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The Whiteface clown is the oldest of all clowns, dating back to commedia dell’arte and medieval court jesters, as well as ancient Greek theatre, where humorous actors frequently painted their features white to be more visible.
The Whiteface is the clowning world’s big brother: in command, a know-it-all, a straight man who sets up circumstances that other clowns, such as the Auguste or the Tramp, make humorous. The Whiteface is distinguished by a full white face, red-and-white features (sometimes quite lovely and delicate), a colorful costume, and a wig.
The Auguste (pronounced ah-GOOST) is a cross between the Whiteface and the Tramp – not as hapless as the Tramp, but wilder and wider than the Whiteface. He is occasionally Whiteface’s assistant, almost always the victim of his jokes, and is certain to screw up any task.
With pronounced flesh tones and black-and-white features, a huge ball-shaped nose, and lavish mismatched clothing, the traditional Auguste appearance is the polar antithesis of the Whiteface (oversized neckties, very small hats, etc.).
The Contra-Auguste, often known as an Auguste attempting to be a Whiteface, is a popular variation on the Auguste. He mediates the disagreement between the Whiteface and the Auguste, frequently with comical results. Also, you must try to play this What type of clown are you quiz.
What Type Of Clown are you quiz
Some believe that the Tramp, a particularly American clown, was inspired by the hobos that traveled the railways during the Great Depression. The typical Tramp appearance of a sooty face with white around the eyes and mouth may be a reference to the coal smoke from America’s rail yards.
The Tramp is the target of every joke, the one whose backside is kicked and whose face is drenched by a squirting flower. The Tramp is distinguished by a flesh-toned face, a scruffy beard, a reddish nose, a torn suit and hat, and fingerless gloves.
Only in clown contests does the Character category exist. There is frequently a category in make-up competitions for people whose costume portrays a specific occupation, hobby, or easily recognized individual. Their make-up can be in the styles of Whiteface, Auguste, or Tramp. Character type is not determined by costume. The clown’s character is defined by their personality. A clown can be a cop, a baseball player, a doctor, and a boxer all at the same time as long as their personality does not alter.
Clowns who blend mime and clowning are known as mime clowns. They frequently wear mime-style make-up that terminates at the jawline, leaving their neck bare. (Some clowns consider this to be amateur make-up and refer to it as dirty neck clowning.) If you apply this make-up technique, people will expect you to execute mime illusions.)
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Marcel Marceau, as his clown character Bip, and Nola Rae are the most well-known Clown Mimes.
Rodeo clowning is a highly specialized branch of clowning. Some rodeo clowns wear Tramp or Auguste make-up. There is also a particular rodeo make-up style based on geometric shapes rather than the performer’s natural characteristics. Rodeo clowns are classified into two types: barrel clowns and bullfighters.
The barrel clown’s home base is a big cushioned metal barrel in the center of the arena. They may entice the bull to attack the barrel, then brace themselves coiled up inside to withstand the onslaught. Jambo Fulkerson, the original barrel clown, was a tramp clown.
A bullfighter clown will frequently wear a skirt fashioned by removing the inseam from a pair of trousers and stitching the two parts together. One suspender holds this skirt in place. The goal of the bullfighter skirt is to be able to rapidly slip out of it if a bull catches the cloth. Most rodeo clowns use safety pads that are hidden behind their costumes. They also wear cleats on their track shoes.
Rodeo clowns have the difficult task of defending cowboys during the bull riding competition. The best rodeo clowns are also performers in general. They fill in the gaps between the action and perform featured acts. Many rodeo clowns perform with trained animals.
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