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AMATEUR CIRCUS

LIFE

THE MACMILLAN COMPANY


HW YORK

BOSTON CHICAGO DALLAS


SAN FRANCISCO

ATLANTA

MACMILLAN &
LONDON

CO., Limitbd
BOMBAY CALCUTTA
MELBOURNE

THE MACMILLAN

CO. OF CANADA, Ltd.


TOKOHTO ^

^Amateur Circus Life


A

new method of physical de-

velopment for Boys

and

Girls

Based on The Ten Elements of Simple


Tumbling and adapted from the practice

of professional acrobats

BY

ERNEST BALCH

Nrm fork

THE MACMILLAN COMPANY


1922
All rizhu reserved

^i
(k^i

Copyright, 1916.

By the MACMILLAN COMPANY


Set

up and

electrotyped.

Published, November, 1916.

T^^sr^i

The

illustrations in this

book are prepared from photo-

graphs of boy amateurs taught in classes by this method

My

of physical training.

Cloyne House

Gymnasium and

School,

thanks are due to them, to the

Newport,

St.

Thomas Chapel

Madison Square Church House


Gymnasium, New York City.
This book is written for the comfort and aid of boys
the

and

girls of

who

are interested in their development.

twelve to sixteen and of their older friends

The Author.

504ii.i3

CONTENTS
PAGE

CHAPTER
I

Tumbling

Health, Strength, Grace

....

III

The Ten Elements

Tumbling

IV

Preparation for a Show

II

V A Show
VI
VII
VIII

IX

of Simple

36

...

62

....

71

at a Boarding School

Costumes and Discipline

Clown Work

78

Fake

Elephant.
Thrillers

Fake

Lion

Act.

Training Animals

X The Old-Fashioned Minstrel Show


XI
XII
XIII

88

Costs and Charges


Sleeping

Out

of Doors

For the Instructor

XIV For Parents

99
.

107

129
134

144
162

LIST OF ILLUSTRATIONS
The Curtain

Rises

Frontispiece
FACING
PAGE

FIGURE

2.

Salute No. i
Practising the Roll.

3.

Headstands

14

Bridge and Handstand


Middle Position in Cartwheels

14

1.

4.
5.

6.
7.

10.

11.
12.

13.
14.

12

Salute No. 2

.15

The Wheelbarrow
8 and 9. The 2-High Fall
The Method of Teaching a Bender Used
BY Archange Tuccaro
Pyramid. Adoration
Pyramid. Path to the Stars
Diving
A Star Diver Landing on the Mat Just
Before He Ducks His Head and Rolls
Hoops. No. 2 Salute

....
.

15.

16.
17.

21.

22.

Planche
Practise Throws
18, 19 AND 20.
Double Walk
Double Roll

...

Easy Pyramid

Table and Chair Act. Forward Fall


Table and Chair Act
Way to Shape a Clown Costume
Clown Ruffs. Pair of Hoops

27.

19

24
25

28

29

30
32
33
33

24.

26.

18
19

46

23.

25.

13

...

....

47
50
51

76

76

LIST OF ILLUSTRATIONS
FACING
PAGE

FIGURE

28.

Elephant Hook.

Sample

Buttons for

Eyes

76

AND 30. Easy Pyramids


Dead Man
31.
Practising Handbalance on a Chair
32.
The Reader
33. 34j 35 and 36.
and
Clown
Act with Chair
38
39.
37,
and
Hypnotism
42
43.
40, 41,
44 and 45. Hypnotism
29

77
77
.

77
84
85

46.
47.

BETWEEN

The

PAGES

Serenade (Encore)
Director E. C. Ostlin and a Tumbling Class in a New York City

86,

FACING
PAGE

Gymnasium
48. 49,

52

AND

54, 55

57

and

50 AND 51.
53.

and
58.

Floor Rolls

Advanced

96

Work

The Winter Camp


Advanced Work

56.

87

97
.

.136
137

AMATEUR CIRCUS

LIFE

AMATEUR CIRCUS LIFE


CHAPTER

TUMBLING
Tumbling

is

known

physical development.
all

gymnastics.

It

is

the best basis of

Occasionally

advanced amateurs
are made.

have great value for

to

it

or attempts

is

at

taught to
teaching

it

But it is never taught systematically,

for no system has yet been devised to adapt

tumbling practically for the use of amateurs.

The

chief mistake consists in trying to teach

to beginners

tumbling

one of the most dangerous of

tricks, the

somersault in the

*air-turn' as it is called.

To

air,

all

or

learn this one

must have an exceptional teacher, must have


a

muscular

among

development quite uncommon

pupils of 12-16, and must practise un-

remittingly.

Such conditions are very rare

indeed.

The

fine art of

tumbling

is

generally

at-

AMATEUR CIRCUS

tempted in the wrong way and

LIFE
is

hardly ever

taught to the boys and girls of 12-16

would most

What

is

benefit

needed

by
is

who

it.

a system of simple tum-

bling which can be taught in classes by people

who

are not acrobats,

which will delight the

pupil, will be progressive in

and

sufficiently difficult to

its

remain interesting

At

for two or three years.

various feats,

the end of this

period the pupil can go on to advanced tumbling, or better

still, if

there be opportunity, to

fine competitive athletics.

Since Archange Tuccaro wrote, I find no

one

who

method
this

has discussed the philosophy of this


of developing the body.

book

is

the simpler
atise

written.

It proposes to

movements

the circus, the vaudeville stage

as

and

classes,

deep interest of boys and

the acrobatic art

employ

of tumbling, system-

them, arrange them for

utilise the

Therefore

so

girls in

in a

word,

an impelling force, that

they will joyfully endure the tedious and pro-

longed practice which develops perfect bodies.

CHAPTER

II

HEALTH, STRENGTH, GRACE


Every one

desires to be well, strong,

Every one understands more or

graceful.

clearly that one


in life if

The

he or she

point

about

is

is

more
is

less

likely to reach the best

well, strong,

become

to

and

so,

and graceful.

not simply to talk

it.

People between twelve and sixteen years


old as a rule have the time and opportunity to
get strength, health, and grace; at least they

have the time

to

do what

this

book will

tell

you

Some of them have the opportunity to


play many games and get a little calisthenics

to do.

or

drill.

But very few have

enough games
this

who

book

is

the time to play

to obtain the best results.

So

how the many,


and games enough, may get the

written to explain

lack time

best of health, strength,

and grace and mean-

while have the good time which helps


3

to

make

AMATEUR CIRCUS

4
up

LIFE

for the tedious work, patience, and courage

needed.

The
a

delightful experience of taking part in

good successful show


especially

tise,

one

if

is

worth a

lot of prac-

and

feels that strength

grace are coming steadily.

Health, generally speaking,

is

the

result

of the exercises one must practise in order


to

strength

get

and

might put

instructor

grace.

it,

Or

an

as

strength comes from

the proper developrnent of the muscles and

grace from the efficient control of the muscles

by the nerves and

brain.

It

is

not

nec-

essary between twelve and sixteen to bother

much with
one's

the theory of all this, only to fix

mind and

upon a steady daily

will

practise of these ten elements about to be deIf in addition to this

scribed.

calisthenics or drill every


fair

amount of games,

find that

day

in a year

you get a
in school

little

and a

or two you will

you have health, strength, and grace.

With

these precious possessions everything

wish

to

Good

do

in life will

dancing,

star

school, fine quick

be just so
tennis,

work

in

an

much

easier.

good work
office,

you

in

shop, or

HEALTH, STRENGTH, GRACE


factory;

which are

short,

in

efficiency

the things

all

so very desirable, will be so

much

the easier to attain.


It

common

is

idea that the best muscles

This

are hard, bulky muscles.

For

boy or

muscle

is

soft

girl the

when

is

not true.

most valuable kind of

What

flexed.

is

strong quickly responsive muscle,

needed

and

is

this

when flexed hard when


contracted.
Heavy work produces slow hard
muscles.
Sandow acquired a very fine develmeans

soft

opment

starting with a not very

He

body.
flexed

muscles

did

it

patience and

much

By endless

him

a muscle of the

practice and

time spent he had acquired

an unusual control of them.


pressed to see

His muscles

by light work.

were very soft.

wonderful

call the

was much im-

name and bunch up

back that most of us do not

know by name and have no

separate control

of.

common diflSculty with boys who


much to heavy work or calisthenics is

Also, a
stick too

that their muscles "go dead,"

You
who

see this also

become

stale.

with professional acrobats

are ignorant and practise too

much; or

AMATEUR CIRCUS

6
boxers

who do

boy or

girl at fourteen

quick in

look out for


to practise

The

not train intelligently.

should be

full of life,

Instructors have to

movements.

all

LIFE

I have always found

this.

it

best

simple tumbling about an hour not

more than six times a week, if possible not


more than once a day, and to rest two full days
before a show.

When

you

see the perfect grace of a

trapeze performer, remember that

from instantaneous
trol of the

it

good

results

or, better said, perfect

con-

muscles by the brain and nerves,

and that such grace may be yours

pay the same price of

you will

if

steady, conscientious

practise of the ten elements of simple tumbling.

Now there is no such thing as an impromptu


on the stage or

in the circus.

Amateurs who
spur of the

try to

do something on the

moment simply make

fools

themselves and bore their audience.

you know your


If

you know

To know

act or
it,

you do

to

Either

not.

you can do

your act means

of

it

at

know

turn so that you can always do each

any time.

every

little

movement

HEALTH, STRENGTH, GRACE


properly, smile at the right time, and

make

your points.
In the ^Tath

to the Stars," for instance (see

Topmounter that is, the


the pyramid must walk up

illustration 12), the

boy

at the top of

erect with a gallant air.


If he goes
like a

up on

monkey and

hands and

feet

he looks

spoils the picture.

When

his

on the Understander's shoulders, he must be


firmly held or he cannot do his work.
staircase

must stand

So

solidly.

be with anything you wish


an audience.
erly

It

is

it is

All the

and must

to present before

necessary to learn

it

prop-

and thoroughly.

Therefore the best way

is

to really

master

the ten elements at the beginning, although I

will here

make

the exception that a

can be given before any

member

good show

of the class

has learned the front and back handspring.

CHAPTER

III

THE TEN ELEMENTS OF SIMPLE TUMBLING

We

much

cannot in this world do anything

worth doing without some tedious study and


work.

Into this chapter I will put

study and

work

oughly and
delightful.

that

all the rest will

If

in

it

the

thor-

be interesting and

you do not learn

you will not succeed

Get

required.

is

all

it

thoroughly

what you wish

to do.

All of these directions are put in for a good


reason and nothing

is

here written which

The

unnecessary to learn.
these elements

is

to

and get some one

enough

fortunate

best

way

it is

to learn

master one or two at a time


to tell you, if

have

to

an

you are not


instructor,

whether or not you do each thing properly.

The

the handspringsyou will hardly

last

learn without an instructor.

Two

working

together can sufficiently help each other on


the

other

nine

elements.

Remember

that

daily practise of simple tumbling for about an


8

THE TEN ELEMENTS


hour, five and not

more than

what you need and

is

six times a

the price

week,

you must pay

supposing that you are enthusiastic and deter-

mined

As
do

to

achieve a splendidly developed body.

have

this

said, there is rarely

That becomes

by playing games.

one grows older.

as

to little

time enough to

Apparatus work amounts

before sixteen and calisthenics can be

taken only in limited quantities.

boy or

ment

clear

girl of

Once

the

12-16 obtains a good develop-

these things are all fine, but before the

development comes they are not very practical.

Simple tumbling you can begin

at ten,

will quickly bring the development

and

it

you need

for other things.

As

far as I

know, there

tumbling for boys.


sire the learner to

you are

to

and

no good book on

All that

have seen de-

master back and front hand-

springs, and, above


front, full-

is

all,

the air-turns

half-twisters.

back,

Very good

if

be a professional and have the time

how many

who work

to practise;

but

go

can give the necessary three hours

to school

boys

or

day and command the instruction of a good

acrobat while practising?

In no other

way

AMATEUR CIRCUS

lo

can you learn these hard


count of the danger,
unless, besides

it is

foolish to try air-turns

having the required time and

enough

Nearly

little

slip or balk,

broken leg or worse.


little

time to practise,

you get
I

to college,

it is

The
them

you

best

you

tricks

to give as pretty a

like.

way

to practise a class

to

is

form

in line according to size, the smallest

the trick.
little

For they are not

and bring each on the mat

first,

is

air-turns alone until

and master these other

risky and w^ill enable


as

and there

better to cut out air-

am going to tell you about.

show

among procome from air-

So for boys v^ho have

Leave

turns altogether.

be very

to

the accidents

all

fessionals, careful as they are,

turns.

Also, on ac-

tricks.

supervision, you are old


careful.

LIFE

class

is

best

in turn to try

composed

of

two

boys for Topmounters, two big boys for

Understanders and four


other parts, and the same

medium
is

sized for

true for a class of

girls.

many

in the line,

it

takes too

long a time to get around and each

is

standing

If there are too

still

too long.

Eight more or

less

green boys

THE TEN ELEMENTS

number ten when they are well


and when the class has been trained
you can work two classes side by

the right

is

broken in

ii

a while,
side.

The
to

thing to do, as the class practises,

first

upon

settle

mids and
Falls, the

all

the

For pyra-

Topmounter.

double work, such as 2-High

Topmounters ought

and brave,

to

as light as possible,

be intelligent

and

also strong

Very important work

and obedient.

of these Topmounters.

If they

ten elements of simple

mastered are:

The

do theirs.

tumbling

The

Salute.

that

is

do not know

their parts, the Understanders cannot

The

is

to

Roll.

be

The

Headstand. Cart-wheels. Handstand. Handwalking. Double

Work. Handsprings. Pyra-

Diving.^

mids.

The

Salute.

You will

This

is

very important.

see all performers at a circus salute

The order

in which these are practised must vary according


needs of the class and the judgment of the instructor. It
not well to work too long at any one. I begin always with

to the
is

the

first

three.

Pyramids may come

in

at

any time, the front

handsprings after handstands and diving. Back handsprings


I
leave to the last. The roll is the most important. The
shoulder-mount and the 2-High Fall are naturally used in
"brother acts"; but if the instructor cares to do the work of
Understander, these are very useful for all the class in teaching

nerve and balance.

AMATEUR CIRCUS

12

LIFE

the audience with their hands before they begin,

and they use the same method of express-

ing thanks

applause

for

if

they get any.

This courteous custom has come down for hun-

Roman and Greek

dreds of years from the


shows.

It

is

exceedingly difficult to teach

Girls learn

boys.

number

it

more

easily.

There are a

of styles, but two are sufficient for

ordinary use.

Feet

The

first is

opened

shown

in illustra-

heels

tion

I.

body

straight in balance, head up, smile,

raised,

the

of

and bent a

out,

little at

hand toward

gether.
ful
is

The whole

and balanced.

trying to do

it,

arms

the elbow, the edge

the

slightly cupped, fingers

together,

audience,

and thumb

hands

close to-

position should be grace-

In the illustration the

and there

is

class

something wrong

with each one after three weeks' practise.

Probably

this class,

could not master

an exceptionally clever

this

two months' steady

lot,

simple position without

effort.

The second style is well shown in illustration 2.


The arms must be level with the
shoulders,

and exactly

in

line

with them,

neither forward nor back, head erect, smile,

m
%^^

1-4

<

bo

THE TEN ELEMENTS


heels together, fingers and
flat,

easy balance.

It

is

thumb

13

hands

closed,

especially useful at

the end of the roll.

Now we

begin to work on the mat; one

teen feet long

and two
in

by three

feet

wide

show-time lay a red carpet over

must not be slippery.)


fifteen dollars,

Such a mat

and other

the best,

is

(Only for

to three inches thick.

fif-

style

which

it,

about

costs

accessories, such as

hoops, et cetera, three or four dollars.

The

Roll.

Place your

(Illustration 2.)

hands on the mat, duck your head,

rounded back over and up on your


ing them in well.
strike

In doing

this

roll

on your

feet,

draw-

you must not

your head nor bump your back.

All

your weight should be carried on the hands and


back.

To duck your head and keep

striking the

the roll.
ders.

mat

You

is

it

from

the most important part of

hit the

mat

first

Gradually you will

with the shoul-

learn

to

carry

nearly all your weight on the hands and roll

smoothly and easily on your rounded back


without bumping
feet.

When

straight

it,

and evenly up on

you are on your

feet,

to

your

stand up

and make a salute with your hands.

AMATEUR CIRCUS

14

LIFE

you overbalance forward or back, throw

If

your head the opposite way and that will stop

Do

you.

not try the roll without a

you have thoroughly mastered


on

pletely

Do

it.

you have the

to the dive until

You need

and correctly.

finish nearly all tricks,

and

it is

mat

until

not go

roll

com-

the roll to

best to learn

it first.

smooth, easy

the head or

roll,

bumping

made without

the back

striking

and then com-

ing to a standing position with a good balance,

Do

requires steady work.


until

of

it

you get the right motion,

practise,

faster

and

slowly at

then, after a lot

faster.

should never be placed on the

first,

The hands

legs, as in illus-

tration 2.

The

Headstand.

the roll, the next thing

Having made
is

sure of

to learn to stand

on

your head.

Mark

out on the mat a triangle measuring

twelve to eighteen inches on each side.

Place

your head on one point and your hands on the


other two.

The

instructor

may

your ankles and pull you up

take hold of

straight.

Push

on your hands and keep the weight on your

3.

4.

HEADSTANDS

BRIDGE AND HANDSTAND

5.

Middle Position
Cartwheels

in

THE TEN ELEMENTS

15

hands and head.

When

up over your head

the top of your head, not

the forehead

point your

can do
if

put your

body

the

up

legs

straight

is

straight

and

After enough practise you

toes.

Get some one

this alone.

to tell

you

head, neck, body, legs and toes are in one

straight line (illustration 3).

used

upside-down position,

the

to

fuses you,

Until you are


it

con-

and until the muscles become strong

you cannot push up

to,

and hold, a correct po-

sition.

The

At

being upside-down, you will naturally

first,

hands, of course, are to the front.

put them at the back.

Also, at

you will

first

push too hard on the hands, perhaps, and go


over.

your

Then duck your head and


feet.

Do

not get discouraged

Two

not get this quickly.


picture learned

have

it,

roll

it

if

over to

you can-

of the boys in the

in three weeks.

When

you

you can place your hands and head

correctly on the mat, get your weight on the

hands and head, draw the feet and knees close


to the body,

push

all straight

shove the feet straight up in


toes,

and hold that

however, nor

to

do

up over the head,


line,

position.
it

pointing the

Not

for long,

longer than some other

AMATEUR CIRCUS

i6

Nothing

boy.

is

more

LIFE

silly or useless

than to

try that.

Cart-wheels.

mat

the left

up

left

is

or

depending upon which hand touches

right,

the

cart-wheel

We begin with the left.

first.

hand on

in the air;

the mat;

jump with

Place

throw the right leg

the left leg, throwing

yourself so as to land on the right hand, both

up

legs being
first

in the air; then turn

on the right leg and then on the

and land

The

left.

arms, as in the handsprings, must be

stiff,

at the finish of the turn, the right gives a

and,

shove

which brings you up quicker to the standing


position in which you began. The instructor,
or any one

else,

will help you, standing at your

back and holding you around the


long

as

you keep the arms

happen except
floor.

The

to

stiff,

waist.

As

nothing can

tumble backward on the

true position

is

with the arms and

legs as in illustration 5, like the spokes of a

wheel, and,

arms and

The

when you

get an even motion, the

legs will be a little bent.

right cart-wheel

is

the same, except that

you begin with the right hand down and the


back turned the other way.

THE TEN ELEMENTS


The most
to

effective trick in cart-wheels

throw a string of rights and


but

nately,

this

takes

effort

17

though

a great

lefts

is

alter-

worth

the

deal of practise,

and

well

does not look well unless done quickly and

smoothly.

Handstand.

Place the hands on the mat

about two feet apart; keep the arms

stiff;

curve the body and legs up in the air; curve


the head

up

as far as

you can put the


;

feet to-

gether and point the toes; do not bend the


knees

you

bend the body

much

at the waist as

as

After practise you will get a bal-

can.

ance which you can hold.

At

in practis-

first,

ing the handstand, you need some one to hold

you
wall.

in position.

Then

practise against the

Place your hands on the floor about

eighteen inches from the wall, or whatever distance suits your height.

Keep

the arms

stiff;

throw one foot up against the wall and then


the other.

down on

In coming down, put one foot

the floor

first

then the other, and you

will not bruise your knees.


stiff,

so as not to

head on the

floor.

Keep

the

arms

crumple up and bang your

Curve the body

as

much

as

AMATEUR CIRCUS

i8

LIFE

you can and keep the head well up.


handstand in illustrations 4 and

(See

23.

After you get the balance against the wall,

push away an inch or

so

Do

hold the balance.

with your heels and

this

two or three times

night and morning, and in a few weeks you

can do

it

on the mat without any one

Then you can

you.

begin,

little

by

to

help

little,

to

Always come down

walk on your hands.

from the handstand on the mat by ducking


your head and doing a

To

Handwalking.
trick called the

tion 6.)

roll.

practise this, use the

^Wheelbarrow."

Let half the

class

(Illustra-

stand on their

hands, and the other half take the feet of


the

first

half on their shoulders.

doubles walk in
the mat, and

file

on each

side,

from the stage

up and down

handwalking double

four

steps to

the strong

staircase of

little

two treads

each step being four inches high,

eight wide, and sixteen long.

down

The

After coming

the staircase, each pair do a roll, finish-

ing with the second salute.

Double Work.
double work,

is

The

first

thing to teach in

the shoulder-mount.

Take

A
W^m.

i^^

JJij"
st
lo.

The method

of

teaching

a bender used by Archange Tuc-

THE 2-HIGH FALL


7.
8.

1st Position

Falling.

9.

No. 2 Salute

THE TEN ELEMENTS


the Topmounter's hands as
tion A.

He

in illustra-

places the right foot on your bent

right leg as near the


tion b).

shown

19

Pull

him

body

as

he can

(illustra-

up, and he can place the

other foot up on your left shoulder (illustration c).

He

then draws up the right foot to

your right shoulder, and stands

erect, steady-

ing himself by pressing his legs against the


sides of

your head.

You, the Understander,

then drop the Topmounter's hands and hold


his legs tightly against

your head, grasping

20

AMATEUR CIRCUS

them

just

below

the

smile

always

Topmounter
your neck

mounter

he

scared.

so

so

ful not to

the

long,

straight,

the

over

all

Top-

the

to

watch and catch

Understander should lean

at first), the

forward

If

first

balance (there must always

loses his

be some one placed behind

him

At

wobbly and walks


is

and

his arms,

practise smiling.

is

stand

The Topmounter

head up, fold

his

Both

knees.

straight as in illustration D.

must hold

LIFE

he can jump

Be

to the mat.

hold his legs and trip him.

Topmounter
keeping close

Before

will learn to go
to the

The Understander must


his right leg until the

care-

up

Understander.

not straighten up

Topmounter has

his left

foot firmly planted on his shoulder and has

up

begun

to pull

are in

good balance,

forward and

to position.

as

both

Both lean

try the fall.

keeping

fall,

As soon

in a straight line

and 9) until the Topmounter cannot stay any longer on the Under(illustrations

7,

He

stander's shoulders.

and both do a
the

roll,

illustration.

trained of the two

jumps

coming
In

this

to

the mat,

to the salute as in

picture

the

less

Topmounters has crumpled

THE TEN ELEMENTS


up, his Understander

and the two are not

He

is

trying to hold him,

nor in balance.

in line

and not straight

also looking sideways

is

ahead in the

first

21

position.

After both Top-

mounters are in position and ready, the manager gives a signal for the
at

One

fall.

pair

is

each end at opposite sides of the mat, and,

falling past each other, a pleasing effect

If the rolls are smartly done, an

produced.

audience will hardly notice a


the

fall,

but the camera shows

Topmounter's legs
to

defect in

little

it

so as to trip

The

clearly.

Understander must be careful not

wishes

is

to

hold the

him when he

jump.

Handsprings.

These are back and front

according to the direction you go.

handspring

is

The back

generally called a back

flip.

In learning handsprings use a "mechanic."

This

is

broad strong belt of canvas,

enough not

to cut,

soft

which buckles around the

waist with two or three small straps.

Fasten

two small rings outside

line of

the belt and a


fall,

little

in the

middle

back of where the arms

and in them catch two snap-hooks, with

swivel heads, fastened at the end of soft ropes

AMATEUR CIRCUS

22
about

three

feet

long.

LIFE

These

ropes

are

strongly held by a person at each side, so that,

when you throw

back, you will not strike your

head on the mat.


sometimes convenient

to pass

two long

%-inch ropes through one

single

and one

It

is

double pulley (fastened high up about twelve

and attached

feet apart)

to

the belt ropes.

Both come down on the same side of the mat


and the instructor can hold both

in

one hand,

leaving a hand free to help the pupil turn.

Now

throw your hands over your head;

curve your body back; keep your arms


land on your hands on the mat;

your

At

feet,

first

and throw them over

keep the arms

you with one hand.


stiff

so as not to

and presently you will begin


After

that,

back and help a

first

to the mat.

instruc-

Be

sure to

knock the head,

to get

over alone.

you do not need the mechanic, and

the instructor can put one.

back

jump with

you will not get over, and the

tor will help

stiff;

flip alone.

hand under your

little until

Always

you can do

practise on a

or you will bruise your hands and

this

mat

at

feet.

have prepared a show without attempting

THE TEN ELEMENTS

23

the back handspring, and gotten on very well;


but, naturally,

ten enables

each additional element of the

you

and give a better


spring

make more combinations


show. The forward hand-

to

easier.

is

Walk

to the mat,

put your hands down

as

for a handstand, jump, and go over to your


feet.

Fix your mind on keeping your arms

stiff.

If

you bend the arms you will not get

over and will perhaps knock your head.


instructor will heip

which

is

better at

The

by using the mechanic,

first,

or by putting his hand

on the front of your shoulder and giving a

push

as

you go over.

Learn the handstand

and practise handwalking a great deal


as these

two are most helpful

first,

in learning the

handspring.
Professionals as a rule teach the bender

before the back

flip.

Hold

the pupil around

him bend over backwards,


hands on the mat as near his feet

the waist and let

placing his
as possible.

When

he can do

this

without be-

ing held, he has only to learn to keep his arms


stiff

easy.

and the

little

jump needed

for the flip

Archange Tuccaro wrote

his

is

book on

AMATEUR CIRCUS

24

LIFE
He

tumbling three hundred years ago.


a funny

little illustration

this the

boy bends over the

instructor's leg

able cushion for his back.

man

In

of his method.

or big boy,

and

make an admir-

the soft muscles of the thigh

For

gives

(Illustration lo.)

it is

common

instructor to take hold of one leg

for the

and the back

or a belt and throw him, but this has always

seemed

the back
If a

me

to

the slowest

method

flip.

boy

is stiff,

cannot learn a bender, and

does not weigh over loo pounds,

around

his waist, the other

and throw him over


Before long he

which

of teaching

is

is

put one arm

under

his knees,

to his feet.

used

to

turning in the

air,

about one half of what he has

to

learn.

Then
his

arms

as

soon as he can be relied on to keep

stiff

so that he will not

one hand under the back

him

over.

is

knock

enough

as

his head,

you help

Pretty soon he can get over alone

and will shortly get the correct and easy motion of a


to

back

flip.

After that he can learn

do spotters or a string of

Pyramids.

There

are

flips.

many

of

these.

Rugen
II.

PYRAMID. ADORATION.

Rugen
12.

PYRAAIID.

Lighted balloon

is

PATH TO THE STARS

balanced on Topmounter's

right

hand.

THE TEN ELEMENTS


Two, "Adoration," and

"Path

the

25
to

the

Stars," are useful.

Adoration.

and knees, shoving

their hands

arms braced

from the back,

salutes,

The two

The
steps.

goes up quickly

jumps down, and does a

seconds dive

three Understanders

the end of the

close together,

above them doing

The Topmounter

the same.

roll.

Two

across.

Three on

n.)

(Illustration

mat and

This requires

down and

roll.

All form at

roll.

salute; run
practise.

back

If

to the

the

Un-

derstanders and seconds are not steady, the

Topmounter cannot go up and is invariably


blamed by the rest. The Topmounter must
not hesitate and must make a graceful salute,
or the effect is bad. All must come smartly
through the

rolls to the final salute.

Path to the
pyramid

if

well done.

staircase (as
in

the

Stars.

shown

strongest

This

Form

a very pretty

a solid

and even

in illustration 12), ending

Understander.

mounter gracefully (more or


this

is

The Top-

less)

walks up

and stands on the shoulders of the Under-

stander,

who must hold him

staircase

behind braces the Understander.

firmly.

The

To

AMATEUR CIRCUS

26

Topmounter

the

is

handed a

LIFE

sort of

paper bal-

loon, sold in trick-shops, or a dazzler cut short,

and a lighted

He

taper.

on right hand,

lights

it,

taper {cue for lights).


the hall are snapped

down

and throws down the


Instantly the lights in

ofjf.

The

balloon burns

hand, watched by the Top-

the

to

balances the balloon

But

mounter with an anxious

smile.

fore the flame reaches

the balloon sails

shower of

The

lights are

and drops
lights).

it,

just be-

{cue for

silver stars

snapped on, the Top-

mounter and Understander do a 2-High


all

the rest

to the

roll,

Fall,

one after the other, coming up

second salute, and run back to

Diving.

up

have

steps.

left to the last the direc-

tions for diving, for the reason that, in this sort

of a show, rolls and diving are the most im-

portant of

all

the

tricks.

AFTER YOU

HAVE MASTERED THE

ROLL,

let the

instructor hold a stick horizontally about a

foot above the mat.


fall
roll.

Walk up

to

it

slowly,

over on your hands, duck your head, and

Be

especially careful to keep all your

weight on your hands and not

head on the mat.

to strike

your

Practise this until you can

THE TEN ELEMENTS


run up

to

it

and go over properly, banging

Each time

neither your head nor your back.

up on your

roll

feet to saluting position.

your heels come over and

them

a little

strike the mat,

When you get this,

in.

27

the stick

and practise continues

If

draw
raised

is

until the stick

about waist high.

is

On no
class

account stop

can go over

it

this practise until all the

easily

balking or bumping.
in future tricks, so

Now

it.

on

Much

depends on

as

this

do not go on until you have

place a chair on the

As well

it.

on the run without

you

mat and stand

can, without

bending

the knees, drop to your hands on the mat, keep

the weight on your hands,


roll.

At

first

duck your head and

the instructor

must hold you

around the waist when you drop.


can do

Turn

it

alone, without upsetting the chair.

the chair around and do the

the back, always being held


at first.
class

Lay

the chair on

do running dives over

the head nor the back,


to

show

diving.

same over

by the instructor

its

things can be done perfectly,

vance

Later you

side,
it.

and

When

bumping

and not

let the

these

neither

before, ad-

AMATEUR CIRCUS

28

The

All form a

Horses.

LIFE

line, the

leader

runs to the mat, rolls and places himself across,

and

as in illustrations 13

dives over

ber one.

high

as

as

go v^ithout kicking the

you can

The
large

your best diver can


In

^'horses."

this act

Get some medium-sized or

Hoops.

Begin

play-hoops.

or bump.

Then

until

it

to

Let

one.

w^ith

he does not balk

bother the divers a

hang some coloured rags on

hoops.

second boy-

star the best diver.

each dive through

tle,

The

him and places himself beside numThe third the same, and so on un-

you get up

til

14.

it

lit-

or use two

Next, cover the hoops with

strips of

thin paper and dive through these, the arms

held out

breaking the paper.

stiffly,

After

that cover the hoops with solid tissue paper.

The
duck

diver will land on his hands on the mat,


his

head and

roll as in illustration

15.

Practise this steadily until no one balks or

bumps, then the

class is

"The Fiery Hoop


hoop and wind
or cotton.
longest.

An

it

ready for

of Death."

Take

with narrow pieces of cloth

old sheet torn in strips

lasts

Leave about a quarter of the rim

THE TEN ELEMENTS


unwound

to

hold

it

Soak

by.

before the show, and dash on a

At Cloyne

fore using.

hoop was

lights,

the hall.

lit

dived through

it,

and only the burning

rolled

charged the

up

all

came

not to repeat this trick, even

if

and

were back
on,

should have heard the applause.

this the class

class,

to the feet,

After

instantly the lights

Before

be-

little just

the class lined up, the

Down

ran back to the steps.


line,

in alcohol

lighted, the efficient stage-manager

turned off the

hoop

it

29

It

in

and you
better

is

applauded.

dived through a plain

hoop and eight paper-covered hoops, each of


different colour, with a gorgeous

Thompson

gold star in the centre to aim the hands


It

is

joints

all the

with bicycle tape rubbed over

after-

good plan with hoops

to

as they are apt to

at the joints.

The

best

way with hoops

is

side four of a "nest" of hoops.

pairs

at.

wrap

wards with talcum powder,


break

which

fit

to

buy the

out-

That gives two

snugly together.

Laying the

inside one on the table, cover with tissue

paper

and fasten with the other, thus avoiding the

work

of pasting.

For a

class of eight, ten

AMATEUR CIRCUS

30

pairs are ample,

LIFE

allowing one for each to

break and two for double hoop diving.

When
method

you desire

is

to

give a show, the best

that of professional circus-directors

and vaudeville stage-managers:

to so

build up

your programme with such material

as

you

have that the show begins well, ends well, and

By

does not drag.

that I

mean

that the open-

ing interests the audience, that they are not

weary

as it proceeds,

One
show

and

it

finishes well.

half of the success of a professional

is

due

thing goes

planned

to

to the style

and

smoothly and
look well.

you may have

if

finish.

all

This

the

style

Everyacts

and

are

finish

you rehearse enough, and,

if

the acts are pretty, the fact that the tricks are
easier does not

much

matter.

You must remember that, when you give a


show, you have to know exactly whatever you
try to do.

there

is

It

is

not like a classroom where

time to think and where you

through by excuses or good luck.

If

may

get

you un-

dertake to do anything before an audience you

must do

it

appointed.

properly and at the exact

moment

THE TEN ELEMENTS


In building up a programme,

company

of the

star

each one

in something, every

member
One boy

getting a chance at the limelight.


will learn the cart-wheel first;

specialty and star

him

handspring, and so on.

by the

class,

end with

monotony of
and

31

in

it.

make

Another the

Begin with

a quick one.

all-class acts

that his

a slow act

Break the

by ^^brother acts"

specialties, as described in the

following

chapters.

TOPMOUNTERS AND UNDERSTANDERS.


all

double work

it is

In

the Understander's duty

Topmounter from falls and bruises.


what the Understander is there for, to

to save his

That

is

take everything that comes.

Topmounter

will

not have

cannot do good work.

Otherwise the
confidence

and

Until two have worked

together for a while they are not *4n time,'' as


professionals

right
is

moves

fine

to

say.

at just the right

see

boys

for

the

moment, but

it

partners working in a good

"brother act," every


gether.

They cannot make

move

nicely timed and to-

Naturally you choose the smallest

Topmounters on account

of

the

weight, but there are other things to be con-


AMATEUR CIRCUS

32

sidered.

LIFE

Does he look well when he smiles?

Has he courage?

Has he

Will he be obedient?

head?

a swelled

sullen-faced boy

produces a bad impression on top of a pyra-

mid

or in a brother

People think he has

act.

been overtrained or the work hurts him or I

especially

know

not what

and

you are trying

as

to

nervous women,

make

a pleasing im-

pression on an audience you must consider all


this.

It

is

erly.

for

if

not enough to do a difficult act propIt

must be done gracefully, with

your audience

as well stay at

is

not pleased

style,

you may

home.

In the old days there used

to

be a theatre

on the Bowery which had an amateur night


once a week.

Any amateur

could pay a dol-

lar

and go on and do

act

was bad the audience would

his or

and

^^rotten" or "get the hook,"

former declined

dragged him

off.

stop,

to

her

the

If the

act.

all
if

yell

the per-

stage

have seen there,

hands
acts,

given by boys, which had real merit; that

is,

they were difficult things to do, but they were


so

awkwardly done, without

style or finish,

19-

Throw No.

First

Position

Center Oval, 21, Double

Throw No. 2
Second Position

20.

Walk

Both these practice throws are useful, especially in training Topmounters. Learn them always on a soft mat. No. i is more easilylearned than No. 2. At first in swinging up No. i let some one
put a hand at his neck so that he will not fall back. Soon he will
No. 2 has to push hard on the
get the time and land on his feet.
mat at the pull up of the legs. Do not let go of him the first few
When he has the time, throw
trys or he is sure to land on his nose.
his feet over, he pushes his hands hard and comes to second position.


THE. TEN ELEMENTS

33

Perhaps

that no audience could accept them.

would slouch on he looked all hands


and feet his work was always too slow or too
the boy

He lacked training. Amateur boy box-

fast.

ers generally
fast

they go

make
at

it

the mistake of boxing too

as if

out the other in the

each expected to knock

first

bow, and go home.

half of the

So

to

avoid

there must be ceaseless drill on the

the way one

stands, holds his

all this

little

show work, your

in all

difficulty

so

acts," as

that

is

Here

cannot see yourself working.

points

head and

In partner work, or "brother

on.

round,

first

you

the in-

structor or a sensible friend can help enor-

By

mously.

will polish
all

desire

Many
good

steady criticism every day he

up your work

until

it

smooth, clever, beautiful

an amateur act could be

act

if it

becomes what

were competently

made

would

Do

a really

criticised

the performer did not have a swelled

act.

and

head and

listen.

not try advanced

work

until

you have

mastered the ten elements and the simple work


described.

The

needed here.

patience that wins in life

Those who exercise

it

is

will be

AMATEUR CIRCUS

34

who

rewarded, for the boy or girl

ten elements can easily learn to

much

LIFE
masters the

do well, pretty

anything.

Another caution

Do

Topmounters:

to

not

practise with any one else but your partner.

Stray people

who

you

see

Understander's

and

bruises

spoils

like to try

work without learning

the throws and double


the

work

at

part.

This

your form.

in

results

After practis-

ing a while with a partner both learn the time

and

this

is

You

important.

gain nothing by

practise with an ignorant stranger.

When

all

have practised the

the roll well, the double

much improved by

fall

and know

2-High Fall can be

using mats which cover a

Do

space about i8 feet long and 3 wide.


fall as

before; after the salute

the

again

all roll

quickly, get in position again, turn around,

mount, and repeat the

fall,

roll,

and

salute.

This takes each pair down the mats and


back.

Second time change the salute

Another variety of the 2-High


are four
ers, is to

to

number

Fall,

if

2.

there

Topmounters and four Understandput two pairs

at

each end.

The

four

THE TEN ELEMENTS


pairs cannot double

down

35

the mats and back

unless wider mats are used.

These 2-High Falls are much appreciated

by an audience and supposed

to

be very

diffi-

Topmounter
stays on as long as he can and when he jumps
The
is but a short distance from the mat.

As

cult.

a matter of fact the

however,

roll,

is

done so quickly that an audi-

ence imagines that he lands on his hands.

The Topmounter cannot


his

Understander

backwards.
is

If the

get bruised unless

him or
Topmounter

trips

him fall
damaged it

lets
is

the fault of the Understander, a very

good

reason for never working with an Under-

stander

who

has not learned his part.

The

instructor should see to this.

Now

then

faithfully

we may assume

followed

that

you have

directions

the

in

this

chapter and have attained a real proficiency in


these ten elements of simple tumbling.
It

is

fitting that

ure that one

may

you should enjoy the pleasfind in

"Amateur Circus

Life" and the next chapters are devoted to


telling

you how

best that

may

be done.

CHAPTER

IV

SHOW

PREPARATION FOR A
Suppose that a Y.

M.

C. A. or

Boy

Scouts'

Patrol wish to give a show and have three

months

to get

ready

The show can

in.

be given in a gym, a hall, in

a tent or in the open.

Wherever

it

ar-

is,

range a ring with sawdust and a stage on one


side.

Lighting should be the best you can

command.
best.

If

you have

electricity

ring can be very well

old-fashioned

flare

lights,

venders use, or larger.

must have

footlights

lit

such
stage,

that

is

with the

as

peanut

however,

and a curtain that works

properly.

Plenty of circus people are making a

liv-

ing in Latin America with no better rig than


this

and canvas enough for a fence

to enclose

the audience and balk the deadheads, because

they cannot afford to buy a tent and give

good shows

too.

Of

course
36

if

you have no

PREPARATION FOR A SHOW


tent

show

37

impossible in bad weather.

is

Benches, planks,

and borrowed chairs will do

for the audience.

the Ring.
from Barnum & Bailey
Size of

Just here this letter


is

interesting.

BARNUM & BAILEY


Greatest

Show on Earth

General Offices and Winterquarters,


Bridgeport, Conn.

March

21, 1916.

Ernest Balch,

107 East 30th Street,

New York

City.

Dear Sir:
Answering your
feet in diameter.
is

inquiry, a regulation circus ring

The

height of the curb

is

42

is

optional as

it

However, they

only to serve as a guide for the horse.

are usually about 12 inches high.

Very

truly yours,

Barnum &
Messrs.

Barnum &

size of a full ring

Bailey explain that the

42

is

feet.

But

needed only when horses have


bareback.

For amateur work


in

this size is

to

be ridden

In a smaller ring the horse would

be too cramped to get the right

feet

Bailey.

diameter.

it

may be

gait.

as small as

20

This would give room

AMATEUR CIRCUS

38

LIFE

enough for a double 2-High Fall and pretty

much any kind of work desired. The circular


wall may be built of wood with a padded canvas top or turf covered with canvas or old

can be managed, a very good

carpet.

If

effect

produced by covering the ring wall

is

it

with pretty coloured bunting or similar


If

your ring

is

built on grass-covered ground,

Dig out

cut off the turf for the wall.

ground say two

to three inches,

remove

or stumps.

sifted

all stones

If

you give

tickets for

it.

smooth and

This

and acrobatic work


a really

the

Then cover with

sawdust or tan bark.

for tumbling

stuff.

as

is

as

good

any mat.

good show, you can

People will always pay

sell

to

be

amused and the entrance money counts up


rapidly.

movies.

Many

people are quite tired of the

Boys should plan a show

and 25 cents for the best

and ushers are easy


a well-drilled

performance.
that

to get.

Ticket

The main

company giving an

The advantage

you can put on

a boy or girl

seats.

who

at 10,-15,

a fake

sellers

thing

is

interesting

of the stage

animal

act,

is

or

can sing a solo or a chorus

PREPARATION FOR A SHOW

39

or indeed anything that interests, barring long

and

stale recitations.

In the ring the only fake animal you can


use

is

an elephant, shown by a clown, or per-

haps a donkey.

You

will

make

the most

money by giving

three performances.

The

First at night.

second day a matinee,

and then an evening show with a


of

bill,

say a pretty pantomime.

little

change

There are

number

of these; for instance, ^'Cinderella,"

part in

the

ring,

part on the stage;

'The

Schoolmaster" in the ring, "The Hotel" in the

of

"Box

&

Cox" on the stage,


"Uncle Tom's Cabin," etc.

ring,

How Much Time


FOR

Preparation?

a burlesque

Should be Allowed
I
would say three

months, supposing that you wish to give a

show and make money out

of

it,

for the

Red

Cross or something.
If

you

must give

sell

tickets at 25

a very

and 50 cents you

good show and that means a

long drill and some older head to manage


things.

A smaller enterprise takes less prepa-

AMATEUR CIRCUS

40

you have boys or

If

ration.

LIFE

girls

learned already to do something, so


is

If there

saved.

act

may be

who have
much time

a stage, a piano or violin

is

put in or a dance.

Small one-ring circuses can do


benefit; the

show goes

change and variety.


a

show and there

A
It

is

this

with

better because there

is

All sorts of people go

to

are varying tastes.

programme has

be

to

made

interesting.

not enough to provide a string of Class

The

That would be monotonous.

acts.

audi-

ence must be entertained by affairs which seem


to it

amusing and

pretty.

must please your audience.


dinner, to the solid

is

like a

The tumbling work

must not be too much of


not

my

describe very

many

is

act
is

the

there space to

circus acts; but rather to

may

be learned by ama-

teurs without too great sacrifice of time.


is

is

it.

intention nor

pick out a few that

of time

good

meat of your banquet, but there

real solid

is

It

meat course, you add soup,

salad and dessert.

It

In a word, you

the great obstacle.

two or

five years before

To
he

Lack

practise an

sure of

it

not unusual for a professional, and this

is

is

PREPARATION FOR A SHOW

41

obviously impracticable for the readers of


this

book.

exclude also acts which depend for the

effect
acts

upon one

or dangerous

difficult

which require elaborate scenery and

feat,

lights

or expensive costumes.

All these things must be considered and

furthermore

we do

we can do

well without them for

not have to pass the exacting and some-

times routine standards of agents and managers^

and best of

all

we

burden of the treadmill

are free

from the

the profes-

life of

sional.

If the

amateur masters the ten elements of

simple tumbling, to give two or three attractive

shows a year

he will wish

is

easy and this

about

is

to do.

To embark

in the business

is

given to few,

Any boy

and

is

who

intends to do that will find that

altogether another matter.

learns here

whole

is

lot

what he

a help, but that he has to learn

more which only

exacting master

can

The

life is

a master

an

teach.

Professional acrobatic
business.

all

work

is

very serious

one of great self-denial.

AMATEUR CIRCUS

42

LIFE

acrobat does not drink, use

first-class

to-

bacco, or gamble; he must have plenty of


sleep

and he cannot follow any other occupa-

tion.

He

is

always going somewhere and never

anywhere.

getting

week or

less

in

one

place and you are off for another, perhaps

never

to

come back.

Travelling

all

over the

world and seeing nothing and knowing nothing about the best things in that world

hold the

life of

an acrobat.

Brother Acts

are so-called because

circus custom to bill an act as

This

families or brothers.

The
name is

venient custom.

one and the

which

is

be-

act

is

is

is

performed by
simply a con-

owned by some

a sort of trade-mark

of value in treating with agents

managers.

it

The "Brown Family"

or

and

"Brown

Brothers" do a certain kind of act and acquire


a

reputation

known
to

which

is

valuable.

in the business to be reliable

do what they contract

to do.

"family" drops out some one


fill

They

the place.

are

and able

If one of the
else is

hired to

PREPARATION FOR A SHOW


It

is

43

work

convenient in amateur circus

to

follow this custom.

Two or

three practise together, learn an act,

These brother

and choose a name.


be easy or

difficult

the actors.

according to the

In Chapter

V a show

is

may

acts

skill of

described

which was rehearsed only three weeks.

Two

brother acts were built up out of easy tricks.

As they were done


ish,

nicely with style and fin-

both improved the programme.

Once

the ten elements of simple tumbling

are mastered an endless


is

possible.

tricks,

Each

list

of combinations

act should

comprise three

and a fourth, the best or showiest,

should be kept for encores.


always ends with a

roll

lowing are two-brother


one for

little

trick nearly

The

fol-

acts for big boys

and

and

salute.

boys and a ^^principal" brother

The Sanreyes, given as illustrations of


what may be done.
Simple Brother Act. No. i. The Kick.
act,

Understander on

his

mounter

sits

him up

in the air.

on his

back on the mat.

feet.

Top-

Understander kicks

Topmounter

shoots up,

AMATEUR CIRCUS

44
dives,

and

up

rolls

to

standing position.

derstander back rolls


(Both do

2d

No. 2

to

salute together.

and

rolls,

derstander dives over him, while he

Both face and

dives and Understander rolls.


salute or salute

back

to back.

Shoulder mount 2-High Fall,

^d Trick,

No.

rolling

is

Topmounter

opposite way, but second time

Un-

Both turn and go the

in opposite direction.

give No.

Un-

standing position.

Topmounter

Trick,

LIFE

Salute.

2.

The

Encore.

Topmounter on

Turn.

Double

(Bridge shown by Un-

top.

They

derstander in illustration 4.)

Understander

is

bridge,

turn so

on his hands and knees and

Topmounter same on

his back.
to

Top-

mounter and brings one foot forward.

Bal-

Understander

gives

one

hand

to

Top-

his

feet.

ancing on that he gives the other hand

mounter and begins

Topmounter
shoulders.
his

foot

feet

up

other,

is

to

rise

up on

balanced well up near the

When

and

to

Understander

solid,

is

well up on

Topmounter brings one

place on his shoulder, then the

balanced and supported by Under-

PREPARATION FOR A SHOW


After

stander's hands.

up

this stand

2-High Fall and No.

45

straight,

2 salute.

This turn requires much

Top-

practise.

mounter's feet must never touch the floor in

making

the turn, and both

2-High Fall before trying

must learn the

the turn.

This brother act follows the

Begin with an easy

three things:

with your second

in

best,

Do

rule.
trick,

fill

end with a showy

one of merit, and have ready for an encore a


harder and showy
plauded.

It

is

trick, in case

you are ap-

composed

also so

as

clude what the partners have learned

and
the

to interest

acts

it

tricks, if possible,

is

tration

16

to do,

that easily run into each

and No. 2

this

shoulder mount.
the shoulders the

quickly.

desirable to combine

other, as, for instance, the


into the roll,

in-

an audience, providing always

work can be done smoothly and

In brother

to

planche

2-High Fall does

salute.

As

follows

in illus-

well

the

After an erect balance on

Topmounter

sits

on the Un-

derstander's shoulders, plants his feet on the

Understander's legs close to his waist, stands

up and curves back, while Understander

pulls

AMATEUR CIRCUS

46
his

LIFE

head back and leans back

The

to a balance.

combination, therefore, runs: shoulder

mount, planche, double

roll.

No.

Salute.

2.

Second Brother Act. Bridge Handstand


Snap-up.

In the bridge and handstand

lustration

4),

bly*

the Understander

supposed by an audience

the work.
little

As

his feet

to

is

(il-

invaria-

be doing

all

and hands are spread a

and knees touching, he really does noth-

ing, since

it is

Topmounter

easy to sustain the weight of the

This

in this position.

is

prop-

Topmounter
does a handstand and handsprings off.
Understander does a snap up.
Both salute. But

erly a two-trick combination.

if

they are not far enough advanced to do all

this,

the

Topmounter can come back

to

standing position and Understander can back


roll to his feet,

both saluting, which makes a

fair combination.

Brother Act for Little Boys.


simple and easy tricks for

little

double walk and the double

Two

boys are the

roll.

They do

not look well for big boys and are too easy.

Double Walk.

Face

to

hold of each other's shoulders.

face both take

No

2 jumps.

22.

Top boy dives between

DOUBLE ROLL

Russak

in holding feet firmly.


Bottom
boy pushes up and does the same. Both should roll smoothly without
bumping the head. This is brother work on a mat.

feet

close

Russak
23.

first.
Front boy takes position second. Back
Handstanders come down first, then Topmounter. All roll

Topmounter goes up
boy
and

last.

salute.

EASY PYRAMID

PREPARATION FOR A SHOW


throws his legs around No.

hooks

his

No.

feet.

through No.

I's legs,

Achilles tendons,

No

shoulders up.

hands on the mat.

No.

Stop.

pulls

Both

position.

No.

I's

bends over and puts his

They walk down


No.

back

to

the mat.

standing

(Illustration 21.)

No.

on his back.

lies

2 stands with a foot on each side of his

No.

head.

and No.

Each

puts his feet up.

hold of the other's ankles.

No.

head and

his

raises

salute.

Double Roll.

backward

puts his hands on

and

and

waist,

I's

bends

47

No.

takes

2 does a roll

pushes and helps him over.

No.

then does a roll helped over by No.

Three

rolls

down and two

back.

2.

Salute.

(Illustration 22.)

An

improvement of

The two march

this:

Wheelbarrow

on the mat

as

tration 6).

Swiftly the wheelbarrow ducks

and

taking

rolls,

kles.

Proceed

in

the

hold

in the

of

double

No.
roll

(illus-

2's

an-

down and

back.

The

Sanreyes. Principal Act.

suppose the two boys


act

who wish

have a trained dog.

to

We will
make

the

AMATEUR CIRCUS

48

The

LIFE

boys have learned to do the

roll,

and

dive, the headstand, the shoulder-mount,

2-High

Fall,

the

and one of them can do a hand-

stand.

The dog
two

has learned to

rolls in succession, to

or hind paws, and to


of the boys

sit

up, to do one or

walk on

jump on

the back of one

and then climb up onto

assisted

by the boy and

2-High

Fall.

sit

his front

his

head

there, then

do a

All of these are easy and do not take

The dog

time.

is

taught as

much

described

in

Chapter IX.

We will

name

the act

THE SANREYES
(Properties required, a mat)

As explained such a name is a sort of trademark and has nothing to do with the real
name of the performers. We will suppose
the

dog

liable

learned

to

that

be pretty good and above


is,

all re-

he will always do what he has

when he

gets

his oue.

around barking, balks or has


will spoil the act.

The

to

If he runs

be coaxed he

three Sanreyes are

PREPARATION FOR A SHOW


therefore, George, Harry,

You would

and

49

Billy, the dog.

bill it so

THE SANREYES
George

Harry

Billy

George and Harry come out on the

First

and

floor

salute, or if the act is

stage, the curtain rises

put on the

and they are standing

there saluting, but Billy remains out of sight.

The mat
else

is

needed for

this act.

appear until the second part

(Billy does not

or the third,

Nothing

conveniently placed.

is

he

if

not very reliable or has

is

learned only one trick.

No.
mount.

Both

George

I.

No.

No.

2.

Harry.

Shoulder

Salute.

Planche.

No. 2

Balance.

roll.

and

2 Salute.

George and Harry do

handstand (illustration 4).

and 2-High

Fall.

They

the

mat on two
on

Harry's back,

sits

2-High

Both

Fall.

bridge and

Shoulder-mount

stand behind the

mat

Billy comes on and walks

with arms folded.

down

feet.

Billy

jumps on

his shoulders or head.

roll.

AMATEUR CIRCUS

50

Harry shoulder-mount on George.


jumps up to Harry. Harry holds Billy

No.
Billy

on

LIFE

3.

his shoulders

and does a planche.

Harry and George

are

in

balance,

When
Harry

brings Billy out to a planche in front of him.

All

(Illustration 16.)

roll.

George

Encore.

on

and

hands

knees.

Harry same on his back. Billy jumps up on


Harry. Harry steadies Billy with right
hand. George and Harry come to standing
position. Billy on Harry's shoulders. 3-High
Fall.

All

Bow.

roll.

reyes have built

up

the act so far they will

change and improve

more

difficult

brother

After the three San-

tricks.

it

as fast as

This

is

they learn

true

of

all

acts.

Table and Chair Act for Big iBoy


OR
I

table 22 inches

Clowns
by 22 inches by 32 inches

high.
I

chair 16 inches by 16 inches by 18 inches

high
I

to seat.

chair 14 inches by 14 inches by 18 inches

high

to seat.

Russak
24.

TABLE AND CHATR ACT. FORWARD FALL

Riissak
25.

TABLE AND CHAIR ACT


Back

Fall.

"This

is

the

life."

PREPARATION FOR A SHOW


The

51

top of table and seat of big chair are

slightly notched to

keep the legs from

slip-

ping.

Clown

piles

them up and

sits

on the top

chair.
ist

clown rocks back and forth with funny

business.

No. 2 clown meanwhile pretends


If

you wish

forward, just as the

fall

to

fear, etc.

chairs and table go over throw your feet for-

ward, your head back (illustration 24), land

on your

feet

and do

This

a quick roll to feet.

produces the effect of a

fall.

If

you

fall

back

spread your feet on each side of the chair and

throw the head and shoulders forward


tration 25).
instantly

You

(illus-

will land on your feet and

do a back

roll to feet again.

Mats

are arranged in front and back of the table.

At

first

practising a partner or instructor

should hold table and chair until clown gets


control of the balance, for table and chairs are
liable to

double up and the table and one chair

should be practised

first;

then two chairs until

the performer can keep all in line as he rocks

back and forward.

AMATEUR CIRCUS

52

This

is

properly a clown

put on the programme


for a big boy.

changed

to

fit

climbing up

be

an independent act

The measurements must be


i

piling

is

up the

chairs

and while he

to his place

and

is fall-

lot of

which they can work out themselves.

business

The

table should be

legs.

After the act

shaved down

more

will tip

at the

made with

big,

heavy

learned these can be

is

bottom so that the table

easily.

Contortion Work.

Contortionists smk^

are popularly suppposed


jointed even that their bones
men

children.

Among

may

clowns can use effectively a

ing, both

when

but

act,

the table and chairs for a small

While No.

boy.

as

LIFE

This

boys there

is

is

to

be double

broken

are

untrue and absurd.

sometimes one

who

the peculiarity of very flexible joints.

has

This

may be

seen by bending the fingers back to the

wrist.

If

contortion

you can do

this

you can do ordinary

work, which mostly consists of

bending back until the head goes between the


feet

or placing the feet behind the neck.

Any

one

who

can do so can make a contortion

act with little work.

have seen a boy do a

PREPARATION FOR A SHOW


fair

53

amateur act after about two weeks' prac-

The main

tise.

was

difficulty in his case

to

learn the order of the tricks and not repeat


himself.
It requires long practise to

Juggling.

work

There

that depends on sleight of hand.

are good books to teach

Big stage mystery


expensive
I

easily attained.

acts are easy

and

apparatus

However,

it,

do

but require

lighting

would recommend

boy

effects.

to learn

beginning with tennis

to juggle three objects,

an accomplishment useful in

balls, as this is

balance acts and other ways, and

is

very good

training for the eye and nerves.

As

Boxing.

tant thing to

gramme.
this,

do

Boxing

have explained, the impordiversify your pro-

is

to

is

a very

good way

to

do

but solely as an act to show off your small-

est boys.

old

If

you can get

who know

afraid to be

little

a pair about ten years

about boxing and are not

punched a

bit

and can stand

without losing their tempers, that will


the act.

Let one

much

it

make

larger pair begin, a

middle pair follow; and then out jumps your


smallest pair.

You

will be sure of applause.

AMATEUR CIRCUS

54

Rounds should
round

go on solely
is

two pairs

first

as

matched and

can box only a

one round.

little

It is

they

Two

to introduce the little pair.

enough for the smallest pair

are evenly

One

about one minute.

enough for the

is

rounds

last

LIFE

if

they

If they

really good.

or are unevenly matched,

hardly necessary

no boy should be allowed

box

to

control his temper and stand a

to say that

if

he cannot

little

hammer-

ing.

Pantomimes
tion

possess a perennial fascina-

and are most useful for an amateur

circus.

^Jack and the Beanstalk," ^'Cinderella,"

many

of the

famous old fairy

can be

tales

turned into pantomimes with great success.


^'Robinson Crusoe" has been used again and

The "Swiss Family Robinson" would

again.

make
world

good one.

little

There are

sketches of I

also afloat in the

know

not what ori-

gin, such as the "Hotel," the "Schoolmaster,"

the "Railroad Conductor."

distinguish in

making

sary to consider

But one should

a choice.

what each

It

neces-

story requires in

way of scenery, costumes, and


"Mucha maquina" as the Spanish
the

is

changes.
puts

it,

PREPARATION FOR A SHOW


would be an objection

many

The

cases.

tale of

El Rey Dorado for which

many men have

died, could be turned into

famous old
so

in

55

a most effective

pantomime but

it

would

re-

quire very elaborate costumes and effects and

many

people.

The culminating

story represents a sacred

which

King

the Gilded

scene in that

mountain lake

washing

bathes,

waters.

as

an offering to the

off

which he

the gold dust and jewels with

covered

in

God below

is

the

whereas the

Difficult to reproduce,

culminating scene in "Cinderella"

is

ing on of a slipper in a kitchen.

"Jack and

the try-

would be easier to give than


"Gilded King" but more difficult than

the Beanstalk"
the

"Cinderella."
tle

In producing any of these

pantomimes or comedies

a trained

and

ciplined tumbling class can do easily

other boys or girls would find very

One could

write

lit-

dis-

what

difficult.

another book explaining

fully such matters.

Any
little

bright person can

comedies.

make up one

They may be

all

of these

in panto-

mime, or part pantomime, and part spoken


lines.

"Cinderella"

begins

on

the

stage.

56

AMATEUR CIRCUS

Build a runway from the stage

which two

side

by side may

LIFE
to the ring

easily walk.

The

tage kitchen of Cinderella.

Two

One, the

required for the stage.

sets are

on

cot-

other, the

palace of the Prince.


PARTS

The
The

Prince
Prime Minister

Fairy Godmother
Proud Sister No. i
Proud Sister No. 2
Herald

As many more

people as desired.

Courtiers, attendants,

guards, etc.

Act

I.

Scene

All talk of the

Scene

ball.

Proud

2.

i.

Cottage of Cinderella.

Proud

sisters

sisters

have gone

Fairy Godmother appears.

Act
Clock

Goes
II.

it i;i.

to the ball.

Cinderella trans-

formed comes down runway


ring.

rub

to

coach in the

to the ball.

Scene

strikes.

I,

(Onstage.)

The

ball.

Cinderella runs home, drop-

ping slipper, from the stage down the runway

and out the entrance.

Scene

2.

(On

the

stage.)

Prince demands that Prime Minister

finds the

wearer of the slipper.

PREPARATION FOR A SHOW


Act

(On

III.

Trying on the
ered.

Stage.)

Cinderella

slipper.

Grand march down

End with

entrance.

This "Cinderella''

Kitchen

to ring

is

scene.

discov-

and out

grand wedding

57

to

scene.

a very convenient little

is

comedy because you can use many or few people and make it simple or gorgeous according to the resources of the company. I saw it
done once
sixty

Mexico by

in

An

odd.

company

a circus

of

extremely pretty girl in a

beautiful costume was the Prince and looked

Another pretty

it.

part.

girl took the Cinderella

All the principals were good panto-

mimists.

Nothing was spoken.

clown played the Prime Minister.

famous

Another

good clown the Herald who bore the slipper


on a cushion.

The Proud
homely.

Sisters

There was

were magnificent and

a real coach with coach-

man and two footmen


and
nies.

nies,

liveries

The

in

drawn by two

cocked
little

hats,

wigs

Shetland po-

transformation of the coach, po-

and attendants was supposed

place outside of the tent.

Godmother summoned

When

to

take

the Fairy

the coach, Cinderella

AMATEUR CIRCUS

58

LIFE

was already beautifully dressed and covered


with a ragged old dress which she dropped
while Godmother stood in front of her and

waved her wand,

the ponies

and coach gal-

loped in from outside, stopping in the ring

and the footmen opened the door with a bang


and low bows.
Cinderella drove off bowing and smiling
to all of us in the audience.

The Second Act was on

the stage, the real

circus orchestra playing dance

crowded

ball.

There was

music for the

a pause, a clock

struck slowly and loudly the fateful twelve,

poor

Cinderella, dismayed, gathered

little

her dress and fled

down

the

runway through

the ring and out of the tent, the slipper

covered and

Act
Proud

III.

down came

up

is

dis-

the curtain.

Curtain rose on

first

kitchen

Sisters are discussing the ball,

set.

Cinder-

The Prime Minis-

ella

weeps

ter,

Herald, and guards solemnly march into

the ring.

in the corner.

This procession was very amusing.

They mount up the runway to the kitchen on


the stage.
Each Proud Sister tries on the
slipper.
Nothing doing. Then Cinderella

PREPARATION FOR A SHOW


is

Scene

discovered.

The

2.

59

Palace again.

Prince and Cinderella centre of the stage.

Fairy Godmother behind them, blesses them.

The Coach
plays
ella

drives into the ring.

wedding march.

descend

Prince and Cinder-

to the coach,

you may believe

Orchestra

slowly drive away,

to the great

applause of

the real audience, so sweet and

happy they

as

The

looked.

curtain descended, the audience

applauded, sighed a
In

this

little

and went home.

rendering the transformation of Cin-

derella, the coach, the ponies

ants

much

and the attend-

was dodged because they require


setting

ence did not

and machinery.

mind

that

so

But the audi-

and the other points

were charming and well done.

The

fairy at-

And a sweet, lovely


appealing as much to grown

mosphere was achieved.


old story

it

is,

ups as to children, which will go well with a

much

simpler setting.

The Hotel

requires no scenery at

all,

and

but three clever actors.

Two

cot beds are placed in the ring, one a

broken tumble-down
fortable one.

affair, the

other a com-

A desk and chair are placed in

6o

AMATEUR CIRCUS

front

at

distance,

little

These represent the

twelve

say

woman who

keeps the hotel.

marks from

her,

come
tramp

feet.

The

office of the hotel.

represent the lodging.

beds

LIFE

Enter an old
After some

re-

in a lodger in a sort

Dialogue.

costume.

of

ridiculous

He

receives the broken cot and gets into it

Then enters the second


lodger well dressed who is received with great
More
politeness and shown to the nice cot.
Funny

business.

funny business.

the lodgers, for the

ment and No.

row between
second goes out for a mo-

This leads

to a

steals his bed.

The row

creases until the old lady chases

in-

them both

The

out and, distracted, runs out herself.

ring attendants rush out the beds, chair, and


desk.

In

this

comedy

the

whole

effect

duced by the dialogue and funny

little

pro-

business.

very funny indeed.

As

comedies or pantomimes of

this

In clever hands
a rule

is

kind are used

it is

to

end the show.

At

the end

the orchestra plays the final good-night music.


If a coach

and ponies are not attainable for

Cinderella, the arrangement must be changed

somewhat and

all

take place on the stage.

PREPARATION FOR A SHOW

A burlesque of "Uncle Tom's Cabin"


Once we did
difficult.
lish mixed and it was

it

in

is

6i
not

French and Eng-

sufficiently ridiculous

and amusing, under the name of "Le Cabine


de Tio Tom."

Soapboxes covered with cotton

batting represented cakes of floating ice on the

Ohio River over which


by

a half

dozen assorted dogs led by an Italian

greyhound.
nificent

Eva was chased

little

Never

Legree and

shall I forget the


his boots

mag-

and the mongrel

French pathos of Uncle Tom.

CHAPTER V
A SHOW AT A BOARDING SCHOOL

One day at the Cloyne School, Lewis said,


Won't you start a tumbling class?" Twice

before I had conducted a tumbling class at

In 1914, while building the winter

Cloyne.

camp, which

described in Chapter XII,

is

Lewis and three

practised for four weeks.

other boys, of this class described, were in

So we began

noon but Saturday,

Then

it.

after-

with eleven boys.

starting

the head of the school asked, ^^Can you

not give a

show Thanksgiving evening?"

Every one wanted


left

an hour every

to practise

we

to

do

this

but there were

only three weeks in which to get ready,

and that

is

a very short time

boys are too

were with

and

moreover, eleven

for a class.

eleven, four of

tle training,

giving.

many

whom

just three

But there we
had had

weeks

to

to

drop

out,
62

lit-

Thanks-

could not fairly ask a boy

worked well

who

but I have always

AT A BOARDING SCHOOL
made

the rule in a tumbling class that a

must obey orders.


began

class

boy

Before long one of the

make

disobey and

to

63

Twice he was warned, but

disorder.

suppose he

thought he could pull through, and the third


time

I let

him

resign.

Another boy was


ing,

to

go home for Thanksgiv-

and we needed one for stage manager,

now you

we were down

see

were

except

to eight, just the

and a well-balanced

right number,

that

the

should have been a

two

trifle

nately, in this class there

so

lot they

Understanders

heavier.

Fortu-

were two boys

suit-

able for Topmounters, so I began to train


both, then at any

symptom

the other could be used,

delayed

we were

good work

at the

and the

down

The

be

show.
it

happened that

true motion in two weeks

was the only one who


his act.

class not

ready in time and both did

In practising cartwheels

Tom caught the

of enlarged head

did.

So we made

and
this

other boys did left cartwheels

the mat, two each, twice round while he

stood in a majestic pose.

cleared and

Tom

Then

the floor

was

turned a string of beauties

AMATEUR CIRCUS

64
all

around the mat on the bare

had

Had we

floor.

would have been

a calcium light this

spotted on

LIFE

him while we wheeled around

the

which of course was

mat, increasing the

effect,

due

between the not-well-done

to the contrast

cartwheels on the mat and his easy motion.

Great applause rewarded him.

As

have described, what

done in sight of

is

an audience must be done properly.

amount
class

to

nothing at

Excuses

Moreover,

all.

this

had not yet appeared before an audience

and would naturally be nervous.

must say

that the night of the

show they were hardly

which

I attribute to their prac-

at all nervous,
tise in

work
this

public speaking and also to the capable

same

class

at their next

much one

None

manager Sam.

of stage

would work

show, for

learns

it

a
is

whole

the less

lot better

surprising

how

by appearing before an audi-

ence.

One of

the class tried a front handspring, but

he did not get away with


of confidence.

With

would have gone


his fault, for

it

simply from lack

a week's

all right.

more

Not

he was unwilling

practise

it

in the least

to try

it,

and I

AT A BOARDING SCHOOL
It

insisted.

65

was hardly noticed and mattered

little.

As we had but

three weeks to practise in

and four of the eight boys were quite green,

we

did not attempt the back

ond week of practise


the

programme

One

difficulty

it

and

all

worked

Here

it.

went a

was agreed

might have had more

de-

acts

the stage

and the company

so smoothly that all


it

that they

not go up at the right

his business

Afterwards

fast.

is

There are always

the rest of

manager knew

to settle

Thanksgiving show.

with amateur shows

lays, the curtain does

time,

became time

of this

do not work smoothly.

In the sec-

flip.

little

that the

show

and run a half hour

longer without tiring the audience.

good stage managers Sam

too

is

Like

gloomy and

all

pessi-

mistic.

^^These kids can't do anything," said he.

"That's a

fact,

they cannot do

much

in three

weeks, but they will stand for a lot of drill

now

that the class

is

down

to eight,

and what

they do they will do with style and

finish.

Two-thirds of the audience will not know the


difference between easy stuff and hard, and

AMATEUR CIRCUS

66

make allowances

the other third will

You

short preparation.

LIFE
for the

run your end in good

shape and the show will go well."

"Suppose Craik

(One

gets rattled?"

of the

Topmounters).
"Well, he won't; he

is

getting steadier every

day."

"I think you ought to beat 'em up a


"Yes, that

would probably hasten

little."

matters,

but might not be understood."

"Lewis will never hold that handstand

Turner Brothers
"Yes, he will

he

is

in

act."

he has not a

lot of style

but

always reliable."

"What

are they going to wear?"

"Tights, of course

tume for

little

we can

get

up

a fine cos-

money."

The costume
purchased

described in Chapter

VI was

and the two Topmounters had

crimson velvet trunks, and each performer

wore

a rosette of crimson ribbon placed on the

chest, a little

below the

left shoulder,

crimson ribbon tied around the


the knee.

left leg

This red relieved the

and a

below

effect of so

AT A BOARDING SCHOOL
much

Every one

blackness.

else

was

67

in even-

ing dress, so the show achieved a certain

Now

for the beginning,

style.

^The Grand En-

This opens the show and must be a

tree."

tle picture.

It

is

very important

to

start.

with an embarrassed

air the effect

If

impress an

you slouch

audience well at the

lit-

is

in

depress-

We began this way the orchestra played


an overture. A little introductory speech was

ing.

Meanwhile

made.

ranged the

the

class in line,

stage

manager

ar-

back of the curtain,

with the two Topmounters

in front

Understanders

Behold a nervous

at the ends.

moment behind

the curtain while the speech

was paralysing the audience


stage

down

and the

manager held the

The

in front.

situation

by marching

the line and giving each boy a

punch

in the stomach, thus pleasantly attracting their


attention.

The

talk ended, the speaker de-

scended the steps

to the floor, the orchestra

began the incidental music; slowly the


lights

went up

in professional style, the cur-

tain slowly rose,

a rock.

foot-

and the

(Frontispiece.)

class stood there like

AMATEUR CIRCUS

68

LIFE

At a signal, led by the Topmounters, they


marched steadily down from the stage, two by
two, formed a line, did a roll on the floor

(il-

49 and 50) and came to the sa(Illustration 51.)


This was an effec-

lustrations 48,
lute.

and brought appleause.

tive entrance

The

We

Finish.

cade"

to

end the show.

you have learned

to

"The

selected

This

do the

Cas-

simple

is

All

roll properly.

The

ran back to the cottage set on the stage.


curtain

hind

was dropped and the

it.

The

orchestra,

line

if

formed be-

which had stopped

playing after the Horses, began a quick march.

Up jumped

the curtain, the class ran

down

each one did two quick

the

steps in single

file,

and ran back

to join the line again, until all

rolls

had gone down the mat twice; then the line


ran up the steps as quickly as possible, and

down dropped
tive.

It

the curtain.

Simple but

effec-

was encored and then had two cui-

tain calls, the class saluting.

Now we
but the

The

programme was monotonous.

two brother
Brothers,

have the beginning and the end,

acts,

Turner Brothers and

helped;

Stires

but something else

was

AT A BOARDING SCHOOL
needed, so

we put

biggest boys
that the

first,

in a

boxing

69

The two

act.

then two medium-sized, after

Each pair boxed one


The two bigger pairs were simply to

two smallest.

minute.

introduce the last and smallest as explained in

This amused the audience a

Chapter IV.
lot

and helped

This

is

to

improve the programme.

programme

the

ried out, with

two

as it

model

for

finally car-

full-dress rehearsals to get

the artists used to their tights


as

was

and

it

will serve

forty-minute

to

one-

hour entertainment, beginning with a slow,


impressive

Grande Entree, ending with

quick class act and broken by two pyramids

and two brother

acts

and the boxing.

TUMBLING CLASS
CLOYNE HOUSE SCHOOL
Newport, Rhode Island
Thanksgiving, 19 15
Stage

Manager

Director of the Orchestra

Decorations
Lights

Costumes

Mr. Kissam Kerr


Mr. J. L. Corydon
Mr. Manuel Maitzo
Mr. Walter Hindry
Newport Rubber Co.

AMATEUR CIRCUS

70

LIFE

The Company
Messrs. Lewis Kerr,

Herbert Turner, Understanders;

Arthur Stires, Tom Craven, Harden Crawford,


Donald Carpenter,
Cedric Carpenter, Craik Speed, Topmounters.

Mr. Reginald Roland

kindly coached the boxing.

Music
The

1.

Grand

2.

Roll and Salute.

3.

Horses.

4.

Headstands (four).

10.

Double

5.

Double 2-High

11.

Brother Act.

6.

Pairs.
Handwalking
The Wheelbarrow.
(The Class.)

12.

Boxing.

13.

Pyramids:

Brother Act.

14.

Entree.

(The

7.

8.

Diving.

Hoop
(The

Class.)
9.

Fall.

Class.)

Cart-wheels.

Path

The

Roll.

Cascade.

When the show finally came off,


they were thrilled.

It all

the hour seemed only a

remembrance of old
little

acts,

the finish

they

peated

people

ask the boys


so fast that

Did

Immensely

the

the

circus days, the graceful

the

applauded

who had

went

Class.)

few minutes.

audience enjoy the show?

Adoration,

to the Stars.

(The

if

Fiery

of Death,

Cascade twice
a long time,

seen everything.

re-

those

CHAPTER VI
COSTUMES AND DISCIPLINE

costume consists of tights and shirt with

sleeves,

both of heavy standard cotton and

trunks of so-called velvet.


well-fitting black sneakers.

For the
It

is

feet use

important

that the sneakers should be neither too small

nor too

If black sneakers are not at-

loose.

tainable paint black any old pair.

Expensive

acrobatic shoes do not help and are not ap-

propriate except for advanced work.

black colour

fits

in

with any coloured costume

White

except white.

The

tights

are difficult to

keep clean and should never be indulged in


except for very advanced work.

The

best

colours are black, crimson or blue for tights

and

shirt.

Pink, light blue, and yellow do not

look well except in

According

to

your

same colour or
the

silk.

Topmounters

not.

taste use

trunks of the

Distinguish, however,

as this looks
71

well in pyra-

AMATEUR CIRCUS

72

It can be

mids.

LIFE

done by covering their trunks

with gold or silver braid, or some such method.


If a class
is

performs and there are specialties

good plan for the

specialties to

tume, in which case the

arranged

to give

them time for the change.


it is

desir-

Morton supporter or other type

able to use a
it

cos-

programme must be

For heavy Understander work,


as

change

it

helps to prevent strains to the abdomen.

Girls will

know how

to

arrange an effective

costume which should avoid anything

to trip

or entangle and the eternal sailor blouse which


does not seem appropriate for the sawdust
ring.

In measuring

tights,

give chest, waist, hip

measures and inside seam of leg;


the most important measure.

this last is

If too short the

tights are uncomfortable, if too long they will

always wrinkle at the knees.

The

inside

seam measure should -be given

one-half inch less than the exact measure.

The

size stocking used

may

be added.

Shirt

should be rather low in neck and with long


sleeves.

In putting on tights put them on

gently and do not pull them out of shape.

COSTUMES AND DISCIPLINE


When
narrow

on, fasten drawstring, put

belt or cord

this until

and

on a light

roll the tights

they are smooth.

73

around

Shirt goes inside

under the belt and the trunks cover

tights or
all.

have already spoken of the necessity for

choosing a Stage Manager or Equestrian Di-

and of obeying

rector

This

actly.
als

and

there

that

not from choice but from necessity;

manager
is

so important
a

"goes"

and hard

good plan

head of each chapter of

at the

manager

is

the

emphatically.
to

understand

to print the rule


this

book.

One

better than another naturally,

but any stage manager


just as

What

to success.

says

might be

it

stage

invariably done by profession-

is

no other way

is

stage

This

is

his or her orders ex-

is

better than none,

any system of exercise

is

better than

none.

This comes out


the question of

clearly,

when you

arrive at

make-up and costume.

Only

a very experienced professional can judge of

the effect before an audience of these.

reason

is

simple enough.

and appropriate

in

What

is

The

becoming

room appears

differ-

AMATEUR CIRCUS

74

LIFE

ently on the stage or in a ring on account of

the difference in the effect of the lights

There should never be

position of the artist.


less

and the

than two dress rehearsals before a show,

and any order

to

change by the stage manager

should be obeyed

If the stage

reasons.

well of

it

that

manager

stage

is

is

effect as the stage

ager

is

Do

at once.

not ask for

manager does not think

That

enough.

for, the artist

manager

the

cannot see the

does,

just as anxious for a

what

is

and the man-

good

effect as the

artist.

Costume and make up


the real

There

is

Nothing

may

stage

may

look well or

one general rule


in the least bit

mitted in these,

copied from

effects

to

not.

be observed.

vulgar should be per-

costume, make-up,

jokes, or

pantomime.
Colours and
stage

and

styles

must

in the ring.

suit the artist

Amateurs

easily

mistakes on these two points which

is

on the

make

not sur-

prising for even professional stage managers

who do
For

grown

not

make mistakes

are scarce.

a minstrel show, boys'

people's

and

girls'

or

evening clothes with burnt

COSTUMES AND DISCIPLINE

75

cork on the face and black gloves on the hands

may

be used.

Black

gloves

are

better

corked hands get everything

hands can be blacked


If black cork

able.

if

black

because
dirty,

but the

gloves are unattain-

not used, some sort of

is

costume or uniform or fancy dress appears

well.

boy scout uniform, with an Inter-

locutor and four end

men

in fancy dress or

burnt cork and evening clothes would be

The

five in

clothes

fine.

costume will show up the Scout

nicely.

For acrobatic work

in

the

ring nothing could be better than the costume

shown

in

Of

Chapter V.

course, hair, hands

and face should be nicely arranged.

dirty

face or hands are apt to kill the effect.

Clown costume
show two styles:

A Clown
Buy

is

easy.

Costume for

The

illustrations

$.75.

cheapest grade of cotton cloth twice the

length from the neck of the clown to the

ground.
for neck.
sides

Double
Split

in the middle.

up ends

and insides of

legs.

to

form

Cut out hole


legs,

Carry up

sew up

split

above

knees far enough so you do not trip but not far

AMATEUR CIRCUS

76

to

enough

so as to enter

Each

sleeves.

The

elastic.

far

and put one button

Cut holes for arms and sew on

top.

ruff

down

Split the back

enough

catch.

LIFE
at

straight

sleeve and leg should end in an

extra length pulled out

makes

around bottom of each leg and one around

may

be white,

figures of animals or

what you

Ruffs for the neck

each sleeve.
green or red.

Cut out

little

will of coloured muslin.

Sew on

the cotton

Hat is ordinary coneshaped clown effect made of pasteboard and white muslin
with coloured dots pasted or sewed on. They
may be purchased in New York for five cents.
cloth.

There are endless ways of varying


tume.

Half black or colour, with black or


sleeves

may

fuller than in the illustration;

and

coloured dots,

be

made

one leg

this cos-

is

may be

strong yoke

is

effective.

The

shorter than the other.

sewed

in the

If a

neck and the back

opening and legs are reinforced, the costume


will stand harder work.
Clown caps, crepe paper, white with dots as in illustration
No. 3411 and sparklers No. 20/5331, for the "Path to the Stars,"
at Shackman, 906 Broadway, New York.
Costumes in illustrations, Newport Rubber Co., Newport, Rhode Island.

26.

Way

to
First

Shape a Clown Costume


cut

and sewing.

Russak
27.

Clown

Ruffs.

Hoops.

Pair of

28.

Elephant Hook. Sample


Buttons for Eves.

29.

31.

EASY PYRAMIDS

DEAD MAN

30.

PRACTISING HANDBALANCE ON A CHAIR

32.

This has to be done without asand is advanced work.

sistance

COSTUMES AND DISCIPLINE

77

Clown Ruff
Strip of crinoline or coarse mosquito netting

seven to nine inches wide according to size of

boy or

inch wide.
facing.

Fold

girl.

it

First four one way,

Length of

strip

Sew down the centre


Length when pleated
with tape over

to tie.

should.

the ruff stands

36

to

is

one

then four

50 inches.

of outside face a tape.


is

length of boy's collar

Colours

up

White, blue,

way of stiff ma-

as a

Clown's ruff

Other material may be used.

mosquito netting
cents.

is

Pleated this

green, or yellow.
terial,

in accordion pleats

very good.

Stiff

Cost about 25

CHAPTER

Vir

CLOWN WORK

Clown Make-up.
sider

Here we have

where the clown

is

to

work.

to con-

In the big

three-ring circuses the old-fashioned talking

clown

is

unknown

for the simple reason that he

cannot be heard.

work
is,

in a one-ring circus or

however,

little

his true field

His

talking clown can only

is

on a

stage.

There

he can do on the stage and

in the old style

jokes, his acts,

and

sawdust ring.

his costumes are de-

signed for that, and there appear best.

For over twenty years Ricardo Bell was not


only the best clown, he was the best known and
most popular

man

in all

with red.

His make-

up to a peak in
covered with white, mouth outlined
The costume was the conventional

up never varied: hair


front, face

Mexico.

built

Pierrot, sometimes with an old coat or a plug


hat,

with a large rufi around the neck.


78

He


CLOWN WORK
had

79

He worked always in

a noble great voice.

Spanish, and the mother-in-law, the train, the

photographer and

duced a singular
so

told.

all

effect

why

He

when you heard them

After hearing the same jokes for

eight or nine years

once

the other old jokes pro-

each season,

him

wanted the old

said because the people

especially

the gallery

content unless they got

and

he used each of the forty odd

same jokes

same way,

were not

So every year

it.

same season when the show came

body.

asked

he did not give us something new.

stuff

the

to

at the

Yucatan,

little acts,

the same points made

with

in the

to the entire satisfaction of every-

A great man

Bell,

When

the greatest

in his

he opened his mouth

line I

have

seen.

there

was

intense silence in the audience

when he stopped came


the sea, waves of

a roar like the

waves of

happy laughter; and

so for

eight or ten weeks, working ten times each

week, and generally going on twice


performance.

at

each

A man of talent, he understood

that to get the effect sought a

laboriously perfect every

clown has

little detail

word, gesture and costume.

to

of voice,

Poorly applied

AMATEUR CIRCUS

8o

make-up

LIFE
To

worse than none for a clown.

is

properly requires plenty

apply the red

lines

of study and

generally beyond the amateur.

For

is

a boy, I prefer the Pierrot

The

and baggy.
front with

to a

^wide

peak

pomatum, and an old cutaway


it is

plug hat

much

quires

up

hair built

But look out that


little.

costume

study.

It

it

also re-

must be "foolish

applies

to

all

not
This

too foolish but just foolish enough."

saying

coat.

either too big or too


useful, but

is

in

clown costumes and

make-up.

The make-up

intended for a circus tent

a bit too coarse for a

dabs of red in
a poor effect!

many
I

gym

or hall.

is

Putting

places on the face gives

have always found that the

make-up of one heavy red spot about


of a dollar

best unless the

work

is

the size

done be-

hind strong footlights, in which case a


tint all

As

it

is

little

over the cheeks looks well.


is

difficult to

decide

all these

points

without experience a mature friend with an


artistic

eye

is

invaluable.

have seen boys delightfully costumed and

made up

as

clowns; but I have never seen

it

CLOWN WORK
done by the boys themselves.

8i

Often they ap-

not clown-foolish.

pear simply

silly

A grown-up clown cannot appear charming


and never

but a boy or girl

tries to;

may

use

the advantage of youth to take the place of the

experience of professionals.
vantage, no elaborate

to little,

all that is

ad-

necessary.

is

makes

a specially

and require great experience

their use.

this

Grotesque feet and hands

delightful clown.

in

make-up

pretty girl of say sixteen

amount

With

simple funny make-up

is

necessary; and the rest of the battle

is drill, drill

and more

drill so that the jokes

and points run smoothly.


It

is

best to bar the slap stick.

four boy clowns working in a Y.

show who simply could not leave


alone they thought

bored audience.
to

it

so

have seen

M.

C. A.

the slapstick

funny.

Result,

But any one who undertakes

be a clown must prepare for endless tedious

practise,
artistic

tend

and here again the mature friend with


eye

many

is

invaluable

one

rehearsals and say

who

will at-

"That does not

go well," "Too long," "Too short," "Too


slow,"

"Too

fast,"

"Speak louder," "More

AMATEUR CIRCUS

82

LIFE

^Too wooden," ^^Rotten." This is the


sort of comment that results in a performance
in which every point you make will be
action,"

rewarded by a roar of laughter.


Talking clowns,
there

if

work

as a rule,

in twos

or

only one the ring master has to

is

learn the dialogue and help him.

clown should know enough simple tum-

bling to do a

roll, a dive,

he can walk on

his

and a headstand.

hands so

If he learns the roll and dive

much

If

the better.

funny

falls are

easy.

All circus and minstrel jokes are built the

same way

preliminary part

tention of the audience,

The

the

and then the point.

principal clown delivers the point and

must speak
^^gets

to get the at-

it

clearly

and not too

over," as they say.

fast so that

If both clowns are of

same rank they take the point

If there

is

The other work consists


"The Hotel" described

in turn.

one clown and he has an assistant

or "feeder" the clown takes

Chapter

it

all

the points.

such as

of

little acts

in

Chapter IV.

In

there are printed a string of old

time jokes most of which will do in the ring.

CLOWN WORK

83

Local jokes can be made up and tried out.

If

they do not succeed, cut them out at once.

clown can play a

If the

banjo, or sing,

it is

an effective change to do a

bit of music, especially for

As

have

said,

violin, cornet or

an encore.

where the big 3-ring

cuses exist talking clowns are no longer


so the present generation of boys

when

best they

ordinary
is

known

and

girls,

they try clown work, are apt to do

pantomime and

better

The

for the most part

it

At

fail'.

amuse only the children.

cir-

in

the

In any

Gym or one-ring tent a talking clown


and easier

to do.

explanation of this

is

that untrained

boys cannot imitate well crack professionals.

For

that, years of training are

needed

;.

but in

work youth and inexperience


than hinder. In pantomime work

talking clown

help rather

they are no help at

all.

The Reader

A table and chair beside


mat or sawdust.

On

it

are placed on the

the table

is

a newspaper,

three crackers and a small-boy's air gun.


First

clown enters with a foolish grin and


AMATEUR CIRCUS

84

funny business

down on

not

ond clown
tiptoes

out

enters

Then No.

arm on

first

little

clown and gently pulls

clown remains unmoved.

away

remains unmoved absorbed in

paper, so disgusted No. 2 gives

Both do

Sec-

2 rubs his head and pulls

No

sits

table, be-

funny business a

First

chair.

Finally

in reading the paper.

up behind

table.

much.

too

chair resting one

coming absorbed

LIFE

back

paper and

roll,

him

a shove.

Business

all.

of grinning at each other.

Chair Act.
of the mat.
floor.

on

No.

2 puts the chair at edge

Bends forward and

over the

rolls

Without looking back he back

to the chair.

He

feat that he repeats

it.

with

so satisfied

is

While he

rolls

No.

moves the chair and

2 rolls back,

funny
other.

fall.

Both have

used so the

down and

Each has played

back and front


is

sits

sits

roll

to

falls are

on

tip-

down on

it.

of course has a
a trick

know how

and funny

this

standing

is

grinning with his back to the chair, No.


toes up,

up

falls.

to

on the

do the

The mat

it.

Trick Rifle Shot. No. i takes position


with air gun and a small mirror. No. 2 holds

33-

Fishface discovers
reading.

Koko

Fishface pulls the chair away


to give him a fall.

34.

I]ut to

36.

the

table.

make him

fall

at last

he has to shove him over.

THE READER

37-

Fish face

amuses

himself

rolling from the chair across the


The second time
floor and back.
Koko pulls away the chair.

39.

And Koko

triumphs.

CLOWN ACT WITH CHAIR

CLOWN WORK
Both do funny

a cracker in his fingers.

No.

ness.

aims,

makes

cracker in his

crushes

would be

85

and No. 2

a noise,

This trick

fingers.

better with dialogue;

busi-

and

as in all

clown work, make the points clear and do not


overdo
It

is

it.

customary for two clowns working

The two

gether to assume stage names.


in the illustrations took the

Koko and

Fishface.

The

One

acts

given in these

riin

about eight

or two more jokes could be

used and the encore will then bring


twelve minutes, which
desired,
tries,

it

an audience.

by

itself

is

to ten or

long enough.

Or,

if

split

or without dialogue.

either with

Clowns may

it

up into three short enmeaning an appearance before


This is distinct clown work

can be

an entry

boys

long used names of

photos with two spoken jokes


minutes.

to-

also be used to

advantage

to

help

out an acrobatic act while the acrobats are

way of the bareback


The act in the illustra-

resting in the familiar

rider and the clown.


tions

may

be given on a stage or in the ring;

begins with

"The Reader" (no dialogue) next

the chair (with or without dialogue) then two

AMATEUR CIRCUS

86

LIFE

or three spoken jokes and last " Hypnotism"

(with or without dialogue)

The Dialogue
this

Clowns generally prefer

way.

their

own

KOKO.

for ^'Hypnotism" runs


to

much

make up

dialogue.

Did you know that

am

hypno-

tist?

FiSHFACE.

KOKO.
I'll

I did not.

Come on and

(Illustration 40.)

show you.
[Drags him forward.~\

Illus.

he's

41.

See

how

going under the influence.

Illus. 42.

I can

KOKO.

do anything

him on

Now

I like

he

hypnotised.

is

with him.

I'll

stand

his head.

Illus. 43.
Illus. 44.
feet.

[To the audience.]

[More

business

and

KOKO puts FiSHFACE

[To the audience.]

talk,]

back on his

Observe the per-

fect control.

[Slaps his face.l


Yes,

KOKO.
control.

[This

Perfect control.

sir.

Perfect

[Slaps FiSHFACE again.]


is

the point.

The

return slap

of

HF^
^
^/
J K^^^^^H
^^'^
^^fW*-^^^^^^^^m

^1

Vi^
^^^^K^^k

?-**''

40

'

'IflP^^^^^H
W^

^^^H

B^'i K

1 lk^\

'

ll

'

^H
^H

irfl

kI ^h

^H

SI
41

43

HYPNOTISM

CLOWN WORK
Koko by Fishface must
great noise.

roll

said

be quick and

make a

~\

{Loudly,^

Fishface.

You

87

[^Slaps

it.

Koko,

(Illustration

45.)

Both do a back-

and grin^

If an encore

is

won, "The Serenade"

is

given, of one or two pretty sentimental songs.

Koko must have learned to do a


the pantomime work and his side of

backroll,

the jokes.

In the songs he sings a second part.


the
is

No.

clown, although in this act

quite evenly divided between

No.

Koko is
the work
and No.

2 clown.

Fishface has to do a backroll and stand on


his

head; then do the pantomime work and

dialogue and sing soprano in the two songs.

The
in

jokes

may

be chosen from the

list

given

Chapter X.

Koko leads off with the '^Boiled Egg"


The club is used as a guitar.

joke.

CHAPTER
FAKE ELEPHANT.

Vlir

FAKE LION ACT.

THRILLERS

A practical way of improving a programme


is

With

to use a fake elephant.

the aid of

Baby Jumbo you can make a most attractive


act for the clown.
But the effect largely depends upon the way Jumbo is built. If the
proportions are correct, that

is if

they are nat-

ural, the illusion will be impressive.

The
6'

4"

design here given

to 6'

is

for an elephant

6" high, depending on the height of

the boys in the front and hind legs and

is

drawn from photographs and information,


kindly given at the
tory,

New York.

in height, then

Museum

of Natural His-

Taking leg boys about

Jumbo

will be a

and the other proportions are

little

over

5'

6"

6' 4''

correct.

ELEPHANT HOOK

The

elephant

strength.

is

an animal possessing great

If he gets

away from you he can


88

FAKE ELEPHANT
do much damage.

easily

89

Therefore you need

Baby Jumbo an elephant hook with which


control him.
One may be made for twenty-

for
to

five to fifty cents like this

Fix

behind the ear for the clown

a place

hook

it

when

in

Having

leading

hook

(illustration 28).

him

to control

to

on.

him we

will pro-

ceed to build the elephant.


Head 21" x
Backward

14''

slope

extreme width, x 12"

from top of head

to point

where
2"

trunk begins to be attached

Height over
Length over

all

6'

4"

all

6'

4"

Length on back from forehead


Extreme thickness of elephant
Length of trunk, about
Length of ear

Width

6'
.

23"
5'
2'

of ear

i'

Foreleg, floor to stomach

2'

Back leg, floor


Length of tail

3'

to

2'

stomach

Backbone

4'

Forehead to end of backbone

2'

Length of stomach between


Length of neck

3'

End

of backbone

Diameter of

The

feet,

down
about

legs

to tail slope

6"

3"

i'

2"
12"

following are the specifications from

the drawings

AMATEUR CIRCUS

90

One

Backbone.

Face of

in

One

skull.

wood

piece

Neck and insertion


piece wood

sidepieces of skull

Top

of skull.

Two

One

x 3" x

i" thick

One

skull.

piece

Two

4'

LIFE

wood.

...

2' x 2" x i^/^"


21" x 14" x i"

12" x

i''

x shaped

piece to size.

iron frames to bolt to backbone, to rest on shoul-

ders

of

padded at the shoulder ends and

leg-boys,

strapped around the chest.

One

spring 12"

y^" bolt
Ribs to

Two

x2>^" widex 5^"

thick, bored

with four

holes.

suit.

pairs of old rubber or leather boots, large size, to

take boy's foot in sneaker.

Two

buttons for eyes.

Cotton

cloth, say

10 yards, single width, and cotton wool

or excelsior for stuffing.


5

ft.

piece of old rubber hose.

Dark grey drugget

cloth for skin, say 10 yards, single

width.

Cost of elephant inside of $15.

Assembling
frames

to the

and secure

all

backbone

all this

while building.

head on the

the materials, bolt the iron

sides

the forehead.

It

in the right position

on a couple of saw-horses

The head

Trim

out the

between the cheekbones and


is

this

hollowing of the out-

line of the face that largely gives the effect of

age and pathos to an elephant's face.

Shape

the side pieces and nail to the face piece.

FAKE ELEPHANT
Nail on top of the head.

91

Nail, or screw

strongly into the head the neck piece, letting

twelve inches project for the neck.

on cotton

cloth, stuffing

it

Now tack

to give the

rounded

protuberances of the forehead and the begin-

ning of the trunk.

iBuild in the eyes with

large appropriate buttons (artificial eyes cost

much) surrounded with a glistening white


space made of white kid from an old glove.
The shape of the eyes will be fixed when you
too

put on the skin and eyelids of grey cloth.

Only

the

upper eyelid moves

lid of

an elephant

bone.

Mould

is

as the

lower eye-

immobile against the

the trunk and carry

down

the

cotton cloth so as to cover the rubber hose.

Fasten in the hose so that the loose end shall be

about one inch above the ground

head

is

the

then stuff around to proper

and cover neatly with cotton

shape,

With

level;

when

cloth.

four bolts fasten the spring on top of the

neck and backbone.

head from inside

if

Then you can unbolt


you wish

the

to crate the ele-

The spring is to give the characteristic up and down swing of the head when the
front boy pushes it up and down with a stick.

phant.

AMATEUR CIRCUS

92

If the spring

LIFE

too flexible insert a

is

pad

of

rubber between end of backbone and neck-

This produces a more dignified mo-

bone.

The rubber

tion.

hose in the trunk should

project into the neck about a foot, so that the

may blow through it and use it to


move the trunk around. With swaying of the
trunk and the up and down motion of the head,
front boy

you can imitate the

restless

an elephant chained in his

movement

stall.

of

Also you

can blow a piece of paper around the

floor.

Fasten a fine piece of gut to the end of the

trunk and bring

it

up through the mouth.

By

pulling on this the elephant will appear to put


his

trunk in his mouth, especially

hook be hidden
will catch

in the

if

a wire

end of the trunk, which

and carry up

to the

mouth some

wisps of hay.

Bend and

fasten to the

backbone say nine

ribs

on a

less,

shaping them up conveniently.

side,

Cover and
Legs.
stuff

although he can get along with

stuff

out neck, body and

Take two

pairs of large old boots,

around and cover

doing

this,

the boys

legs.

to

who

elephant shape.

In

are to be front-legs

FAKE ELEPHANT

93

and back-legs must put on the shoulder supports and get into the boots.

Then measurements may be made and a


frame arranged to hold up the supports when
Shape and

boys are not inside.

Make and
fall

back

stujff

flat

stuff the tail.

the ears, fastening so that they

against the head.

Insert into

each ear a stick projecting inside the head, so

arranged that a string carried back


legs

boy enables him

to

the tail enables

swing that sideways.

Another pair of

strings attached to the

eyelid enables the hind-legs


eyes.

forward either or

A similar stick in

both ears.

him

to flap

hind-

to the

boy

to

upper

wink

the

Front-legs boy manages head and trunk.

Hind-legs

Baby Jumbo
down (hind-legs sits down)

ears, tail

can dance,

sit

and

eyelids.

walk, swing his head up and down, swing his

around, blow a piece of

trunk sideways and

all

paper on the

put hay in his mouth,

his ears,

When

floor,

and wink
all is

his eyes.

fastened and properly stuffed,

cover with this cheap blue grey drugget.

some places
sewed and

it

wag

may

In

be tacked on, in others

in others glued.

Try

to

make

join-

AMATEUR CIRCUS

94

LIFE

where wrinkles naturally should be and

ings

pinch the cloth up a

Shape the

seams.

bit or paint wrinkles

over

eyelids properly, put small

wires in the edges and fasten the upper eyelid

with

arranging the strings to wink

elastic,

them.
Fasten around the right foreleg an iron ring

much use)
attached when he

(polished by

chain

is

Put on enough

ribs

to
is

which Jumbo's

in his stall.

and pad them

so

your

elephant will not seem too starved and perhaps


get the S. F. T. P. C. T. A. after you.

The

cloth skin

must be perfectly smooth

over the head but naturally wrinkled in the

A hole along the bottom of the

proper places.

belly admits the boys and can be buttoned up.

A tuft of coarse black hair at the end of


tail

and

and

patches

little

few

Jumbo's

eyelashes

gummed on
will

the

the cloth

improve

baby

looks.

A little grey and black paint about the head


will also

Do

make baby Jumbo more

the best

difficult.

If

you can with the

The

eyes,

beautiful.

which

are

ears are easy.

you can get

a naturalist to help

you so


FAKE ELEPHANT
much

95

If not, get hold of a

the better.

book

The mouth

about elephants, with pictures.

need not open and can be shown with paint or


cloth.

It

surprising

is

how

seem when he makes

will

Jumbo

natural

bow

his

if

dimensions of the skeleton are correct.

your

Two

small holes in front and two aft enable the boys


to

As

see.

elephant

this

is

through an ordinary door, he

He

can easily be

made

fatter

designed to go
is

a bit too thin.

by pushing out

the ribs.

if

Jumbo

should be exhibited by the clown

there

one.

dress.

is

He

the ring.

be

If not

by some one

in evening

can work on the stage or better in

The

first

as serious as if

should try to

part of Jumbo's act should

he were

make

his

real,

and the boys

movements perfectly

natural.

Later on he can do foolish and impossible


things.

For example:

a plank,

sit

trainer.

Walk

on a chair.

down; second

Seesaw on

first part.

Second, disobey the

twice over the trainer lying

time,

sit

on him,

etc.

Hind legs keep on when


commanded to stop, etc.
dances.

Jumbo
front are

AMATEUR CIRCUS

96

The

LIFE

elephant will be more durable

cov-

if

ered with light canvas instead of cotton before


the skin cover

is

stretched on, and instead of

grey blue drugget, blue denim

may

be used to

cover him, but the colour will not be so cor-

The

rect.

true colour of an elephant

dirty blue grey.

If

denim

is

used, rub

over with dirt and then brush

it

is

it all

That

off.

down the blueness.


Fake Lion Act. This must be given on

will tone

Build

the stage.

as natural

ing a cage as you can, not

less

and strong lookthan six feet high

The door must work w^ell with

inside.

a great

Three or four small boys each

clatter.

in as

good an imitation of a lion skin and head

The

.possible.

as

trainer should appear in eve-

ning costume or a uniform.

He

carries a big

(See Hagenback and Bostock books

whip.

on training wild animals,


brary.)

in

any public

This should be a short quick

Before the curtain

pany roar

like lions

rises

have

behind the

all

li-

act.

the

com-

The

stage.

orchestra begins incidental music, the curtain


rises,

the trainer

ters the

cage with

bows magnificently and

many

precautions and

en-

much

L^
'^^

IM WB^
U^\^
4^
g^^ %
4.
13

4%
IP"'
48.

Floor Roll No.

49.

Floor Roll No. 2

51.

Floor Roll No. 4

,/f^f%

mm
50.

Floor Roll No. 3

After learning to roll on the mat this is the way to roll on a hard
without a mat. The arms protect the taeck and back.

floor

52

The

imM:'^

w
m

i-;

a.

Innocent
Child
Act.
Class
dives

through
on to
mat.

^.mr,

53

Same

but

more
difficult

as hoop
is higher.

*fc^'1

^1
km

ADVANCED WORK
give fine names to tricks. This was named
as the small boy with the hoop might get a
swift kick if the diver is careless or mischievous and he is therefore
placed with his back to the diver so he will not flinch. As a matter
of course only practised divers are allowed to try it.
The spectacle of the small boy on the mat holding the hoop alwavs
makes the class laugh, the opportunity is clear and tempting. The
low position is much easier than the high.

Boys in

class

like

"The Innocent Child"

to

FAKE ELEPHANT
evident fear while the lions

act,

makes

and

can,

Two

slips

as

much funny

business as he

out taking more precautions.

or three attendants behind the cage

with long bars


Trainer bows

Do

jump around and

Trainer puts them through

charge the bars.


an

97

assist,

(to

to protect the trainer.

applause

not encore this

for an encore line

act.

if all is

If

up the

it

well done)

goes very well,

lions

on the stage

holding their heads in their paws and bowing


their natural heads with pleased grins on their
faces, the trainer

posing with a proud air in

the centre.

Run

the curtain

up and down quickly once

or twice.

There are more fake animal


but space

fails to

acts practical

describe them.

Fake Thrillers

are sensational acts, or

rather imitations of sensational acts, for the

very sufficient reason that amateurs are not


permitted to take big risks and real thrillers
invariably are risky

that

is

what

gives the

thrill.

Example
non.

The Boy Shot Out of a Can-

Prepare what looks

like a

cannon out

AMATEUR CIRCUS

98

of painted canvas and a

round

up

LIFE

wooden frame,

with a low canvas screen.

this

in the roof of the

High

Gym or tent is a platform,


With much ceremony

screened by a curtain.

and an elaborate speech the boy


first

sur-

is

put head

into the cannon, then business of pointing

and levelling

it

goes on while the boy crawls

out of the cannon and runs around outside,


getting

up behind

the curtain on the

little

platform.

As soon as he is in position a light charge


making much smoke and noise is fired off from
the cannon and the boy instantly appears from
behind the curtain or better between the two
curtains.

If all this

is

done smartly, the trick

will not be at once discovered by

many

in the

audience.

When
the

I saw

details

it

done

in Brooklyn,

however,

were not well managed.

You

could see the boy's feet while he was waiting


for the cannon to go
too short, so there

off, as

was no

pretty small children.

the curtains were

illusion except for

CHAPTER IX
TRAINING ANIMALS

You

are not likely to attempt to train wild

animals.

quire too

They are always dangerous and


much time. The same is true

re-

of

elephants, and seals are hard to get and harder


to take care of.

The amateur

horses, pigs, geese, cats,

The

horse

is

is

reduced

to

and dogs.

the most stupid of all domesti-

cated animals, perhaps, and has an unreliable

Roland the Great.

This

horse had been on the stage for six years.

One

memory.

I recall

day the owner of Roland, much excited, came


to see

me.

"What you

t'ink,"

has forgotten his

morrow

night."

the Great
It

act,

he said; "that fool horse

and we're on the

Which meant

had mixed up the

Roland

signals.

appeared that the Act had

Yucatan and had been

that

bill to-

just arrived in

at sea for six days dur-

99

AMATEUR CIRCUS

loo

LIFE

ing which, naturally, there was no opportunity


to rehearse.

'What will you


^'Do
if

do?''

that fool horse can

went

day to-morrow and

I rehearse all

remember

see

He

his act."

and

off gloomily, talking to himself,

it

looked like a bad time for Roland.

Now the signals taught to an educated


must be

so slight as not to be seen

horse

by the audi-

ence.
I later learned that

Roland had

ber only three signals, one to


to

swing

"yes,"

his

and the third

swing

to

white horse, too stupid

The

his feet,

his

head

The pawing

He

was for counting.

ence.

remem-

to

side-

of the

was a beautiful

be afraid of an audi-

professor must have enlightened

him, for the next night

saw him

at the circus,

and he made only two or three mistakes.


course, he

one

head up and down, which meant

ways; that meant "no."


foot

paw

to

was immensely advertised

as a

Of
won-

derful "Educated Horse."

Cats are difficult and unreliable.


there are only two

United

States.

good

am

told

cat acts to-day in the

TRAINING ANIMALS
The amateur

ibr

will probably choose a dog.

In arranging an act with a dog in

he

it

taught to do certain things, and the rest

is

trainer

the

signal,

instance,

you

introduced,

dialogue

is

For

does.

him

give

and he barks, and you talk

his

bark

to

dive

is

an answer,
the

for

Billy barks.

that

so

"Do you want

so.

Billy?"

ladies,

there

if

Signal.

Holds

*^Come on then."

hoop

put.

You

fire a

gun

at

him.

He

down and

falls

pretends to be dead, and so on.

The

Rabbit Hunt.

Mr. Phil Daly, one


of the Barnum and Bailey clowns, in 191 5 had
two dogs who did this. Each dog wore a rabbit

head over

his

own, fastened around the

The

neck, and with holes to see through.

clown was made up


dogs trotted a

little

he turned and fired


both dogs lay

The two

as a hunter.

way behind him.


at the

When

supposed rabbits

down and played

soon as he went on, they jumped up and

lowed him.

The

As

dead.

rabbit heads are

fol-

made

of

cloth painted, and have large upstanding ears.

The

effect

is

very good, but depends upon the

AMATEUR CIRCUS

102

LIFE

dog dropping dead and getting up again

moment.

right
If
to

at the

you can

make an

train three or four dogs,

it is

easy

A fire company,

act for the stage.

etc.

Birds are

all

difficult for lack of intelli-

except the sulphur-crested cockatoo.

gence,

They

are difficult also on account of liability

Pigs are hard to train because they

to illness.

are so obstinate.

Geese have very

little intelli-

gence.

Monkeys

are very unsteady.


less job, besides

To

much from

also suffer

To

illness

train an ape

which they

is

an end-

bite badly.

teach a dog to play dead until he gets his

signal

is

not sc very

difficult, if

you are patient

and practise steadily every day; or

him

and

to sit

walk on

up and beg,

his

to stand

hind or front

on

to teach

his head, to

legs, to

jump over

something or through hoops, and do the high

jump.

Your dog must not be

must not be overfed.

whip him,

When
try to

unless he

is

It

is

too old and

not necessary to

sulky and will not obey.

he understands he will almost always

do what you want him

to do.

But

it is

TRAINING ANIMALS

103

necessary to reward him, with caresses and


praises

and a lump of sugar or something he

likes.

Regular everyday

and the more he

A dog

is

lessons are the thing,

he will learn.

learns, the faster

very useful in building up a clown

act or a tumbling act, as explained in the act

"The Sanreyes."
would suggest for amateur work

called
I

Bring the dog

lowing training.
tise

place and teach

him

to sit at

to the prac-

one side or on

a chair until called out to work.

him

the

girls of

same

This

as the discipline for

which

is

for

boys and

have said so much.

the fol-

If he

leaves his place without being called, scold

him; but never

hit him.

over reward him.


time,

and not

As soon

as

lie

He

When

should

sit

practise

up

all

is

the

down.

he understands and does

this

properly begin to teach him, trying only one


thing at a time, and not attempting another
until

he has learned the

teach this just as you

first.

would

First, the roll

to a boy, explain-

ing kindly, bending his head and front legs

and rolling him over.

Patiently giving

les-

son after lesson, some day he will get the idea

AMATEUR CIRCUS

I04

and do

it

himself.

Form

importance, so as soon
the signal, nothing

Then

as

more

LIFE

in his case

he gets a

is

roll

of no

over at

required.

is

him

to stand

on

his

front legs; next, to

walk on

his

hind or front

teach

head and

Here, you must hold him up

legs.

Do not forget to praise him

time.

him with sugar


trick, teach

him

the

and reward
first

few

Next, or before the

last

or something else the

times he does well.

all

to sit

balanced on your head,

jump on your back and walk up to your


head. A more difficult thing is to teach him
to

to

do a back

air turn.

In

this

necessary

it is

him and
strapped around the chest. Never let him get
bumped. Tell him to jump; and when he
jumps, throw him over, precisely as you would
to use a small

help a boy.
for a small

mechanic

fitted

All of these foregoing tricks are

dog about the

size of a fox terrier.

larger dog can learn to do the

diving, and high jumping.


it is

to

roll,

In hoop diving

unnecessary to teach him to do a

diving

through the hoop.

roll after

Give him one

hoop, then two, and lastly three held a


apart.

hoop

little

In the jumping, of course, he begins

TRAINING ANIMALS
on a low jump

then takes a higher and so on

landing always on a mat.

to his top point,

If the act

gramme

105

with the dog follows on the pro-

after the class diving, the

hoop diving

by the dog will be better appreciated by an


audience.

dog

If the

taught to go

is

first

through an empty hoop or two and then breaks


a

paper covered hoop he

sure of applause.

is

All of these acts described can be done by a


fox terrier so that
the best kind of

if

dog

there

any choice

is

Even when

to select.

dog has learned only two

this is

the

he can be

tricks

used in a typical act like ^^The Sanreyes," pro-

vided he has learned his discipline and cues


first.

After he has learned to take his place

and obey his cues the order of teaching the


tricks

and the

tricks taught

may be

varied ac-

cording to the need of the proposed


is

the discipline of the

After that

is

needed trick

may be

obtained

ment and scolding


health

is

dog that
with

taught.

the better.

is

act.

essential.

patience

The

It

less

any

punish-

A dog in good

almost invariably willing to practise

and learn and

it

should not be forgotten that

before an audience, just as boys and girls, he

AMATEUR CIRCUS

io6
is

apt to be excited.

LIFE

If several dogs are

work-

ing together, again like boys and girls they be-

come

jealous and quarrelsome.

It

uncer-

is

whether they understand applause from

tain

an audience; but

it is

good performer knows

perfectly clear that a


his cues

anxious to do his trick well.

and

is

wildly

The dog and

the

elephant, once they have learned an act, never


forget

it.

phant

to

one

out.

Indeed

it is

difficult to get

change the order of

With

this done,

tricks

an

ele-

and cut

they are apt to re-

fuse to go on, so that no one thinks of shorten-

ing or lengthening an elephant act unexpectedly.

Both elephant and dog

at times will

practise their tricks alone.

But you can


in

rely on

Chapter VIII

after

Baby Jumbo described


he has been rehearsed

two or three times he will do


;

whenever

desired.

his act correctly

CHAPTER X
THE OLD-FASHIONED MINSTREL SHOW
The

old-fashioned negro minstrel show was

a delightful entertainment.

ing pictures killed


artists find better

v^onder.

it

or

is it

Have

the

mov-

that the talented

paid employment elsewhere?

Certainly

lovely music and

the

combination

of

good old time-tested jokes

made many people happy.

minstrel

show

Songs poorly sung have no

have the voices.


value.

It also requires a lot of practise.

If the talent

may

is

available, a minstrel

be used alone or

or an afterpart.
circus ring.
a

impossible unless you

is

This

as a short act

It
is

is

on the stage

not suitable for the

sample programme for

show about two hours

the songs

show

long, but of course

must depend on what the company

can sing.
107

io8

AMATEUR CIRCUS

LIFE

ALL STAR MINSTRELS


First Part

Opening Chorus. "Swanee

Entire Company.

River."

Jokes by end man.

Song. "Mary, you're a big

girl

John Smith,

now."

Jokes by end man.

Song. "Mandy, how do you do."

Harry Jones,

Conundrums by end man.


Song. ^'Garden of Roses."

Quartette.

Jokes by end man.

Wm,

Song. "Put on your old grey bonnet."

Brown,

Jokes by end man.

Song. "Sometime, Somewhere."

John Smith.

Conundrums by end man.


Song. "Sugar Moon."

Harry

Jones.

Jokes by end man.

Finale.

Entire Company.

Second Part

Monologue

or

Stump

John Smith.

speech.

Sketch. "Black Magic."


Dancing, Banjo or guitar

Smith and Jones.


specialty.

Harry Brown,

After-piece. "Captain Swell."

The
is

old-fashioned negro minstrel costume

The

rather elaborate.

quartette, or singers,

should wear full evening dress


waistcoats, black

ties,

suits

with white

and standing

collar's,

white gloves, and boutonniere, and black dress

wigs instead of the

common

wigs.

The end

THE MINSTREL SHOW


men should wear

fancy coloured

ties

109

and

cos-

fact anything make


them look eccentric the more burlesque the
tumes, comic wigs,

For

better.

in

to

may be

boys, all wigs

omitted.

In the matter of making up the

face, use

only the best prepared burnt cork, which can

be obtained from any dealer in theatrical facepreparations or can be

charring

made by burning and

Moisten

corks.

the

hands

with

water and take a small quantity of the cork,


rubbing

it

in the

becomes a thin

when
some

it

dries,

is

apply

it

to the skin;

brush the surface gently with

if

to get a

of your hands until

paste, then

soft substance.

nomical way,
up,

palm

Another and more eco-

there are several to be

made

couple of small paint brushes

and, after mixing your burnt cork in a dish

with water until

it is

about

as thick as

cream,

have two men paint the faces of the others,

way

Never

and

in this

mix

the burnt cork with anything but water.

If

you wish

save a lot of time.

to represent

an old darkey, use

white chalk or grease paint under the eyes and


for the wrinkles, and iron grey hair for the

eyebrows and beard.

Be

sure and have the

AMATEUR CIRCUS

no

LIFE

burnt cork even around the mouth and eyes.


If

you wish

to

have the

deeper red, or

lips a

larger for the end men, use carmine grease

Running

paint.

it

down produces

a surly

expression.

For getting the cork

off the face,

I do not

advise the use of grease or cold cream of any


kind, as

it

washes

off perfectly well

with the

Get

aid of plenty of soap and water.

good

lather and use a sponge.

In preparing a show for public entertain-

ment there are


to

several very important details

bear in mind.

It

upon those who are

is

necessary to impress

to take part the absolute

importance of being on time

at the rehearsals,

and impa-

for the late ones cause uneasiness

tience that greatly interferes with the show.

Select

with

some member

whom

curtain.

It

must

to act as

rest all

stage-manager,

power behind

the

should be his duty to regulate the

hours of rehearsals, to arrange for the proper


^'settings" of the stage, to

make up

programme,

any

of the

derstanding that

to settle

may

arise as

the order

little

he

misun-

may

best

consider for the general interest of the per-

THE MINSTREL SHOW

in

formance, and his orders should go in every


detail of matters concerning the stage.

Two

or three dress rehearsals are necessary

to insure a perfect

performance,

when every

one taking part should dress for each character they are to assume

up precisely
lar

and make themselves

as they intend to

performance so that any

may be
gramme ought

to

at the regu-

defects, if they

The

corrected.

exist,

do

entire

pro-

be given from the ringing

up and the going down of the curtain with the


same care
ance.

in every detail as at the

After the rehearsal

minds of the

Arrange your

actors.

circle of chairs, placing the

interlocutor in the middle.

row

Have

them can

so that

rest their feet

on the

rounds of the chairs in the


third

row

When
show,

if

in the

it

the second

enough

of chairs on a staging high

those sitting on

well to cor-

while they are

rect the faults immediately,

fresh in the

is

it

perform-

first

row, and the

same manner.

has been decided to have a minstrel

you do not have

a professional coach

get a good musician or piano player to pull

your company together.

Sing a few practise

AMATEUR CIRCUS

112

LIFE

songs so as to sort out the voices.


the end men, and
tette,

if

you decide

to

Pick out

have a quar-

or even a double quartette, have them


their "turns"

practise

or songs together in

addition to the regular rehearsals; they can-

not do too
especially,

work.

much

rehearsing, for the end men,

should work together like clock

you have

If

will no doubt be

six

end men, four of them

good singers

the others can

get along all right by talking the songs, this


often being found very effective.
to

make

a hit with an

short and run

it

If

you want

amateur show, make

it

like lightning.

Minstrel shows are one of the most popular

forms of amusements and give a better chance


for

members

of a club, lodge or college to pre-

sent their talent before the public than any-

thing else

and

be used and

For instance

a great variety of settings can

made
if

either simple or elaborate.

you do not care for the

you can have the stage arranged

as the

circle,

deck of

a boat or as a southern plantation, or as a "roof

garden."
forms, a

If

you have military or scout uni-

"camp scene"

is

very effective, also

THE MINSTREL SHOW


a "banquet scene" with the

around the

company

113

all sitting

table.

The end men should

be selected with the

show

greatest care, as the success of the

The

pends largely on them.

de-

jokes should be

practised over and over again, every one getting thoroughly used to

them and the man-

ner of telling them, so that

when you

face the

audience you will not lose your self-control.

Always appear amused, and have


time with the audience

when

good

telling the sto-

ries.

The

interlocutor, or

most important

man with

middle-man,

He

part.

should be a boy or

time and working up the joke until

answer.

He

gramme and

another

manner, taking plenty of

a dignified

for the point

is

it is

ready

which the end man gives

in his

should

have the

entire

pro-

"cues" for the jokes and songs on

his fan or paper, as the responsibility of the

show

is

The

on his shoulders.
following

years ago.

jokes

were printed

fifty

For how many generations they

have amused people

no

man knows.

They

AMATEUR CIRCUS

114

LIFE

survive in the circus ring, I suppose, because


the

humour

is

Good

elemental.

old enduring

found useful and in the ring

jokes, they will be

or on the stage are serviceable where really

wit would not do at

finer, fresher

may

all.

They

be used for negro minstrel work or for

clown work
This

in the ring.

one

through

the

changed,

if

class, to

Ned.

used

before

may

paper covered hoop


a clown

jumps

rider

the

works with

be

tumbling

use with hoop diving.

What

is

he going

to

do with the bal-

loon?

Jump through
Ned. What, horse and
Master. No, you blockhead, the
Ned. Without bursting the paper?
Master. Certainly; he will have
Master.

it.

all?

rider.

to burst

the paper in order to

Ned.

jump through

can jump through

it

it.

without burst-

ing the paper.

Master.
Ned.

I'll

Master.
Ned.

Impossible,

bet you five dollars.

Done,

All

sir.

right.

I will take the bet.

Hold up

the

balloon.

THE MINSTREL SHOW


(Master turns

back

his

clown and holds

to the

up the balloon.) Are you


Master. Yes, sir.

115

all

ready?

Ned.

(Catches boy from among the audi-

ence, throws

him through

jumps through himself.)

the balloon, then

There,

sir,

(Boy runs

the bet; I did not burst the paper.

out of ring, very

much

won

frightened.)

The Men We Want


Ned.
there

is

The

horse has stopped.

more work

Master.

Yes,

for

suppose

me?
see

sir,

what

the

rider

wants.

Ned.

There

are

wanted nowadays.

a
I

great

many

saw, by this morning's

Harry Gennett
people to serve them in

wanted, not by

papers, that

is

the

office,

sheriff, to serve the

the people

want

is

things

but by the

people in prison.

honest

men

What

in office to serve

them.

God

gives

men!

A time like this

demands

Strong minds, great hearts, true faith and


steady hands

Men whom

the lust of office does not

kill.

AMATEUR CIRCUS

ii6

LIFE

Men whom the spoils of office cannot buy;


Men who possess opinions and a will;
Men who have honour; men who will not lie;
Men who can stand against a demagogue
And damn

his treacherous flatteries

without

winking;

who live above

Tall men, sun-crowned,

the fog

In public duty, and in private thinking;

For while the

rabble, with their

thumb-worn

creeds,

Their large professions and their

Mingle

Freedom

in selfish strife, lo!

Wrong

little

deeds.

sleeps,

and waiting Justice

rules the land,

weeps.

Why

young

are

ladies like arrows?

Because they can't go


(beau)

and are

Why is

in a quiver

pawnbroker

off

without a

till

bow

they get one.

like an inebriate?

Because he takes the pledge, but cannot

ways keep

al-

it.

Love
Ned.
tle

Miraculous!

child

is

so

wonderful!

handsome and

That

lit-

talented that a

person cannot help loving him.

THE MINSTREL SHOW


MasterWhat is
Ned.
fluid,

Love

is

bound up

117

love?

a small decoction of electric

in a

woman's heart and

dealt

out in small quantities to suit purchasers.

But

take about a dime's vv^orth twice a week.

of all the love affairs in the world, none can

surpass the true love of a big boy for his

mother.

It

is

a love pure

and honourable

the highest degree to both.

merely a dutiful affection

in

do not mean

mean

a love that

makes a boy gallant and courteous

his

to

mother, saying to everybody, plainly, that he


is

fairly in love

Next

with her.

to the love of

her husband, nothing so crowns a woman's


life

with honour

as this

votion of a son to her.

second love,
never yet

this de-

knew

who began by falling in


mother; but show me a son who

boy

to turn out bad,

love

with his

does

not love his mother and I will


that

is fit

show you

boy

understand

all

for the gallows.

Master.

You

seem

to

about love.

Ned.

I do, for I

Master.
Ned.

And

I felt as

have been

pray

how

though

there.

did you feel?

was away up

in the

AMATEUR CIRCUS

ii8

LIFE

clouds between two wheat cakes, and a lot of


little

angels were pouring molasses

all

Well, how do you

when

over

me.

Master.

young lady gives you


Ned.
you

devils

up

the

the mitten?

Then you don't

feel quite so

though there was

feel as

feel

good;

a lot of little

there licking the molasses all off

again.

Contentment
Master.

Come,

sir,

stop that foolishness,

and find contentment by

assisting those gentle-

men.

Ned.

Find

contentment?

That

is

some-

thing that I have been hunting for for some


time, and I found

place laid

it

at last.

down on

the

It's

map, but

been settled yet and those reach


;

throw away

When
When
What

their

an imaginary

it

compass and go

is

a butterfly like a kiss?

it

alights

on

it

has not

soonest
it

blind.

tulips.

kind of money do ladies prefer?

Matri-money.

who

THE MINSTREL SHOW


When

should a tavern keeper

visit

119

an iron

foundry?

When

he wants a bar made.

Why is

the letter

U the gayest in the alpha-

bet?

Because

Why is

Sunday the strongest?

Because

all

Yes, but

it is

Why

is

the others are week-ddiys.

often broken.

man like a dog's tail?


rich man keeps a carriage and

a rich

Because the
the dog's

always in fun.

it is

tail

keeps a wagging (waggon).

How do you measure your lover's sincerity?


By

his sighs.

What

more philosophy than


they come?

requires

ing things as

Parting with them

When
When

as

they go.

was beef-steak the highest?


the cow jumped over the moon.

tak-

AMATEUR CIRCUS

I20

Another one

LIFE

be used with hoop diving

to

is

Whooping Cough.
Ned.

Do you

call this a

Master.Yes,
Ned.

when

Did

hoop?

sir.

have a thing

like that in

me

had the whooping cough?

Nonsense,

Master.

sir.

Two Noah
When

was pork

first

Jokes
introduced into the

navy?

When Noah
What

is

brought

Ham

into the ark.

the difference between Noah's

Ark

and Joan of Arc?

One was made

of wood, the other

was Maid

of Orleans.

Sportsman
Ned.

^You

put

me

in

mind

of a

nobby

sportsman, with that whip in your hand.

Master. How
Ned.

so?

(Because when

he goes a fishing he

has a long pole with a string attached to

and there

is

at the other.

a fool at one

end of

it,

and a

it,

worm

THE MINSTREL SHOW


Master.
Ned.

(Whips.)

am

no

fool, sir.

Then you must be the worm.

What is
man and a

the difference between a

What

hungry

glutton?

One longs

The

121

to eat,

plant

is

and the other

fatal to

eats too long.

mice?

cat-nip.

Wanted

A mile-post from the road to death.


A finger to the ring of a laugh.
A smile from the face of a clock.
A needle and thread to sew a patch on
fit

the

pants of a tired dog.

A suit of clothes to
Some moss from

fit

a large

the rock of a cradle.

A plank from the bridge of


Some yarn

body of water.

a man's nose.

to knit a person's

brow.

A nut from a thunderbolt.


A cure for a pane of glass.
A rafter from the roof of the mouth.
Some

teeth

crust

The

from the jaws of death.

from the

roll of the ocean.

chair in which the sun

sets.

AMATEUR CIRCUS

122

LIFE

A fence made from the railing of a scolding


wife.

An

egg from the nest of

thieves.

A horse to travel round the course of love.


A spark from the blazing eyes of a tigress.
A head to a wreath of smiles.
A wag from the tail of a dog.
A leg from a duck of a bonnet.
A pupil from the eye of a needle.
fit

Another Hoop Joke


son of a gun
Ned.

Master,

do you know that I came

very near being a soldier?

Master.
Ned.

How so?

^To-day a

of a gun, and the

Master.
Ned.
a

little

boy called

fellow

is

me

a son

right.

And why was he right?

Because

good old

little

stock.

came

in a direct line

from

Speaking of soldiering, are

you a good shot?

Master.
Ned.
if

Well,

I take this

am.
I will bet

you

five dollars that

hoop and stand right here

ing on the bank of the ring)

(stand-

and you go over

THE MINSTREL SHOW


to the

123

opposite side of the ring, that you cannot

walk up

me and

to

put your finger into

this

hoop.

Master.

You

will lose your money.

Ned.Will you
Master.

Yes,

(Master takes

Ned

bet?

sir, as

his position,

am

certain to win.

and walks toward

with his arm extended, pointing for the

centre of the hoop.)

Hold up, you must


your
Master. I did not make that bargain.
will give you a chance for
Ned. Well,
Ned.

close

eyes.

your money.

I will

keep talking

all the time,

but you must keep your eyes closed.

Master.

All

(Closes

right.

eyes

and

walks toward Ned.)

Ned.
left,

little

now you

ahead.

more

are

to the right,

all

right;

now

walk

to the

straight

(Master walks up, puts his finger

through the hoop into Ned's mouth.


bites his finger,

makes hurried

Ned

exit.)

Fool
Master.
you

fool.

Come,

get

up on

that pedestal,

AMATEUR CIRCUS

124

LIFE

How do you know that


Master. I
your

Ned.

see

it

in

am

a fool?

face.

Ned.Well, that's the first time that


knew that my face was a looking-glass.

When
When

do ladies carry

fire?

they have taper fingers.

Pet Names

Master, are you fond of pet names?


Master. Yes,
Ned. have
few. Now, for
Ned.

very.

in-

utilised a

ought

stance, a printer's wife

be named

to

Em

a sport's wife, Bet-ty; a lawyer's wife Sue;


a teamster's wife, Carrie; a fisherman's wife,

Net-ty; a shoemaker's wife, Peg-gy; a carpet-

man's wife. Mat-tie; an auctioneer's wife,

Bid-dy; a chemist's wife,

Ann

Eliza; an en-

gineer's wife, Bridg-it.

Wanted
If a
salt)

If

man who

was able

when

can be used

to

Know

turned a somersault (summer

to turn

it

fresh again?

a "man's brain
as

is

on

an extinguisher?

fire,"

water


THE MINSTREL SHOW
If the individual

was ever brought

who

125

^^murdered a tune"

to justice?

Whether there ever was an


honeymoon?

eclipse of the

Your Choice
Ned.

If you had your choice, would you

rather die, an Irishman or an

Master.

Being

an

American?

American

would

prefer dying an American.

There's where I differ with you.

Ned.

would prefer

to die a true son of the

Emerald

Isle.

Master.Why so?
Ned. Because when

buried and

an American dies he's

that's the last of

him.

Master.Very true.
Ned. But when an Irishman dies
Master.Well, sir, what then?

Ned.

His friends always wake him.


Boiled Egg Joke

Ned.

^Why,

Mr. Seamon

is

how do you
a

smart young

do,

man

Charley?

126

AMATEUR CIRCUS

Master.

Why

young man?
Ned. Because

do you

him

a smart

and he thought he would

try an experiment, so he

Master.

call

the other day he bought a

lot of laying hens,

water.

LIFE

^What

gave them

all

boiling

did he give them boiling

water for?

Ned.

To

make them

see if he could not

lay boiled eggs.

*^They will not recognise

me

in the other

world," said a Marshal of France on his


deathbed, "it

is

so long a time since a

shal of France has gone there with a


his shoulders."

That
it

is

Try

for clown or minstrel use and

requires
jokes,

too

it

much

so banal

to

it

is

to

fit

will be

has not the right form and


explanation.
read,

These old

are given last be-

cause they have the right form and

clown

head on

Marshal Saint-Geran, 1632.

a concise witty saying.

seen at once that

Mar-

working hard

to get the

when

the

whole audi-

ence laughing, produce the effect desired.


is

not enough that part of an

audience

It
is

THE MINSTREL SHOW


When

amused.

if

you have earned such

as these

quaint old press notices

written about the clown

whom the

and on

who

used these jokes

curtain fell finally years ago.

"Mr. Ned Turner impersonated


had taken

down you

the curtain rings

will be fortunate

kindly words

127

(jester to the ring)

the part he

with a consid-

erable degree of fidelity, avoiding a too com-

mon

error

among clowns

straining after effect


sible

that of

unnatural

and acted upon the

sen-

presumption that the audience would be

better pleased with a faithful representation

of the character he

had assumed, than with

the self-conceived greatness and attractiveness


of the actor.

He

was rewarded for

his

wit

and sentiment with frequent outbursts of applause.

Quincy, IlL, Evening Call,

Mr. Ned Turner


fully

sustained

the

a talented clown, and

is

reputation

that

he has

gained for himself throughout the West.

Council Bluffs, Iowa, Nonpareil,

Mr. Ned Turner

is

sesses sterling qualities,


jester.

who posman and a

gentleman
both

as a

Quincy, IlL, News,

Among

the special attractions,

Mr. Ned


128

AMATEUR CIRCUS

Turner,

the

jester,

is

still

LIFE

foremost.

His

ready and sharp wit, combined with the per-

have indeed stamped him

fection of his art,


as

unapproachable.

ing

Charleston, S.

C, Morn-

News.

Ned Turner

is

the most gentlemanly jester

in the equestrian profession.

gems

of wit

His jokes are

and wisdom, sense and nonsense."

Chicago Journal,

CHAPTER
COSTS

XI

AND CHARGES

fifteen foot mat, or better

by three

feet

two mats eight

and about two inches

about fifteen dollars.

thick, cost

dozen hoops are

needed, a table, two chairs, a small handwalk-

ing staircase, paper balloons,


all.

etc.,

say $5 in

fake elephant will cost about $15 to

make.

clown's costume about 75

Fifty cents' worth of

show.

Negro

lated,

according

make-up

is

cents.

enough for

minstrel costumes can be calcuto one's plans.

batic costume for a class

shown

good acro-

in the illustra-

tions will cost a little less than $3.50 apiece

not counting the sneakers and

buy expensive shoes and


really a

foolish to

one

is

good performer and knows how

to

take care of them.


in

it is

You

tights until

can learn just

as

well

cheap things.

The mats
but for those

generally will be indispensable;

who have

a place to practise out

129

AMATEUR CIRCUS

I30

of doors, better than any

contrivance:

Dig

mat

is

LIFE
the following

shallow place two

to

three inches deep, twenty feet long and three


feet wide.

Fill this

with sawdust or tan bark

watered and pounded down

bark or sawdust

to

the

first sifting

remove from

it

bits of

wood

or stones.
Better
the

a regular circus ring

still is

same way with

two

a parapet

feet

made

in

high of

boards covered with padded

sods, or built of

canvas.

The diameter

about 20

feet.

In calculating

costs

of the

whole should be

and charges for a show

one must consider

lights,

tumes and make-up,

rent,

decorations,

cos-

music, printing in-

cluding advertising, tickets and programmes,


license

if

one

is

needed, the expense of a good

curtain for the stage and cost of chairs or

benches.
ness

In a well managed show the busi-

manager

side of the

is

chosen at the beginning out-

company and has plenty

to

keep things straight and see that there


loss.

The

cost of a curtain

size, quality, etc.

It

do

to

is

no

depends on the

must work

easily with-

out any noise either slowly or quickly accord-

AND CHARGES

COSTS

The

ing to the need.

131

cost of tents can be

learned from catalogues of tent makers

seem

who

be no longer in Persia but mostly in

to

Kansas.

To Give a Show Without Any Money.


Let us imagine a case in which an ambitious

group of amateur
This

is

artists

has talent and no cash.

apt to occur.

Perfect

an organisation with

manager and

business

Ring Manager who can

Then

his orders obeyed.

practise

practise

and practise some more.

get

practise,

Work

in a

yard with a sawdust ring which you can

make yourselves. Use anything


The indispensable articles are
pair of black sneakers for each
ers

for a costume.
a

good

artist.

fitting

Sneak-

can be purchased inside of a dollar apiece.

Always buy black


costume.

as

they look well with any

There are plenty of ways,

papers, blacking shoes,

etc.,

selling

to obtain these.

If only four of the artists have time to earn

money, that

is

enough.

Before long there

will be ten or twelve dollars in the treasury to

get the sneakers and the ring can be built on


holidays.

All the materials for a good prac-

AMATEUR CIRCUS

132

clown costume can be purchased

tical

Once

scribed for seventy-five cents.

pany

is

roll in to

and a

the

show can be

little

possible to sell tickets,

is

as de-

com-

so v^ell drilled that everything goes

nicely and a snappy


it

LIFE

given,

and money will

buy handsome costumes,

lights,

mats

This plan involves more patience,

tent.

brains and discipline.

It will

be harder to

more fun
made easy. Almost

stick together but there will be lots

than

if

anywhere

in

it

everything

is

group can obtain the use of

yard

large enough, and a competent older person


to advise

uing

and

to earn

five cent

After that by contin-

criticise.

money, and giving one or two

shows, they will be able to do the

following
the company.

1.

iBuy costumes for

2.

Build a stage with a good curtain.

3.

Build an elephant.

4.

Train a dog.

5.

Build a table and two chairs for a table

and chair

act.

supposing that

all

By the time this has been done,


the Company has learned the

ten elements of tumbling and one or two pan-

tomimes or a minstrel part

to

end the show,

AND CHARGES

COSTS
tickets

may

Treasury

is

be sold at ten
in

good shape,

cents.

a tent

133

Once the
and more

ambitious decorations and lights are possible.

The main
wish

to

thing

if

you have no money and

have a circus of your own,

together a

company who

is

to get

will work, save the

money and stick together without fighting.


Such a company can accomplish almost anything

it sets

out to do.

Moreover everybody

who

it is

how many

good

such a company of boys or

people will help them once

Your elephant

half then, whereas

critic

help those

seen that they are really in earnest and

working hard.

New

to

help themselves.

It will surprise
girls

likes

will cost one-

my estimates are made from

York prices. For an instructor and


the company must depend upon some
friend.

CHAPTER

XII

SLEEPING OUT OF DOORS


Centuries ago

it

ing out of doors in

ceeding;
that

it is

it is

was found out

summer

that sleep-

an excellent pro-

is

now beginning

to

be understood

equally good for a growing boy to

sleep out all the year.

I subjoin

an account,

taken by permission, from St, Nicholas, of a

Winter

Camp

at the

Cloyne House School,

Newport, Rhode Island, designed with the


tention of

and

making an

attractive place for boys,

method

for

interesting remarks

by

in accordance with a practical

sleeping out

all

in-

the winter.

I also quote a

few

Prof. Leonard Hill, on the theory of ventilation,


efits

which

best explains the

obtained in this Winter

This Winter

Camp

the third year.

The

is

to

boy who

Camp.
in use (1916) for

boys immensely prefer

any dormitory, and

it

now

undoubted ben-

it

has been found that

sleeps there never has a cold.


134

As

SLEEPING OUT OF DOORS


what

is

commonly

135

called a cold generally pre-

cedes illness and provides the conditions un-

der which bacteria

and has been

may

flourish,

so found, that a

never has a cold,

is

it

boy or

follows,
girl

who

exempt from many forms

of illness.
I suggested to Professor Hill that there

is

possibly an electrical effect on the sleepers in


the winter camp, produced by the currents of

moving
to

air.

He

replied, ''There

is

no need

evoke anything but rate of cooling and

its

stimulating effect produced by fresh moving


air.

Five-sixths

human

of

the

metabolism of the

body, the food eaten and digested, fre-

quency of circulation and digestion depend on


the loss of

body

heat, that

is,

on the rate of

cooling of the skin."

The two
proves that
like

it,

years' experience
its

use, or the use of

this

from boarding-school

long

it

something

life.

Before very

will be understood that a headmaster,

whose school there are constantly

colds, grippe, catarrh,

what

camp

will largely head off epidemic dis-

eases

in

with

cases of

whooping cough,

etc.,

are thought to be the lighter ailments,

is

AMATEUR CIRCUS

136

LIFE

would be consmallpox, yellow fever, ma-

exactly as incompetent as he

sidered to-day

if

larial fever are chronic in that school.

It so

happened

that,

on account of the po-

litical troubles in

Mexico, the Americans

Yucatan found

necessary in 1914 to leave

and come north

that country

Then

States.

it

to the

United

had an opportunity

to visit

the Cloyne School.

patrol of

Boy

Scouts,

had a

tent

on the

established in the school,

They

grounds.
ings

we cooked

stories until

found

it

asked

me

so

slept there,

and many even-

over an open

fire

fun

and told

The

time for lights out.

much

in

boys

out" that they

to "sleep

and build a winter camp

to design

for them.

We
the

spent ten weeks planning and building

camp

so that

it

would

tine of the school life.

It

fit

in

had

with the routo

be near the

dormitory building that no time might be

lost

out of the few free moments between study

hour and bedtime.

able to take a place in the


trees

and only

building.

It

we were
grounds among

Fortunately,

hundred

was decided

feet

from the main

to construct

an old-

54-

Slumgullion

55.

Time

to

Get Up.

^
J'

r "si
O. ^F. H.
56.

THE WINTER CAMP


December, 1914

57

Put a
l^andkerchief

on the

floor

in front of
All
each.

together
stand on
their

hands

with

feet

against the

58
wall.

Bend-

ing the arms


each picks
up handkercnief with
his teeth, returns to
standing position and
salutes.

ADVANCED WORK
The Handkerchief Pick-Up

SLEEPING OUT OF DOORS

137

fashioned log fort of the days of the Indian

As

Wars.

there

was already

with two fireplaces next

a large play-hut

to the site of the fort,

by extending the stockade

sufficiently a cov-

would

join the play-hut to

camp we

built a log stockade

ered passageway
the fort.

Around
fifty feet

the

long by thirty wide.

This used up

over two hundred logs ten or more feet long,


the bark being left on the logs, pointed at the

top

and

set

two

feet

in

The

the ground.

stockade was well braced on the inside and


solidly fastened

by logs spiked on lengthwise.

Trees are scarce in Rhode Island


they were nearly

all

it is

said

cut off for firewood dur-

ing the occupation by the French soldiers


years ago

good

had

so

size,

to

At

it

was not easy

to get logs of

and the white birch that was used

be brought from the North.

the southwest corner a blockhouse

was

built on top of the stockade to hold the brass

saluting cannon belonging to the Scouts,


trol

Number

5,

Newport, Rhode Island,

their official name.

house

is

Pa-

planted the

is

Just behind the blockflagstaff.

A large gate in

AMATEUR CIRCUS

138

LIFE

the centre of the south wall opens on the path


to the

door of the school.

and the platform of the

Between

tent

this gate

placed a "Cho-

is

The

corua stove" and a stone fireplace.

gate

is

secured at night by a heavy birch bar laid

in

wooden

To

forks.

build

platform

for

the

tent,

we

dragged inside the stockade huge logs thirty

These were blocked up three

feet in length.
feet

above the ground and then a cave

a very secret entrance

the logs.

feet,

and

wide board

wind could not

around

all

wooden bunks were

sides

dug underneath

Across the logs was nailed a plat-

form, 20 X 30

had

was

But

first

it

on three

The bunks

built.

at the back, so that the

and

strike the sleeper,

cross-boards to separate the bunks


other.

with

we

from each

built a trussed

birch poles to carry the

tent.

little

frame of

Two

poles

twenty-five feet long, of heavy zYi inch birch,

were planted

came 17
braced

feet

in the

bottom of the cave.

above the

to the logs

and

floor,

They

and were strongly

flooring.

The

ends of

the ridge-pole were nailed on top of these,

then the tent and

fly

were put

in place.

Both

SLEEPING OUT OF DOORS


had half-inch iron

139

worked

tent

and

into

them opposite each end of the ridge-pole,

fly

rings

and through these a six-inch iron bolt was


driven

down through each end

of the ridge-

Each one

of these bolts

pole into the posts.

ended

at the top in

an iron ring.

From each iron ring, and outside of the fly,


we carried two wire-rope guys to heavy logs
on opposite sides of the stockade. Inside we
lashed and spiked between them two birch
cross-braces four feet apart

and one diagonal

brace from one upright pole to the other.

The

result of this plan

was

a strong flexible

wooden

truss to

hold the heavy tent and

giving a

little to

the

wind when

it

fly,

blew hard.

Instead of the usual long guy-ropes, which


pull and tear a tent

were planted on each

from

The

it

when

side of the tent,

two

feet

and strongly braced into the ground.

short, two-foot guy-ropes

the racks

when

were lashed

wet, with the result that,

dry, they slacked off a


to

wet, birch racks

little,

to

when

but not enough

be troublesome.

tent so

mounted

requires no adjustment.

This one stood the heavy gales and snow

all


AMATEUR CIRCUS

I40

It will

winter.

need no further attention,

and will stand any blow

The

until the canvas rots.

down

sides can be looped up, or buttoned

to spikes driven into the


is

LIFE

platform

There

logs.

a door at each end of the tent, and the wind-

ward one

is

buttoned while the other

is

left

hut,

the

open.
Electric

lights

were put

blockhouse, and the

tent, so

in the

arranged that

all

could be put out by one switch, except that

At night

in the tent.

down and

the flag

was hauled

the gate barred; then,

hands were in their bunks, the

last

when

all

man had

to

turn out the light and the stories began.

was

It

fine,

snugly tucked into a sleeping-

bag, to hear the rain


the

wind blowing

drum on

the tent-fly

in the trees.

Surrounded

and protected by the heavy stockade and gate


one

felt so safe

Red Inn" was


in the story

two

unfolded, or the ghostly step

came slowly

three.

easily crawl

while the "Adventure of the

And

down

the

across the floor, one

scared

ones

could

into their sleeping-bags

and

cover their heads.

As

the stockade ran

up high enough and was


SLEEPING OUT OF DOORS

141

strongly braced, even a full gale did not dis-

turb the sleeping-tent or the canvas on the


racks.

The

length of this tent-fly was forty feet

ten feet longer than the tent


tra length of the fly
shelter, as the fire

was

itself.

This ex-

formed a comfortable
built just at the edge,

and benches were placed on each

side.

There

one could cook in rainy weather with no

in-

convenience.
If there

were time he could broil a chicken,

or bake potatoes, or

make clam soup while

the

Scout Boys were in the evening study hour.

As soon

as that

was

over, they rushed to their

alcoves and put on pajamas, boots, a bathrobe

Then

and cap.

utes for "follow

there

my

would be

few min-

leader," or supper, or a

general scrimmage before "lights out" and


stories.

was

in

would

In the morning,

if

the master

who

charge at the time "had a heart," he


get

up early and cook

the stimulating

"slumgullion."
It took only a couple of minutes to arrange

sleeping-bag

enough

in

which

and ten minutes was time


to

drink the hot slumgullion

AMATEUR CIRCUS

142

prepared according
with the
blazing

an ancient formula and

which makes

skill
fire

to

was

LIFE

it

so delicious.

zero weather at half

fine in

past six in the morning, and then

wild rush

to

be in the dormitory

came

the

at just seven

minute before nor

o'clock; neither one

after.

The playhouse was found convenient on


cold nights when it was too early to turn in,
if

there

when

happened

The stockade,
and hut made a charming

the school gave a dance.

blockhouse,

tent,

be no study-hour, or

to

effect illuminated

the open

by Japanese lanterns and

fire.

Thus, while living a boarding-school

necessary and tiresome details,

with

all

there

came some

its

of the

for the faithful four

into three parts,


just

what

magic of camping out

who had worked

Gaul was none the

the camp.

it

life

to

build

divided

less

X plus Y still exactly equalled

always did, but I think

easier for the boys of the winter

camp

it

was

to learn

these necessary facts because of their nightly

contact with the great world of out of doors,


their hours in the

camp, and that

which you cannot get

in a house.

fine sleep

When

the

SLEEPING OUT OF DOORS


thermometer

is

away down, when

lashing the trees, and the air

is

143

a gale

is

full of flying

snow, you are so very comfortable in a good


sleeping-bag, and the voice of the story-teller

fades
sleep,

away into the song


and happy dreams.

of the gale, and

CHAPTER

XIII

FOR THE INSTRUCTOR


It appears best not to give too

many

exact or

confining rules for this system of physical de-

The importance

velopment.
instructor

exaggerated

be

cannot

of an intelligent

and

the

printed v^ord does not fully take the place.

In capable hands

velopment

v^ill

this

method

be found

to

the defects of the methods

of physical de-

remedy most of

now

in use

and cap-

able hands should be left free.


If a

boy or

girl

is

clumsy, slouches along

with the shoulders bent

in, it is

because the

trunk muscles are not developed, or the nerves

do not control them properly.

man body

is

be corrected.

more or

less plastic all this

fakir

may

by constantly holding

an arm upright finally


nently.

Since the hu-

fixes it there

In the shapable

perma-

12-16 period, by

these easy graceful tumbling motions muscles

may

be developed and balance obtained with


144

FOR THE INSTRUCTOR

145

a free upright carriage of the whole body.

Such

mune

boy or

to the

girl

becomes practically im-

ordinary accidents of

No

life.

trained tumbler ever breaks a leg by slipping

on a side-walk or rolling in a coasting


for automatically the
in

minor

body

spill;

takes care of itself

difficulties.

I repeat the

Every one

words which begin Chapter

desires to be well, strong

II.

and grace-

ful.

How much
that desire
attain their

of

is

sacrifice to obtain

another matter.

Very few can

wish fully without the assistance

competent

there

is

any one will

instructor.

Granting

that

time and opportunity what shall the

instructor do?

Treating boys and

girls

between the ages

of 12 and 16 he finds by experience that calisthenics

and

drill

do not go very

far,

and that

time and opportunity are terribly lacking for


the use of

games

and

by "opportunity"

mean to include the expensive plant necessary.


Games require space indoors and outdoors
and much time to accomplish a satisfying allround

development.

So

the

conscientious

AMATEUR CIRCUS

146

LIFE

teacher does the best he or she can and often

wonders, I fancy,

how much

or

how

little is

accomplished.
I think the

recommend
required

by

feet

plan advocated in

itself to

is

many

because the plant

three, a little simple stuff, say in all

The proper

at all to

much

Once broken
each can be worked

together for an hour a day, and that

week

in.

as that.

classes of eight

five times a

work

boy practising

rig for a small

football costs as

two

book will

mat; or better two mats, eight

$20 worth, and any place

in,

this

to secure a

is

enough

very good

all

round development.
Best of

all

the stimulus

is

there,

provided

by the glamour of the circus and the

Given an occasional show

the

pupil will

practise steadily, without urging, under

said

It

is

said for any

rare indeed that so

much can be

for the mechanical

never seen

com-

Can more be

petent guidance

game?

stage.

exercises.

have

it.

This method

is

not intended for profes-

sional acrobats nor for the glory of the same.


It

is

an attempt

to build

up a method

simi-

FOR THE INSTRUCTOR


lar to that

which they use

147

so successfully in

dominating the human body.

It permits a

round development between 12-

successful all

16 prior to competitive athletics without the

tedium of calisthenics and with a great econ-

omy

The

of time spent.

that he can accomplish

instructor will find

more

in

an hour of this

two hours of basket

practise than he can in


ball or other games.

As

have already explained,

to use

danger-

who

ous tricks for non-professional youths

cannot give a professional's time and patience


them,

to

absurd

is

and

I eliminate absolutely

and

air-turns for boys

all

and

Consequently

16.

the instructor

There

is

is

girls

think

between 12

it is

better

unable to do air-turns.

no chance then of setting the

dent's ambition

if

stu-

on something you do not want

him to try. Moreover, a man cannot see his


own form in tumbling. He does not really
know how he appears. What is desired of an
instructor

he

first

is

ability to

hold the student

when

begins so that he will not be bruised,

keep discipline so that he will not go on until

he has mastered the

first

elements, and to

AMATEUR CIRCUS

148

LIFE

enforce constant drill and criticism of form


until the class possesses that easy graceful

tion

which denotes perfect muscle

must understand the theory of


that he will

mo-

control.

this

He

method

aim for and obtain the desired

ercise of the digestive tract, and, in a

so

ex-

word,

develop the class and not himself.


I
as

have certainly never been able


an

method

and

acrobat

to qualify

planned

have

this

way that it can be taught by


man or woman of ordinary

in such a

any intelligent

Keeping always

strength.

did boys and girls

in

who have

mind

the splen-

not access to elab-

orate equipments and specialist teachers in


athletics, I
all if its

would

feel that it

no method

at

perfect result cannot be obtained in

any schoolroom where there


teen-foot

is

mat and

is

space for a

fif-

a progressive teacher of or-

dinary good health.

When

your boy or

girl has learned these

ten elements of simple tumbling

them

and practises

steadily five times a week, one

day during term time,


girl will possess a well

at sixteen that

hour a

boy or

developed body, un-

der almost perfect nerve control and a splen-

FOR THE INSTRUCTOR


did digestion, given that he or she

No

a fair equipment.

149

with

starts

more can be done by

the best athletic instructor with the most ex-

pensive equipment.

By

the discreet use of the

circus,
est

may

there

is

shows,

tights,

no need

to

the pupil's inter-

etc.,

be maintained

glamour of the

at

white heat; and

be athlete or acrobat

do

to

this.

Great private schools and academies have


to invest

many

thousands of dollars to obtain

a fine physical development.


the

main reason

The

reason

for doing so, for I leave out

of consideration the desire to attract pupils

by means of
competition,

and

athletic success in extra-mural


is

that the pupil's time

his interest

must be aroused.

is

limited

Every

ex-

perienced teacher knows that you can go only


a short distance with calisthenics, that

it

vitally necessary to interest the pupil;

and,

using games to do
the

time

games
is

so,

it

is

necessary to take

in their seasonal order.

limited the whole

is

As

the

number must be

cared for in say three hours; therefore a large

and

expensive

athletic

plant

is

needed.

AMATEUR CIRCUS

150

Hence

for the vast majority of our boys and

good

girls

LIFE

football, ice-hockey,

ing, boxing, wrestling

What

possible.

tennis,

row-

and basketball are im-

they get

is

too insufficient in

quantity or quality to accomplish the best

all-

round development.

Such development can be obtained by the

games

if

there

is

time and an expensive equip-

ment, but the majority lack either one or the


other.

This

is

the reason

why

the universal mili-

tary systems do improve National physique.

During army

the best kind but


for all the

of

still

developing,

men but no Nation

quately for the

number

developing exercise, not

service,

the

is

possible

does this ade-

2-1 6 boy or girl.

In a large

Public Schools calisthenics

are pushed about as far as they can be, and


excellent results are obtained.

But contrast

these with the achievement at say Groton, or

any school which possesses an expensive plant,

and

it

will be seen at once

how

inferior they

are.

submit then

velopment of

all

this

the

plan to give the best de-

body under the

limita-

FOR THE INSTRUCTOR


and equipment accessible

tions of time

vast majority of boys and

one can take

this

to the

girls, so that

book and proceed

I say any one, but I

a class.

151

any

to instruct

am

not plan-

ning for acrobats or even very good athletes

They have

as teachers.

most valuable one

have a teacher

who

their field

do not wish

it is.

now and

can do the

and always risky (for a boy)

to

difficult tricks
air- turns for I

wish the boy

to

regard these simple elements

as

as

indeed they are for him

sufficient,

In

his stage.

mind

all practise I

keep steadily in

the even exercise of the

whole body, the

growth of nerve control and above

ercise of the digestive tract.

ending

in a

No. 2

as effectually as a

tion

2.)

back

calisthenics.

of in any

Slow

game

rolls

High

Falls, etc., there are

in

the ex-

quick

roll

this

(Illustra-

any move-

or any form of

down

the class chasing

working

to

with

rolls,

of

flip.

Both are superior

know

all

salute does this I think al-

most

ment

a salute,

quick

the mat, in 2-

innumerable ways

motion.

When

back

and front handsprings can be added, you


tain constant

at

at-

and perfect exercise of the diges-

AMATEUR CIRCUS

152

and circulatory system while stead-

tive tract,
ily

LIFE

developing muscular power and nerve con-

The

trol.

combinations

other

elements

of

give variety and the line method, placing the

and working

class in line

chance of

in turn, prevents all

strain.

Every now and then some student brings out


striking facts in regard to the effect of exercise

on the organs during the growing period.

Quite clear and interesting editorials are written by people who,

knowing

little

about the

matter but stirred by some sorrowful collapse in competitive athletics of a promising

youth,

lump

it all

together and charge

it

up

to the Athletic Director.

What
Here

is

are

the Director of Athletics to do?

some

of the things he

knows

to

be

facts.
I.

Desultory play has small effect on the

physical development of boys, for a


of reasons of

which

I will cite

number

one only.

The

many demands school life or a working life


make on a boy leave him not over three hours
a

day and

self,

in that

amount

he accomplishes

of time, left to him-

little.

FOR THE INSTRUCTOR


2.

such
sult

You

153

cannot employ mechanical exercises

as calisthenics

you are

or drill to produce the re-

after.

They

will help

that

is

all.

3.

There

is

nothing

but competitive

left

athletics at his disposal.


4.

On

the spiritual side of the boy, only

by

competitive athletics can he develop courage,


loyalty

and manliness, and combat weakening

feminine influences.
I believe pretty
is

much

all

men whose

to attain the desirable results

object

described by

writers on the physical development of the

boy would agree on these four


5.

The danger

athletics

is

of injury

points.

from competitive

greatest between

12-16.

Strains

received then are the beginning of injuries to

some organ which may or may not develop


disastrously later on.

This point

is

not yet

generally recognised.

The

Directors and the schools cannor hexp

themselves
is

they

have no other way, and

it

clear the benefits of competitive athletics

exceed the drawbacks and will be sought until

a better

way

is

found.

Observe that

in

our

AMATEUR CIRCUS

154

Government

schools

where mechanical exer-

cises, drill, calisthenics

than anywhere

else,

LIFE

can be pushed farther

competitive athletics are

used because they give a result which cannot


otherwise be obtained.

Now

this

at length

is

Men

a singular thing.

write

about bees, minute points of law,

the collection of half truths and misunder-

standings called history, but of this acrobatic


art,

so

difficult,

since Tuccaro,

find only

an incoherent foolish book by Hughes Le

Roux and Gamier, and an


of feats by Professor
ficients travel

they do

is

all

excellent

Gwathmey.

Yet

pro-

interesting to millions.

ing not talking about


it

its

over the world and what

Perhaps because they are absorbed

cause

manual

is

difficult to

difficult to

it

and

also

in do-

perhaps be-

understand, and

more

give the patience and self-denial

needed.

TUCCARO
Archange Tuccaro (Archangelo Tusquaro)
was born about 1535 at Aquilai in Italy.
was therefore near 35 when he performed

He
be-

FOR THE INSTRUCTOR


fore the Court during the

IX

Charles

of

moment

of Tuccaro's

Charles highly approved and

life.

festivities

France and a Princess

of

of Austria, the high

King's Acrobat,

the

wedding

155

taking

made him

him

Paris.

to

This was a great and much apg.reciated hon-

Whether

our.

the

King did

the right thing

we may

financially, history does not state; but

infer this

as

Messire Archange appears

have gotten on very well through

to

the

all

troublous times that followed, publishing his

book of Three Discourses

He

also published a

book of poems

and died not many years


tween 65 and 70 years

He

proudly

in 1599.

after,

in

1602

somewhere

be-

old.

states that

he was the King's

instructor in the noble art of tumbling, but


discreetly refrains

We

did teach him.


not much, for
cult

and

it

is

from

all of

stating just

may

what he

believe that

Tuccaro's work

it

is

was
diffi-

hardly credible that the King

exercised the patience and self-denial needed


for hard stunts.

Tuccaro
ity

takes high

and value of

ground

his art.

as to the nobil-

For four things are

AMATEUR CIRCUS

156

needed by those

who do

difficult feats: cour-

and complete con-

age, self-denial, patience,


trol of this

It

is

LIFE

our earthly and heavy garment.

a singular popular delusion that acro-

young on account

bats die

of the physical de-

mands upon them, overworked


Tuccaro

is

hearts,

etc.

a case in point, exercising his skill

up to sixty odd years.


from accidents because

It

is

true that

some

of lack of care or

die

more

likely because of ambition, the desire to

The

something new.
bats of itself

do

perfect health of acro-

would prove

this

popular con-

ception untrue and the reason for the error


is

that audiences, not liking to see an elderly

man

woman

or

seldom do
as

doing

difficult acrobatic feats,

On

see them.

the dramatic stage

time slides by, people take to older parts,

but in acrobatic work there


such.
to

It

is

for those

who have

do these impossible

smile.

You do

is

feats

no room for
divine youth

with

not wish to see

a graceful

Grandpa

in a

death-defying act; but his grandson full of the


joy of

life

that

when make-up
nothing

to

is

do but

is

another matter.

Hence

no longer possible, there


retire

and teach.

is

FOR THE INSTRUCTOR

157

PRACTICAL POINTS

There are two imperative reasons why

it is

necessary to train a class to do interesting and


"classy" acts, besides the need for an impelling force that will

make them work.

First as in all education that there

always before the pupil feats a

do

little

more

little

may

arise

harder

to

difficult to learn.

may

Second, that older boys

he does and not bring

to

respect

what

bear the destructive

force of a contemptuous public opinion to deter

him from work.

In considering the use of the show

as

stimulus for the pupil one finds that there are


as

many

different kinds of

places in

which

the thing to do

to give

them.

as there are

In practise,

get on paper

first is to

be done, the number of

shows

acts,

what can

time each one

re-

quires, the people.

Next
have
is

to

see if the place

work on

a stage

is

suitable.

If

you

and the curtain arch

not very high you could not do the "Path

to the Stars," for the reason that the stars

the balloon

would not be

seen

from

by the audience

and the point of the picture would be

lost.

AMATEUR CIRCUS

158

LIFE

As we have seen the main object in giving


a show is to assist in maintaining the interest
of the class during the long practise which
good physical development
In
is

competitive

requires.

same

the

athletics

end

reached by intra-mural and extra-mural

games.

People

who

think that the disadvantages of

games between schools outweigh the advantages, resort to elaborate systems of

games

Now

tween clubs formed in the school.


write from the standpoint of the

man who

has to get the

work

man

done.

beI

or wo-

They

are

confronted with a condition not a theory, so

much work,

so

term in order

to

many hours

bring about the desired phy-

development.

sical

athletics

Much

who

is

written about

by people who do not seem

a great deal about them.

actual

of practise each

work

to

know

Those who do the

are mostly silent.

The

teacher

has to produce a result knows that talk

to students

about improving the body, main-

taining health, duty and obedience are useful


influences, but since

human

nature

is

what

it

FOR THE INSTRUCTOR

Therefore the need for

not sufBcient.

is,

159

competitive games and the inadequacy of cal-

The difficulty of games


number who can get on to the

the

isthenics.

is

small

teams.

It is necessary to
to

provide an enormous plant

adequately take care of 400 boys by games.

To

you are

realise the benefit

must actually

play,

it is

not enough for

on the sidelines and

sit

after each

boy

him

to

Naturally the

yell.

biggest or best boys of the group do the actual


playing.
will find
sizes

and

Whereas
you can

in this

tumbling plan you

utilise all sizes, interest all

drill steadily all sizes.

There

is

not

the necessity of sacrificing the practise of the

smaller boys to the needs of the others, and


lack of equipment

one
drill

gym

it

is

difficulty at all.

In

possible for five instructors to

time and maintain the interest

of 80 per cent, of

No game

them

for all the time.

can do that in such a short time.

Only however up
is

no

adequately 400 boys at simple tumbling

in four hours'

it

is

to sixteen.

desirable to carry the

that age on this plan.

do not believe

boy or

girl after

I think they are better

AMATEUR CIRCUS

i6o

employed
if

at competitive

LIFE

athletics especially

they have had two or three years of tum-

bling practise

As

first.

will have been seen,

deep

utilise the

by which
I

practise.

proposed

is

and

interest of boys

AMATEUR CIRCUS
force

it

LIFE

to

girls in

for a driving

to obtain steady

developing

do not however burden

book

this

with a greater mass of detail because practically all instructors have

how

edge of

ments, and

knowl-

nearly always possible for a

group of boys or

Once

less

conduct amateur entertain-

to

it is

more or

girls to get

such counsel.

the ten elements of simple tumbling are

mastered innumerable combinations are possible,

so

it

is

easy to devise class acts and

brother acts such as those described in Chapters III,

ing

IV,

little acts

and VIII and other

can be found according

taste of the instructor

the group.
of boys

and

interest-

While
girls

it

and the latent


is

hoped

talent in

that a

can by the aid of

to the

group

book

this

attain valuable physical training without help,


it

is

needless to

remark that

in this or

system the directing energy and wise

any

criti-

FOR THE INSTRUCTOR


cism of an instructor are invaluable.

found

in

make

clever plans

To
have

to

helpful

and

suggestions

which almost invariably require

make them

fit in.

the instructions given in Chapter III, I


to

add but a word of caution.

stantly finds boys

who

balled

up

as

become

is

rattled

con-

is

always liable

and put

when

bad method.

when diving

hands

his

legs

This makes

in illustration 2.

easier to learn the roll but

Such a boy

One

are taught to do a roll

by clasping hands around the lower

it

have

conducting classes that the pupils

invariably

changes

i6i

to

to his legs

instead of in front of his head, thus diving

squarely on to his head.

If on the contrary

he learns from the beginning

to

keep his

hands in front he will before he dives


have learned automatically

to take care of his

head and neck by sustaining


his

hands and arms.

much

all

the weight on

CHAPTER XIV
FOR PARENTS

There are boys

so well

endowed by

their

parents that they flourish under any system;

damaged by inheritance, or
the control of women, that no system can do
much with them. There are teachers tied to
systems, or whose faces are not turned to the
there are boys so

dawn.

With none
do.

to

It

of these people have


is

the

progressive,

we

anything

intelligent

teacher and the shapeable boy and girl of

twelve-sixteen for

whom

better

methods may

be suggested than those in use to-day.


better

And

methods are needed from the point of

view of

all

involved

pupil, teacher, and par-

ent.

Irrespective of all fine plans parents

make,

may

as far as it concerns the twelve-sixteen

^ I should like to emphasise that the term twelve-sixteen is


used for convenience. All people in touch with boys and girls
observe that the period I write about begins and ends, at times,
earlier or later.
i6z

FOR PARENTS
boy or
is

girl,

163

physical education consists of

what

actually done during the short time at the

Remember

disposal of the athletic instructor.


that these boys
classes,

and

girls

have

to

be taken in

that the greater part of their

must be made interesting

to

work

Remem-

them.

ber, too, that the instructor himself

is

limited

by conditions imposed upon him for the pro;

fession of athletic instructor has so recently

emerged

into respectability that

it

yet with that of other educators.

of four

hundred

hardly ranks

In a school

boys, splendidly equipped,

out of a faculty of forty-five mainly given to


the
is

work

of getting the

boy

into college, there

but one physical instructor helped by four-

teen semi-voluntary assistants; this

is

an ab-

surd condition, but one probably not changeable for years to come.

Watch the work with such boys in a good


Y. M. C. A. gymnasium, a public school, or a
boys' club gym, and note how much time is
wasted,

necessarily

wasted,

in

unorganised

play.

Those who wish


its

comfortable

to

change our nation from

helplessness

to

sensible

AMATEUR CIRCUS

i64

LIFE

strength see the need of better and

more

uni-

versal physical training.

The worst gap


methods,

the weakest point

practically

between

is

This method proposes

twelve and sixteen.


fill

speaking,

in present

to

that gap.

After the "tumult and shouting" dies away,

and the need for preparation has been


lished in this country

what

will be seen then that very

war

is

practical

before

is

to

little

estab-

be done!

It

training for

sixteen.

needed between twelve and sixteen

What
is

an

is

all-

around physical development, and that brings


one face

to

present methods

face with

in

schools and gymnasiums.

At Camp Chocorua, in the days when the


summer camp was still considered an amusement enterprise and not an experiment
cation,

it

was

my

in edu-

much
may the

privilege to think

about new ideas in education:

How

education of boys and girls be lifted up to


better

ways?

In the end,

what appears

come back to
Only by
truth.

all

discussions

to

be

the

laborious study of the child

may new ways

FOR PARENTS
be found.

you wish

If

understand body and

know

nese

this.

this

is

to progress

The

soul.

wise Japa-

not possible to reach the


is

Wherefore, the method proposed

in

book for the twelve-sixteen boy or

The

girl.

teachers of scholarship, the teachers of

religion are apt to speak of the

were a being detached from

They do
an

as

you must

development unless the soul

best physical
enlisted.

It

165

boy

and

passes

he

his body.

man

begins

through

many

not seem to realise that

animal,

as if

changes before he reaches the developed reasoning,

boy

controlled,

lives

The

human.

religious

always with his body, he cannot get

rid of it; he

is

governed by

hampered, swayed, and

it.

at times

seems clear that the

It

first

step in attempting to obtain a better type of

boy ought

to

be

to

improve that body, and

could you achieve fairly perfect bodies, half


of the difficulties with the sex force, with their

scholarship and their religion,

would

disap-

pear.

In

all

work with boys

it is

to

that the twelve- to sixteen-year

streaky

compound

be remembered

boy

is

a curious,

of ignorance, knowledge,

AMATEUR CIRCUS

i66

LIFE

courage, cowardice, sacrifice and selfishness,


desire and indifference, conditioned

and always by the

first,

last

state of his body.

That mentally, morally and physically he

is

constantly changing, always in a state of unrest.

remember

Failure to

Moreover,

in

those with

whom

which

defeat.

groups of boys there arc always

you can accomplish next

nothing and those


pulse

brings

this

if

who

dared

to

possess a divine imI

would

call a

super

digestion system.

No

matter

how

stupid and ignorant the

teaching, the latter will derive

seem

it

or

to.

In what I

two

good from

classes.

be largely

am

about to say I

set aside these

We will treat of the boy who can


made

or spoiled by good or bad

methods.

The
or

less

schools take each year a mass of

promising material and

at

more

the

ap-

pointed time turn out a result they have a right


to feel

is

creditable.

analyse their work,

May we

not,

however,

searching for a better

method on the physical side?

FOR PARENTS
An

age has come again.

iron

Germany

167

Whether

loses or wins, this soft, luxury-loving

people of our republic need

gird on the

to

sword and defend what we believe

Is it

in.

not time to find better ways of preparing the

body and soul of

than those to-day in use?


reach

its

men and women


A way that will

these future

end without the waste of time and

risk of strain of the present athletic competi-

system.

tive

golden

But

You may

life,

myself to the

work,

the

second

between twelve and

sixteen.

opportunity

period of

confine
for

period definitely prescribe

at this

methods of living which will bring youth


a better development of the three

and

body,

to

mind

soul.

This, then,

is

the golden time in the de-

velopment of man.

Not

previous period, he

is still

too plastic, as in the

shapable.

To

this

time, I believe, should be applied the clearest

thinking, the most perfect skill; and at this

time

is

determined the future physical

effi-

mind and soul.


Mistakes made then continue more or less
through life. Fine work by teachers gives

ciency and probably that of the

AMATEUR CIRCUS

i68

LIFE
Our

larger results than before or after.


ture

man

woman

or

at that

fu-

period reaches the

domain of the

athletic director, if fortunate,

whose work

often of

is

more

that of all the other pastors

real value than

and masters

to-

gether.

How

great

the burden laid on this direc-

is

If the valiant

tor!

jumping, or a boat, damage

in a fiat race, in
sults that

The

may be

director

and the deep

He

fine

always between the devil

sea.

command

to-day only the two

systematic, mechanical exercises,

method with

the competitive

attempt has been

cipal of a

re-

irreparable.
is

has at his

systems

young heart be overtaxed

New York

its

and

dangers.

made by

the prin-

public school to intro-

duce the competitive principle into systematic


exercises but with only partial success.

Life and growth depend upon the stream


of blood

which

parts of the

from the heart

passes

body and

river ceases to flow

we

returns.

to all

When

that

depart to another form

of existence.

Likewise

all

growth of the boy or

girl de-

FOR PARENTS
pends upon

this

169

Every

current of blood.

particle of the future

150 pounds must be

picked up

where

at the factory

delivered to
is

its

it is

made and

If not there

destined place.

no growth.

We know that the heart can


this

work.

It

do only part of

must force outward the

ing, the body-building, stream;

life-giv-

but to insure

the perfect delivery of each particle to just


the right place

and the return of the blood

the lungs for refreshment, the

system
sired

is

employed.

work

measure of

mon

is

If that

unused the de-

badly done, and according to the

its

non-use largely follow the com-

and growth.

the best results are obtained there

for at least fifteen hours each


life a

whole muscular

is

defects in general health

When

to

day of the

is

child's

constant kneading by all his muscles.

When you

forbid the boy or girl to wriggle, or

be

restless,

you are interfering with

ess

or some other.

a system of tubes.

Man
The

this proc-

has been described as

tubes are useless

currents do not properly flow through

if

the

them

and the gallant heart cannot do the work alone.

The same

process takes place with the food

AMATEUR CIRCUS

I70
eaten,

which

is

LIFE

shortly, or should be,

made

into

a liquid to be propelled to the needed places.

During

later periods of life this perfect

circulation of the two streams, the blood and

the food,

not of such pressing importance, as

is

only the growth acquired has to be maintained.

There

is

not the need of constant movement, of

The grown

a ceaseless action of the muscles.

man may

live

very comfortably

as

He

pompous, slow-moving mass.

ert,

an

in-

is

not

driven for exercise to wriggle or fidget.


It

however, clear that in

is,

riod of
ercises

life,

2-1 6,

with regard

we

this

should think of

to their effect

cular action which

second pe-

aids

these

all ex-

on the mus-

two moving

streams.

So of the

heart,

we know

it

to

be of supreme

importance that before maturity

it

should

never be overloaded, and the muscular system


that aids the heart, the

two streams are

may know

assisted to

do their work,

we

a lot about.

Muscular action
uli

methods by which the

is

brought about by stim-

physical, mental and moral.

To

save time

I omit discussion of the nerves, glandular sys-

FOR PARENTS
tern

171

and metabolic processes, and roughly pass

over development conditions

The

propose.

The

commonly used

stimuli

fect of heat

are:

and cold on the

Now

must use

all the

his part

The

get the best result.

Of

competitive system

The

it

employs

the two streams I have de-

scribed, that of the blood


tant.

we

you will not

better than the mechanical for


stimuli.

12-16

boy and thereby ob-

muscular activity on

more

etc.

stimuli possible.

you simply beat

If

and

skin, light

to obtain the best success at

ef-

etc.,

darkness on the eye, sound on the ear,

is

physical need the boy or girl feels for

motion, vanity, ambition, discipline,

tain

what

to get to

is

the

more impor-

digestive stream can be and

is

often

supplied with good material from poor food

poorly prepared and circulates fairly well.

But

if

the blood

is

not distributed,

matter clogs the system,

all fails,

if

inert

no good

re-

sults are attained.

What we are trying to do,


twelve and sixteen
these processes.

is

therefore, between

chiefly to aid or direct

How

ignorant a view

it is

to

consider that the book knowledge then ac-

AMATEUR CIRCUS

172

quired

is

LIFE
There are

the principal matter.

long years ahead in which the boy or girl

X plus Y

learn at any time that

may

equals some-

thing or other, but very few in which the

building

work

of his heart

may

be well done.

All the factors of the body are tied together.


If the teeth decay digestion

impaired, and

is

impaired digestion accelerates the decay of the

So there

teeth.

Now,

is

infinite action

I submit, it

ing that while

all

is

clear

and

reaction.

from the forego-

exercise has an effect on the

which would extend and

organs, any exercise

compress the arm and leg systems of muscle

same time strongly employ those of


the trunk and abdominal cavity would best
and

at the

meet the conditions for circulation of the blood


stream and the digestive.

Running has
down.

is

chief effect

from the waist

Baseball, except for the pitcher and

catcher, very
nis

its

little,

very good.

one side and

is

except spiritually.

Its

drawback

is, it

pulls on

not abdominal enough.

ing not enough from the arms.

TenRid-

Boxing and

wrestling very good, but the danger here


that competition

may

overstrain the

is

immature

FOR PARENTS

173

heart and neither can be taught in classes.


It has

been

my good

ing ten years to

fortune in

know and

study intimately

over twenty acrobats of 12-16.


I found.

much

This

is

what

saw people disregarding pretty

all

Mexico dur-

the

common

ideas of physical train-

ing and indeed knowing almost nothing of

them and yet obtaining

a result with their chil-

dren on the physical side vastly superior.


at

once asked the question,

they do

These twenty-odd children were profes-

it?

sional acrobats,

working
est

how do

some of them of the

They

in circuses.

first class

lived in the rough-

In a country where yellow fever was

way.

endemic they knew nothing of and never used


mosquito

nets.

Ptomaine poisoning and

phoid fever had no terrors for them.


them, as

Few

Why? Only one

reason can be given

the quality of the exercise, for no one asks

as

of.

they never had anything the matter with

them.

of

remember, had been vaccinated.

Care of the teeth or eyes not thought

And

ty-

boy or

girl so

much

the professional

from

physically and morally

acrobat.

Their parents

and masters are driven by necessity

to

develop

AMATEUR CIRCUS

174

LIFE

the muscular control, courage and constancy in


these boys

and

can do very

difficult

must be boys or

12-16, so that they

girls of

girls,

Topmounters

things.

or their weight

would be

A 3-High mat act must end with a

too great.

double air-turn down to the Understander, or

some

feat equally difficult, otherwise the act

has no standing and cannot obtain regular,

In no one of our

highly paid employment.


there a boy 12-16

schools

is

double

down

tions

at all times

who

could do that

and under

all

condi-

and never miss landing squarely on the

Understander's shoulders.

go back and get

Three

tries are

of failures

whole

it

Or if

he does miss,

certainly the second try.

seldom permissible.

would ensure

series

the discharge of the

Furthermore, no system

act.

at pres-

ent in use so prepares the schoolboy physically


that he could safely be taught to do such a
feat.

Rain or

shine,

must be able
It

is

to

under

do

all conditions,

his difficult

the boy

work.

not that school boys lack the strength.

They have

not the developed valour and the

nerve control of their muscles.

Also the boy

FOR PARENTS
acrobat must have

perfect

175
digestive

set.

Otherwise he could not endure the poor food

and unsanitary conditions of

One

of

these

his life.

Kame

boys,

Sugimoto,

twelve could and did always such

at

He

feats.

was not naturally physically remarkable.

have seen boys in the schools with a far better

He

inherited endowment.
tra

did possess an ex-

high degree of courage.

I acquired the confidence of the parents or

bosses

and the path was easy

the boys

to the liking of

and an intimate study of them and

You may

their ways.

say,

bats not attain the desired

why do

end through rowing,

tennis or riding a horse or bicycle?


as to

these acro-

Of

these,

nerve control the nearest approach to the

effect of acrobatic

cycle.

In rowing

In tennis a

An

little,

acrobat

work
little

is

given by the bi-

balance

is

demanded.

but in bicycle work more.

would smile

if

you proposed

to

give his boy the necessary circulation, digestive

power and nerve control by means of

these

exercises.

He

knows

that none of

the boy so well as his

them would prepare

own method.

Whereas

AMATEUR CIRCUS

176

LIFE

the schools, for lack of a better method, have


to use these

There

is,

games.

moreover, in the schools a greater

the lack of time.

difBculty

One

hour

effective

a day, five or six days in

the week, of acrobatic exercises will bring you


to

your

With

object.

these other

methods

used at present three to four hours a day are

needed for an equal


This

is

result.

not practical in a school for lack of

time and because


the interest of the

it is

most

difficult to sustain

boy of 12-16 for

so long a

period.

To

retain

ent the

ample

it

for the time employed, at pres-

whole machinery of influence and

of the competitive system

ex-

required.

is

In the amateur acrobatic work I have described,

when

interest flags,

as is

within the

is sufficient.

A simple

with such circus atmosphere

compass of the school

a performance

feat described in circus

language

as the ^^fiery

hoop of death" will stimulate the boy

Then

it

possible,

may be

How

said,

at once.

granting such benefit

can the work be done?

is

school of three hundred boys, giving perhaps

FOR PARENTS
2(X)

between 12 and

divided into twenty

may be

would

16,

is

That would require

My

teachers.

as great as I

answer

think

is

it is,

necessarily be

Four hours only

classes.

utilised as school life

ranged.

177

that

at present ar-

five
if

competent

the benefit

three times that

is

num-

ber could in time be provided.


It

is

greatly to be desired that a better

method be found than our present one and I


hope I have shown that in this way may be obtained a far superior development and yet be-

tween 16 and 20 the best of the competitive

tem may be

The
if

sys-

utilised.

professional acrobat

you proposed

to

him

would smile again

to train his

boys as

boys are trained at any good school.

He

knows the school systems are incompetent;


that a

boy

so trained could not earn his liv-

ing as an acrobat and runs considerable risk

damage when he attempts to


learn difficult feats.
He also knows how to do
for his boy what was done for him, and he

of irreparable

proceeds to do
start

is

made

In competitive athletics a

it.

the

moved and then

wrong way.

the

body

is

The

soul

is

trained to obtain

AMATEUR CIRCUS

178

whereas the body should be evenly

object,

its

LIFE

developed before spiritual stimulus

The boy

is

He

race.

worked up

to desire to

and forces

trains

applied.

win

body

a flat

to pro-

Here we encounter
His body is very lit-

duce the necessary speed.


the difficulty of strain.
tle

his

is

developed and unevenly developed.

demanding

at 12-16,

It

is

easy to injure

it

from one

muscles and nerves out of pro-

set of

effort

portion to the development of the others.

the training practical in his limited

nearly

all

time

given to the

is

is

As

peril of

damage

legs,

arms and lungs, there

to other sets of

muscles and

nerves, say for instance in the digestive tract.


I think this

posed.

The

happens more often than


injury

when done

is

is

sup-

not easily

Every one under

located in a growing boy.

such circumstances unconsciously conspires to


conceal

it

Hence

or lay the blame elsewhere.

in these

two theories of

athletic train-

ing which practically cover the field of school

and college training we are up against great


difficulties.

On

the

whole the competitive

the better system because

and therein

is

much

it

is

trains also the soul

gain.

But considered

FOR PARENTS
from the point of

ment

of the

even develop-

a real, fine,

growing man both are rather ab-

Drill calisthenics, systematic methods,

surd.
all

179

presently reach the point at

which the

He

detests the

whole

business and ceases to gain

more than

a very

growing man

little

benefit

Just

why

revolts.

from them.
this

is

so I suppose cannot yet be

clearly explained.

Most

teachers sooner or

These exercises

later reach this conclusion.

are successful with the majority only in so far


as they

something
forms,

In military drill

can interest the soul.

may be done with

flags,

the aid of uni-

guns, mass movements, the stimu-

lation of the attractive side of war, but

the other forms very

How
in the

little is

does a contagious

attained.

germ

disease begin

boy or girl?

Children are constantly exposed,


of disease are everywhere.
in perfect condition the

of

with

germs

is

much

As long

germs

as
as

one

is

chance for a lodgment

lessened.

The

student

should be not only well, but happy, bursting

with health and the joy of


lowering of condition

is

life.

apt to be

Moreover, a

marked by a

AMATEUR CIRCUS

i8o

LIFE

cold which prepares the ground for


trouble.

exercises

regard

But the boy acrobat by


is

more

his training

kept always in perfect condition in

to the

two streams and therefore never

has a cold and never

is

As

lodge and flourish.

in
I

shape for germs

have

said,

to

he "never

has anything the matter with him."


It

would

take an expert bacteriologist, two

or three in fact, to keep one child from contact

with germs, so the only practical method of


fighting disease

is

to strengthen the

defence of

the body.

So here we are led right back

to the

value

more

easily

main-

of the training I propose, as

taining perfect condition in the time

than any other I know, for


the

list

of sports

their defects.

you

It

is

as

we have

you go through

find that all

we

use have

quite true that using all

these the director could obtain an all round result

and sometimes does, but

erally barred

The

in this he

is

gen-

by the limit of time.

directors

know how

they are hampered

in this respect.

Therefore

it is

desirable to seek

some way

that in a limited time will do thoroughly

what

FOR PARENTS
should be done.
it is

our duty

It

is

to try to

i8i

agreed, I presume, that

develop devotion

to the

valour and constancy in defeat, there-

ideal,

fore w^e are driven to the competitive system in

may be put

the end, but I maintain that this

By

off until after sixteen.

heart

by

is

that time the brave

better able to sustain

this acrobatic

burdens and

its

system of training

wq

will

have constantly aided the heart and the entire

body
I

to attain a better

development.

found the popular ideas incorrect that

acrobats are especially selected children, especially endovsred or that they are acrobats by, in-

Undoubtedly the very

heritance.

best,

doing

the most dangerous feats, are of the second or

more

generations, but any kind of an ordinary

boy can reach a tolerable or good


erly trained.

have observed that their cour-

age, hardihood, circulation


all far

and digestion are

superior to such qualities in boys not

so trained in the schools.

clusions after

some

boy acrobats and


firmed

level if prop-

it.

five

came

to these con-

or six years' study of

later knov^ledge has con-

Necessarily I have to present these

conclusions in the form of an opinion, but I

AMATEUR CIRCUS

i82

may add

LIFE

that I have studied boys of 12-16 dur-

ing thirty years and in five countries.


Practically speaking the school puts the boy

more or

at a

The

training.

then

sets

latter

is

less

him

dangerous feat with but


acrobat trains

him

dangerous work.

at

first

little

and

Clearly the

the better plan.

I then reached this conclusion:

The

pro-

fessional acrobat or trainer has a better system.

He

turns out a

feats

with

boy ready

better

to learn difficult

circulation,

digestion,

muscle control and valour than the same boy


can attain under the school system while mus;

cular strength

is

a little better developed.

A similar training to that by which

he pre-

may be substituted for what


does now in the schools. The

pares a boy or girl


the

2-1 6 pupil

student of 16 so trained will be

more evenly

developed and hence will do better work after


16 in competitive athletics.

The

effect

on the

pupil of improved digestion and circulation

between 12-16 will be marked.

from

disease,

more

solid

Immunity

and hardy bodies may

be expected, but whether or not better and


quicker results in getting the boy into college

FOR PARENTS
may

183

be looked for I do not know.

cally the

Theoreti-

boy will do better mental work

has a better digestion.

if

he

Increased valour and

endurance he will not obtain from such modified acrobatic training, since it

nor

is it

is

not proposed

practical to attempt dangerous tricks

or prepare to do

so.

Such

he must

qualities

obtain as he does to-day from competitive athletics.

To

illustrate the force of the

of acrobatic
I

work

charm

this sort

has for the 12-16 period,

might explain that of the

have

five classes I

trained at different times and places in none

have I had the advantage of disciplinary authority.


tary.

Attendance has been purely volun-

Obedience could be enforced only by

the threat of dropping the boy

To

any one

who knows

from the

class.

the changeable na-

ture of the 12-16 period this I think

is

most

convincing proof of the great value such


cination

has

in

obtaining

steady

fas-

physical

drill.

A child cannot be taught to walk or allowed


to play

without risk of injury.

are encountered because

it is

These

risks

the wiser course

AMATEUR CIRCUS

i84

abstention

LIFE

from them brings about greater

harm.

The

risk of injury in present systems of

physical training

is

understood and

minimised or accepted properly


In considering

the price.

new method

in a

this

either

is

as a part of

element of risk

the writer decided to apply

two tests:
For the elementary system with which

book

deals, as a standard of

ing

down

who

canoe for a boy

game

at

14 on, the risk in a

has learned to

for a

slid-

For

the banisters of a staircase.

more advanced work


a football

comparison, the

an active boy of same age

risk of injury to

this

swim or

in

boy who has been well

taught.

Everything here given

believed not to ex-

Many agreeable and in-

ceed these standards.


teresting tricks

is

have been tried and rejected

solely for that reason.

This system

is

recommended emphatically

for 12-16 for another reason that

impossible to use
subject has

12-16.

it

it is

nearly

during 16-20 unless the

already been so taught during

FOR PARENTS

185

As shown, an imperative need


motion which need

this

plan thoroughly

an hour will be found

Other

balance.

joyed but there

found
is

to

satis-

for

be in a state of

rest

activities will

is

is

week

Pupils practised five times a

fies.

It

of 12-16

be used and en-

not that feverish restlessness

in the under-exercised.

a combination of directed exercise with

the spiritual interest that satisfies best and enables the

body

to

grow along the

opment most needed

lines of devel-

The muscles

later.

are

developed which permit an erect carriage, ex-

panded

chest,

ical attitude

deep breathing, the noble phys-

toward

life, fearless

because sufficient oxygen


ish the soul,

if,

is

indeed that

Such valuation of

and unafraid

absorbed
is

tion.

nour-

the explanation.

the noble physical atti-

tude, the fearless upright pose

might appear

to

is

not as

it

a sentimental or artistic concep-

In practical work when attained

constantly prove to be of genuine

it

will

sometimes

of very great value, during the process of turn-

ing the 12 year old into a hardy, balanced, disease

proof individual at 20, enduring and

physically efficient.

AMATEUR CIRCUS

86

There are many

may

LIFE

factors to be

watched one
;

not fix the attention alone on this but

a balanced

body possessing developed deep

breathing

among

The

is

best in life

is

the values of the

for the

young

first

rank.

in heart, the

strong, the brave.


I

do not

assert that

an erect carriage insures

a courageous soul any

more than

a college

course insures an education.

But

it

may powerfully

contribute to

it

and

in the business of education the wise lose

no

chances.

Let us take for instance a school-boy of


twelve of what one

may

call

average physical

endowment.
His digestion

is

fair

and goes on well

if

the

conditions are observed of good well-cooked

food eaten regularly, and a


of sugar,

warm clothing,

of sleep and

sufficient

supply

baths, dry feet, plenty

good dental work plus

happy

life.

Every now and then he has an attack of


tarrh, occasionally a cold.

viously run

down;

the

At

shadows

times he

is

ca-

ob-

in the face are

darker; his nervous system shows instability.

FOR PARENTS

187

Interested people think he has been


too

much,

that

At

school.

studying, and lay

is

lacking, "there

no one

is

to the

very

is

Should any of the neces-

sary favourable conditions

is

it

other times he reacts and

well and vigorous.

place

working

to

exercise be

fail,

play with," "this

dead," and so on, he probably ac-

quires a pathogenic

germ and has

a serious

ill-

ness

from which he may or may not emerge or

may

recover with a permanent defect of some

kind.

Perhaps he swims poorly,

is

caught in

an accident and needs for escape every grain of


fight his soul

and body should be capable

of,

but lacking one or two grains, possibly due to


a

backward gland,

certain date "Richard,

ignorant people

on a

a tablet records that

who

Beloved son of two

did not give

him

the

training he needed for such an emergency,

passed to the heavenly mansions."


this is not

on the

But

all

tablet.

If he scratches through such crises, in

due

time he reaches the 16-20 period into which


is

not

my

purpose

to

it

follow him, with a foun-

dation physically and morally for

place then, which at the best

what

we can

takes

only de-

AMATEUR CIRCUS

i88

scribe as fair

LIFE

and attended by the assured con-

viction of his parents and masters that they

have turned out a good

job.

Let the same lad of twelve

hands of a
such as

it

fall

into the

fine professional acrobatic trainer

has been

my

privilege to watch.

After that happens proper mental develop-

ment

for the boy

is

conspicuously lacking, sen-

timentalism and sentiment are absent.

In an

atmosphere of rigid exact performance of very


difficult

feats

he shortly acquires a perfect

digestion and circulation.

Conditions as to

food, clothing, regular sleep, are of

portance because he

Life

ters conditions.
est.

Immune

now
is

to disease

little

im-

has a body that mas-

happy

fully of

inter-

germs he proceeds

that complete control of the muscles

to

by the

brain seen only in a perfect animal, to a hardy


courage, and a patient endurance, and he enters

upon

the 16-20 period as a joyous prince

into his rightful

him
tal

heir, or

kingdom

of

could so enter

training also, with

which God made

if

he had the men-

which

the

acrobatic

trainer does not concern himself.

And

a touching figure

Richard would make

FOR PARENTS
at first, for this

a life of exacting specialism,

is

Unless you can do what

grim and Spartan.


is

189

required, you are of less than no account.

No home

chorus supplies a rose-coloured

atmosphere of excuses, praise, pride, interest


in his least

If he cannot do

accomplishment.

the thing, no one cares that ^^he tried so hard,"

disappointed," "he has been at this

^^he is so

for so long."

A more one-sided life than that

which Richard leads

in a gentle

home, but

with the tremendous advantage that the physical

at

foundation which ought

12-16

So

is

my

to

superbly attended

problem has been

first

care

prepare a

sys-

be the

to.

to

tem, as the outcome of the foregoing theory,

which would do
off

the

work

of calisthenics, put

competitive athletics until after sixteen,

maintain

the

vivid

interest

of

the

pupil,

shorten the time required for daily practise;

do
the

this

without using expensive plant, simplify

work

so that the instructor need not be

either acrobat or athlete, and devise attractive

work simulating

that

of

professionals,

but

AMATEUR CIRCUS

I90

LIFE

eliminating the risk and the draw-backs of the


professional

life.

This has been done, and

have had the opportunity

to test this

system

five times v^ith classes of six to ten for

six to twelve

You

parents

able value
tion,

weeks for each

who

what then

will

from

class.

possess jewels of inestim-

whom

upon

to lavish

you give

your devo-

to assure

your

beloved a more perfect physical equipment for


the battle of life!

The

price to be paid

is

an intelligent com-

prehension of the principles herein

set forth,

and a patient application of these training


methods.
matter

For

lies in

in the final

summing up

your hands.

THE END

pKnnnrD nr thh tTKrnB> states ot ambbioa

the

14 DAY USE
RETURN TO DESK FROM WHICH BORROWED

This book

IS due on the last date stamped below, or


on the date to which renewed.

Renewed books

are subject to immediate recall.

24l/lay57BJ

rEC'D ld
iV)AYiU19b7
l5May'58DT

IX

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LO

J0N111958
9

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BCC'DLB JAN 9

LD

21-100m-6,'56

(B9311sl0)476

73

-1

PW 1 6

General Library
University of California
Berkeley

YB \9e>i%

33
UNIVERSITY OF CALIFORNIA

UBRARY

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