Comprehensive Study Notes on Circus History, Clowning, Mime, and Physical Characterisation

Historical Evolution of the Circus

  • Roman Republic (27 BC – 476 AD):

    • The word "circus" originates from the Roman term for "arena," signifying a ring or circle.
    • Featured gladiator combats and beast fights held in circular venues like the colosseum.
    • Lasting modern elements: the circular performance arena and the use of animals.
    • Imperial Rome governed until the final defeat by the Turks in 1453 AD.

  • Medieval Era (1000 AD – 1500 AD):

    • Following the collapse of Imperial Rome and Saxon invasions (Vikings) during the Dark Ages, traveling minstrels emerged to deliver news, songs, and tales.
    • Minstrels served as the direct predecessors to clowns; the juggler emerged in the 11th Century.
    • Staged acts on elevated "booth stages" placed on barrels or stilts, backed by curtained four-poster structures.
    • Lasting modern elements: minstrels (early clowns) and jugglers.

  • Elizabethan Era (1558 – 1603 AD):

    • Under Queen Elizabeth I, itinerant minstrels were legally branded as vagabonds and banned from street performing.
    • Entertainers shifted to dedicated, permanent performance structures during the dramatic era of William Shakespeare and Christopher Marlowe.
    • Lasting modern elements: minstrels (early clowns).

  • 17th Century (1600s AD):

    • English country fairs became primary exhibition hubs for acrobats, jugglers, ropedancers, bear trainers, and riding demonstrations.
    • Lasting modern elements: acrobats, jugglers, ropedancers, and the use of animals.

  • 18th Century (1700s AD):

    • Modern circus was established in England by Philip Astley, who launched a riding school south of the River Thames in 1768 and built the first roofed circus building.
    • Equestrian acts led to the introduction of the ringmaster to direct horses and riders.
    • The format entered America in 1793 in Philadelphia.
    • Lasting modern elements: riding acts, acrobats, jugglers, and ropedancers.

  • 19th Century (1800s AD):

    • Circus "golden age" began circa 1870 under P.T Barnum, who later partnered with James Bailey to create the three-ring Barnum and Bailey Circus ("The Greatest Show on Earth"), featuring exhibits like the elephant Jumbo.
    • The five Ringling Brothers launched their circus in 1884, acquired Barnum & Bailey's in 1907, and created the Big Top tent.
    • Circuses incorporated parades known as spectacles ("specs"), family performers passing down specialized skills, and freak shows.
    • Ringling Brothers closed in May 2017 after 146 years due to high operational costs and legal challenges over animal welfare.

Modern Circus and Act Classifications

  • 20th and 21st Century Adaptations:

    • Circuses modernized during the 1960s and 1970s amid competition from television and growing animal rights concerns.
    • Contemporary circuses shifted to human-only acts emphasizing extreme acrobatics, unified narrative themes, choreographed transitions, and tailored music and lighting.
    • Cirque Du Soleil ("circus of the sun") features performers trained in dance, athletics, and gymnastics; released the 2012 film Cirque Du Soleil: Worlds Away focusing on aerialists.

  • Primary Categories of Circus Acts:

    • Animal acts: Lions, Elephants, Horses, Dogs, Goats, Kangaroos.
    • Comedy acts: Clowns.
    • Skilled acts: Acrobats, jugglers, tightrope walkers, aerialists.

Debate on Animals in Circuses

  • Arguments Supporting Circus Animals:

    • Provides public access to live wildlife at a lower cost than a safari.
    • Mental stimulation and physical agility benefits for working animals.
    • Continuation of long-standing historical traditions.
    • Regulatory oversight (circuses in England are inspected three times annually, including at least one unannounced visit).

  • Arguments Opposing Circus Animals:

    • Performance behaviors require forced conditioning backed by punishment.
    • Prolonged confinement in small cages used for sleeping, feeding, and waste, with only minimal hours outside.
    • Severe stress induced by cramped transit conditions, resulting in psychological distress (pacing, swaying, self-harm).
    • Public safety risks regarding wild animal escapes and attacks.

Clowns and Clowning Traditions

  • The Art of Clowning:

    • Relies on comedic timing, surprise, anticipation, slapstick, and anti-climax.
    • Slapstick comedy relies on vigorous physical action, acrobatic skill, and the slapstick device (two wooden slats bound at one end to generate a loud striking noise).

  • Whiteface Clown:

    • Expresses sophistication, culture, grace, and wit; uses an all-white skin base with facial features outlined in black greasepaint.
    • Classic/Neat Whiteface: Subtle makeup around eyes and mouth; fitted one-piece outfit or decorative tailored suit.
    • Grotesque/Comedy Whiteface: Outrageous makeup with an added red nose; eccentric, oversized, yet neat attire.

  • Auguste Clown:

    • Plays the disruptive fool who trips, interrupts, and triggers comedic conflict.
    • Flesh-toned makeup base, exaggerated smiling mouth and eyes, red nose, bright primary colors (red, blue, yellow), mismatched clothes (either too large or too small), and colorful curly wigs.

  • Tramp Clown:

    • Stock caricature of a hobo or beggar defined by a slouching posture, slow tempo, and sorrowful demeanor.
    • Modified Auguste makeup using flesh tones, eye bags, simulated five o'clock shadow, downturned mouth, and patched, tattered clothing.
    • Influenced Charlie Chaplin's silent comedy and Samuel Beckett's play Waiting for Godot.

Principles and Performance of Mime

  • Core Principles of Mime:

    • Gesture: Communicating clear narrative and emotion strictly through physical body and facial movements.
    • Theatrical Exaggeration: Stylized, heightened execution to magnify comedic or dramatic clarity.
    • Visual Interpretation: Distorting recognizable everyday routines and utilizing stock character types.

  • Performance Standards:

    • Rapidly establish setting, character identity, and timeframe.
    • Restrict performance to a few distinct settings.
    • Alternate between fast and slow physical rhythms to build toward a climax or anti-climax.
    • Master core illusions through mirror practice (e.g., establishing a wall, rope pulling, walking).

Elements of Physical Characterisation

  • Posture:

    • Spinal alignment maintaining coordination, flexibility, and balance without unnecessary tension.
    • Drama Neutral Position: Feet placed under hips pointing forward; active, un-tensed legs; soft knees; hands hanging loosely; lengthened spine; wide chest and upper back; shoulders squared over hips; lengthened neck; chin parallel to the floor.
    • Spinal deformation changes perceived age and gender; a hunched spine constricts airflow, creating raspy vocal traits suited for elderly characters.

  • Movement:

    • Denotes large physical actions driven by the lower torso from the waist down (walking, running, sitting, standing, leaning, bending).
    • Every action must stem directly from character motivation within the scene.