Welch 1

Jo Welch

Douglas Pona

Makeup 101

Clown Research Paper

Clowns and Clowning

I. Introduction

The inherent need to make others feel good and laugh is the true definition of a clown.

Many of the things we do today, clowns have been practicing for thousands of years. This is a

serious art form that has a tremendous history. We know the clown as the comic character of

pantomime and circuses, but clowning history goes far deeper. This paper will delve into the

religious, social, and hierarchical roles they have played in society, as well as how their

performances have impacted the world of theater.

II. Clown Types

A. Pedrolino to Pierrot

Pierrot, the direct descendant of Pedrolino, is widely known as the most famous type of

clown. He is white-faced and originally featured a red tear on his cheek. Pedrolino was one of

the primary zanni, comic servants, to set up a separate personality and character. He was played

by Giovanni Pellesini in an eponymous troupe at the end of the seventeenth century. Pedrolino

functioned in commedia as an unsuccessful lover and victim to the pranks of his fellow
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comedians. His costume consisted of a white jacket with a neck ruff, large buttons down the

front, loose trousers, and a hat with a wide brim. Unlike most of the characters, he is played

without a mask, his face instead whitened with powder. His character later becomes the naive,

appealing schoolboy- Pierrot (Little Peter) in Paris. He is the most youthful of the troupe.

Famous for stillness, he can abruptly become exceptionally agile. He prefers mime to talking and

specializes in practical jokes. Pierrot is a quick, natural wit and recognized as the pathetic,

white-robed lover eternally mooning over the beautiful Columbine.

B. Auguste

Auguste’s name comes from a German slang word for idiot or buffoon. Rather than

white-faced, the base of Auguste’s face is a blend of orange and pink tones, closer to a European

skin tone. Red, white, and black are the more common colors for his facial accents, but other

colors are used as well. The early Auguste clown Albert Fratellini is credited for first bringing

the red nose into the art of clowning. Auguste’s wardrobe includes: a mix of plaids, stripes, and

checkered patterns (all in one outfit). His clothes fitting too large or too small is a key trait in the

ensemble. Bright colors are also very fitting for him.

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C. Tramp/Hobo Clown

Character and Career clowns do not always adhere to the Pierrot and Auguste traditional

looks or behaviors. Rather, they model themselves off of a personality or type of job. From this

category, the Hobo and Tramp category sprung. They are historically considered Character or

Career clowns because they are inspired by real individuals, those being the homeless people of

the late 19th century. They have earned their own category of clown through their contributions

to the American circus and their recognizable roles in the clown hierarchical ladder. They are

uniquely American clowns, their idea originating with the hobos who rode the rails during the

Great Depression. The classic Tramp look includes a sooty face, white around the eyes, and the

mouth referring back to the coal smoke from American rail yards. They are the butt of all jokes

and have a flesh-toned face, beard of stubble, ruddy nose, tattered suit and hat, and fingerless

gloves.

D. Rodeo Clowns

The occupation of rodeo clown became popularized in the 1900s when the sport of rodeo

was starting to take form. Organizers quickly realized what roles were needed: gathering stock

and contestants were obvious needs, but no one had considered hiring entertainment for the

crowd. During each show, there were times when workers needed to go into the arena to repair a

fence or take an injured cowboy out, which thus paused the performance. This caused many

patrons to leave the rodeo early. Committees grew tired of seeing fans leave, so they began to

pay the cowboys to entertain the crowd. In the 1920s the true occupation of a “rodeo clown” was

formed. They would travel across the country toting costumes, jokes, and specialty acts solely to
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entertain rodeo spectators during slow areas of the performance. The essential elements of any

rodeo clown ensemble include: oversized jeans (the waist being comically large), suspenders,

and safety gear underneath their clothing such as a protective vest or pads.

III. Clowns of Egypt

The most ancient clowns have been found in the Fifth Dynasty of Egypt, around 2400

BC. However, it is important to note that the term “clown” didn’t exist until the 16th century. So,

naturally, they didn’t use the term “clown” in Egyptian times. Roughly 5000 years ago, Egypt

kept African Pygmies, also known as Dangas, in the Royal Courts to amuse Pharaohs and Royal

Families. They dressed in leopard skins, wore masks, danced, and imitated Egyptian Gods, like

Bes (the God of Dance and Battle). The Ancient Egyptians had a complex view of humor that is

translated to modern humor, namely the widespread enjoyment of impressionist comedy. These

clowns also served a socio-religious role as the priest often played the clown role as well. The

Egyptians understood that clowns had an important role in society and respected them because of

their belief that clowns bring good health to those who watch them perform. As well as

clowning, the idea of the circus was also first found in the Ancient Egyptian Empire. Juggling

was prominent in Egyptian culture. It was seen as a meditative form of magic. Hieroglyphs of

juggling have been found dating back 5,000 years.

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IV. Clowns of Asia

Ancient China is also known to have had clowns in their Imperial Court - going as far

back as 1046-256 B.C. during the Zhou Dynasty. One famous Chinese clown named Yu Sze

served as a clown to Ch’in Shih Huang-ti, who laid the foundation of the Great Wall of China.

Despite many people dying during the construction of the wall, the emperor was considering

having the wall be painted as well. Realizing how detrimental this decision would be to the

people, Yu Sze was the only person brave enough to criticize it. Because of his jester’s stance,

the emperor decided to abandon this plan. Ai Noi, Ai Tong, Ai Muang, and Ai Klang are the

stock clown characters of the Nang Talung shadow puppet shows in Thailand. Each clown has its

own characteristic: one has a constantly moving mouth while another has a phallus-shaped index

finger. Performed by a large troupe of puppeteers, the puppets vary in size from six to twenty

inches and were made from translucent calf hide. Hudoq - of the Kayan Dayak culture of

Sarawak , Malaysia - is a clown that wore a wooden mask. It had a duo role. It was used during

special occasions to attract spirits, especially rice spirits to bless the planting season, and to repel

the evil spirits. Hudoq also lessened sorrow during funeral ceremonies and elicited laughter on

festive occasions. Dayak mothers were known for wearing these masks to scare their children

into obeying them.

V. Clowns of Europe

One of the earliest ancestors of the clown flourished in ancient Greece - bald buffoons

who performed in farce and mime. The same clown appeared in Roman mime, wearing a pointy
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hat and patchwork robe. This clown served as the butt of all jokes and the victim of the abuse of

his fellow actors.

The clown did not emerge as a professional comic actor until the late Middle Ages. This

was when traveling entertainers sought to imitate the court jesters and the fools. One example of

this is the Enfants san Souci, who specialized in comic drama at festival times. The traveling

companies of the Italian Commedia Dell’arte created one of the most famous clowns of all time,

Arlecchino (or Harlequin), in the later half of the 16th century. He began as a comic zany, but

soon developed into an acrobat-trickster, wearing a black domino mask and carrying a slapstick -

which he frequently struck the rear ends of his victims with.

The English clown descended from the Vice character of the medieval mystery plays, a

buffoon and prankster who could deceive even the Devil. The first professional stage clowns

included: William Kempe and Robert Armin, both connected with Shakespeare’s company.

Traveling English actors in the 17th century are credited with the introduction of stage clowns to

Germany. Popular characters such as Pickelherring were brought along. He remained a German

favorite until the 19th century. Pickelherring’s clown costume, that hardly strays from the

modern day, includes: oversized shoes, waistcoat, a hat, and a giant ruff around the neck.

VI. Clowns of Rome

To many historians, Ancient Rome is where it is believed the modern idea of clowning

was truly born. There are four Ancient Roman clown types: Sannio, Stupidus, Scurra, and

Moriones. Sannio was a popular type of mime and famous for their ability to pull hilarious
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grimaces with their body and faces. This clown, unlike most other clowns of his time, did not

wear a mask. Stupidus, Latin for “mimic fool,” was bald headed or wore a long pointed hat with

a multi-colored outfit. This clown became famous for using innuendo and riddles. Stupidus’s

ability to rain down blows on his fellow performers in burlesque fights helped in his rise to fame

as well. Like all good clowns, he used scandaly for his material and nothing was too sacred to be

the focus of his humor. The Scurra clown was a lower class of clown on the hierarchical ladder.

(This is where the word scurrilous comes from). He was usually played by a person with a

physical “abnormality” or mental illness. Scurra indulged in jesting. His physical “odness” set

him apart from his higher class colleagues. This clown used his traits to win laughs from others

and had to have a thick skin in order to consistently mock their own appearance for the

audience’s entertainment. Moriones, where the word moron comes from, were not necessarily

mentally disabled, however they were able to play it off. It was common for the Courts to keep

“freaks” and fools for entertainment. It was thought that they were endowed with special powers

from the Gods, and they were treated as good luck charms.

VII. The Commedia Dell'arte

Commedia dell’arte is Italian for “comedy of the profession.” It is a theatrical form that

flourished throughout Europe in the 16th-18th centuries. Besides Italy, commedia had its greatest

success in France, in which it became the Comédie-Italienne. The commedia dell’arte was a type

of popular theatre that stressed ensemble acting. The improv of commedia was set in a firm

framework of masks and stock situation. Professional actors who specialized in one role
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developed an unmatched comic acting method, which contributed to the popularity of commedia

troupes that traveled throughout Europe. A usual situation involved a young couple whose love

was being thwarted by one reason or another. The stories’ pairs of characters included: two

elderly men, two lovers, two zanni, a maid, a soldier, and others. The lovers, unmasked, are

hardly considered true commedia dell’arte characters, since their popularity depended on looks,

grace, and a fluent Tuscan dialect. Pantalone was a Venetian merchant. He is serious, hardly

ever trying to be intentionally comedic, and prone to long rants and advice. Dottore Gratiano was

a Bolognese lawyer/doctor. He is gullible and spoke in a mix of Italian and Latin. Other

characters were born and developed into well known characters. The Capitano,for example,

developed as a caricature of the Spanish soldier, who boasts of his exploits abroad. He was then

turned into Scaramuccia by Tiberio Fiorillo, who changed the captain’s character in accordance

with the French’s liking. The zanni, who were acrobatic, had various characters, such as:

Panzanino, Buratino, Pedrolino (later Pierrot), Scapino, Fritellino, Trappolino, Brighella, and

most famously, Arlecchino and Pulcinella. Columbina, the maid, was paired to love Arlecchino,

Pedrolino, or Capitano.

VIII. “Joey’s”

The earliest, true circus clown was Joseph Grimaldi, who first appeared in England in

1805. His clown, affectionately named “Joey,” specialized in physical tricks: tumbling, pratfalls,

and slapstick beatings. Grimaldi was born to clown. In 1801, Grimaldi first appeared at Sadler’s
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Wells Theater with smears of make-up and in bizarre dress. With his costume, he established this

clown as strange and nightmarish. It was, “unsettling because it superimposed childlike body

adornment over a distinctly adult body,” (Sarah M. Gordon in The Journal of American

Folklore). He left audiences questioning, “why adults would willingly infantilize themselves and

dress in such peculiar clothing” (Andrew McConnell Stott in the Journal for Early Modern

Cultural Studies). From knickers to slippers, Grimaldi’s clown evoked the uniforms of school

boys in King George’s time. His spangled, flamboyant colors competed with the Harlequins of

Commedia for visual pop. More shocking to people was the entirely white-face makeup covering

every bit of visible flesh, including: ears, lips, and nostrils. Grimaldi had thick white greasepaint

smeared across his face, an elongated crimson chevron painted on each cheek, and red lipstick.

His curly black hair was styled into a bouffant that receded beyond his hairline. He wore colorful

knickered pantaloons and a ruffled collar. The look, according to Gordon and audiences, was

used to create anarchy on stage. Grimaldi was praised for his acrobatic talent, as well as his

repulsive acts of eating, contortions, and bizarre facial expressions. Unlike the Harlequin,

Grimaldi’s clown was something entirely different - described as a “temporally nonspecific

man-child,” with a nickname of “Joey” under which he was “literally subsumed.” The new form

of clowning caught on fast. He grew insanely popular; about an eighth of theater-goers in

London regularly saw Grimaldi perform.

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IX. Clowns in Shakespeare

Fools, or jesters, are known by many of those in Shakespeare’s contemporary audience,

as they were kept by the royal court, and in some other rich households, to act as entertainers.

They were male, would wear flamboyant clothing, and they’d carry a ‘bauble’ or carved stick, to

use for jokes. They got away with satirical comments that others in the court could not, but they

still had to be careful to a degree (as seen in King Lear, when the fool is whipped for going too

far in speech). Shakespeare utilizes these characters of fools and clowns throughout his plays to a

variety of different ends, but in general he mostly portrays two distinct types of fool: those that

were wise, and those that were idiots and whose purpose was light entertainment. Some of

Shakespeare’s wise fools include: Touchstone (from As You Like It - which was Shakespeare’s

first use of a fool), Feste (from Twelfth Night), and Lear’s Fool (from King Lear). His “natural

fools” include: Lance (from The Two Gentlemen of Verona), Bottom (from A Midsummer

Night’s Dream), and Dogberry (from Much Ado About Nothing).

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X. The Clowns of Ballet

Jesters and clowns are familiar figures in ballet. Dressed in colorful costumes, they draw

the eye not only for their striking appearance but for their playful demeanor. They bring humor

to the ballet, and sometimes even provide its heart.

XI. Minstrel Performers and Blackface

Racist caricatures of African Americans, brought on by Blackface in the Jim Crow Era,

were designed to be laughed at. These dehumanizing caricatures closely correlate with traditional

portrayals of clowns and it can be argued that Minstrel Performance was its own form of

clowning. The make-up and dress of blackface performers have striking similarities with clown

make-up and dress. Drawn-on, oversized lips, curly unkempt hair, oversized and colorful

clothing, and white gloves are staples of both anti-black caricatures (on and off minstrel stages)

and clowns. Richard Ward Pelham was a well-known blackface minstrel performer and a founder

of the Virginia Minstrels. He played a character that was called the “Negro Clown,” which

appeared in circuses in the 1840s. He came to fame as this character by performing a

song-and-dance routine in the mold of Thomas Rice's Jim Crow character. One of earliest

blackface performers George Nicholas was credited with being the first to “combine the

character of the clown with Negro song.” When first singing the “Jim Crow” song, he performed

as a traditional clown, but afterward, he would perform the song, and act, in blackface.
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XII. Clowns of America

The first president of the United States, George Washington, attended the first American

circus in Philadelphia in 1793. The Circus would expand from that start and transform into

American folklife, intertwined with the history of the nation. The first American circus had no

clown, but instead relied on comedy in the horse-and-rider partnership, which was the circus’s

foundation. Clowns soon joined, focusing on the amusement of the adult audience by mocking

social norms. These clowns got laughs from appealing to their fellow citizens’ contrarian nature,

saying and doing what polite society insisted shouldn’t be said or done. The 1880s, contrastingly,

was the decade which notioned that childhood is a time of innocence, requiring special

protection and education. As a result of this shift, American clowns began to be paired with kids

in child-focused content, children’s books, and children’s magazines. Despite this, clowns still

appealed to adults, who had an appreciation for their anarchic spirit. American clowns were also

used to advertise adult products, such as cigarettes. The era of the 60s-70s brought new energy to

American clowning, as clown students learned to juggle, clown classes arose, and Marcel

Marceau’s mime toured the United States. Ringling Brothers and Barnum & Bailey Circus

opened its “Clown College,” with a session every fall that generated a steady flow of clowns for

three decades. (More on Clown College in a later section).

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XIII. Religious Clowns

Sacred clowns and court jesters that have a long history. Sacred clowns control and can

push the boundaries between the sacred and profane, challenging rules and authorities. They are

fluid-like beings that create and dissolve phenomenal realities. Sacred clowns hold both a

spiritual and commanding position in society from which they transgress human moral codes.

They are permitted to provoke, parody, and taunt. Thus, the ritual clown is required to master the

burlesque art of travesty, embody the ludicrous, the incongruous, the backwards, forwards, and

upside-down. The sacred clown represents a reversal of societal norms, an opening to the chaos

that preceded creation.

XIV. Native Clowns

Though many Native American clowns played an important role in the religious life of

their given tribe, Native American tribes contain many different cultures, so there are different

types of Native American clowns. One example is the contrary clown of the Cheyenne tribe.

These clowns would walk around camp on their hands, ride horses backwards, shoot arrows back

over their shoulder, and do many other things “wrong.” When approaching a stream, they’d take

off one moccasin, then hold their bare leg up as they hopped through the water. Other tribes

feared the contraries the most because, interestingly enough, they were the most skilled warriors.

Many of the tribes believed that clowns had the power to cure diseases and played the role of

teacher. Some tribes believe that laughter opens you up to what the spirits want you to learn, so,
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before the ceremonies were to commence, the clowns would make everyone laugh. Quite often,

the clowns were in charge of teaching the ceremonies to the children. Some were even

responsible for policing the tribe. If someone was behaving inappropriately, the clowns would

perform a skit satirizing that person’s behavior. As look is concerned most Native clowns were

masked, using materials from nature such as goat hair to add detail.

XV. Women in Clowning

Women were jugglers and acrobats in Ancient Egyptian Courts, as depicted in tomb

paintings from 2000 BCE. They portrayed comic roles in ancient Greek theater, including

Phylax, which dates back to the 5th century BCE. Women played fools and jesters for European

aristocracy until the 16th century (when the church started condemning their roles in comic

entertainment by deeming it as “immodest”). Female comics returned to the stage with the era of

Commedia Dell’arte and in the 18th century with the birth of the circus. With Amelia Butler

being considered the first female circus clown in the United States, by the end of the 19th

century, women were proving to the world that they could indeed tell a joke.
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XVI. Clown College

The original purpose of Clown College, created by Irvin Feld 1968, was to bring fresh

artists to The Greatest Show On Earth's Clown Alley, whose members were seriously aging, with

no young clowns able or willing to replace them. Feld additionally wanted to bring to the show a

fresher, funnier approach to clowning. Though Clown College was free, applicants were required

to submit an extensive application that was designed to give the directors a clear understanding

of the applicant's psychology, interests, and experience. The circus organized live auditions, an

efficient way to get people interested in the show. Thirty to fifty students were accepted and,

originally, would go through a thirteen-week course of study (six days a week, eight hours a

day). Session lengths shortened as the year went on, eventually being cut to eight weeks in

Clown College's final years of operation. The program taught basic clowning, various circus

skills (acrobatics, juggling, stilts, unicycling, etc.), makeup, costuming, and comedy. Above all

else, Clown College was devoted to the creation of clown gags that could be used in Ringling

shows. Clown College was a space of experimental clowning for The Greatest Show On Earth,

in terms of its comedic material, makeup, costuming, and character definition.

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XVII. Conclusion: Clown Culture, its Impact, and its Influence

Clowns have both impacted the history of the world and influenced its people. Their

performances elicit a range of emotions, from humor and laughter to fear and discomfort. They

reflect complex societal and psychological dimensions with their anarchal spirit and thirst for

challenging the status quo. Through the centuries, clowns have continued to play significant

roles in society, changing both cultural norms and inspiring artistic expression.
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