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The History and Psychology of Clowns Being Scary. Arts & Culture. There’s a word— albeit one not recognized by the Oxford English Dictionary or any psychology manual— for the excessive fear of clowns: Coulrophobia. Not a lot of people actually suffer from a debilitating phobia of clowns; a lot more people, however, just don’t like them. Do a Google search for “I hate clowns” and the first hit is ihateclowns. One “I Hate Clowns” Facebook page has just under 4.

Reel Streets - World Film Locations for classic movies. We provide excellent essay writing service 24/7. Watch Don`T You Forget About Me Online Moviesdbz more. Enjoy proficient essay writing and custom writing services provided by professional academic writers. With Nigel Stock, Clive Swift, Alan Parnaby, Jeremy Nicholas. A twelve-part BBC adaptation of Charles Dickens first novel. The story follows Samuel Pickwick and three.

Some circuses have held workshops to help visitors get over their fear of clowns by letting them watch performers transform into their clown persona. In Sarasota, Florida, in 2. Clowning Around Town" and a nod to the city’s history as a winter haven for traveling circuses—were defaced, their limbs broken, heads lopped off, spray- painted; two were abducted and we can only guess at their sad fates. Even the people who are supposed to like clowns—children—supposedly don’t. In 2. 00. 8, a widely reported University of Sheffield, England, survey of 2. The BBC’s report on the study featured a child psychologist who broadly declared, “Very few children like clowns.

They are unfamiliar and come from a different era. They don't look funny, they just look odd.” But most clowns aren’t trying to be odd. They’re trying to be silly and sweet, fun personified. So the question is, when did the clown, supposedly a jolly figure of innocuous, kid- friendly entertainment, become so weighed down by fear and sadness? When did clowns become so dark? Maybe they always have been. Clowns, as pranksters, jesters, jokers, harlequins, and mythologized tricksters have been around for ages.

They appear in most cultures—Pygmy clowns made Egyptian pharaohs laugh in 2. BCE; in ancient imperial China, a court clown called Yu.

Sze was, according to the lore, the only guy who could poke holes in Emperor Qin Shih Huang’s plan to paint the Great Wall of China; Hopi Native Americans had a tradition of clown- like characters who interrupted serious dance rituals with ludicrous antics. Ancient Rome’s clown was a stock fool called the stupidus; the court jesters of medieval Europe were a sanctioned way for people under the feudal thumb to laugh at the guys in charge; and well into the 1. Western Europe and Britain was the pantomime clown, who was a sort of bumbling buffoon. But clowns have always had a dark side, says David Kiser, director of talent for Ringling Bros. Barnum & Bailey Circus. After all, these were characters who reflected a funhouse mirror back on society; academics note that their comedy was often derived from their voracious appetites for food, sex, and drink, and their manic behavior. So in one way, the clown has always been an impish spirit… as he’s kind of grown up, he’s always been about fun, but part of that fun has been a bit of mischief,” says Kiser.“Mischief” is one thing; homicidal urges is certainly another.

What’s changed about clowns is how that darkness is manifest, argued Andrew Mc. Connell Stott, Dean of Undergraduate Education and an English professor at the University of Buffalo, SUNY. Stott is the author of several articles on scary clowns and comedy, as well as The Pantomime Life of Joseph Grimaldi, a much- lauded 2. Regency London stage. Grimaldi was the first recognizable ancestor of the modern clown, sort of the Homo erectus of clown evolution.

He’s the reason why clowns are still sometimes called “Joeys”; though his clowning was of a theatrical and not circus tradition, Grimaldi is so identified with modern clowns that a church in east London has conducted a Sunday service in his honor every year since 1. In his day, he was hugely visible: It was claimed that a full eighth of London’s population had seen Grimaldi on stage. Grimaldi made the clown the leading character of the pantomime, changing the way he looked and acted. Before him, a clown may have worn make- up, but it was usually just a bit of rouge on the cheeks to heighten the sense of them being florid, funny drunks or rustic yokels. Grimaldi, however, suited up in bizarre, colorful costumes, stark white face paint punctuated by spots of bright red on his cheeks and topped with a blue mohawk. He was a master of physical comedy—he leapt in the air, stood on his head, fought himself in hilarious fisticuffs that had audiences rolling in the aisles—as well as of satire lampooning the absurd fashions of the day, comic impressions, and ribald songs. But because Grimaldi was such a star, the character he’d invented became closely associated with him.

And Grimaldi’s real life was anything but comedy—he’d grown up with a tyrant of a stage father; he was prone to bouts of depression; his first wife died during childbirth; his son was an alcoholic clown who’d drank himself to death by age 3. Grimaldi’s physical gyrations, the leaps and tumbles and violent slapstick that had made him famous, left him in constant pain and prematurely disabled. As Grimaldi himself joked, “I am GRIM ALL DAY, but I make you laugh at night.” That Grimaldi could make a joke about it highlights how well known his tragic real life was to his audiences. Enter the young Charles Dickens. After Grimaldi died penniless and an alcoholic in 1. Died by the visitation of God”), Dickens was charged with editing Grimaldi’s memoirs.

Dickens had already hit upon the dissipated, drunken clown theme in his 1. The Pickwick Papers. In the serialized novel, he describes an off- duty clown—reportedly inspired by Grimaldi’s son—whose inebriation and ghastly, wasted body contrasted with his white face paint and clown costume.

Unsurprisingly, Dickens’ version of Grimadli’s life was, well, Dickensian, and, Stott says, imposed a “strict economy”: For every laugh he wrought from his audiences, Grimaldi suffered commensurate pain. Stott credits Dickens with watering the seeds in popular imagination of the scary clown—he’d even go so far as to say Dickens invented the scary clown—by creating a figure who is literally destroying himself to make his audiences laugh. What Dickens did was to make it difficult to look at a clown without wondering what was going on underneath the make- up: Says Stott, “It becomes impossible to disassociate the character from the actor.” That Dickens’s version of Grimaldi’s memoirs was massively popular meant that this perception, of something dark and troubled masked by humor, would stick. Meanwhile, on the heels of Grimaldi’s fame in Britain, the major clown figure on the Continent was Jean- Gaspard Deburau’s Pierrot, a clown with white face paint punctuated by red lips and black eyebrows whose silent gesticulations delighted French audiences. Deburau was as well known on the streets of Paris as Grimaldi was in London, recognized even without his make- up. But where Grimaldi was tragic, Deburau was sinister: In 1. Deburau killed a boy with a blow from his walking stick after the youth shouted insults at him on the street (he was ultimately acquitted of the murder). So the two biggest clowns of the early modern clowning era were troubled men underneath that face- paint.

After Grimaldi and Deburau’s heyday, pantomime and theatrical traditions changed; clowning largely left the theater for the relatively new arena of the circus. The circus got its start in the mid- 1. British entrepreneur Philip Astley’s equestrian shows, exhibitions of “feats of horsemanship” in a circular arena. These trick riding shows soon began attracting other performers; along with the jugglers, trapeze artists, and acrobats, came clowns. On The Waterfront Movie Watch Online.

By the mid- 1. 9th century, clowns had become a sort of “hybrid Grimaldian personality [that] fit in much more with the sort of general, overall less- nuanced style of clowning in the big top,” explains Stott. Clowns were comic relief from the thrills and chills of the daring circus acts, an anarchic presence that complimented the precision of the acrobats or horse riders.