My most vivid memory is certanly visit of the "MOIRA ORFEI-HOLIDAY ON ICE" circus,which spread its huge tent with three arenas in the Karadjordjev Park,close to the National Library, I think in 1972. I steel remember the Polish circus "POLONIA", Hungarian "APOLLO", ''GRAND CIRQUE DE FRANCE'' and many others.Unfortunately,i do not have may photographs left from that period,but the ones I have,I think speak for themselves about the time that has gone for ever. Apart from these big circuses,there were also several smaller ones like "CORONA" "VARGAS". It was the time when big circus regularly visited Belgrade,the capital of the former Yugoslavia.Sometimes 2 or 3 big circuses would have their shows in our city.I remember mainly Italian circuses,whose names I can not forget : ''MOIRA ORFEI'' ''CITTA DI ROMA'' ''AMERICAN CIRCUS'' ''EUROPA'' ''LIANA ORFEI'' ''MEDRANO'' ''EMBELL RIVA''. My father was a footbal player in the clubs of "SINDJELIC", "METALAC" and "BSK" and I used to spend a lot of time with him on the playgrounds.It was a happy time, and the most popular place for kids was BELGRADE ZOO. in circus.sory,Belgrade.I was lucky to have been born and spent my childhood in the 60's and 70's,during the time of progress and prosperity of the former Yugoslavia. The purpose of this study is to reassess the existing and introduce new mechanisms of urban policy of the post-socialistic cities, with a particular focus on Podgorica, thus enabling facilitation of legal frameworks and an institutional approach to the further process.My name is Milos Borojevic.I was born on July 20.
Cirkus medrano u beogradu full#
Likewise, in Podgorica, such effects reflected in restructuring of previously known urban structure, inducing creation of new town districts to the full extent. The effects of this phenomenon on the urban tissue are similar in all cities of Central and East Europe. marks the beginning of consumerism in the consumer society that has formerly been exclusively oriented to industrial production. The structural transformation resulted in creation of polycentric cities, deindustrialization and revitalisation of suburban zones and led to emerging of commercial developments as a manifestation of activity of new urban players. This paper considers transformation of urban form of post-socialistic cities arising from the transition from socialism to capitalism. My hope is that this dissertation will contribute some strength to the case for well-designed programmes of circus activities for young people, in both formal and informal settings. In either case, a child involved in circus activities has a chance to make good some deficits, by experiencing constructive physical risk, aspiration, trust, fun, self-individuation and hard work. In other parts of the world, and in some Western populations, childhood has other problems, linked to deprivation, exploitation and physical danger.
I argue that contemporary Western childhood presents unexpected hazards, mostly involving passivity and over-protection.
Cirkus medrano u beogradu code#
The discoveries shed light on the aesthetic code of circus itself, leading to the conclusion that circus works as an artform because its essential composition recalls profound experiences of childhood. I then conduct a wide exploration of both the real and the imagined circus, showing how these elements occur or are evoked there, and I establish a correspondence or 'homology' between the two entities - childhood and circus. To explain this I first introduce six 'elements' of childhood, whose absence often seems to result in an incomplete personal maturity. This thesis proposes that circus as education is more effective when both teacher and student have a better understanding of circus as an art form. However, it is in the paradoxical nature of circus that it operates in a way both mysterious and easily accessible. Circus is increasingly being used as a developmental and remedial activity for children.
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