Dea Birkett

Big cats and acrobats

Pascal Jacob celebrates the universal appeal of jugglers, clowns and trapeze artists, from ancient Mesopotamia to the present

issue 13 October 2018

We’re celebrating 250 years of circus this year. In 1768, the retired cavalryman and entrepreneur Philip Astley, together with his trick-rider wife Patty Jones (whose act was to gallop around the ring smothered in a swarm of bees) took a piece of rope, laid it in a circle on a piece of marshy land at London’s South Bank, and filled it with astonishing acts — tumblers, acrobats, jugglers, clowns. This was the very first circus. Every circus, anywhere in the world, began at that moment. The extraordinary new art form — a collection of street acts and horse tricks, infused with spectacle and risk and set in a circle — quickly trotted off around the world. It first sailed to Dublin, then spread throughout Europe and over to America, India and Australia. There has even been a circus in Antarctica. It’s Britain’s most successful cultural export.

Circus arrived in France in 1774, just six years after the first circus.

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