Donkey on Ice

The unusual comedy art of Karl Kossmayer and his mule (with a new discovery)

One of the most intense circus experiences of my childhood was the act of the “unrideable mules”: in wich a good dozen of spectators is invited to win a prize if able to complete a ring circle on the back of the savage quadrupede, catastrophically ending with the impossible attempts of a quiet but tenacious old man. Later, you could have spent weeks puzzling if he was a genuine spectator or some kind of strange performer.

For me, the image of the little old gentleman, approaching the ring with his program in the hands, pursued by his wife and finishing to lost his pants, was a shock. A contrast between the greatest humor and a feel of unease; a masterpiece on the border between fiction and reality, completely played on the separation line between the shadowy space of the audience and the bright territory of the performer. Was this man from the circus? Nobody could really answer in front of the immense showmanship of Karl Kossmayer. A perfect illusion in which, long before Wharol, everybody was promised five minutes of celebrity. And, slowly during the act, this little character carried to the ring a perfect history of an universal retired middle-class type, life-dominated by his wife’s discipline, and wasting in few second all his life’s boring dignity to reach the impossible world of the clowns.

This was great drama, revolutioning the roles of the theatre far before the avant-gardes. An actor impersonating a spectator who wants to be an actor, without declaring to be acting… Pirandello was nothing, compared to Kossmayer.

Karl Kossmayer (1917-2000), from a great trainers family, started his act in 1928, and with it toured the globe, generating imitators all around the world. His sister Julie impersonated perfectly “the wife”. Starring with the best jugglers, acrobats, clowns, trainers of his time, his act was so strong on the audience that the only place to put it was mostly to close the program.

The act was filmed by the great Jacques Tati as part of his circus movie “Parade”, in 1974 (mostly of the movie critics are still thinking that this perfect act was a Tati’s idea).

And now, our little discovery.
In fact, we have found also an unusual clip. Kossmayer toured briefly in Usa with Holiday on Ice of 1960. That’s it.
They used to put for few minutes a carpeted circus ring on the ice and display the mule act. And the comedy effect was emphasized immensely when Karl repeatly covered on ice the distance between his loge seat and the circus ring, with a masterful catalog of falls and trips. Unfortunately, his American success was short, because, for safety issue, audience members were discouraged to test their skills with the “dangerous” mule. The homeland of rodeos was starting to be politically correct also for the masters of European circus artistry.

I became friend with Karl in his last years, always sharing wonderful times visiting the Monte Carlo Festival.

Today we wants to divulgate his art to the new generations of the world, with a double tribute: his act in the traditional version, from the mentioned Tati movie; and our discovered excerpt of the way he did it on Holiday on Ice, from a forgotten Ed Sullivan special.

Little Tich and Loie Fuller

The pioneer of clown and the ancestor of dance

We already paied our tribute to Litlle Tich, presenting the irresistible film of his "long boots" act, the first recorded comic movie (filmed in 1900) and, according to Jacques Tati "the root of everything is basic in the art of the comic film".
In times of pionnerism in everything (we are around year 1900), Tich had another illustrious contemporary walking the stages: Miss Loie Fuller, who with his "danse serpentine" revolutioned the concept itself of ballet. The fast, modern dynamism of her variety specialty, with elaborated light effects, was captured in various way: the poster art of Chéret, the early photographers, the study on motion of Tolouse-Lautrec itself and finally a certain Mr.Louis Lumiére who was experimenting on the moving image. In fact, Miss Fuller's act was filmed and hand colored as early as 1898.


Then, the encounter.

Miss Fuller was a star. And Little Tich was the king of parody. They even happened to share the same Folies-Bergères stage. So was almost natural for the great little comic to add in his repertory his version of the Fuller's serpentine dance. And, as for the "big boot", this act too was filmed for the posterity even is less known and very short. It is preserved in some movie archives. According our vocation for wonderous novelties, we searched, find it and posted on youtube.

Now, in the following video windows, please compare the two stars: Loie Fuller's original movie by Lumiére of 1898, and the Little Tich's genial version of 1900.

Variation Virtuosisms of Musical Marvels

Asking for your excuse for the past silent week, our appropriate choice is to be loud, turning on music.

Before mp3 and even gramophone, to appreciate the virtuosism of music was necessary to step into the kingdoms of variety, early vaudeville, circus or travelling fair theatres. This was the realm of peculiar instruments or musician virtually unknown by nature or human science.
It was the paradise of foot-bell ringers, elephant orchestras, lilliputian full bands, vegetable players, upside down pianists, unycicle brass ensembles and thousands of other variations.

Today’s gallery is a small tribute to the immense musical population of this era.