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Circus: the story on HearLore | HearLore
Circus
In 1768, Philip Astley, a former cavalry officer from Newcastle-under-Lyme, England, discovered that a 42-foot diameter circle was the precise minimum space required for a horse to canter while an acrobat stood upright on its back. This geometric revelation, born from military equestrian drills, became the foundational DNA of the modern circus. Before Astley, trick riding was performed in straight lines or open fields, but the circular arena allowed the horse to maintain momentum while the rider performed complex stunts without losing balance. Astley did not invent trick riding, nor was he the first to introduce clowns or acrobats to the public, but he was the first to create a dedicated amphitheater where these disparate acts could be woven into a single, cohesive narrative. He opened his first permanent venue, Astley's Amphitheatre, in Lambeth, London, on the 4th of April 1768, establishing a format that would evolve into the global phenomenon known today as the circus.
From Roman Arenas to Big Tops
While the modern circus traces its lineage to Astley, the concept of mass entertainment in a circular or oval arena dates back to the Roman Empire, where the Circus Maximus could seat 250,000 spectators in a structure measuring 400 meters in length and 90 meters in width. These ancient Roman circuses were not circular but rectangular with semi-circular ends, hosting chariot races, gladiatorial combat, and staged naval battles that required flooding the arena with water. The lineage of circus entertainment survived the fall of Rome through itinerant performers, medieval jesters, and the Hippodrome of Constantinople, which operated until the 13th century. The transition from static stone arenas to mobile canvas structures began in the 19th century when the touring model superseded permanent venues. In 1825, Joshuah Purdy Brown became the first circus owner to utilize a large canvas tent, a decision that allowed circuses to travel to remote towns and create a temporary city of entertainment wherever they landed. By the 1870s, P.T. Barnum and William Cameron Coup revolutionized the industry by introducing circus trains to transport the massive apparatus, including the big top, between cities, turning the circus into a mobile metropolis that could arrive in a town and vanish just as quickly.
The Rise of the American Spectacle
The American circus transformed the European model into a larger-than-life spectacle, driven by figures like John Bill Ricketts, who brought the first modern circus to the United States in 1792 and opened a building in Philadelphia on the 3rd of April 1793. George Washington attended a performance at this venue, marking the entry of the circus into the highest echelons of American society. The industry grew exponentially in the decades following the Civil War, with Dan Rice popularizing the clown persona and expressions like "The One-Horse Show." The true revolution came with P.T. Barnum, who launched the first freak show in the 1870s and merged with James Anthony Bailey to create the Barnum & Bailey Greatest Show On Earth. This format combined circus acts, zoological exhibitions, and freak shows into a massive touring enterprise that traveled to Europe from 1897 to 1902, impressing European owners with its scale and logistical innovations. The American influence shifted the focus from simple equestrian feats to ambitious acrobatic performances and complex machinery, requiring immense numbers of performers and vast stage properties. By the early 20th century, the circus had become a major form of spectator entertainment, attracting huge crowds to cities across the United States and Europe.
Who founded the modern circus and when did he open his first venue?
Philip Astley founded the modern circus and opened his first permanent venue, Astley's Amphitheatre, in Lambeth, London on the 4th of April 1768. Astley discovered that a 42-foot diameter circle was the precise minimum space required for a horse to canter while an acrobat stood upright on its back. This geometric revelation became the foundational DNA of the modern circus.
When did the first circus tent appear and who was the first owner to use one?
Joshuah Purdy Brown became the first circus owner to utilize a large canvas tent in 1825. This decision allowed circuses to travel to remote towns and create a temporary city of entertainment wherever they landed. The transition from static stone arenas to mobile canvas structures began in the 19th century when the touring model superseded permanent venues.
When did P.T. Barnum and William Cameron Coup introduce circus trains to transport apparatus?
P.T. Barnum and William Cameron Coup revolutionized the industry by introducing circus trains to transport the massive apparatus between cities in the 1870s. This innovation turned the circus into a mobile metropolis that could arrive in a town and vanish just as quickly. The American circus transformed the European model into a larger-than-life spectacle during this period.
When did Vladimir Lenin declare the circus should become the people's art-form?
Vladimir Lenin declared that the circus should become the people's art-form in 1919 within the Soviet Union. This political mandate led to the nationalization of Russian circuses and the establishment of the State University of Circus and Variety Arts in 1927. The Moscow State Circus began international tours in the 1950s to showcase this new approach.
When was Cirque du Soleil founded and how many spectators have seen its shows?
Cirque du Soleil was founded in Quebec in 1984 and has become the most conspicuous success story in the genre. Estimated annual revenues exceeded US$810 million in 2009 and shows have been seen by nearly 90 million spectators in over 200 cities on five continents. The movement prioritized character development and aesthetic impact over the traditional ringmaster and animal acts.
When did Isaac A. Van Amburgh enter a cage with big cats to become the first wild animal trainer in American circus history?
Isaac A. Van Amburgh entered a cage with several big cats in 1833 to become the first wild animal trainer in American circus history. The earliest involvement of animals was simply the display of exotic creatures in a menagerie, but by the 19th century true animal acts had emerged. The use of animals in circuses faced growing criticism from animal rights activists from the 1960s onward.
In 1919, Vladimir Lenin declared that the circus should become "the people's art-form," elevating it to the status of theater, opera, and ballet within the Soviet Union. This political mandate led to the nationalization of Russian circuses and the establishment of the State University of Circus and Variety Arts, known as the Moscow Circus School, in 1927. Performers were trained using rigorous methods developed from the Soviet gymnastics program, resulting in a level of technical precision and artistic originality that was widely applauded when the Moscow State Circus began international tours in the 1950s. Unlike the American emphasis on spectacle and animal acts, the Soviet model focused on the human body and the discipline of the performer, creating a style that influenced circuses worldwide. The Moscow State Circus became a global ambassador for this new approach, showcasing the potential of the circus as a high art form rather than merely a form of popular entertainment. This state-sponsored model ensured that the circus remained a central part of cultural life in Russia, even as the genre evolved differently in the West.
The New Circus Revolution
A radical shift in the circus tradition began in the 1970s with the emergence of New Circus, or cirque nouveau, a movement that rejected the use of animals to focus exclusively on human artistry. This genre combined traditional circus skills with theatrical techniques to convey complex stories and themes, utilizing original music, lighting design, and costume design to create a cohesive narrative. Pioneering groups like Circus Oz, founded in Australia in 1977, and the Pickle Family Circus, established in San Francisco in 1975, led this charge, followed by the global phenomenon of Cirque du Soleil, founded in Quebec in 1984. Cirque du Soleil has become the most conspicuous success story in the genre, with estimated annual revenues exceeding US$810 million in 2009 and shows seen by nearly 90 million spectators in over 200 cities on five continents. The movement prioritized character development and aesthetic impact over the traditional ringmaster and animal acts, often staging performances in theaters rather than large outdoor tents. This shift allowed for a more intimate and sophisticated experience, aligning the circus with contemporary culture and performance art.
The Evolution of the Performer
The role of the performer in the circus has evolved from the traditional "artiste" to the modern "artist," reflecting a shift in how the industry views its practitioners. In the early days, performers were often referred to as artistes, a term that conferred higher status and was preferred by those from multi-generational circus families. However, newer generations trained in circus schools often prefer the term artist, viewing it as less pretentious and more aligned with the creative freedom of the contemporary circus. The physical and creative skills performed by these individuals are known as disciplines, grouped into categories such as juggling, equilibristics, acrobatics, aerial, and clowning. These disciplines can be honed into individual acts, performed independently and marketed to various employers, or used to create solo or collaborative work for specific projects. Famous clowns like Austin Miles, the Fratellini Family, and Grock have left an indelible mark on the industry, while daredevil stunt acts like the human cannonball and fire eating continue to captivate audiences. The evolution of the performer has also seen the rise of sideshow acts, including the flea circus of the early 19th century and modern extreme acts by performers like Chayne Hultgren, known as The Space Cowboy.
The Controversy of Animal Acts
The inclusion of animals in the circus has been a source of controversy and legal debate since the early days of the industry. The earliest involvement of animals was simply the display of exotic creatures in a menagerie, but by the 19th century, true animal acts had emerged, with equestrian acts leading the way. Isaac A. Van Amburgh entered a cage with several big cats in 1833, becoming the first wild animal trainer in American circus history, while Mabel Stark became a famous female tiger-tamer. The use of animals in circuses faced growing criticism from animal rights activists from the 1960s onward, leading to many circuses going out of business or merging with other companies. The controversy has also led to the development of laws and regulations governing the treatment of animals in circuses, with some countries banning the use of wild animals in performances. Despite these challenges, many traveling circuses remain active, ranging from small family enterprises to three-ring extravaganzas, and some have found new ways to draw in the public with innovative approaches to the circus form itself.
The Future of the Ring
The circus continues to evolve, with contemporary circus and 21st Century Circus absorbing new skills, techniques, and stylistic influences from other art forms and technological developments. The genre has moved beyond the traditional big top to include performances in theaters, casinos, cruise ships, and open-air spaces, reflecting the changing tastes of the public. The International Circus Festival of Monte-Carlo, held since 1974, has become a premier event for circus performers, showcasing the best of the industry from around the world. The future of the circus lies in its ability to adapt to new challenges and opportunities, from the rise of digital media to the increasing demand for ethical and sustainable practices. As the industry continues to develop new variations on the circus tradition, it remains a vibrant and dynamic form of entertainment, capable of captivating audiences with its unique blend of skill, artistry, and spectacle.