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.










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.



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.



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




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




side by side or parallel, the ankle is the pivot point.

The Suspense





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?


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


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




side by side or parallel, the ankle is the pivot point.




several advantages. It distributes mass away from.





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




several advantages. It distributes mass away from.





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



stability of the system.









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



is lowered, which increases stability of the system.









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’.




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











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





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


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


the manner of a pole sway by rotating the pole.

This will create an equal and opposite torque



is lowered, which increases stability of the system








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










between the big and second toe.

Enjoy the Show








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.

roll up, roll up!

Documents

circus of rome

circus maximus

roman circus

circus performances

circus flaminius

circus neronis

ina circus

traditional circus performance