How do you feel about clowns? Frightened? Overjoyed? Ambivalent? Regardless, you’ve heard of them, and an image of a colorful, boisterous individual probably came to mind when you read the word. Beyond that, the waters get muddy. What is a real clown? Is it the classic, medieval court jester?; or the American circus clown, and all its racist caricature? Are mimes even anything at all?
The answer is not as clear cut as you may hope. What we call “clowns” are a diverse and complex collection of interrelated comedic creatures; generally, they display bright colors and bold plumage, along with a penchant for extreme physical comedy. This however, is more of a trend than a rule, and many classic clowns, such as the Pierrot, display few or none of these traits.
Taxonomically, clowns are classified as being in the Jester family, with a wide variety of creatures you may not immediately identify as clowns also falling under this term. The family is divided into two genuses: the Commedia, encompassing everything to come out of the Commedia dell’Arte, and the Pantomime. From there, it gets a bit messier, as seen in the map below. This essay attempts to outline the major figures in the taxonomy of clowns and the relationships between them.
Clowns are unique creatures in that they seem to bend the limitations of physical reality, and they have very few biological needs compared to most creatures. Most notably, no species of clown needs to eat or otherwise physically take in nutrients. This is not to say that they are self-sufficient: clowns depend on an audience’s emotional output for the entirety of their nutrition. They do not seem to require water either, though many clowns choose to drink alcohol; this has been noted to have an effect on all humanoid clowns, with the exception of Scary Clowns, who rarely drink and never appear intoxicated.
The physical appearance of clowns varies widely amongst the different species, so setting more than the vaguest rules leads to more exceptions than adherents. Most clowns strongly resemble human beings, and many are even capable of original human speech. Some are social creatures while others are solitary, and they each have diverse skill sets to accommodate their situation.
The Jester
We begin on uneven footing, so hopefully you are as nimble as our subject matter. The term Jester can be used to refer to the taxonomic family of comedic creatures, as well as to the individual species of Court Jester. These Jesters have since gone extinct, but serve as a helpful reference point as the evolutionary ancestor of the two main genuses of Jester: Commedia and Pantomime.
Evolutionary Ancestor
The Court Jester (also known as the Fool, or just the Jester) embodied a multifaceted role in medieval Europe. Traditionally, their clothes were styled to reflect and parody that of the ruler of whatever court the individual Jester served. Generally, this involved an absurd cap with dangling bits tipped with bells, as well as a walking stick or scepter of sorts in order to make a mockery of the monarch’s crown and scepter – parody is hence an essential part of the shtick.
The moniker of “Fool” may be misleading in the modern day. The Fool, ironically, was no fool, and functioned to offer criticism and insight within an environment and culture too strict for anyone else to speak up. Wit and memory were needed skills for the Jester, as they were expected to perform and recite stories on command. Physical strength and flexibility were similarly necessary for the Court Jester to facilitate the physical comedy and tumbling often demanded of them.
Overall, there are three traits the Jester embodied that we see present in its various descendants: elasticity, wit, and absurdity; all of which feed into the overall purpose and goal of entertainment. Entertaining others feeds and nourishes the Fool, as all clowns depend on emotional feedback for the bulk of their nutrient intake. These traits manifest in a wide variety of ways depending on the species of clown: the extreme elasticity of the Circus Clown, which allows them to squeeze together into tiny cars and withstand falling or being struck for a joke; the sharp wit Harlequins use to run circles around and make a fool of their antagonists; the absurdity of the Mime’s ability to conjure something from nothing, and the fact they regularly get trapped in invisible boxes anyway – all of these examples can be traced back to the lifestyle and physical capabilities of the Jester.
Historical Importance and Influence
The Jester was a staple of any medieval court, and functioned as a wide variety of things: storyteller, comedian, acrobat, advisor, and often as the butt of the joke. The Jester was ever present, always ready to remedy an awkward silence or charm political friends and foes. The Jester resided primarily in England, and to a lesser extent, the rest of Europe, though there are many similar species worldwide that filled the same cultural role.
Decline and Adaptations
In 1649, Charles II was crowned king of England. Unlike his predecessors, he did not reinstate the tradition of having Jesters in the court, eventually leading to the loss of 95% of the Jester’s natural habitat by the 18th century. As they fell out of fashion, Jesters across Europe were forced to take to the street and find some other way to survive. Their numbers dwindled dramatically.
This, however, would not be the end of the Jesters – not entirely, anyway. To fill the hole left in his court (and presumably, his soul), Charles II patronized and praised the theater noticeably more than his predecessors. Shifts in the royal family inevitably affect the masses, and this shift can be credited in part for the explosion in popularity of theatrical performances in 17th and 18th century England. This led to the development of the two primary genuses of clown: the Pantomime genus and the Commedia genus, both of which developed and evolved from the Jester to fill different niches in society. The latter actually originates in Italy, and cohabit in much more structured environments than the former, who originated in England as improvised entertainment for the common folk rather than exclusively royals.
Family Classification
The Jester family encompasses the comedic creatures known for a balance of sharp wit and physical comedy. Jesters differ from other comedic creatures in their explicit evolutionary origins in the Court Jester. Creatures in the Jester family tend to embody humanoid shapes with increased elasticity and other physical capabilities. It is common for Jesters to clothe themselves in eye-catching garb; most often, this is done with bright, saturated colors, with bold shapes and patterns. These, however, are observed trends rather than rules.
The Commedia Genus
The Commedia genus of clowns encompasses those species which originated in 16th century Italy. These clowns gather in fairly rigidly-designated groups called “troupes” who perform together. Unlike the Jester, the clowns of the Commedia genus are not independent creatures, and they rely heavily on their troupe for support. Clowns of the Commedia genus do not survive long on their own, though it has been observed that some lone-Pierrots may start exhibiting Mime-like traits to survive until they find another troupe to join. These troupes are generally not restricted by blood, but do have a strict in-group/out-group mentality, which can make joining a new troupe difficult. However, through effective displays of their clowning skills – whichever skillset which corresponds to their species – many Commedia clowns are able to gain acceptance into new groups.
The Commedia genus encompasses three primary species: the Pierrot, Harlequin, and confusingly named Clown. It should be noted that the Commedia Clown and the Circus Clown are both referred to simply as “Clowns”; however, there are significant distinctions between the two. The Circus Clown is actually a subspecies of the Commedia Clown, but the two should not be confused.
These three species of clown exhibit starkly different appearances and natures, likely due to evolving to better play off of each other – the Commedia genus is inherently a show with a full cast, after all.
Harlequin
Harlequin clowns are some of the most visually distinct of the Commedia clowns, being known for their bright, diamond-patterned clothes. Harlequin clowns are nimble and lighthearted creatures, in contrast with Pierrot; as well as witty and quick, in contrast with the Clown. The three species work together, with Harlequins often taking the majority of the lead.
More so than the other Commedia clowns, Harlequin clowns often have some amount of supernatural abilities. Often, these abilities are used to transport the troupe and their audience to new scenes and worlds, though it is unconfirmed if this is the extent of their powers.
Appearance
Harlequin clowns have a fairly standardized appearance, nearly always appearing in garish, fitted, diamond-patterned clothes. Classic Harlequins often don black masks, while modern iterations generally forgo this piece. Harlequin clowns are known for being lithe and agile, doing handstands and flips at every opportunity – they’re often described as seeming like they’re about to burst out of their skin, due to the energetic way they are known to cartwheel and leap across the stage.
Role
Harlequin clowns are the most prolifically sexual of the Commedia clowns, and this is reflected in Harlequin’s role in their performances. Plotwise, he undercuts his master’s plans, makes advances on his daughter, and generally goes with his own flow. The Harlequin’s appetite for sex is superseded only by his appetite for good food, both of which result in general hijinks and mischief. On occasion, Harlequin clowns have been observed to make sexual advances on human audience members, but it is unclear if it is intended seriously.
In their performances, Harlequin clowns use their metaphysical abilities to alter the appearance of the stage and create weather effects such as rain and wind. Some clownologists speculate that the extent of Harlequin clowns’ powers go much deeper than this, potentially to the point of putting audiences in a sort of trance. This, however, is currently just speculation.
Pierrot
Colloquially known as “the sad clown” Pierrot clowns exhibit few of the physical traits generally associated with clowns. Rather than being cheerful, Pierrot is somber and dour. Pierrot wear baggy, white clothing without any patterns, as well as dark, heavy makeup. Through this subdued appearance and persona, the shocking patterns of Harlequin and brash actions of the Clown stand out even more starkly to the audience, eliciting a stronger reaction overall, which all of the troupe can feed on.
Appearance
The specific appearance of Pierrot clowns has changed over time and distance. There are some consistencies, however: oversized white clothes, usually an enormous shirt and pants, with some sort of head covering, which can range from a brimmed hat to a dunce cap. Often, dark makeup is rubbed around the eyes to create an illusion of being exhausted or depressed. Unlike many other species of clown, Pierrot have been observed applying makeup, and so it is confirmed that this is not a biological coloring. It is generally accepted that Pierrot likely grew to appear so different from the other Commedia clowns and troupe members in order to distinguish themselves from the rest of the cast. No one knows what Pierrot clowns look like underneath their large and baggy garb, as no Pierrot cadavers have ever been dissected in the modern day due to their status as an endangered species.
Role
Pierrot’s role in their performances is to fail, and through doing so, pull at the audience’s heart strings. Pierrot performances mostly center around yearning for a love that will never be returned. While Harlequin’s wit and humor give the audience high highs, Pierrot’s pitiable, tragic state brings them low lows. This variation in tone throughout the performance was likely developed to keep audiences attention for longer without the risk of them getting burnt out on the comedy.
“Clown”
The third species of the Commedia genus are generally referred to simply as Clowns. In the modern day, the Commedia Clown is much more rare than its circus-dwelling descendant, but the influence is clear as day. The Commedia Clown acts as an agent of chaos, indulgence, and debauchery throughout their performances, and though they lack the metaphysical abilities of Harlequin, they are obviously familiar and comfortable with the supernatural, and eagerly engage with these aspects of the performance. They are less inclined to acrobatics and verbal performance than the other Commedia clowns, and tend to rely more heavily on props to facilitate physical comedy.
Appearance
Commedia Clowns embody much of the same eye-catching traits as modern clowns: they are garbed in bright, boldly patterned clothes with a gaudy collar or ruffle around the neck. They are known for their prop work as well as their hedonism, so it is common to see Commedia Clowns holding half empty liquor bottles on and off stage. If they have hair, it is disheveled, and their faces are covered in bold, bright makeup-like patterns.
Role
The Clown functions like the id of the group, having no impulse control over their desires and selfishly impeding the progress of the other characters. Commedia Clowns are much less child-friendly than Circus Clowns as a result, and children should generally be kept away from their performances. Though they do not seem to have much in the way of metaphysical powers themselves, Clowns are extremely comfortable interfacing with whatever nonsense the Harlequin clowns conjure up, and so welcome the audience further into the surreal space of the performance, and prevent too many viewers from leaving out of fear of the unknown.
The Pantomime Genus
As the practice of keeping Court Jesters fell out of fashion, these Jesters were forced to adapt to survive, and eventually take on new forms and groups entirely. Jesters who were able to unite with other, more established performers and acquire a more traditional stage slowly evolved into the Commedia genus of clowns. Other Jesters, however, were not able to form these lucrative connections, and instead banded together in more loosely organized, casual groups. This is often simply due to the economic situation of wherever the Jester happened to find themself – a more wealthy area will have more opportunities for a clown to ingrain themself in traditional theater, whereas more poor areas simply do not have those facilities available. To remedy the lack of venue, many Jesters would go door to door performing short, original skits, or even begin performing their take on known fairy tales in any public place; these Jesters utilize large amounts of improv and audience participation to lure viewers in and maintain their attention. These Jesters would go on to form the Pantomime genus.
Pantomime and Commedia clowns are primarily distinguished from each other in two ways: place of origin and general structure of the troupe. Pantomime clowns originated in England and spread throughout Europe some time after. Though their later and modern iterations generally perform on a stage at a stationary venue, the Pantomime genus formed through outdoor performance. Being outside, many of their notable features developed through a need to bring in audience members part way through a performance, in order to replenish any who wander off. As a result, many Pantomime clowns rely on episodic performances or commonly known stories to make it easier for new viewers to jump in.
Pantomime
Pantomime Clowns (occasionally known as Pantomimers or Mummers to avoid confusion) may be the least visually distinct of the entire Jester genus. This is by design, as Pantomimers have to adapt to a variety of well-known roles and remain recognizable as that character in order to pull in audiences. This is because Pantomime Clowns primarily perform renditions of well-known stories or fairy tales, in order to cast the widest net and keep their show accessible to audience members. This practice originated early in Pantomime evolution, stemming from the initial lack of popular venues.
Early examples of Pantomime clowns employed performances with little to no dialogue, relying instead on dramatic gestures and well-known story beats. This also removed much of the mental demand of memorising dialogue, which in turn often resulted in some less-than-confident line deliveries. By delivering dialogue in a quiet murmur, these groups specifically soon became known as Mummers rather than Pantomime Clowns. Today, these words are used interchangeably, though the term Mummer is significantly more common in England than elsewhere. Generally, the term Pantomimer seems to cause the least confusion.
Pantomimer populations have decreased drastically in the previous decades with the acceptance of television and other more convenient forms of entertainment. However, they have managed to stay afloat through cultural integration: throughout the United Kingdom, Pantomime performances have become a staple part of the holiday season, and people attend their yuletide performances in droves. The rest of the year is a struggle for Pantomimers, but the population is being closely monitored since the UK passed the Conservation and Uplifting of Mummers Act (known colloquially as the CUM Act) in 2017.
Puppets
The general public may not immediately identify Puppets as clowns, but they are part of the same family. Like other species of clown, Puppets perform (often in groups) to feed off of the amusement and enjoyment of an audience. Puppets attract audiences of children more frequently than more humanoid species of clown, likely due to their more infantile and cartoonish appearance. It is theorized that Puppets evolved to be so small to imitate and target children specifically, though this is hotly debated.
Appearance
There are many varieties of Puppet, which will not be fully explored here. However, they (generally) resemble humans and perform on a set which obscures part or all of their bodies. The reason for this is to maintain the calm enjoyment of a human audience, who would likely panic if they saw seemingly inanimate creatures moving and performing of their own volition. To keep up this appearance, many varieties of Puppet have additional appendages such as strings, rods, and cavities for human hands. Some Puppets are very complex in appearance, having detailed facial features and joint detailing, while some are just shadows and have no physical form whatsoever. Note: it was long accepted that these Shadow Puppets had very flat and plain, albeit physical forms; this has since been disproven with backstage observational studies of their performances consistently projecting images with nothing observable between the light source and the screen.
Physical Structure
Puppets are extremely visually distinct from other types of clown; so much so, that they are often mistaken to be toys or statuettes at a glance. Though the precise reasons for this stark physical change are unknown at this time, there are observable advantages to the change in form that may shed some light on this topic. Being of smaller size, they require significantly less sustenance than more humanoid clowns, and are less dependent on cultural shifts keeping them in the limelight as a result. Furthermore, all observed varieties of Puppet have been noted to be primarily sedentary creatures; they never move openly under a human’s watch, and even when observed through cameras they only occasionally move from place to place, remaining still for the majority of the time elapsed. It has additionally been observed that Puppets tend to move significantly less and at less frequent intervals when in larger groups of Puppets. One study by clownologist Dr. Mari O’Nette observed different sized groups of these creatures in contactless environments for 48 hours, and found that groups of 5 or fewer Puppets moved up to three times more often than groups containing more than 15 Puppets. The largest group consisted of 30 Puppets, none of which moved during observation.
There are two prominent theories as to what Puppets are really doing all that time they are remaining still, the first of which purports that they are engaging in a form of mini-hibernation. This follows with the observation that much of Puppet anatomy is structured to help it conserve energy, though this is generally thought to be more likely when they gather in larger groups, or are otherwise actually staying still for extended periods of time.
The second theory is that Puppets engage in a form of telepathic communication with each other, and possibly with the world as well, in ways human eyes cannot perceive. This theory suggests that Puppets do not need physical interaction at all, and engage with their bodies only to nourish them. Instead, they operate on a more metaphysical plane, and only move when they need to change something or perhaps just get too bored. Clowns of all kinds are notorious tricksters, so their physical movements outside of their performances may be intended as simply some sort of prank. Unfortunately at this time, we do not have a sufficient enough understanding of the creatures to theorize much further, as Puppets do not have observable brain waves or bodily functions, dissimilar to more humanoid types of clowns. As a result, we know much less about what they are than more traditional clown varieties.
Subspecies: Ventriloquists
Ventriloquists are a parasitic subspecies of Puppet. They resemble larger, more physically detailed Puppets in appearance, but perform alone rather than in groups. Ventriloquists only rely on audience reactions for about 40% of their diet: the rest is sapped directly from the host. These Puppets start by targeting an individual, usually someone who is often alone, as they need to isolate the person for this process. To keep from frightening the human off, the Ventriloquist Puppet must take care not to visibly move in the human’s presence, though this variety of Puppet is prone to moving much more than others when out of sight.
The Two Collide
Mimes
Mimes are some of the most well-known and prolific subspecies of clown. Though seemingly synonymous with France, these clowns can actually be found worldwide (though they are most prevalent in their French homeland). Mimes are mute, and most frequently perform in pairs or as solo acts in public spaces. They specialize in improvisational comedy and spatial manipulation, the latter of which is not well understood at the time of writing.
Appearance
Traditionally, Mimes are humanoid creatures who appear to be wearing tight black and white striped clothing. They have stark-white faces, and sometimes apply black and red makeup. In stereotypical French fashion, they often don ascots and berets as well. It is unclear if the fascination with French stereotypes is genuine appreciation, or part of a joke.
Telekinetic Abilities
The most striking aspect of the Mime is its ability to manipulate spatial energy to facilitate physical comedy. Unlike other species of clown, Mimes do not utilize physical props or a stage, and instead create invisible objects and environments for their performances. Mimes are seldom ever observed outside of their performances, so it is theorized that they are able to conceal themselves within this invisible space, though exactly how is very hazy. Despite their proclivity for showing off their metaphysical abilities, Mimes are able to interface with physical objects, and have been observed on multiple, confirmed occasions to do so. Most often, they have been seen smoking cigarettes; it is currently unclear if Mimes are susceptible to nicotine addiction (or addiction in general), or if they are simply playing up the French stereotypes for comedy.
The Circus Subspecies
The Circus subspecies encompasses all clowns who participate in circus performances as part of the circus troupe. It should be noted that not all members of the troupe are classified as clowns: common acts such as the Ringmaster and Lion Tamer, for example, did not evolve from the Jester, and thus are not clowns. This is not new, as the Commedia clowns have been known to form a symbiotic relationship with other performers in order to extend the performance’s reach and lighten the individual’s load. Unlike their relatives, however, the Circus subspecies traditionally perform inside large, striped tents. Though this means these clowns cannot rely on passersby for audience members, they instead are able to rely on the Ringmaster’s advertising to bring in patrons.
The Commedia Clown is accepted to be the direct ancestor of the entire Circus subspecies, not just the Circus Clown. This is due to the heavy influence of the Clown on the circus environment itself. The circus embodies all of the Commedia Clown’s debauchery, unpredictability, and absurdity. While some of the acts specialize in more technical skill reminiscent of Harlequin, this is likely the influence of the Pantomime species, who in turn are connected to Harlequin. The Circus subspecies is considered to be the result of Pantomime clowns and Commedia Clowns performing together, and eventually creating a unique form of travelling entertainment featuring distinct new varieties of clown.
Appearance
The clowns within the Circus subspecies take on a wide variety of forms depending on their variety. However, they all feature makeup-like facial patterns, which at minimum include brightly painted cheeks and filled brows, and generally some sort of bold pattern. They are all extremely elastic, and use this skill to perform superhuman feats during their acts.
Acrobats
Appearance
Acrobats have a generally plain appearance in comparison to other clowns, in order to keep them streamlined for their gymnastic performances. They wear a leotard of whatever colors their troupe have chosen, sometimes with accessories like arm- and ankle-bands, tu-tus, jewelry, etc., though they are generally kept minimal. Acrobats are muscular and fairly lean with significant levels of rubber in their body composition. Their bones are hollow and elastic, except for their skulls, which are much more rigid.
Purpose
Acrobats stand out among the other varieties of clown in that their goal is not explicitly to entertain or elicit enjoyment, but rather to coax a sense of awe and bewilderment from their audiences. This change of pace keeps audiences on their toes, and stops them from getting burnt out with laughter too quickly. By employing Acrobats in between more comical acts, the entire troupe is able to keep audiences’ attention for longer periods of time, allowing them to take in more emotional output with a single performance.
In order to create this tone shift, Acrobats rarely engage in any physical comedy, and focus solely on physical feats. With no reason to tell jokes, these clowns communicate with each other primarily through body language; however, they are not mute like the Mime, and have been observed making general, agreeable sounds when trying to communicate with more vocal clowns. Acrobats are often likened to cats for this reason, as well as their nimble nature.
Varieties
Contortionists
Contortionists perfect the flexibility exhibited by the basic Acrobat. Contortionists have the most elastic bodies of any type of clown, and they use this to literally tie themselves in knots for the amusement, awe, and mild-disgust of audiences. Being more empty-space than flesh, their nutritional needs are quite low, and Contortionists often get by just fine with brief, solo performances within the circus. These clowns are sometimes seen as a parasitic variety of Acrobat, as they are staunchly solitary, despite their involvement in the troupe. Contortionists are very specialized compared to the other Circus clowns, and hardly socialize with the other acts at all.
Trapeze
Trapeze Acrobats specialize in aerial performance. Common acts employed by these clowns include: aerial fabrics, hoop, tightrope, and of course, trapeze. They perform alone or in pairs, but rarely in groups larger than two, likely due to the limited space and equipment. However, they almost always perform as part of a circus troupe, relying on the other acts to secure the audience and venue. The common Acrobat and Trapeze Acrobats are essential to the pacing of the circus performance, so the relationship between Acrobats and the other acts is actually fairly well-balanced.
Circus Clowns
Circus Clowns, commonly known simply as Clowns, are sometimes seen not as a separate species, but as a modern evolution/iteration of the Commedia Clown. This, however, is hotly debated, as the two Clowns exhibit very different habits and traits. Unlike the Commedia Clown, the Circus Clown frequently performs alone. Contrary to the name’s implication, Circus Clowns are known to also perform outside of circus environments in places such as malls, street corners, and birthday parties. The Circus Clown is also notably more elastic than the Commedia Clown, going so far as to be shot out of canons. Likely due to this versatility and broad skillset, Circus Clowns are one of the most commonly found clowns today.
These clowns specialize in slapstick comedy, though this is not their only skill. Circus Clowns commonly implement canons, comically large hammers, and other such abrasive props into their routines. When performing in groups of Clowns, they often accost each other with whipped cream pies (with remarkable force, I might add) and squeeze themselves into tiny spaces together, seeming to physically shrink in the process. Their bones can be up to 80% rubber; the rest of their bodies are mostly hollow and filled with gas.
Additionally to these physical comedy skills, Circus Clowns also employ more delicate fine-motor skills, more reminiscent of Harlequins than the Commedia Clown. Circus Clowns are the first species of clown to use balloon animals in their performances. This exponentially increases the amount of amusement they can absorb from the interaction by giving the viewer a gift and effectively a rush of dopamine which then goes directly to the Clown.
Appearance
Circus Clowns are known for their bright colors and bold patterns. They tend to favor spots and polka dots over diamonds and stripes, though any pattern combination is possible. They have bright noses and makeup-like patterning, and generally have some sort of plumage, usually in the form of a ruffled collar.
Special Skills
Circus Clowns are incredibly durable and elastic, which they use to their advantage in their acts. They also seem to have some metaphysical abilities as well, such as conjuring infinite handkerchiefs and whipped cream pies. It is currently unknown if these Clowns have access to some sort of storage dimension in which they store these items, or if they are able to conjure physical items from thin air. This is distinct from the Mime’s abilities in that the items conjured by the Clown are not only visible, but remain in existence after the end of the show and departure of the Clown; this would require an enormous amount of energy each time the Clown wanted to create anything, lending credence to the idea of a storage dimension. This theoretical storage dimension is thought to be hidden somewhere beneath the Clown’s baggy clothes, or perhaps even in the palm of its hand.
Jugglers
The exact origins of the Juggler are debated, though there are some prevalent theories. Some clownologists argue that Jugglers are a variety of Acrobat on account of their general appearance and technical skill. However, many different subspecies of clowns rely on their deft hands and balance that are not varieties of Acrobat, and so this is generally not considered to be strong enough evidence alone. Conversely, some clownologists argue that Jugglers are not clowns at all, and are instead a descendant of the Ringmaster, though this theory relies fully on Jugglers originating in the circus environment and is generally unaccepted. The predominant theory is that Jugglers exist as an echo of the three-clown structure of the Commedia clowns performances, and they act as a balance between the absurdity of the Clown and the elegance of the Acrobat. The complexity of Juggler performances has often been likened to the intricate soliloquies of the Pierrot. Any direct lineage to Pierrot clowns specifically is currently unknown and unproven.
While their origins and designation are disagreed upon, Jugglers are a notable part of any circus performance, and can be seen performing alone, in small groups, and even in conjunction with other acts.
Appearance
The appearance of a Juggler varies widely depending on the color scheme of the rest of their troupe. If the Juggler is going to perform with Clowns or Acrobats, they may alter their appearance to better fit in with their co-actors. Generally, Jugglers wear fairly loose-fitting outfits with whatever patterns have been associated with their troupe, and tend to have faux makeup most similar to that of the Acrobat, but with much more of the gaudiness of the Clown.
Purpose
Jugglers balance the skill and shock of the Acrobat with the silliness and prop-work of the Clown, and as such, keep the audience from experiencing an uncomfortable amount of whiplash throughout the show. Though called Jugglers, they often incorporate other physical feats into their acts, such as riding a unicycle and balancing on another performer’s shoulders. Some Jugglers have been known to swallow swords and fire, at which point steam emits from their mouths, indicating some sort of pool of liquid inside them to snuff out the flames. This liquid may also help to balance the Juggler, but further research and observation is needed.
The Horror Phenomenon
The Horror Phenomenon is a term which refers to the development and continued existence of subspecies and varieties of clown that feed off of fear rather than amusement. In general, these clowns have developed darker color schemes and more visually disturbing features than those previously outlined. These clowns have adapted to be as distressing to the eye as they can be, as they are much more predatory than the other species. While other clowns perform for crowds to elicit a bit of enjoyment from every member, these clowns target individuals to wring large amounts of fear from them over a period of time. In some cases, clowns subject to the Horror Phenomenon will kill and even consume the targeted individual. Whether this is for nourishment or sport is currently unknown.
Some clownologists theorize that the onset of the Horror Phenomenon was caused by a cultural event known as “The Jumpscare”, in which people began to find traditional species of clown so unfunny that many clowns reversed their schtick to shock the masses and feed off of the burst of surprise and fear as opposed to their previous diet of amusement and laughter due to lack of resources. The exact timeframe of “The Jumpscare” is debated amongst the theory’s proponents, but they all agree it happened during or after the 20th century.
Though interesting, “The Jumpscare” theory can be easily proven false by consulting historical records. The concept of a subversive or otherwise “scary” clown can be observed as early as the nineteenth century, in such works as Catulle Mendès’s “La femme de Tabarin” and Leoncavallo’s “Pagliacci”, which both center around murderous clowns, as well as Edgar Allen Poe’s “Hop Frog”, which tells the tale of a Court Jester’s violent revenge on the King and ministers who abused him. These reports do not center around full Scary Clowns, but previously described species of clown taking on more violent roles. Jumpscare proponents sometimes argue that this is actually an early precursor to the Jumpscare itself, resulting from slow, regional declines in humorous interest toward clowns. However, it is much more likely that these clowns were just individuals reacting to extreme situations (self-inflicted or otherwise), and the publication of their murders likely influenced and inspired other clowns down the line, eventually leading to the evolution of Horror variations on the subspecies.
Scary Clowns
Scary Clowns, sometimes known as Horror Clowns, generally resemble a “dark twist” on the traditional Circus Clown. They have been observed to have sharp teeth, animalistic eyes, claws, and warped proportions. Often, they are not bound by physical limitations like size and shape – and to an even greater degree than the most flexible Circus clowns. One of the most famous examples of this is Pennywise, the famous “killer clown” documented by clownologist Steven King. Pennywise grows to great sizes and stretches himself in horrific ways to terrorize children, feasting on their fear. The shock and disturbance of a humanoid creature breaking the laws of physics in this way is immense, accounting for the Scary Clowns’ insatiable appetite. It is widely accepted, though not confirmed, that these baffling physical feats burn calories (or the emotional equivalent) at an extremely high rate, resulting in the clown’s evident need for every tear the act elicits.
Scary Clowns are the only species of clown that is accepted to be purely predatory toward humans. They are solitary creatures, and often go so far as to physically murder their targets, though it is unclear if they gain some sort of sustenance from this. They usually leave the majority of their victim’s body at the scene, unless the individual clown chooses to take trophies.
Appearance
The physical appearance of Scary Clowns varies, depending more on what the clown’s target is afraid of than anything to do with the clown itself. Generally, they resemble Circus Clowns in their general appearance. Their color schemes tend to be more subdued than the Circus Clowns, but this is not universal. Most frequently, they are seen with what seems to be blood on their clothes, and many clownologists theorize that some Scary Clowns have developed a blood-like pattern to their garb naturally, as to seem more threatening and elicit fear even more quickly. This is not confirmed, as no Scary Clowns have been successfully physically studied in this manner at the time of writing.
Haunted Puppets and Dolls
Development
Like much of what we know of Puppets, everything we know about the Haunted variety is based in theory. Some prominent clownologists deny the existence of Haunted Puppets as a type of clown at all, blaming the phenomenon on sensationalized reports of normal Puppets observed moving on their own. However, the topic is still debated, and many clownologists argue that Puppets are simply undergoing similar adaptations to their Scary Clown counterparts in response to changes in popular culture threatening their traditional means of survival. The threat presented by Scary Clowns is enough to raise concern that this will be imitated in their Puppet counterparts, so it is currently recommended not to approach a creature suspected to be a Haunted Puppet and to report any sightings to the Society for Understanding Commedic Creatures (SUCC). This is a precaution, as there are presently no credible reports of Haunted Puppets or Dolls harming human beings. However, as their presence in popular culture grows, the greater the risk becomes that Haunted Puppets will adopt the violent behaviors they see in the media.
Appearance
Haunted Puppets look like regular Puppets, but scary. This often entails cracks in the skin, human-like eyes, and a layer of grime. Many Haunted Puppets look similar to old porcelain dolls, perhaps reflecting a common childhood fear. This similarity is why they are often known as Haunted Dolls, despite in actuality being a variety of Puppet. This is further supported by the fact that Haunted “Dolls” never take on the form of soft dolls, and at most resemble stiff dolls with moveable limbs – a much more puppet-like form.
Conclusions
Clowns are generally friendly creatures, happy to entertain and to otherwise mind their own business. However, some modern clowns have evolved to be dangerous to humans, though they are too solitary and few in numbers to pose any cause for societal concern. The study of clowns is ongoing, and new varieties are being discovered and observed every day. Despite their appearances, clowns remain wild animals, and they should be treated (and respected) as such. No clown detailed above is suitable for domestication or life in a human home. Whether or not Jesters were ever truly “domesticated” is debated, and the truth likely lost to time. Clowns are varied, beautiful, inspiring creatures who thrive in their ability to perform and then disappear. Be safe, and enjoy the show from your seat.