In writing on theatre, various authors have pointed out that circus-type performances have always been more prevalent than performances of literary drama; that circus-type performance has been a deep secondary tradition of the theatre from which the legitimate stage has repeatedly drawn new strength and vitality; and that the circus is looked to by the public “for violent satisfactions, the intentions of which do not deceive them.” I use the term “circus-type” to emphasize an important distinction between the very ancient “circus-type” skills of contortionists, equilibrists, tumblers, jugglers, clowns, etc., and the modern form of “circus,” even though the latter is the most obviously significant depository of the former.

The modem circus is by no means a direct descendant of the ancient Roman circus. Roman circuses, such as Circus Maximus, were architectural structures designed primarily for chariot races.