Download - Roll Up, Roll Up!
circusTHE GRAND TRAVELLINGCIRCUS MUSEUM
jointhe
EXHIBITION GUIDE
VFire the Cannon The most terrifying act of all time is in need of some new recruits. Learn the basics and then become a professional at firing the cannon.
V are you ready to become part of the greatest show on earth and learn the challenging skills from
the most professional performers?
Join In
A circus is commonly a travelling company of performers that may include
clowns, acrobats, trained animals, trapeze acts, musicians, hoopers, tightrope
walkers, jugglers, unicyclists and other stunt-oriented artists. The word
also describes the performance that they give, which is usually a series of
acts choreographed to music and introduced by a ringmaster. A traditional
circus performance is normally held in a ring in diameter. This dimension
was adopted by Philip Astley to enable a horse rider to stand upright on a
cantering horse to perform a series of acrobatic maneuvers and to more easily
retain their balance. Circuses often have a system of tiered seating around
the ring for the public; since the late 19th to early 20th century, many circus
performances have taken place under large tents commonly referred to as the
big top. In Ancient Rome, the circus was a building for the exhibition of horse
and chariot races, equestrian shows, staged battles, displays featuring trained
animals, jugglers and acrobats.
The circus of Rome is thought to have been influenced by the Greeks, with
chariot racing and the exhibition of animals as traditional attractions. The
Roman circus consisted of tiers of seats running parallel with the sides of
the course, and forming a crescent around one of the ends. The lower seats
were reserved for persons of rank; there were also various state boxes, e.g.
for the giver of the games and his friends. In Ancient Rome the circus was the
only public spectacle at which men and women were not separated. The first
circus in the city of Rome was the Circus Maximus, in the valley between the
Palatine and Aventine hills. It was constructed during the monarchy and, at
first, built completely from wood. After being rebuilt several times, the final
version of the Circus Maximus could seat 250,000 people; it was built of stone
and measured 400m in length and 90m in width. Next in importance to the
Circus Maximus in Rome were the Circus Flaminius and the Circus Neronis,
from the notoriety which it obtained through the Circensian pleasures of Nero.
A fourth was constructed by Maxentius; the ruins of this circus have helped
archaeologists to reconstruct the Roman circus.
VtakepartVoll up, Roll up, presents you with the one and only grand travelling circus museum. Whether you’re interested in learning to walk the tightrope, firing the cannon or becoming a clown for the day, we have something for everyone as the museum welcomes everyone to join the circus!
R
VtakepartVCompetitions
Compared with the traditional circus, the
contemporary genre of circus tends to focus more
attention on the overall aesthetic impact, on
character and story development, and on the use
of lighting design, original music, and costume
design to convey thematic or narrative content.
For aesthetic or economic reasons, contemporary
circus productions may sometimes be staged
in theatres rather than in large outdoor tents.
Music used in the production is often composed
exclusively for that production, and aesthetic
influences are drawn as much from contemporary
culture as from circus history. Animal acts appear
less frequently in contemporary circus than in
traditional circus. A traditional circus performance
is often led by a ringmaster who has a role similar
to a Master of Ceremonies.
The ringmaster presents performers, speaks to
the audience, and generally keeps the show
moving. The activity of the circus traditionally
takes place within a ring; large circuses may have
multiple rings, like the six-ringed Moscow State
Circus. A circus often travels with its own band,
whose instrumentation in the United States has
traditionally included brass instruments, drums,
glockenspiel, and sometimes the distinctive sound
of the calliope. Common acts include a variety of
acrobatics, gymnastics, aerial acts, contortion, stilts
and a variety of other routines. Juggling is one of
the most common acts in a circus; the combination
of juggling and gymnastics is called equilibristics
and include acts like plate spinning and the rolling
globe. Acts like these are the some of the most
common, and the most traditional.
Professional Teachers
Clowns are common to most circuses and are
typically skilled in many circus acts clowns getting
into the act is a very familiar theme in any circus.
Famous circus clowns have included Austin Miles,
the Fratellini Family, Emmett Kelly, Grock and Bill
Irwin. Daredevil stunt acts and sideshow acts are
also parts of some circus acts, these activities may
include human cannonball, chapeaugraphy, fire
eating, breathing and dancing, knife throwing,
magic shows, sword swallowing or strongman.
Famous sideshow performers include zip the
pinhead and The Doll Family. A popular sideshow
attraction from the early 19th century was the flea
circus, where fleas were attached to props and
viewed through a Fresnel lens. A variety of animals
have historically been used in acts. While the types
of animals used vary from circus to circus, big
cats, elephants, horses, birds, sea lions, bears and
domestic animals are the most common.
The earliest involvement of animals in circus was
just the display of exotic creatures. Going as
far back as the early eighteenth century, exotic
animals were transported to North America for
display, and menageries were a popular form
of entertainment. The first true animals acts in
the circus were equestrian acts. Soon elephants
and big cats were displayed as well. Isaac A. Van
Amburgh entered a cage with several big cats in
1833, and is generally considered to be the first
wild animal trainer in American circus history.
was a famous female tiger-tamer. Animal welfare
groups have documented many cases of animal
cruelty in the training of performing circus animals.
Compete against others for the chance to win some fantastic prizes for you and the rest of your family to share.
Room 1 Exhibition 5 This involves learning the basics from professional tight rope walkers along
with understanding the little tricks that they do in order to keep their balance. There are tightropes to suit adults and
children with the choice to take on more difficult challenges
later in the day. This exhibition is all about balance and
teaching you how to use the mind in order for you to
concentrate on what it in front of you. Step by Step you will
become more successful and creative by gradually getting
more confident.
TAKE PARTAdults
The study of what is happening to printed media, will look at how the fanzine
has emerged from what once was an independent non-profit making design
from the anti-consumerist culture to the e-zines to see if there is still a gap
in the market for print alongside digitalism. Fanzines will also be looked at
as an object that is desired e.g. Sniffin’ Glue is now a desirebale commodity
that people are willing to pay a fortune for in comparison to when it began
and was disguarded. Books have had to remediate themselves to suit kindles
which is something print media will also have to do.
Children
This will need addressing to see what the future holds for printed media.
A wire-walker may use a pole for balance or may stretch out his arms
perpendicular to his trunk in the manner of a pole sway by rotating the pole.
This will create an equal and opposite torque on the body. Furthermore, if the
pole is bent downward at the ends the overall centre of gravity is lowered,
which increases stability of the system. Tightwire-walkers typically perform in
TIMESRoom 1 Exhibition 5
10:15 Back to BasicsLearn the art of balance
12:30 Tips & TricksThe hidden tricks
14:15 Children’s ChallengeCompetition
16:30 Adult AbilitiesCompetition
18:00 Walk the TightropeWho is up for the challenge?
20:00 FinaleWill you make the professional show?
stepW
way
Hint Walking the tightrope is all about balance. Step by step
take it slowly and steadily as you make your way across. Use your arms to maintain
your balance and always look ahead. Whatever you do,
don’t look down!
T thisPractice Makes Perfect
Acrobats maintain their balance by positioning their centre of mass directly
over their base of support, i.e. shifting most of their weight over their legs,
arms or whatever part of their body they are using to hold them up. When
they are on the ground with their feet side by side, the base of support is
wide in the lateral direction but narrow in the sagittal (back-to-front) direction.
In the case of highwire-walkers, their feet are parallel with each other, one
foot positioned in front of the other while on the wire. Therefore, a tightwire
walker’s sway is side to side, their lateral support having been drastically
reduced. In both cases, whether side by side or parallel, the ankle is the pivot
point. A wire-walker may use a pole for balance or may stretch out his arms
perpendicular to his trunk in the manner of a pole. This technique provides
several advantages. It distributes mass away from the pivot point, thereby
increasing the moment of inertia. This reduces angular acceleration because
a greater force is required to rotate the performer over the wire. The result is
less tipping. In addition the performer can also correct sway by rotating the
pole. This will create an equal and opposite torque on the body. Furthermore,
if the pole is bent downward at the ends the overall centre of gravity is
lowered, which increases stability of the system.
ightrope walking is the art of maintaining balance whilst walking along a tensioned thin wire or rope. It can be done using a balancing tool or using only the body to maintain balance. Come along and let the professionals teach you the basics before heading for the high wire.
stepW
HISTORY
way
Learn to maintain your balance and keep your mind focused but will you be steady enough to walk the tightrope?
thisOne Step at a Time
Before the establishment of zoos collections of
wild animals could be seen at 17th-century fairs
and in 1793 a man called Pidcock established
Exeter Exchange, a menagerie on the Strand in
London. It was in the 19th century that menageries
reached the height of their popularity. This was
partly because overseas trade encouraged a
market in animals but also because there was a
real interest in seeing wild animals in the flesh.
Such was the popular interest in unusual animals
that the slaughter of an elephant at the Exeter
Exchange was reported in the daily newspapers,
complete with details about the dissection of the
poor beast. Large travelling menageries toured
the country visiting fairgrounds. These menageries
were a collection of separate wagons parked in
a rectangular shape. The audience stood in the
middle of the rectangle and the animal tamers
would enter the wagons to perform tricks. Poster
advertising the sale of an elephant hide, 1826
Wombwell’s Menagerie continued to tour until
1931. By then it was one of only two touring
menageries in the country. The touring menagerie
had, for the most part, been combined with
the circus. The first combination of circus and
menagerie was at Astley’s in 1838. A flamboyant
American called Isaac Van Amburgh appeared with
lions from Wombwell’s Menagerie. He had become
famous as a lion tamer and was the first man to put
his head inside a lion’s mouth. Queen Victoria was
very impressed by his performance.
By the late 19th century there was an international
trade in wild animals tamed for circuses, these
included lions, tigers, leopards, bears, hyenas,
elephants, rhinos and monkeys, many trained
by Carl Hagenbeck. There were also permanent
menagerie buildings in many cities. Bertram Mills’
summer circus featured a huge menagerie for the
public to view before and after a performance,
rather like a touring zoo. The 1948 summer season
toured 137 animals including horses, ponies,
elephants, bears, lions, monkeys, dogs, llamas and
camels. Feeding the animals took 5 tons of hay
a week and 4 tons of straw. Other more unusual
animals were also shown at Bertram Mills’ including
a crocodile whose trainer, ‘the only female fakir’,
placed her head inside his mouth.
At Great Height
A wire-walker may use a pole for balance or may
stretch out his arms perpendicular to his trunk in
the manner of a pole.
This technique provides several advantages. It
distributes mass away from the pivot point, thereby
When they are on the ground with their feet side
by side, the base of support is wide in the lateral
direction but narrow in the sagittal direction. In
the case of highwire-walkers, their feet are parallel
with each other, one foot positioned in front of the
other while on the wire. sway is side to side, their
lateral support having been drastically reduced.
In both cases, whether side by side or parallel,
the ankle is the pivot point. A wire-walker may
use a pole for balance or may stretch out his arms
perpendicular to his trunk in the manner of a pole.
This technique provides several advantages. It
distributes mass away from the pivot point, thereby
When they are on the ground with their feet side
by side, the base of support is wide in the lateral
direction but narrow in the sagittal direction. In
the case of highwire-walkers, their feet are parallel
with each other, one foot positioned in front of the
other while on the wire. sway is side to side, their
lateral support having been drastically reduced.
In both cases, whether side by side or parallel,
the ankle is the pivot point. A wire-walker may
use a pole for balance or may stretch out his arms
perpendicular to his trunk in the manner of a pole.
This technique provides several advantages. It
distributes mass away from the pivot point, thereby
Wild animals continued to tour with circuses up
until the 1980s.
Wexhibitions for
adults and children mean
there is something for
everyone to get involved in so
come along and join in with the
magnificent circus acts
Stop Clowning Around
The main objective is to discover whether the
public prefer print or online. No matter how
crippling the expense of print is, people enjoy
reading at their own pace and have something
they can collect or keep going back to. Online,
people will not stay on a webpage unless you give
them a reason to and there is always a constant
urge to move onto the next thing. Whereas,
magazines are only bought by those who intend to
read through it.
Publishers cannot deny the fact that distribution
now needs the internet to help media along in
comparison to beggar’s banquet that took months
to get any readers. With sites like Myspace helping
singers and song writers sign record deals, are
subcultural zines taking the same route? Search
engines now make it so easy for people to find
exactly what they want whenever they need it.
Therefore, a tightwire walker’s sway is side to
side, their lateral support having been drastically
reduced. In both cases, whether side by side or
parallel, the ankle is the pivot point.
A wire-walker may use a pole for balance or may
stretch out his arms perpendicular to his trunk in
the manner of a pole. This technique provides
several advantages. It distributes mass away from
ACTIVITIES
Take part in our magical activities and you could be good enough to join the grand travelling circus museum.
Vthe pivot point, thereby increasing the moment of
inertia. This reduces angular acceleration because
a greater force is required to rotate the performer
over the wire. The result is less tipping. In addition
the performer can also correct sway by rotating the
pole. This will create an equal and opposite torque
on the body. Furthermore, if the pole is bent
downward at the ends the overall centre of gravity
is lowered, which increases stability of the system.
Tightwire-walkers typically perform in very thin and
flexible, leather-soled slippers with a full length
suede or leather sole to protect the feet from
abrasions and bruises while still allowing the foot
to curve around the wire. Though very infrequent in
performance, amateur, hobbyist, or inexperienced
funambulists will often walk barefoot so that the
wire can be grasped between the big and second
toe. This is more often done when using a rope,
as the softer and silkier fibres are less taxing on
the bare foot than the harder and more abrasive
braided wire.
Juggling Jesters
In the case of highwire-walkers, their feet are
parallel with each other, one foot positioned in
front of the other while on the wire. Search engines
now make it so easy for people to find exactly
what they want whenever they need it. Therefore,
a tightwire walker’s sway is side to side, their lateral
support having been drastically reduced. In both
cases, whether side by side or parallel, the ankle
is the pivot point. A wire-walker may use a pole
for balance or may stretch out his what they want
whenever they need it. The Internet will show in
the research what is actually displayed online and
find what aspects work digitally and what doesn’t
in comparison to printed. Primary research will
involve carrying out a questionnaire to discover
what people prefer: print or online? Individual
cases include contacting the publisher of New York
Rocker fanzine to explore why the printed version
ended and why there is now only a blog.
A Knife in the Back
Online and whether technology had any impact.
while on the wire. Therefore, a tightwire walker’s
sway is side to side, their lateral support having
been drastically reduced. In both cases, whether
side by side or parallel, the ankle is the pivot
point. A wire-walker may use a pole for balance
stretch out his arms perpendicular to his trunk in
the manner of a pole. This technique provides
several advantages. It distributes mass away from
the pivot point, thereby increasing the moment of
inertia. This reduces angular acceleration because
a greater force is required to rotate the performer
over the wire. The result is less tipping in addition
the performer can also correct sway by rotating.
Stop Clowning AroundBecome a clown for the day and get your face painted along with learning the tricks that they perform.
Room 3 Exhibition 4Learn the basics from the professional performers and get to grips with the safety restrictions that are involved. The attention to detail and perfection in the act is of high importance which you will learn through their tips and tricks. Take part in the dangerous routines later in the day as there are sessions for both adults and children.
TAKE PARTAdults
The study of what is happening to printed media, will look at how the fanzine
has emerged from what once was an independent non-profit making design
from the anti-consumerist culture to the e-zines to see if there is still a gap
in the market for print alongside digitalism. Fanzines will also be looked at
as an object that is desired e.g. Sniffin’ Glue is now a desirebale commodity
that people are willing to pay a fortune for in comparison to when it began
and was disguarded. Books have had to remediate themselves to suit kindles
which is something print media will also have to do.
Children
This will need addressing to see what the future holds for printed media.
A wire-walker may use a pole for balance or may stretch out his arms
perpendicular to his trunk in the manner of a pole sway by rotating the pole.
This will create an equal and opposite torque on the body.
VHint The human cannonball can
be intimidating. Fear not, the thrill of this exhibition will make you want to do it all again. But
can you really be brave enough to take part?
T he human cannonball is the most exciting and dangerous act of all time. This terrifying trick is in need of new recruits but are you brave enough to Fire the Cannon? Come along and take part throughout the day to learn the basics before becoming up to a professional standard.
bang!HISTORYHuman Cannonball
The human cannonball is a performance in
which a person is ejected from a specially
designed cannon. The impetus is provided
not by gunpowder, but by either a spring or
jet of compressed air. In a circus performance,
gunpowder may be used to provide visual and
auditory effects, but this is unrelated to the
launching mechanism. Fireworks and smoke may
also be used to increase the visual effect. The
human cannonball lands on a horizontal net or
inflated bag, the placement of which is determined
by classical mechanics. Outdoor performances may
also aim at a body of water.
The first human cannonball, in 1877 at the Royal
Aquarium in London, was a 14 year-old girl called
“Zazel”, whose real name was Rossa Matilda
Richter. She was launched by a spring-style cannon
invented by Canadian William Leonard Hunt. She
later toured with the P.T. Barnum Circus. Farini’s
cannon used rubber springs to launch a person
from the cannon; limiting the distance they could
be launched. In the 1920s, Ildebrando Zacchini
invented a cannon that used compressed air to
launch a human cannonball. Zacchini shot his son
Hugo out of the compressed air cannon. Members
of the Zacchini family were later inducted into the
Ringling Brothers Circus Hall of Fame.
The current world record for the farthest human
cannonball flight is 193 ft 8.8 in (59.05 m) set by
David Smith Jr. on the set of Lo Show Dei Record,
in Milan, Italy, on March 10, 2011, previously held
by his father. The distance was measured from the
hole of the cannon to the furthest point reached
on the net.
Aim, Fire!
David Smith Jr was launched by an long cannon.
It was estimated that Smith Jr traveled at a speed
of 120 km/h, reaching a maximum altitude of
23m. The father David Cannonball Smith Sr made
the previous record of 200 ft 4 in, on August 31,
2002, at The Steele County Free Fair, Owatonna,
Minnesota in the United States. It is estimated
Smith Sr. was travelling at over 70 miles per hour
(110 km/h) during the flight. The human cannonball
is a performance in which a person is ejected
from a specially designed cannon. The impetus is
provided not by gunpowder, but by either a spring
or jet of compressed air. In a circus performance,
bang!gunpowder may be used to provide visual and
auditory effects, but this is unrelated to the
launching mechanism.
Acrobats maintain their balance by positioning
their centre of mass directly over their base of
support, i.e. shifting most of their weight over
their legs, arms or whatever part of their body they
are using to hold them up. When they are on the
ground with their feet side by side, the base of
support is wide in the lateral direction but narrow
in the sagittal direction. In the case of
highwire-walkers, their feet are parallel with each
other, one foot positioned in front of the other
while on the wire. Therefore, a tightwire walker’s
sway is side to side, their lateral support having
been drastically reduced. In both cases, whether
side by side or parallel, the ankle is the pivot point.
The Suspense
A wire-walker may use a pole for balance or may
stretch out his arms perpendicular to his trunk in
the manner of a pole. This technique provides
several advantages. It distributes mass away from
the pivot point, thereby increasing the moment
of inertia. This reduces angular acceleration. It is
because a greater force is required to rotate the
performer over the wire. The result is less tipping.
In addition the performer can also correct sway
by rotating the pole. This will create an equal and
opposite torque on the body. Furthermore, if the
pole is bent downward at the ends the overall
centre of gravity is lowered, which increases
stability of the system. Tightwire-walkers typically
perform in very thin and flexible, leather-soled
slippers with a full length suede or leather sole to
protect the feet from abrasions and bruises while
still allowing the foot to curve around the wire.
Though very infrequent in performance, amateur,
hobbyist, or inexperienced funambulists will often
walk barefoot so that the wire can be grasped
between the big and second toe. This is more
often done when using a rope, as the softer and
silkier fibres are less taxing on the bare foot.
TIMESRoom 3 Exhibition 4
11:00 Back to BasicsLearn the art of balance
13:15 Tips & TricksThe hidden tricks
15:00 Children’s ChallengeCompetition
17:15 Adult AbilitiesCompetition
18:45 Fire the CannonWho is up for the challenge?
20:00 FinaleWill you make the professional show?
Are you brave enough to fire the spectacular human cannonball or will the fear get the better of you?
you’ll be on the edge of your seat in suspense as
the most stunning and
thrilling circus acts perform
beautifully right before
your eyes
Where should you go?
One of the most famous and popular Augustes in Britain was Coco the Clown.
Born in Russia he arrived in England in 1929 to join Bertram Mills Circus. He
continued performing in the UK until the 1960s. Coco the Clown, about 1960.
Coco’s trademark costume included oversize boots and a baggy checked suit.
His make up included exaggerated raised eyebrows and an oversize nose.
Coco became famous on television for a road safety campaign for children
in the 1960s. Technically, Coco was not a clown but an Auguste; the foolish
character who is always on the receiving end of buckets of water and custard
pies. The Auguste often works with the cleverer white-faced clown who always
gets the better of him.
Coco, whose real name was Nicolai Poliakoff, was born in Latvia in 1900. His
parents worked in the theatre when Nicolai was born, but both lost their jobs
a few years later. In order to survive, Nicolai started busking from the age of
five. In 1929 Nicolai, or ‘Coco’ as he was then called, came to England with
his young wife Valentina and began working for Bertram Mills’ Circus. He left
the Circus temporarily to serve in the British Army during World War II, but
returned straight afterwards. He performed before royalty all over the world,
and received a medal from the Queen for his years of work in promoting road
safety for children. Early circuses had equestrian clowns who would perform
crazy tricks on and off horseback. Dickie Usher and Tom Barry who rode down
the Thames in a washtub drawn by four geese, were favourite London clowns
in the early 19th century. Another popular Victorian clown was Whimsical
Walker. Famous for his animal acts he taught a donkey called Tom to sing
to the accompaniment of toy bagpipes, a trombone and a violin. He had to
keep changing the instrument because the donkey soon became bored and
would refuse to sing. Walker performed at all the famous circuses and toured
the USA with Barnum and Bailey’s Circus. This is the costume he wore in a
performance for Queen Victoria at Windsor Castle on 25 February 1886.
Talented Trapeze The high flying acrobats will be enough to take your breath away as they deliver a thrill a minute in each show.
Theatre 2 This theatre displays the acrobatic techniques of the professional performers. Build up your strength by taking part in the morning exercise and understand the importance of your flexibility. Props are generally used to create more exciting routines. Take part throughout the day before undertaking a part in the exquisite shows.
STRENGTHTheatre 2 10:00
Philip Astley founded the circus as an extension of his riding school in 1768
and trick riding remained the central act in circus for more than one hundred
years. Comic riding acts such as The Taylor of Brentford, which Andrew
Ducrow first performed at Astley’s Royal Circus in the early 19th century are
still performed today. Riding was the most common mode of transport at the
time and this may explain its popularity. Everyone who rode a horse could
appreciate the difficulty of performing tricks upon its back. A popular trick
rider of the 19th century was Pablo Fanque, who was the first black equestrian
in a circus. The most spectacular acrobatic movement on horseback was that
performed by Lucio Cristiani in the 1920s and 1930s. He could somersault
from one bareback horse over a second, to land on a third, as they cantered
around the ring. Images of the principal lady rider, dressed as a ballerina
in a tutu with cross gartered ballet shoes are captured here in two pictures.
The first is dated 1884 and shows a woman performing a trick at the covent.
TIMESTheatre 2
10:00 StrengthThe strength of an acrobat
12:45 Hoops & ChairsProps are used to show off the skills
16:45 MovementLearn the moves
20:00 FinaleWill you make the professional show?
WAcrobats
Acrobats maintain their balance by positioning
their centre of mass directly over their base of
support, i.e. shifting most of their weight over
their legs, arms or whatever part of their body they
are using to hold them up. When they are on the
ground with their feet side by side, the base of
support is wide in the lateral direction but narrow
in the sagittal direction. In the case of
highwire-walkers, their feet are parallel with each
other, one foot positioned in front of the other
while on the wire. Therefore, a tightwire walker’s
sway is side to side, their lateral support having
been drastically reduced. In both cases, whether
side by side or parallel, the ankle is the pivot point.
A wire-walker may use a pole for balance or may
stretch out his arms perpendicular to his trunk in
the manner of a pole. This technique provides
several advantages. It distributes mass away from.
the pivot point, thereby increasing the moment
of inertia. This reduces angular acceleration. It is
because a greater force is required to rotate the
performer over the wire. The result is less tipping.
In addition the performer can also correct sway
rope walkers, or rope dancers as they were often
called, were a common sight at fairs all over
Europe from the Middle Ages to the 17th and
18th centuries. This ‘famous Dutch woman’ is
dressed in men’s clothing of the late 17th century.
Her doublet and hose meant that there was an
extraordinary amount of female leg on display for
the time, but the outfit allowed her to move easily,
and protected her modesty. Spectators would have
been able to look up her skirt if she were wearing
one, although the famous 19th-century tightrope
walker Madame Saqui did perform in skirts. ‘Dutch’
was a common corruption of ‘Deutsch’ (German) at
this time, so this may be a German rope dancer.
Strength
A wire-walker may use a pole for balance or may
stretch out his arms perpendicular to his trunk in
the manner of a pole. This technique provides
several advantages. It distributes mass away from.
the pivot point, thereby increasing the moment
of inertia. This reduces angular acceleration. It is
because a greater force is required to rotate the
performer over the wire. The result is less tipping.
Hint To become an acrobat you need stamina, strength and
stability. But do you have what it takes? Make sure you attend
the teaching classes and you could be performing with the
circus if you’re brave enough to show off your skills.
eleganceHISTORY
W ith breathtaking routines and ultimate flexibility, the acrobats put on a show to remember. Involving chairs, jumping hoops and spinning plates, they perform with sophistication and unbelievable strength.
WeleganceIn addition the performer can also correct sway
by rotating the pole. This will create an equal and
opposite torque on the body. Furthermore, if the
pole is bent downward at the ends the overall
centre of gravity is lowered, which increases
stability of the system.
Tightwire-walkers typically perform in very thin and
flexible, leather-soled slippers with a full length
suede or leather sole to protect the feet from
abrasions and bruises while still allowing the foot
to curve around the wire. Though very infrequent in
performance, amateur, hobbyist, or inexperienced
funambulists will often walk barefoot so that the
wire can be grasped between the big and second
toe. This is more often done when using a rope,
as the softer and silkier fibres are less taxing on
the bare foot than the harder and more abrasive
braided wire. This photograph is clearly taken
whilst standing on the floor. The exposure needed
for such early photographs required the subjects
to stand perfectly still for a few seconds. This
would have been very difficult on a real tightrope!
Everyone who rode could appreciate the difficulty.
Theatre 2 16:45
Balance is maintained by positioning their centre
of mass directly over their base of support, i.e.
shifting most of their weight over their legs, arms
or whatever part of their body they are using to
hold them up. When they are on the ground with
their feet side by side, the base of support is wide
in the lateral direction but narrow in the sagittal
direction.
Adults
In the case of highwire-walkers, their feet are
parallel with each other, one foot positioned in
front of the other while on the wire. Therefore, a
tightwire walker’s sway is side to side, their lateral
support having been drastically reduced. In both
cases, whether side by side or parallel, the ankle is
the pivot point. A wire-walker may use a pole for
balance or may stretch out his arms perpendicular
to his trunk in the manner of a pole. This technique
provides several advantages. It distributes mass
away from. the pivot point, thereby increasing
the moment of inertia. This reduces angular
acceleration. It is because a greater force is
required to rotate the performer over the wire. The
result is less tipping. In addition the performer can
also correct sway by rotating the pole.
Children
This will create an equal and opposite torque
on the body. Furthermore, if the pole is bent
downward at the ends the overall centre of gravity
is lowered, which increases stability of the system.
Tightwire-walkers typically perform in very thin and
flexible, leather-soled slippers with a full length
suede or leather sole to protect the feet from
abrasions and bruises while still allowing the foot
to curve around the wire. Though very infrequent in
performance, amateur, hobbyist, or inexperienced
funambulists will often walk barefoot so that the
wire can be grasped between the big and second
toe the bare foot than the harder and more
abrasive braided wire.
MOVEMENT
Become a part of this incredible show using the techniques you have seen throughout the day.
Vthe exciting shows are
displayed at different times
giving you the chance to
see each of them and
make the most of your day
Spectacular Performing Animals
Large travelling menageries toured the country
visiting fairgrounds. These menageries were
a collection of separate wagons parked in a
rectangular shape. The audience stood in the
middle of the rectangle and the animal tamers
would enter the wagons to perform tricks. Poster
advertising the sale of an elephant hide, 1826
Wombwell’s Menagerie continued to tour until
1931. By then it was one of only two touring
menageries in the country. The touring menagerie
had, for the most part, been combined with
the circus. The first combination of circus and
menagerie was at Astley’s in 1838. A flamboyant
American called Isaac Van Amburgh appeared
with lions from Wombwell’s Menagerie. He had
become famous as a lion tamer and was the first
man to put his head inside a lion’s mouth. Queen
Victoria was very impressed by his preformations.
This technique provides several advantages. Chuny
the elephant was imported from Bengal in 1809
and became one of the Royal Menagerie’s main
attractions. His death deprived his owner, Edward
Cross, of one of his greatest sources of income
animal’s death. Selling Chuny’s hide was just one
method only to home.
SHOWS
Sit back, relax, and enjoy the remarkable shows created to keep you excited and in suspense throughout the day – you won’t be disappointed!
VVJuggling Jesters
A year later Vincenzo Lunardi made the first
balloon flight in England, in a balloon built by
public subscription which was put on view in
the dome of the Lyceum Theatre for subscribers
and other patrons to see. The balloon was later
displayed at the Pantheon in Oxford Street, after
which other fantastic ‘aerostatic machines’ were
built, displayed and flown, with varying amounts of
success. Balloon ascents were a huge attraction in
the late 18th and early 19th centuries, even at the
theatre and circus. In December 1814 a balloon
ascent by Monsieur Garnerin featured in Covent
Garden’s 1814 pantomime, ‘Harlequin Whittington,
Lord Mayor of London’, with the child passenger
Mlle. Blanche Garnerin. The playbill advertised
the balloon descending ‘from the roof, over the
audience onto the stage’.
A wire-walker may use a pole for balance or may
stretch out his arms perpendicular to his trunk in
the manner of a pole. This technique provides
several advantages. It distributes mass away from A
year later Vincenzo Lunardi made the first balloon
flight in England, in a balloon built by public
subscription which was put on view in the dome
of the Lyceum Theatre for subscribers and other
patrons to see. The balloon was later displayed at
the Pantheon in Oxford Street, after which other
fantastic ‘aerostatic machines’ were built, displayed
and flown, with varying amounts of success.
A Knife in the Back
Online, people will not stay on a webpage unless
you give them a reason to and there is always
a constant urge to move onto the next thing.
Whereas, magazines are only bought by those who
intend to read through it. Publishers cannot deny
the fact that distribution now needs the internet
to help media along in comparison to beggar’s
banquet that took months to get any readers. With
sites like Myspace helping singers and song writers
sign record deals, are subcultural zines taking the
same route? Search engines now make it so easy
for people to find exactly what they want whenever
they need it. Therefore, a tightwire walker’s sway
is side to side, their lateral support having been
drastically reduced.
Fire the Cannon:The most terrifying act of all time is in need of some new recruits. Learn the basics and then become a professional at firing the cannon. Acrobats maintain their balance by positioning their centre of mass directly over their base support, i.e. shifting most of their weight over their legs, arms or whatever part of their body they are using to hold them up. When they are on the ground with their feet side by side, the base of support is wide in the lateral direction but narrow in
Spectacular Performing Animals The animals will bring joy to your faces as they perform classic circus tricks. Come along and meet the stars of the show!
ELEGANCE & GRACETheatre 1 14:45
Static trapeze refers to a trapeze act in which the performer moves around the
bar and ropes, performing a wide range of movements including balances,
drops, hangs while the bar itself stays mostly in place. The difficulty on a static
trapeze is making every move look effortless. It is like dance, in that most
people of a reasonable level of strength can get onto the bar for the first
time and do the tricks but an experienced artist will do them with much more
grace and style. Triple trapeze refers to a number of different shapes and
sizes of trapeze, including double trapeze, triple trapeze and larger multiples
designed for use by multiple simultaneous flyers. Shaped trapezes are
apparatuses that can take virtually any shape imaginable. Swinging trapeze (or
swinging single trapeze) refers to an act performed while the trapeze swings.
The performer builds up swing from a still position, and uses the momentum
of the swing to execute the tricks. Usually tricks on a swinging trapeze are
thrown on the peaks of the swing and involve dynamic movements that
require precise timing.
Theatre 1 This theatre displays the talented trapeze professionals as they elegantly fly with grace. Learn to fly at great height and experiment with what you are capable of or just sit back and enjoy the extraordinary trapezists and be amazed by the terrifying stunts.
VmagicV
The Trapeze
Flying trapeze refers to a trapeze act where a
performer, or “flyer,” grabs the trapeze bar and
jumps off a high platform, or pedestal board, so
that gravity creates the swing. The swing’s parts
are the cast out at the far end of the first swing,
the beat back and rise as the performer swings
back above the pedestal board, and then the trick
is thrown at the far end of the second swing. The
performer often releases the bar and is caught by
another performer, the “catcher,” who hangs by
his or her knees on another trapeze, or sometimes
on a cradle, which can be either stationary or
also swinging. People of any size are able to
execute basic trapeze maneuvers. Flying trapeze
is generally done over a net, or occasionally over
water. The flying trapeze was invented in the mid
19th century in France by Jules Léotard.
Opposite torque on the body. Furthermore, if the
pole is bent downward at the ends the overall
centre of gravity is lowered, which increases
stability of the system. Tightwire-walkers typically
perform in very thin and flexible, leather-soled
slippers with a full length suede or leather sole to
protect the feet from abrasions and bruises while
still allowing the foot to curve around the wire.
Though very infrequent in performance, amateur,
hobbyist, or inexperienced funambulists will often
walk barefoot so that the wire can be grasped
between the big and second toe. Tfiant sollemnes
in futurum. Acrobats maintain their balance by
positioning their centre of mass directly over their
base of support, i.e. shifting most of their weight
over their legs, arms or whatever part of their body
they are using to hold them up.
Flying Trapeze
When they are on the ground with their feet side
by side, the base of support is wide in the lateral
direction but narrow in the sagittal direction. In
the case of highwire-walkers, their feet are parallel
with each other, one foot positioned in front of
the other while on the wire. Therefore, a tightwire
walker’s sway is side to side, their lateral support
having been drastically reduced. In both cases,
whether side by side or parallel, the ankle is the
pivot point. A wire-walker may use a pole for
balance or may stretch out his arms perpendicular
to his trunk in the manner of a pole. This technique
provides several advantages. It distributes mass
away from the pivot point, thereby increasing.
F
Hint The flying trapeze is a dangerous yet talented act. Learn to Fly is a great show
willing to teach you the tricks of their abilities. If you’re afraid of
heights then sit back, relax, and enjoy the shows.
HISTORY
lying trapeze artists deliver a thrill a minute as they astound you with high-flying acrobatics that will take your breath away. Professionals perform in incredible trapeze shows designed to keep you on the edge of your seat.
magicV
Theatre 1 13:15
Washington trapeze also known as head trapeze or heavy trapeze refers to a
variation on static and swinging trapeze where the aerialist performs various
headstand skills on the bar, which is typically much heavier than a normal
trapeze bar and has a small (about 4-inch round) headstand platform on it.
The trapeze is supported by wire cables rather than ropes, and the apparatus
will often be lifted and lowered during the act. Dance trapeze refers to a
trapeze used by many modern dance companies in aerial dance. The ropes
of the trapeze are often both attached to a single swivel, allowing the trapeze
to spin. Double trapeze (also known as the French trapeze) is a variation on
the static trapeze, and features two performers working together on the
same trapeze to perform figures and bear each other’s weight. It can also be
performed swinging, in which case the act is called swinging double trapeze.
Typically they perform in very thin and flexible, leather-soled slippers with a
full length suede or leather sole to protect the feet from abrasions and bruises
while still allowing the foot to curve around the wire. Though very infrequent
in performance, amateur, hobbyist, or inexperienced funambulists will often
walk barefoot so that the wire can be grasped between the big and second
toe. This is more often done when using a rope, as the softer and silkier fibres
are less taxing.
Theatre 1
10:30 High AcrobaticsAmazing acrobatics at height
13:15 Learn to FlyLearn the flying trapeze
14:45 Elegance & GraceTrapeze Show
17:00 Flying HighThe art of flight
18:15 Fear of HeightsFrightening Trapeze
20:00 FinaleWill you make the professional show?
LEARN TO FLY
Enjoy learning to fly with elegance and grace on the thrilling trapeze.
TIMES
selected guests will be chosen
to take part in the grand
finale to showcase the
tricks and techniques they
have learnt throughout
the events of the day
The Finale
In the case of highwire-walkers, their feet are parallel with each other, one
foot positioned in front of the other while on the wire. Therefore, a tightwire
walker’s sway is side to side, their lateral support having been drastically
reduced. In both cases, whether side by side or parallel, the ankle is the pivot
point. A wire-walker may use a pole for balance or may stretch out his arms
perpendicular to his trunk in the manner of a pole. This technique provides
several advantages. It distributes mass away from. the pivot point, thereby
increasing the moment of inertia. This reduces angular acceleration.
It is because a greater force is required to rotate the performer over the wire.
The result is less tipping. In addition the performer can also correct sway by
rotating the pole. This will create an equal and opposite torque on the body.
Furthermore, if the pole is bent downward at the ends the overall centre of
gravity is lowered, which increases stability of the system. Tightwire-walkers
typically perform in very thin and flexible, leather-soled slippers with a full
length suede or leather sole to protect the feet from abrasions and bruises
while still allowing the foot to curve around the wire. Though very infrequent in
performance, amateur, hobbyist, or inexperienced funambulists will often walk
barefoot so that the wire can be grasped between the big and second toe.
This is more often done when using a rope, as the softer and silkier fibres are
less taxing on the bare foot than the harder and more abrasive braided wire.
A circus is commonly a travelling company of performers that may include
clowns, acrobats, trained animals, trapeze acts, musicians, hoopers, tightrope
walkers, jugglers, unicyclists and other stunt-oriented artists. The word also
describes the performance that they give, which is usually a series of acts
choreographed to music and introduced by a ringmaster.
The Amazing Acrobats With the ultimate flexibility, the acrobats put on a show to remember performing with strength and sophistication.
VsitbackVoll up, Roll up, welcomes you to the one and only grand travelling circus museum. Whether you’re interested in the amazing acrobats, the talented trapeze or the performing animals, we have something for everyone as the museum presents some breathtaking shows!
R
VsitbackVthe wire-walker may use a pole for balance or may
stretch out his arms perpendicular to his trunk in
the manner of a pole sway by rotating the pole.
This will create an equal and opposite torque
on the body. Furthermore, if the pole is bent
downward at the ends the overall centre of gravity
is lowered, which increases stability of the system
Tightwire-walkers typically perform in very thin and
flexible, leather-soled slippers with a full length
suede or leather sole to protect the feet from
abrasions and bruises while still allowing the foot
to curve around the wire. Though very infrequent in
performance, amateur, hobbyist, or inexperienced
funambulists will often walk barefoot so that the
The study of what is happening to printed media,
will look at how the fanzine has emerged from
what once was an independent non-profit making
design from the anti-consumerist culture to the
e-zines to see if there is still a gap in the market
for print alongside digitalism. Fanzines will also be
looked at as an object that is desired e.g. Sniffin’
Glue is now a desirebale commodity that people
are willing to pay a fortune for in comparison to
when it began and was disguarded. Books have
had to remediate themselves to suit kindles which
is something print media will also have to do.
This will need addressing to see what the future
holds for printed media. A wire-walker may use
a pole for balance or may stretch out his arms
perpendicular to his trunk in the manner of a pole
sway by rotating the pole. This will create an equal
and opposite torque on the body. Furthermore, if
the pole is bent downward at the ends the overall
centre of gravity is lowered, which increases
stability of the system. Tightwire-walkers typically
perform in very thin and flexible, leather-soled
slippers with a full length suede or leather sole to
protect the feet from abrasions and bruises while
still allowing the foot to curve around the wire.
Though very infrequent in performance, amateur,
hobbyist, or inexperienced funambulists will often
walk barefoot so that the wire can be grasped
between the big and second toe.
Enjoy the Show
When they are on the ground with their feet side
by side, the base of support is wide in the lateral
direction but narrow in the sagittal direction. In
the case of highwire-walkers, their feet are parallel
with each other, one foot positioned in front of the
other while on the wire. sway is side to side, their
lateral support having been drastically reduced.
In both cases, whether side by side or parallel, the
ankle is the pivot point use a pole for balance or
may stretch out his arms perpendicular to his trunk
in the manner of a pole. This technique provides
several advantages.
Prepare yourself to be stunned and enthralled by the biggest, most dangerous shows on earth that will take your breath away.
What should you expect?
The word circus acquired a new sense in the late
18th century, as a circular arena for the exhibition
of equestrian, acrobatic and other performances.
Several aspects of the modern circus tradition
can be traced back to shows created by
British equestrian Philip Astley, whose troupe
brought trick horse-riding into a ring, though
Astley referred to it as the Circle. Astley’s first
performance is said to have been held on January
9, 1768. Later, to suit equestrian acts moving from
one circus to another, the diameter of the circus
ring was set, which is the size of ring needed for
horses to circle comfortably at full gallop and then
Walk the Tightrope Acrobats maintain their balance by positioning their centre of mass directly over their base support and shifting most of their weight by using their legs.