If all the safety strategies in thecircuswere totally crystal clear to the audience , we would be incredibly blase in the great top . Because when we say the audience ca n’t " see " the safety measure , we do n’t mean they ’re secretly wear Panthera tigris - repellent vests or somberness - resist underwear that allow acrobats to fly with ease between trapeze bar . Instead , there ’s a pretty rigorous behind - the - scenes serial of checks and balances that make performances run smoothly .
Of course , as with all thing circus , that does n’t intend you should expect the mundane . We ’ll fill you in on what keeps the genus Circus hum , and some of it really might surprise you . lease ’s just say that for certain performer , a salubrious scalp could literally preserve your life .
But let ’s start with a really basic part of circus safe that interview appendage may not ever find : the all - significant rigging systems . Step right up to find out how performers vanish through the air with such ease .
10: Rigging
A lot of obscure mechanisms for base hit under the liberal top are bind into aeriform number . And for a good reason , of course : advert dozens of feet in the air — let alone performing gymnastic stunts or fly from one spot to another while doing it — ca n’t exactly be a spontaneous human activity . Experts manipulate the tackle that keep aerialist safe , but the interview does n’t see them .
When we sayrigging , we ’re refer to the conducting wire or lines that moderate the performer ' movement in the air . While we might be able to name a standard for rig in , say , windowpane washing or construction , it ’s not really possible to detail how set up works in the carnival in a brief description . That ’s because acts in the carnival strive to be unique , and the rigging systems that are make for the performing artist must be specific to the action at law they ’re perform . But allow ’s take a closer spirit at one rigging element many circus deed utilise .
9: Joysticks and Kill Switches
to speak about some rigging and safety strategy the audience does n’t see , we ’re going to take a confining look at a frightening Cirque du Soleil fortuity that caused the death of a performer in 2013 . To realize why the accident happened , we ’ll examine a few prophylactic strategy that regrettably went awry . Sarah Guillot - Guyard was an aerialist with the " Ka " show in Las Vegas when her telegram crack and she descend 94 feet ( 29 meters ) [ reservoir : Berzon and Maremont ] .
so as to rise and drop at the stage need , aerialists channel joysticks to control their speed . No , it ’s not some stagehand grunting heavily as he pull out wires hand over hand : Performers employ a mechanized tool to rise and lower themselves . Since performing artist can go as fast as 11 feet ( 3.4 metre ) per second , you might understand why they have technicians with " killing electric switch , " which are designed to turn off the rigging at signs of trouble [ author : Berzon and Maremont ] . Those exigency switches are one more safety scheme that the hearing is blissfully unaware of . In Guillot - Guyard ’s case , she rose much more quickly than expected , and the kill switch was never activate .
8: Mechanics
Circuses , of course , are n’t all forward pass and flying trapeze acts . While we might think of equestrian functioning as safer than airborne acts , it ’s hard to believe that vaulting off a 1,000 - pound ( 454 - kilo ) horse galloping at full amphetamine is for more reserved performers . And yeah , sure : Perfecting every trick really might involve simply get back on the horse ( wordplay intended ) , but there ’s certain safety equipment required in some circus for equestrian practice .
In the circus , amechanicisn’t the guy who shoot down you twice for something you did n’t need in the first home . Instead , it ’s a guard belted ammunition performers wear that can purloin them aside from a cavalry should something go awry . The ropes can be slack so performers can easily drill their whoremonger , but a gang member keeps an eye out to quickly tighten them if a evenfall or fortuity occurs . Sure , you might not see it in the ring as an hearing member , but it ’s an super important safety strategy during dry run as folks ( or animate being ) get word their routines .
7: Learning to Fall
Many of us non - circus folk would seize that the best way to stay safe doing a antic is to never , ever make a mistake while perform it — even during practice . And that is , of course , true : It ’s a pretty terrible theme to get lazy while performing and simply count on a backup plan . In fact , some aerialist do n’t use nets if they ’re work closer to the ground or using equipment that may tangle , and it keep them on alerting . But that does n’t entail , of course , that they ’re not train fordanger .
A meaning part of drill that the audience does n’t see ? Learning to make a mistake aright . Because even something like hire a tumble off the trapeze ca n’t be done without serious prep . One must drill the safe and most effective way to fall into a net , for representative . It might sound like an easy task ( " Hey , I can let gravity do its job without practicing once ! " ) , but it becomes a little more complicated when you realize the net itself can be dangerous . Because it ’s strung so taut , you may rack up the net and leaping out or even suffer a break off bone if you do n’t prepare your body correctly for shock .
6: Hair Strength
Oh , what — you never realise that a sound conditioner was so wildly important to genus Circus base hit ? Silly you . Lots of circus performers swear by a healthy scalp to outride secure and dependable in the ring . If you ’re starting to inquire whether this inclination has lost its beautiful luster , then you ’re forgetting ( or perhaps never know ) the universe of circushair hanging .
Hair hanging first catch on as a operation act in China , but it ’s become a contemporary hit for audiences . fundamentally , hair hanging is an gymnastic or contortionist bit where the performers are — you guess it — suspended by their loosely substantive locks . And while it might calculate like that ’s the gist of it to a cringing interview extremity , there ’s actually quite a bit of safety equipment homework that go into make the tomentum impregnable and quick for a effective dangle . Some performing artist discipline their tomentum several meter a Clarence Day . But the cool affair might be the braid that performers use . There are specific types of braids that distribute weight well on the band so the human activity is less painful and the hair is stiff . desire to have intercourse any of them ? No can do : They ’re well - maintain mystery that an interview penis can never fuck .
5: Engineers
It ’s not serious that it took a tragedy to get the line done , but a recent development in circus safety could be a significant step toward increase performer protection . In a terrific accident in 2014 , eight hair - hang aerialists fell to the ground when a clip securing them fail [ source : Buteau ] . While none of the artist pall , there were knockout wound .
In response , Ringling Bros. and Barnum & Bailey Circus agreed to make a few changes to the safety protocol used in their aerial acts . One of the bad changes is that a registered , professional engineer is now required to review the human action and equipment [ source : Shalvey ] . A checklist is also command for hardware and equipment assessments , and employee have a " safety day " to ensure communication about practices or issue .
The metre does n’t just touch one act , either — it ’s for all aerial acts and hopefully will help guarantee a more concrete base hit scheme .
4: Regulations
Although reading about genus Circus disaster can be fairly depressing , a mountain of the genus Circus safety scheme you ( do n’t ) see today have been in reply to accidents that occurred under the large top . The 1944 Hartford , Connecticut circus fire caused the loss of 167 lives and left hundreds injured when the collapsible shelter covering the ring caught firing [ source : The Hartford Circus Fire ] . There were n’t enough proper exits , and the ensue panic caused a stampede and bedlam .
After the Hartford tragedy , it was obvious that regulations had to be improved for locomote entertainment that used temporary body structure . The Hartford fire prompted national prophylactic regulations for circus , carnival and fair entertainment through the American Standards Association . Now tents have to be fireproof , train fire staff office have to be on - site , and exits are regulated . So while you may be blissfully incognizant while watching a buffoon goofing off , know that some serious regulations and safety standards are keeping you secure under the handsome top .
3: Animal Safety
How can we discuss the circus without mentioninganimal acts ? While we ca n’t pretend they ’re not exceedingly controversial , there ’s no getting around the fact that they ’re also a wildly democratic attraction in the circus ring . And while ( most ) acts feed like a well - oiled machine , there ’s a method acting that goes into the folly ofcoaching wild animals into submission .
How we treat animals play a part in how safe the world around them will be . That ’s why , for instance , fed up elephants must take in aesculapian care and the thanksgiving of a veterinarian before perform [ source : Nelson ] . Big qat trainers generally claim to use operant and Graeco-Roman conditioning ( as fight down to physical violence ) to make their creature perform safely . And be warn : We ’re getting into controversial territory here . Although there are some scheme to keep animals , and thus audience , good , many would indicate that these strategies are not enforce or sound .
2: Preparing Plans A Through Z
So we talked a niggling about fail - safe mechanisms or action that would ensue in a " safer " accident , but nearly every act has one — or 50 . From parking brake cut - off switches , to human being keeping an heart on performing artist , to the harnesses and rig that keeps performers aloft , there ’s a circle of double - checking to ensure anything that blend in improper still ends up right . And sometimes that happens before our very centre .
What audience do n’t see is that performer might be mold from Plan B — or C , D and on down the line . When doing multiple show a calendar week , performing artist and gang do n’t have the selection of just learning the " normal " plan : They have to be prepared for complications . That ’s even more crucial in acts that use mechanical devices . Any mechanical element they use needs a backup design , because simply shrugging when it does n’t work is n’t an selection . Performers and crew trust on a strategy to make indisputable the performance can either carry on or finish safely .
And how are all these back - up programme formalized for performers and crew ? practice session .
1: Rehearsal
It ’s undoubtedly the biggest circus prophylactic strategy that you , starry - eyed audience member , will never see . Rehearsal is the most important part of any carnival safety program , and it conk beyond just practicing the routine . Proper preparation is cardinal , and that includes a lot of physical training and exercise . After all , exercise train your muscles , and cross - training helps fight down against overuse harm .
As we mentioned before , many acts have to deal with the opening of unsuccessful person or complication . That means performers have to rehearse the normal act , but they also have to practice how to aline during hitch . In fact , by running through multiple variation of a quotidian , performer and crew can be particularly sensitive to mistakes . It ’s that level of attentiveness and watchfulness that helps keep a operation on caterpillar track , even if something goes untimely .
Lots More Information
To be fair , seeing all these safety strategies at body of work might just be as cool as the execution . ( OK , peradventure not as cool — but cool in a different way ? ) watch out a work party member properly set and predict the needs of a performer seems like an awful peek into the real carnival aliveness .
