A behind-the-scenes look at life in the circus offers compelling truths and unique insights about a performing family that copes with constant self-recreations, constant wandering, and the looming threat of disaster.
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Donnalee Frega has taught at the State University of New York-Fredonia, Duke University, the University of North Carolina-Wilmington, and North Carolina State University.
That archaic fantasy machine that for generations has spun the circus into an adolescent and artistic French Foreign Legion for runaways and misfits continues to provide dramatic grist for authors, both popular and academic, who seek to explicate both its charms and its illusions. Like Nell Stroud's recent account of circus life (Josser, LJ 2/1/01), Frega's work is an inside-out treatment of the circus cosmos but here as told through the multigenerational story of the Hubers Betty, Fritzi, and Bobby. The Hubers are circus bloods and brethren, and their stories, interviews, and anecdotes create a fascinating and immediate narrative of performance, struggle, and the insatiable desire to perpetuate a uniquely nomadic and creative life through constant reinterpretations and definitions of identity. Over a period of time, as the Hubers accept scholar and university professor Frega as a trusted chronicler, a lucid portrait of this singularly attractive and bitterly harsh world emerges. Conversely, Stoddart (English and film, Keele Univ., England) presents a decidedly academic treatment of both the aesthetics and cultural history of the circus and the multitudinous economic and social changes it is facing. In the second part of the book, Stoddart applies the circus as an aesthetic template to consider the inherent challenges it makes to literature and film. Stoddart's text will work best for academics, but Frega's story is heartily endorsed for all performance collections. Barry X. Miller, Austin P.L., TX
Copyright 2001 Reed Business Information, Inc.
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