmosphere, Circus pure!

http://circushistorie.blogspot.com/2008/09/circus-barum-im-wandel-der-zeit.html

Apart from these sad personal memories of the Circus Barum is interesting to this blog. He was probably the only German Circus, a regular "Side Show" led with it, in Kreiser presented to the Directorate in the 1920s, curiosities and illusions.

also under the direction of Gerd Siemoneit gave it a little "shindig" experience: Even in the 80s, presented the Moroccan tent workers, dressed as "sons of the Atlas Mountains", in the tradition of "people watching" "traditional" drum music. They also used their "Morocco Show" during the break in the elephant tent for souvenirs, arts and crafts including all sorts of objects. The sale of souvenirs presented earlier in the stalls and people often look far more as a side income for the players in particular, the widespread dar. souvenir postcards were an important source of income.

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affig

The showman Traugott Petter (1907 - 1980) traveled in the late 20's with a show booth in which he presented typical attractions like giants, midgets and a 560-pound colossal Lady.

famous in the 30s he was causing a stir with its chimpanzee show. The specific achievements of his animals on the stage hung certainly not least, with the intimate relationship together Petters to their animals and their particular environmental conditions: the animals were living with the family in the caravan and were treated according to the children or caring than this.

"Since they were small, as we were, they have learned. If we skate is gone, they have copied it, cycling the same ... "

on the (ironic) comment by a party comrades out whether greet his monkeys can not put a convinced social democrat Petter his animals the" German greeting " when they exported from then on every possible occasion.

This parody animal naturally aroused the disapproval of the Nazis, and Petter was prompted by threatening to "slaughter" of animals to train them the trick again. The showman obeyed, Nevertheless, the history is not without consequences for him: He was sent to the Eastern Front and his monkeys were probably from the pain of separation one by one ...

Sources: Annette Krus-Bonazza: "On Cranger fair". Münster 1992 (picture and quote of the daughter); www.petter-paderborn.de; "Heil Hitler, the pig is dead!" Comedy Under the Swastika A television documentary of the NDR in 2006 .

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Zille and the Piktusse

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were among the modest amusement parks on the outskirts the few places of entertainment for the Berlin proletariat in the decades around the turn of the century before last. Here's a little variety could be found from the dreary everyday life in the factories, tenements and backyards. In particular, the booths allowed insights into a world outside of these gloom, a world of exoticism and wonder.

It went on this little dusty fairgrounds little less modest. The earning potential of the Showmen were as low as the demands of ordinary people in terms of dispersion. Its accessibility for relatively undemanding attractions in the singing game halls, "specialty theaters" and acting positions expected from naive. Compared to the daily monotony but had loudly promoted "global sensation" is actually entertaining.

It is not surprising that this activity of Heinrich Zille exerted a special fascination. He drew in the true sense of the word an unvarnished picture of the Berlin hype before and behind the scenes - humorous and sarcastic in his own way always, more or less. heite

"Well as a white angel with det Triko -

The hype
" Wat schubberst de uff de Lola for rum. "-
there seems indeed by allens "


The fire-eaters
" A dog's life! For three days I have brought
yet warm in the mouth. "


as" lichtbildnerischer notepad "He used his camera. Zilles photographic plates, which include the hustle at the then suburban bustle unique authentic impressions to teach until the late 60s were discovered.

Some of the stalls are shown so-called "Piktusse, smaller show positions of modest performances in which the discrepancy between the announcements and the actual potential was very large. Often the audience was here literally "ripped off", which could lead to the operators of the game permit has been revoked.
Thus, a "Piktus" was often only available to men. Frankly clad ladies, more or less overt indications of the rush hour and "clearly ambiguous" figures in the front area could expect erotic performances, or even services, which generally were not offered. Instead, the visitors got to see trivia. If he wanted more, he had to special payments for so-called "extra cabinets' pay, but again not provided the hoped ...

The "Roses from the South," it is probably such a Piktus. On the lower photo is the show booth of "Miss Pauline," the "greatest female athlete and Cannon Queen of the Present" to see - "no competitors" and "alive".
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Figures:
Jule Hammer: booths, beer and strong women. Hannover 1987 (above)
Friedrich Air: My Photo-milieu. Hannover 1967 (below)
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Tauma

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(C) Stefan Nagel


Even my third show booth posted in the style of American Sideshow banner was inspired by a famous Renaissance painting.

Tauma was a familiar term for the illusion of a living woman without lower body, but it was mostly free-floating on a swing. The rather simple illusion was often conducted in a cabinet lined with black velvet, so that was the black lady's pants invisible.
was in the version shown here, they often Fatima and was generally a mirror illusion.
to Mona Lisa Tauma fit but find little better for me.


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law, the actual "Tauma" on a swing in a black cabinet "floating". (Picture: Alexander Adrion, conjuring the Art Cologne 1981, p.55.)

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head!

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A great friend of the new "Wax Museum" to the "Madame Tussauds Group ( http://www.merlinentertainments.biz/ ) in Berlin, I am not, but it reduces the chances of an originally planned revival of the traditional old Berlin Panopticon, which was perhaps less spectacular, large, but gave the more atmosphere the wax figure cabinet of former times.
has any case to get the new establishment like opening the best possible advertising than the controversial Hitler figure was pulled down by a visitor to the head.

The show positions of (mass) murderers and despots belong (ed) to a wax museum as abnormalities, relics, instruments of torture and dissuasive medical plaster casts and such exhibits produced the much-described horrible effect of the cabinets.
other hand, are reservations about the establishment of the Hitler figure in the former imperial capital understandable. I can not think here is a passage from Frederick Hollander Memoirs Reviews "(...) For this was the Chamber of Horrors opened at any time. Hair man with the cleaver, Giftmariechen with the silver look that crooked Otto with Würgehand. How beautiful! And rode down, especially the peephole in the hell in which naked ladies razor. Everything in motion, for a dime. Next door were political: Ivan the Terrible, Luccheni, the murderer of the beautiful Empress Elisabeth. Whether they will issue the Lord out of the Munich Bürgerbräu too? How do I know my German, they will ship him one day there. And one day they will get it out again. " (up from head to toe. Revue of my life. Berlin 2001 (1965), p. 132)
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Farce

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It is a testament perhaps not just of taste, class and culture, but the comedy "The Rape of the Sabine Women" by Franz and Paul Beautiful Than in the processing of Curt Goetz is one of my personal "favorite plays." The play stands or falls with the cast of the traveling theater manager Emanuel Striese. Gustav Knuth was excellent in the film version of 1954 - and the unique full-blood actors Willi Millowitsch was written like a glove. Both celebrated almost the climax of the piece, the famous "Striese monologue" .! At the end of Act II:
"Striese farce - Listen, now, my bile is about Do you know anything, what a dope, it's true, we move from place to place, but my August? colleague, the Duke of Meiningen, made it so well -.. It is true that I can think actors pay almost no salary, but they do make more There is, for example, my first hero - a former pharmacist - this is allows using a single kerosene lamp and a red glass sink you the sun that you just picture one, a lighting inspector, how to find him flickers. And the family life among my people! My wife cooks for the whole society, so get used to my Sozietà on deprivation. The character actor is not too proud to peel the potatoes, and my youngest can not sleep at all, if not the schemer, the good guy, he carries around an hour before in the room. And as devoted to me are the people. My teen-naive lover is now eighteen years with me soon, she thinks it does not go away. And Finally, as my wife - - not only that they concerned the POS system, the actors burns the hair, in the city and at night the biggest props zusammenborgt Roles played, no, she has, despite these overburdened over the years, yet found time to gift me with a lovely group of children. You see, sir, which is made from a dope, and I am the director! Recommend me! Turns to the waiver.
The curtain falls "

" Kuno von Schroffenstein: Woe is me! I'm lost! Even to my ear the terrible sword penetrates insane explanation of the hostile army "
The figure and the corresponding text are from the year 1862. If you are in the wonderful book" The coming comedians cart. Of the migrant theaters in Bohemia "by Lilian Schacherl mentioned. (Kempten 1967) Lilian Schacherl provides knowledgeable, unadorned and very original lot about the traveling "ham" of 17 until the early 20th Century. But above all, sound is always something of the spirit of "Striese-monologue" by the treatise, which thus gives a lot of the special atmosphere of the simple traveling theater past. This theater showed
find popular plays, in which, similar to the puppet theater, often a comic figure was involved, also pieces of known playwrights. Very popular as Schiller's "Robbers" are - even if the labor-intensive productions such templates to small teams a lot of improvisation demanded. In general took it as a rule with the faithfulness not as accurate: "As the piece is a word too long and, of course, unbearable, so now all that is not essential to the whole of the story stay away, we are assured the same time, trigger further everything is set up so that it ends up at about 9 clock reliably, without the audience will lose some entertainment. " (playbill Vinzenischen the company from the year 1784, in Ruth Eder: playbill, Dortmund 1980, p.79)

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Paul Meyer home

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In my old sideshows representations the wood engravings are based on paintings of animal and landscape painter Paul Meyer Heim (1842-1915). Some of them are inserted in the Menagerie chapter of http://www.schaubuden.de/ . Meyer's home pictures of the inside of "animal stalls" are unique products that convey a realistic impression of the event and the modest interior behind the facades of large menagerie promising to small dogs and monkeys theater.

I am particularly fascinated by a recently acquired cast that another show booths genre is about. The "display of wild Indians" shows the interior of a typical shack in the verm eintlich perform "Wild unbridled" wild, ritual dances. On the simple wooden benches of the first place and on the standing room behind it amazed the simple, obvious rural people through this slump in rampant, exotic animal (note the ready lying chains) in the limited and well-ordered life of its own reality. Also from the shadows of the simple canvas shack dimly emerging motley exhibits from far distant countries are part of this so simple and impressive production. The master of this enclave a disturbingly sensual, exotic, and seemingly primitive world of the imagination in Uniform the well-traveled adventurer dressed owner of the attraction ...

(For information on exhibition of people from distant parts of the world in the "International Show" in http://www.schaubuden.de/ )

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ETA

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Image: Stefan Nagel

For ETA Hoffmann (1776-1822) exercised the obvious attractions of the fairs a great fascination. The description of the tricks of the charges of a "Flea Tamer" in the "Master Flea" (1822) shows that it is "Flohcircusse" though not under that name, at the beginning of the 19th Century was.
interesting are the statements about wax museum in "Automatic" in 1814. The story shows that even at that time in panoptically "murderer" and "rogues" were displayed for the institution probably has always conveyed an eerie atmosphere.
Hoffmann was especially taken by machines, not so much by the "dalliances, as are most often shown at fairs and carnivals" (The Automatic), large than on the amazing art works mechanic. The machines
topic comes up again and again, including of course in Sandmann. In this fascinating and troubling story is about "love" of the student Nathanael to "Auto Matin Olimpia.
The artificial people in ETA Hoffmann were and are a popular subject for literary papers, including authors with Marxist starting points. (Example Lienhard Wawrzyn. The machine-human ETA Hoffmann's story of the Sandman Berlin 1985.) Seem to me These kinds of interpretations in spite of dogmatic approaches not entirely absurd. The machine man is the "bourgeois", "alienated", just "artificial" person with a limited understanding of "reality" or a limited view of the world:
"Oh, this enchanting to disenchant, these lovable validating the love, they're ghosts, and yet everyday nature, long-legged and with lashes of prostheses, and of course physically perfect, and of course informed .- No professional feminists that makes the preference as well as the disadvantage of her appeal. You are the creator of longing for something that they are inherently not after, the fact they represent (...) a train not only the bourgeoisie. - Ideal incarnations of practical reason, but we think it over, is their queen Olimpia. - The Society of the programmed. - Yes not the car Matin is dreadful, but that a love to distraction with her.
course: He needs glasses to a special "
. (Franz Fühmann. Fräulein Veronika Paul man from the suburb of Pirna, or something about looking at ETA Hoffmann, Munich 1984, p.104)
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