Clown in the context of Cosmetics

Joseph Grimaldi (18 December 1778 – 31 May 1837) was an English actor, comedian and dancer, who became the most popular English entertainer of the Regency era. In the early 19th century, he expanded the role of Clown in the harlequinade that formed part of British pantomimes, notably at the Theatre Royal, Drury Lane and the Sadler's Wells and Covent Garden theatres. He became so dominant on the London comic stage that the harlequinade role of Clown became known as "Joey", and both the nickname and Grimaldi's whiteface make-up design were, and still are, used by other types of clowns. Grimaldi originated catchphrases such as "Here we are again!", which continue to feature in modern pantomimes.

Born in London to an entertainer father, Grimaldi began to perform as a child, making his stage debut at Drury Lane in 1780. He became successful at the Sadler's Wells Theatre the following year; his first major role was as Little Clown in the pantomime The Triumph of Mirth; or, Harlequin's Wedding in 1781, in which he starred alongside his father. After a brief schooling, he appeared in various low-budget productions and became a sought-after child performer. He took leading parts in Valentine and Orson (1794) and The Talisman; or, Harlequin Made Happy (1796), the latter of which brought him wider recognition.

A circus is a company of performers who put on diverse entertainment shows that may include clowns, acrobats, trained animals, trapeze acts, musicians, dancers, hoopers, tightrope walkers, jugglers, magicians, ventriloquists, and unicyclists as well as other object manipulation and stunt-oriented artists. The term "circus" also describes the field of performance, training, and community which has followed various formats through its 250-year modern history. Although not the inventor of the medium, Newcastle-under-Lyme born Philip Astley is credited as the father of the modern circus.

In 1768, Astley, a skilled equestrian, began performing exhibitions of trick horse riding in an open field called Ha'penny Hatch on the south side of the Thames River, England. In 1770, he hired acrobats, tightrope walkers, jugglers, and a clown to fill in the pauses between the equestrian demonstrations and thus chanced on the format which was later named a "circus". Performances developed significantly over the next 50 years, with large-scale theatrical battle reenactments becoming a significant feature. The format in which a ringmaster introduces a variety of choreographed acts set to music, often termed "traditional" or "classical" circus, developed in the latter part of the nineteenth century and remained the dominant format until the 1970s.

Street performance or busking is the act of performing in public places for gratuities. In many countries, the rewards are generally in the form of money but other gratuities such as food, drink or gifts may be given. Street performance is practiced all over the world and dates back to antiquity. People engaging in this practice are called street performers or buskers, although busker is generally not used in American English.

Performances are anything that people find entertaining, including acrobatics, animal tricks, balloon twisting, caricatures, clowning, comedy, contortions, escapology, dance, singing, fire skills, flea circus, fortune-telling, juggling, magic, mime, living statue, musical performance, one man band, puppeteering, snake charming, storytelling or reciting poetry or prose, street art such as sketching and painting, street theatre, sword swallowing, ventriloquism, weightlifting and washboarding. Buskers may be solo performers or small groups.

Pierrot (/ˈpɪəroʊ/ PEER-oh, US also /ˈpiːəroʊ, ˌpiːəˈroʊ/ PEE-ə-roh, PEE-ə-ROH; French: [pjɛʁo] ) is a stock character of pantomime and commedia dell'arte whose origins date back to the late 17th-century Italian troupe of players performing in Paris and known as the Comédie-Italienne. The name is a diminutive of Pierre (Peter), using the suffix -ot and derives from the Italian Pedrolino. His character in contemporary popular culture—in poetry, fiction, and the visual arts, as well as works for the stage, screen, and concert hall—is that of the sad clown, often pining for love of Columbine (who usually breaks his heart and leaves him for Harlequin). Performing unmasked, with a whitened face, he wears a loose white blouse with large buttons and wide white pantaloons. Sometimes he appears with a frilled collaret and a hat, usually with a close-fitting crown and wide round brim and, more rarely, with a conical shape like a dunce's cap.

Pierrot's character developed from that of a buffoon to become an avatar of the disenfranchised. Many cultural movements found him amenable to their respective causes: Decadents turned him into a disillusioned foe of idealism; Symbolists saw him as a lonely fellow-sufferer; Modernists made him into a silent, alienated observer of the mysteries of the human condition. Much of that mythic quality ("I'm Pierrot," said David Bowie: "I'm Everyman") still adheres to the "sad clown" in the postmodern era.

Physical comedy is a form of comedy focused on manipulation of the body for a humorous effect. It can include slapstick, clowning, mime, physical stunts, or making funny faces.

Physical comedy originated as part of the Commedia dell'arte. It is now sometimes incorporated into sitcoms; for example, in the sitcom Three's Company, actor John Ritter frequently performed pratfalls. Cartoons, particularly film shorts, also commonly depict an exaggerated form of physical comedy (incorporating cartoon physics), such as in Tom and Jerry and Wile E. Coyote and the Road Runner.

Dan Rice (January 23, 1823 – February 22, 1900) was an American entertainer of many talents, most famously as a clown, who was active before the American Civil War. At the height of his career, Rice was a household name. Dan Rice also coined the terms "One Horse Show" and "Greatest Show" while popularizing the barrel-style "French" cuff. He was a figure in the new American mass culture brought on by the technological changes of the Industrial Revolution. Rice ran for President of the United States in 1868. With changes in circus venues and popular culture after the Civil War, his fame has gradually slipped into such historical obscurity that in 2001 biographer David Carlyon called him "the most famous man you've never heard of".

Philip Astley (8 January 1742 – 20 October 1814) was an English equestrian, circus owner, and inventor, regarded as being the "father of the modern circus". Modern circus, as an integrated entertainment experience that includes music, domesticated animals, acrobats, and clowns, traces its heritage to Astley's Amphitheatre, a riding school that Astley founded in London following the success of trick-riding displays given by him and his wife Patty Jones in 1768. Astley's first competitor was equestrian Charles Hughes, who had previously worked with Astley. Together with Charles Dibdin, a famous author of pantomimes, Hughes opened a rival amphitheatre in London, which Dibdin called the Royal Circus and Equestrian Philharmonic Academy.

Astley and his wife Patty put on their first public show on Easter Monday, 4 April 1768. extending the equestrian performance with exhibitions of warlike sabre-work and sword-play. The initial performances were done in the open air at Ha'penny (= Halfpenny) Hatch, a field in Lambeth, London, near the present site of Waterloo railway station. The Astleys also performed at other locations in London. Astley performed his stunts in a circular arena, though Astley never used the title of 'circus' for his shows. Astley's 'Ride' (he also called it 'the Circle') was a ring 65 ft (19 metres) in diameter. Later, the size evolved to become standardised at 42 feet (13 metres) which is the size used by circuses ever since. Leasing more permanent premises at Westminster Bridge from 1769, he improved conditions for audiences with a covered stands. The performances themselves, however, were still performed in the open. In 1770 he hired acrobats, tightrope walkers, jugglers and a clown to fill in the pauses between acts. and so initiated the format which we now know as a 'circus' and which has since spread to many countries.

The Feast of Fools or Festival of Fools (Latin: festum fatuorum, festum stultorum) was a feast day on 1 January celebrated by the clergy in Europe during the Middle Ages, initially in Southern France, but later more widely. During the Feast, participants would elect either a false Bishop, false Archbishop, or false Pope. Ecclesiastical ritual would also be parodied, and higher and lower-level clergy would change places. The lack of surviving documents or accounts, as well as changing cultural and religious norms, has considerably obscured the modern understanding of the Feast, which originated in proper liturgical observance, and has more to do with other examples of medieval liturgical drama, though there is some connection with the earlier pagan (Roman) feasts of Saturnalia and Kalends or the later bourgeois in Sotie. Over the course of a week, the ceremonies would be led by different people in positions of power within the church. On 26 December, St. Stephen's Day, the deacons led the ceremonies. The sub-priests (or vicars) were in charge on 27 December, St. John's Day, the choirboys on 28 December, Holy Innocents’ Day, and the sub-deacons on the first of January, the Feast of the Circumcision. There is some disagreement on whether the term Feast of Fools was originally used to refer to the collection of days or specifically the celebrations taking place on the first of January. The word "fool" is used as a synonym for humble, as was common in the 11th century, rather than the modern use that treats it as another term for clown or jester.

Philippe Gaulier (born 4 March 1943) is a French professor of theatre, drama theorist, pedagogue, and master clown. He is the founder of École Philippe Gaulier, a French theatre school in Étampes, outside Paris. After studying under Jean Vilar and Alain Cuny at Théâtre National Populaire and then under Jacques Lecoq, Gaulier was an instructor at L'École Internationale de Théâtre Jacques Lecoq. Known for his 'legendarily terrifying teaching style,' he has published The Tormentor (Le Gégèneur), a book discussing his thoughts on the theatre and containing exercises designed to develop an actor's skill. Gaulier has had a significant influence on the British Theatre, where his teaching has inspired the creation of numerous theatre companies including the Théâtre de Complicité. Gaulier is known for performing both clown and bouffon comic genres, as well as his work as a playwright and director.

Emma Thompson, Sacha Baron Cohen, Helena Bonham Carter, Roberto Benigni, Rachel Weisz, Simon McBurney, Geoffrey Rush, Kathryn Hunter, Yolande Moreau, Viggo Venn, Mathew Baynton number among his students. Cohen has particularly praised him for "help[ing him] understand how to be funny," and in 2001 stated that he was "probably the funniest man I have ever met."

A jack-in-the-box is a children's toy that outwardly consists of a music box with a crank. When the crank is turned, a music box mechanism in the toy plays a melody. After the crank has been turned a sufficient number of times (such as at the end of the melody), the lid pops open and a figure, usually a clown or jester, pops out of the box. Some jacks-in-the-box open at random times when cranked, making the startle even more effective. Many of those that use "Pop Goes the Weasel" open at the point in the melody when the word "pop" would be sung.

In 2005, the jack-in-the-box was inducted into the U.S. National Toy Hall of Fame, where are displayed all types of versions of the toy, starting from the beginning versions, and ending with the most recently manufactured versions.

The Theatre de la Jeune Lune was a celebrated theater company based in Minneapolis, Minnesota. The company, in operation from 1978 to 2008, was known for its visually rich, highly physical style of theatre, derived from clown, mime, dance and opera. The theatre's reputation also stemmed from their reinvented classics and their productions of highly ambitious original work.