join the circus EXHIBITION GUIDE
THE GRAND TRAVELLING CIRCUS MUSEUM
V 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.
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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.
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oll 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!
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ke art Competitions 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
Compete against others for the chance to win some fantastic prizes for you and the rest of your family to share. 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.
TAKE PART
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.
Adults 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
TIMES Room 1 Exhibition 5
10:15 Back to Basics Learn the art of balance
12:30 Tips & Tricks The hidden tricks
14:15 Children’s Challenge Competition
16:30 Adult Abilities Competition
18:00 Walk the Tightrope Who is up for the challenge?
20:00 Finale Will you make the professional show?
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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!
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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.
Practice 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.
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HISTORY
Learn to maintain your balance and keep your mind focused but will you be steady enough to walk the tightrope? One 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.
ACTIVITIES Take part in our magical activities and you could be good enough to join the grand travelling circus museum.
exhibitions 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
V Stop Clowning Around Become a clown for the day and get your face painted along with learning the tricks that they perform.
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. 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.
Room 3 Exhibition 4 Learn 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 PART Adults 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.
Hint 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?
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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.
HISTORY
Human 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,
gunpowder may be used to provide visual and auditory effects, but this is unrelated to the launching mechanism.
TIMES Room 3 Exhibition 4
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.
11:00 Back to Basics
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
20:00 Finale
Learn the art of balance
ang! 13:15 Tips & Tricks The hidden tricks
15:00 Children’s Challenge Competition
17:15 Adult Abilities Competition
18:45 Fire the Cannon
Who is up for the challenge?
Will you make the professional show?
Are you brave enough to fire the spectacular human cannonball or will the fear get the better of you? 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.
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.
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
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.
STRENGTH Theatre 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.
TIMES Theatre 2
10:00 Strength The strength of an acrobat
12:45 Hoops & Chairs Props are used to show off the skills
16:45 Movement Learn the moves
20:00 Finale Will you make the professional show?
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.
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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.
HISTORY
Acrobats 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.
MOVEMENT
gance Become a part of this incredible show using the techniques you have seen throughout the day.
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.
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. 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.
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.
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!
the 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.
Juggling 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
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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 Spectacular they are usingPerforming to hold them up. Animals The animals When they are on thewill ground bring joy to your faces as they with their feet side by side, the perform classic circus tricks. base of support is wide in the Come along and meet the stars lateral direction but narrow in of the show!
ELEGANCE & GRACE Theatre 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.
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.
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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.
HISTORY
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.
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gic Theatre 1
10:30 High Acrobatics
Amazing acrobatics at height
13:15 Learn to Fly
Learn the flying trapeze
14:45 Elegance & Grace Trapeze Show
17:00 Flying High The art of flight
18:15 Fear of Heights Frightening Trapeze
20:00 Finale
Will you make the professional show?
LEARN TO FLY
Enjoy learning to fly with elegance and grace on the thrilling trapeze. 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.
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.
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oll 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!
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it ack 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
Prepare yourself to be stunned and enthralled by the biggest, most dangerous shows on earth that will take your breath away. the 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.
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.