The modern circus tradition traces its roots back into the Roman days of the Colosseum, Hipodrome, and Circus Maximus. This tradition has skipped centuries, cultures, and countries, and borrowed heavily from Asian styles, yet it has endured and embedded itself into a unique slot in human history as a popular entertainment that lies firmly in the realm of the fantastic and extreme.

The Latin word ‘circus’ means a ring or circle, specifically where performers would run around and kill each other, various critters, or vice versa. The idea of a mass public spectacle, especially involving horses and animals, is important to understanding the later development of the circus tradition. The Middle Ages saw the dissolution of long distance communication systems and rise of what we would call ‘circus techniques’ among traveling performers, minstrels, and jongleurs. These entertainers lived off of their mystique and the news and stories they brought from far off regions. England in particular became a center of interest for the traveling performers, even as the Middles Ages drew to a close and the Elizabethan era began. Public traveling performers were eventually discouraged and/or outlawed in many areas in England, forcing performers to find permanent locations to reside in or tour through. Sadler’s Wells, now a renowned opera house, began as a gathering point for these performers in the mid to late 17th century; the performers were actually invited to this location in order to draw more clientele to the ‘medical springs’ at Sadler’s Wells. In the late 1600’s William Stokes introduced performing horses, a trait from Roman circus days, to the repertoire of performances.

Modern circus, as we know it now, began with a man by the name of Philip Astley. Astley was a flamboyant and decorated military man in the English cavalry regiments, who became an excellent equestrian as well as soldier. Upon his discharge from service, he decided to open a riding school, but he had no money with which to start. He took a cue from other riding masters around him and learned how to put on a trick riding show in order to draw potential students into his school. In 1768, Astley opened his riding school with a riding performance. Whether this show was the beginning of modern circus, or another show Astley performed with his wife and a ring clown in 1770, depends on who you ask and which documents you trust. However, no matter what the exact date is, there are several things that mark Astley’s performances as the beginnings of modern circus: Astley began by transforming the traditional riding show from a straight line to a continuous ring; he decided on what is now the traditional 42-foot diameter ring as optimal. The ring allowed him to perform a continuous string of tricks, as well as use the centrifugal force to do more difficult tricks than a straight line would allow. The ring also served to increase his audience size, meaning more potential students. At least, the intent was for potential students. Eventually Astley roofed over the ring and began to charge a sixpence admission as his shows became more, and regularly, attended. A student of Astley’s Charles Hughes actually gave the name ‘circus’ to this new show: he opened a show of his own next to Astley’s in 1782 called, The Royal Circus – presumably in reference to the old horse races held in the Circus Maximus in Rome.

The circus spread across Europe, and in 1793 came to America with John Bill Rickett’s circus show in Philidelphia. From that point, America began to take the forefront in circus pioneering, European circuses followed America as best they could, but no one could match what the American circus would become. European circuses were confined to small tents in cramped spaces and smaller, local audiences, while in America railroads and the far-flung communities gave birth to the great rail shows of the 19th century. The rail shows could transport large amounts of men, animals, and equipment efficiently across large distances and use railroads to bring in rural audiences cheaply to central locations, which only added to the grand scale of the shows. The various traditions of ‘Circus Day’ and the circus parade grew out of the stir these humongous productions caused wherever they went. It was P.T. Barnum, though, who stepped forward to take the circus into it’s prime of glory. By teaming up with circus producer, W.C. Coup, Barnum put on what he called, ‘The Greatest Show On Earth’, a monstrous single ring show. Ten years after he began his circus, Barnum partnered with the famed circus organizer, James Bailey. The Barnum & Bailey ‘Greatest Show On Earth’ grew to such proportions that they included, not one, but three rings in the show to hold all of the acts.

Under the umbrella of such successes came another group of men, the five Ringling Brothers, who began to sweep the circus world with larger and larger shows. In 1884, the Ringling Bros. began their first circus. They were so successful that, when James Bailey died, they were able to purchase the Barnum & Bailey circus in 1907. Barnum & Bailey joined a set of six other circuses that had been acquired and absorbed into the Ringling Bros. Circus by the early 20th century.

It was also around the time of the Ringling Bros. rise to prominence that, what is now the signature act of the circus, the flying trapeze was created by Jules Leotard. As well as creating a fashionable and popular style of performance attire, Leotard performed on the flying trapeze as ‘the daring young man’ in 1859. It took until the 1870’s for a second performer (the catcher) to be added.

The circus has diminished since the early 1900’s, specifically hurting under wartime and the economic pressures of the Great Depression. However, through continued consolidation and diversifying, it has survived. Circuses are now heavily influenced by Asian traditions of acrobatics, visual effects, and training; adding a new spice to the circus. The Asian influence has also put a heavier emphasis on extreme human performances, rather than the Roman ‘variety’ style. This is best seen in the current popularity of Cirque Du Soleil, and the prominent position of ‘circus’ techniques taught in various academic theatre and acting programs around the world. The traditional Roman/American/British styles still perform regularly around the country, though at a much subdued pace and manner. The magic of the circus has not really lessened, humans will always have a taste for the fantastic and spectacular, but, for now, it has been largely confined to its rented arenas and coliseums around