阿斯特利在阿斯特利之前

Cassie Mayer, Lise Mayer, David Mayer
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引用次数: 0

摘要

我们对阿斯特利的普遍印象是1808年托马斯·罗兰森-奥古斯特·普金在鲁道夫·阿克曼的《伦敦缩影》中雕刻的一幅画,画中一个骑手站在一匹跳跃的马背上(旁边站着一个小丑),在挤满了时髦女士和先生的礼堂前表演。我们的叙述比这一时刻早了40多年。1759年,十几岁的菲利普·阿斯特利(Philip Astley)为了摆脱家庭贫困,加入了彭布罗克伯爵的第15轻龙骑兵团。阿斯特利被送到威尔顿宫(威尔特郡索尔兹伯里附近)和伯爵的室内寓所接受骑兵训练,在彭布罗克、乔治·艾略特上校和彭布罗克的骑术大师多梅尼科·安吉洛的指导下,接受了军事骑术和骑兵武器使用的训练,这三人提倡并推行了一种与传统骑兵骑术截然不同的骑术风格。这种风格和他训练所用马匹的选择,后来成为阿斯特利高超技艺的基础,他在战斗中的壮举,他在竞技场上使用的马匹,以及他对演员和表演者的骑马方法的要求。阿斯特利从七年战争中归来,成为一名战争英雄,晋升为军士长,并展示了非凡的马术技能。他在战场上的战功赢得了乔治三世的支持,阿斯特利不断地利用这一点。1768年退役的阿斯特利已婚,在兰伯斯开办骑术学校之前,他在公园里卖艺,展示他的一些骑马技巧。在这篇文章中,我们讨论了新兴中产阶级对骑马的流行如何使马术教学成为一项有利可图的事业,我们仔细研究了阿斯特利的骑马学校,他的学生,以及在学校里展示的马术和其他需要身体技能的活动。这些演出最初是在室外场地进行的,但受到变幻莫测的天气和皇家专利持有人的敌意,导致了阿斯特利的封闭皇家格罗夫剧院,并在1794年的一场大火之后,在同一地点建造了一座更宏伟的建筑,就在威斯敏斯特大桥以南。我们查明阿斯特利是如何获得专利的。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Astley before Astley’s
Our prevailing image of Astley’s is the 1808 Thomas Rowlandson-Auguste Pugin engraving in Rudolph Ackerman’s The Microcosm of London in which a rider, standing upright on the back of a capering horse (as a clown-to-the-horse stands by) performs before a packed auditorium of fashionable ladies and gentlemen. Our account precedes that moment by more than four decades when, in 1759, the teenage Philip Astley, escaping family poverty, enlists in the Earl of Pembroke’s 15th Light Dragoon regiment. Sent for cavalry training to Wilton House (near Salisbury in Wiltshire) and in the Earl’s indoor manège, young Astley was trained in military equitation and use of cavalry weapons by Pembroke, Col. George Eliot, and Pembroke’s riding master Domenico Angelo, the trio advocating and enforcing a style of riding which sharply differed from conventional cavalry horsemanship. This style and the very choice of horses on which he was trained would thereafter be the basis for Astley’s great skill, his feats in battle, the horses employed in his arenas, and the approach to riding which he would demand of his actors and performers.Astley returned a war hero from the Seven Years’ War, rising to the rank of sergeant major and displaying exceptional equestrian skills. His feats in battle earned the patronage of George III which Astley was to repeatedly exploit. Discharged c.1768, Astley, now married, busked in the public parks, showing some of his trick-riding feats before opening a riding school in Lambeth. In this essay, we discuss how the vogue for riding amongst the emerging middle classes made the teaching of equitation a profitable enterprise, and we look closely at Astley’s riding school, his pupils, and the displays of horsemanship and other acts demanding physical skills at that school. These performances, initially in an outdoor venue subject to the vagaries of weather and to the hostilities of the Royal Patent holders, led to Astley’s enclosed Royal Grove Theatre and, after a 1794 fire, an even grander structure on the same site, just south of Westminster Bridge. We identify how Astley acquired his patent.
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