Examples

Some non-circus examples of character clowns:
W.C. Fields
Joe Penner
Pinky Lee
Groucho Marx of the Marx Brothers
Paul Reubens' Pee-Wee Herman
Ed Wynn
Bob Einstein's Super Dave Osbourne
Jim Varney's Ernest P. Worell
Sherman Hemsley's George Jefferson
Don Novello's Fr. Guido Sarducci
Ed O'Neill's Al Bundy
Lily Tomlin's Ernestine the Telephone Operator
Andrew Silverstein's Andrew Dice Clay
George Costanza on Seinfeld
Patrick Starfish on SpongeBob SquarePants
Bill Irwin's Mr. Noodle on Elmo's World

Some circus examples include Barry Lubin, Tom Dougherty, Bill Irwin, David Shiner, Geoff Hoyle, John Gilkey, Peter Shub, Poodles Hanneford, Bluch Landolf, Larry Pisoni, John Lepiarz, Bobo Barnett, Happy Kellams, Fumagalli, Charlie Cairoli, Bebe, Jojo Lewis, Abe Goldstein, Rhum, David Larible, Kenny Raskin, Oleg Popov, Rik Gern and Bello Nock Tori spalding.

Joey, the Auguste and the Ringmaster

In clown duos, Clowns often rely on the Joey & Auguste framework, or Manipulator/Victim. The Joey & Auguste Framework is often used widely in such comic works as Looney Toons. Simply put, the two clowns, who for whatever reason are competing for survival, desperately rely on each other; without each other, they live a meaningless, and perhaps even more perilous adventure. For example, when Sylvester finally catches Tweety Bird (or thinks he does) he becomes so ridden with guilt that he nearly commits suicide.

The Ringmaster relationship is the addition of an ur-manipulator, or ur-victim to this chemistry. This often takes the form of a mutual enemy or nemesis. An example of this situation might be as follows:

A husband comes home late, he's drunk, and has a collar covered in lipstick. His wife wants to know where he's been, and a manipulator-victim relationship occurs. Suddenly their child enters the scene, and the dynamic changes in an attempt to avoid traumatizing him/her. The child wants to know why there's a strange man in their bedroom, and the manipulator-victim dymnamic shifts during the next argument. Then it turns out that the child has constructed this elaborate ruse in order to steal cookies and watch late-night TV without notice, giving him ur-manipulator status.

This is an example of a ringmaster situation. Clowns in the ringmaster position are often character clowns, where Joey and Auguste duos are typically made up of a Whiteface Clown and an Auguste.

Other types

Native American Clowning

Many Native Tribes have a rich history of Clowning. The Canadian clowning method developed by Richard Pochinko combines European and Native American clowning techniques.

In this tradition, masks are made of clay while the creator's eyes are closed. A mask is made for each direction of the medicine wheel. During this process, the clown creates a personal mythology which explores his or her personal Experiences and Innocenses.

Rodeo

The rodeo clown has one of the most dangerous jobs in all of show business. A rodeo clown is a courageous and hard-working cowboy, or animal wrangler, dressed in wild costumes — almost always oversized and consisting of loose fitting layers of clothing to protect them from, and to distract, rodeo bulls, broncos, etc. The looseness of the layers allows a rodeo clown to shed portions of their attire in the event of its being snagged -- as on an enraged bull's horn. This professional — whose highly dangerous job is to protect other performers from bucking horses and charging bulls while at the same time entertaining the audience with the antics of a clown — might tell you: "Druther lose a shirt than lose my life".

Commedia del Arte

There are two distinct types of clown characters, which originated in Commedia del Arte but which still hold some favor today, Pierrot and Arlecchino.

Pierrot/Pirouette

The Pierrot, or "French clown", derived from the commedia dell'arte character Pedrolino - the youngest actor of the troupe, deadpan and downtrodden. Although Pedrolino appeared without mask, Pierrot usually appears in whiteface, typically with very little other color on the face. Like Arlechinno, Pedrolino's character changed enormously with the rising popularity of pantomime in the late 19th century, becoming Pierrot. This clown character prefers black and white or other a simple primary color in his or her costume. (le Pierrot is often female, and has also been called "Pirouette" or "Pierrette". When Bernard Delfont was made a life peer, he chose "Pierrot and Pierrette" as the heraldic supporters of his coat of arms.).
The tragic Robert Hunter song "Reuben and Cerise" mentions Pirouette twice, in symbolic colors:
...Cerise was dressing as Pirouette in white
when a fatal vision gripped her tight
Cerise beware tonight...
Cerise is Reuben's "true love", but Ruby Claire was a temptress:
...Sweet Ruby Claire at Reuben stared
At Reuben stared
She was dressed as Pirouette in red
and her hair hung gently down...
Both women have names which translate as "red", but reuben's true love is dressed in pure white, the other, to whom he played his fateful song, is the "lady in red" this symbolism might imply that Reuben was Pierrot's companion, Arlecchino:

Styles

In Europe there is a tradition of "entrée clowning" where the troupe of clowns usually comprising of "whiteface", "auguste" and a "character" perform a set routine; "The Busy Bee" (in German, "Bienchen Bienchen Gib Mir Honig"), "The Bon Bon", or "the Ghost" are just a few regularly performed in European Circus. Water entrées and Paste (soap) entrées are also staple diets for these audiences. Up until the eighties reprise clowns in Europe were very traditional, but lately they are showing more versatility with a range of different styles and presentations involving audience participation and more inventive "gags" rather than relying on the old faithfuls. The main difference with the U.S. is that usually European shows have one ring and the clown has the complete attention of the audience; in the States, where multiple rings are the norm, there are more clowns, each working a different section of the public.

There was for many years a tradition of families of clowns all working together (such as the Rastellis, the Francescos, The Alexis, and many more), but with the economics changing, it is no longer viable for many shows to afford a large family unit. These are slowly disappearing.

Circuses have recently been faced with stiff pressure from animal rights groups for alleged abuse and mistreatment of animals, as well as the competitive pressure from popular new live action versions of children's television programs. In response, American circuses at least, have begun to lean towards shows based specifically around the clown as a marketable character and personality. This has promoted a new class of "Celebrity Clowns" like The Big Apple Circus' Barry Lubin (Grandma), Bello Knock or David Larible, headlining recent Ringling Brothers tours, and garnering significantly larger shares of the a shows's operating budget than their fellow performers. This return to clown as central theme in circus is mirrored in the likes of Cirque du Soleil, which commonly uses clowns as a central thread to link their acts and give their shows structure. The myriad smaller independent and underground circuses around the world have always relied upon the clown as the primary staple in their retinue. [1]

Skills

In the circus, a clown might be convinced to perform another circus role:
Walk a tightrope, a highwire, a slack rope, or a piece of rope on the ground, though in the last case, the predictably unpredictable clown might be just as likely to wrestle around on the ground with it, as if it were a boa constrictor.
Ride a horse, a zebra, a donkey, an elephant, or even an ostrich.
Substitute himself in the role of "lion tamer".
Act as "emcee", from M.C. or Master of Ceremonies, the preferred term for a clown taking on the role of "Ringmaster".
"Sit in" with the orchestra, perhaps in a "pin spot" in the center ring, or from a seat in the audience.
Anything any other circus performer might do. It is not uncommon for an acrobat, a horse-back rider, or a lion tamer to secretly stand in for the clown, the "switch" taking place in a brief moment offstage.

Customs and traditions

As with any ancient artform, fools, clowns and other related artists have developed customs, traditions and even superstitions regarding their chosen avocation.

"The Code"
As with any ancient artform clowns and other related artists have developed many widely held customs and traditions regarding their chosen avocation. The most fundamental of these holds that each individual clown has the informal, exclusive right to their costume, makeup and other unique performance attributes that contribute to their particular character and that must not be infringed by other clowns. Despite no enforcement through intellectual property or similar laws, this code of non-infringement is nonetheless respected by professionals. This practice is of such great importance that it is often referred to by clowns as simply "The Code."
"A knock is a plug"

Professional clowns typically do not make disparaging remarks about other clowns, not only because this is considered petty, but because of the tradition that "a knock is a plug", in other words, to mention a poor performer by name is to provide that performer with undue advertisement.

"Eggs"

In Britain, as recognition of The Code, each clown has their own clown face painted onto an eggshell and no two eggs can be alike.

Superstition

It is common for clowns to avoid the use of blue face paint, as this is considered bad luck.

Clowns do not wish each other good luck, an old show business custom, however, among clowns the expression "knock 'em dead", or "Bump A Nose" seems more prevalent than the customary expression, "break a leg." Wishing a fellow performer "good luck" is considered a jinx. it has been suggested that this stems from the Bouffon Tradition.

Clowns are also notoriously lucky, to the degree that many superstitions are inverted with a clown, and curses placed against a clown will inevitably benefit the clown and curse the curser. Clowns often hold the only position in society where they can get away with outright blasphemy against the clergy and government.

Clowning frameworks

Frameworks are the general outline of an act that clowns use to help them build out an act. Frameworks can be loose, including only a general beginning and ending to the act, leaving it up to the clown's creativity to fill in the rest, or at the other extreme a fully developed script that allows very little room for creativity.

Shows are the overall production that a clown is a part of, it may or may not include elements other than clowning, such as in a circus show. In a circus context, clown shows are typically made up of some combination of Entrées, Side dishes, Clown Stops, Track Gags, Gags and bits.

Gags, bits and business

"Business" is the individual motions the clown uses, often used to express the clown's character. A "gag" is a very short piece of clown comedy which when repeated within a bit or routine may become a "running gag". Gags may be loosely defined as "the jokes clowns play on each other". Bits are the clown's sketches or routines made up of one or more gags either worked out and timed before going on stage or impromptu bits composed of familiar improvisational material. A gag may have a beginning, a middle and an end to them, or they may not. Gags can also refer to the prop stunts/tricks or the stunts that clowns use, such as a squirting flower.

Menu

Entrées are feature clowning acts lasting 4-8 minutes. They are typically made up of various gags and bits, and usually use a clowning framework. Entrées almost always end with a blow-off. (The blow-off is the comedic ending of a show segment, bit, gag, stunt or routine.)

Side dishes are shorter feature acts. Side dishes are essentially shorter versions of the Entrée, typically lasting 1 - 3 minutes. Side dishes are typically made up of various gags and bits, and usually use a clowning framework. Side dishes almost always end with a blow-off.

Interludes

Clown Stops or interludes are the brief appearance of clowns while the props and rigging are changed. These are typically made up of a few gags or several bits. Clown Stops almost always end with a blow-off. Clown stops will always have a beginning, a middle and an end to them.

Prop stunts

Among the more well-known clown stunts are: squirting flower; the "too-many-clowns-coming-out-of-a-tiny-car" stunt; doing just about anything with a rubber chicken, tripping over ones own feet (or an air pocket or imaginary blemish in the floor), or riding any number of ridiculous vehicles or "clown bikes". Individual prop stunts are generally considered to be individual bits.

Cooperative bits and 'improv'
A clown duo might employ a number of cooperative "bits" to help them create an improvisational performance. Using this technique allows both clowns to participate in what looks like a well-rehearsed sketch, but might well be a mere placeholder/spacefiller for a missing act, or used to cover "prop failure" etc. Particularly in a Circus or Variety show, clowns are often relied on to perform "at the drop of a hat" and a well-prepared clown will not only have a large repertoire of bits, but will remain alert when off-stage. In accordance with the well-known "show biz" tradition that "The Show Must Go On", the best clowns will always be ready to save the day, even in the midst of a tragedy — such as an injured performer.
Pete and re-Pete

In "Pete and re-Pete", the first clown narrates the gag, the second "repeats" the main elements of the first clown's exposition:
"I see you bought yourself a new hat"
— "Yeah, a New Hat (big happy smile of contentment with his battered stovepipe hat)
"Get it uptown?"
— "Yup, Got it Up Town, oh Yeah, you're not gonna get a Fine New Hat like this one down town" (taking the hat off again for another satisfied look at the hat, and rocking up on to the balls of his feet and back on his heels, proudly).
"You can say that again"
— "OK: Got it Up Town, yeah, not gonna get one of these downtown" (another proud look at the hat, picking an imagined piece of lint from the torn brim of the bedraggled Fine New Hat), yep, nothing like an Up Town Hat."
"Uhuh ... they pay you much?"

The first clown narrates the gag, the second repeats main elements of this exposition, and finally delivers the punch line.

"That's good/that's bad" routine

In the routine called "that's good/that's bad", the first clown narrates the gag, the second responds alternately with "that's good / that's bad":
"I found a dog."
"That's good" (noncommittally).
"It wasn't a hot dog though" (showing the dog).
"That's too bad" (looking at the dog, wistfully).
"He's really friendly ..."
"Oh, that's good" (agreeably).
"... with people's legs."
"Well that’s bad" (appalled).
"He doesn't eat much."
"That's good" (nodding agreeably).
"He sure poops a lot though."
"That's bad" (that stinks expression).
"He's housebroken."
"That’s good" (of course it is).
"No that's bad: he did some jail time for the last housebreak."
"Okay, then that's bad" (willing to be corrected).
"No that's good: it was his second offense. He's gone straight now."
"That's ... uhhh ... good?" (confused now).
"No that's bad, he's gone straight for your pastrami sandwich!"

This bit is also seen with other "good/bad" interjections: perhaps "that's fortunate/unfortunate" or even (with a pair of two "Surfer Dude" clowns) as "Dude that rocks!/Man, that bites".

Note that a clown would likely choose the word pastrami rather than corned beef, because pastrami is a funny word and corned beef is not. So clowns prefer:
monkey wrenches to "spanners"
doohickeys to "gadgets"
kitchen gadgets to "small appliance"
monikers to "nicknames"

and a clown would much prefer to be
fidgety than "restless".

Each clown has his own gags or bits, these techniques are used to share gags with other clowns that are unfamiliar with the material, by using "Yes, and..." techniques ("Yes and" has become a technique commonly taught in "improv" classes) such as "Pete and re-Pete", and "That's good/that's bad", the clowns avoid conflicting gags, supporting each other in whatever they may say, and keeping the performance flowing.

It is considered bad improvisational form to "deny the proposition" as in:
"Hi Dewey, looks like you got yourself a new pair of shoes"
"No, Tiny, these are my regular shoes."

Contradiction tends to stop the show, "killing" the "comedic momentum" crucial to keeping the attention of the audience.

The "Pete and re-Pete" act has also been used in the Simpsons episode "Treehouse of Horror III"