THE TIGHT-ROPE
TRICK BALANCING
THERE are probably few actions more graceful than those of a skillful
equilibrist. The necessity of maintaining a symmetrical posture and
disposing the body in a well-balanced manner can produce nothing but a
pleasing effect. To a lithe and healthy boy there are endless
opportunities for creating new figures, whilst many will find an
attraction in performing feats rarely attempted by any but
professionals.
The whole strain of tight-rope walking is centered in the back. The
rigidity of the legs is also an important factor in maintaining the
balance. For this reason no child under ten years of age should ever be
allowed to attempt anything of this sort, for his bones and muscles will
not be sufficiently developed until then.
All the arrangements for a tight-rope exhibition can be made in an
ordinary drawing-room. Very few fixtures are required, and the following
instructions will give an idea of what must be done.
[Illustration: FIG. 1.--Method of fixing bars of wood.]
The rope should be about four feet from the ground, although if the room
is lofty the rope may be even higher. A length of good strong sash-cord
should be used, and thoroughly tested before every performance.
Assuming that the rope is to be stretched at a height of 4 feet, the
supports should be made in the following manner:--
Two stout bars of wood, not less than 1 inch in diameter and 6 feet
long, should be fastened together in the form of an irregular St.
Andrew’s Cross, as in Fig. 1. They must be fastened by running a bolt
through them at a distance of 1 foot from the top. The lower ends should
then be beveled off at such an angle that the bars will rest evenly upon
the floor. To these beveled ends a metal plate should be fastened,
projecting outwards, with a hole through which a thumb-screw can be
passed, as shown in Fig. 2. These plates, together with the metal
screw-plate, which should be fastened over the holes in the floor, can
be bought for a few cents from any hardware store. The cross-pieces can
then be erected and screwed into position, as shown in Fig. 1.
[Illustration: FIG. 2.--Metal plate and screw.]
Strong hooks should now be driven into the floor just below the
wainscoting and in a line with the screw plates. Lengths of very strong
wire are to connect these hooks with the cross at H (Fig. 1). When it is
remembered that these pieces of wire bear the whole strain of the rope,
it will be evident that too much care cannot be exercised in making them
secure and trustworthy.
A similar cross with its attachment must then be erected at the other
side of the room where the tight-rope is to terminate. At the spot H of
this latter cross a piece of bright-colored cloth should be fastened,
for a purpose which will appear later.
The rope can now be stretched between the crosses, every care being
taken to see that it is securely fastened and is not in the least slack.
To simplify explanation, the two ends of the rope, with their respective
supports, will be called A and B, the latter having the piece of colored
rag. In Fig. 3 will be seen the arrangements so far completed.
For the purpose of mounting the rope and resting between the turns, a
pair of steps should be placed between A and the wall, and so adjusted
that the top step is on a level with the rope, or even slightly higher,
say at 4¹⁄₂ feet.
THE BALANCING POLE
There is much difference of opinion amongst acrobats regarding the
balancing pole. Some prefer it long and heavy, whilst others dispense
with it altogether. Amateurs can scarcely hope to do the latter,
however, and 4 ft. 6 in. may be considered a suitable length. The pole
should be smooth, round, and even, rather heavier than an ordinary
broom-handle. It will probably prove useful to mark its exact center by
a notch.
A mattress must be laid beneath the rope to break any falls. Thin-soled
dancing pumps should be worn, the soles being well chalked before use.
Such is the apparatus connected with the public performance of
tight-rope walking. The first attempts should be, however, on a rope
suspended much lower, not more than 1 foot from the ground, as it is
useless to try a high rope until the knack of balancing has been
acquired.
The assistance of two friends will be necessary for the first few
trials. Each must hold a strap fastened around the performer’s waist to
support him until he has learned to find the center of gravity. As he
grows accustomed to the work their help will become less necessary, and
he will soon be able to dispense with their services.
[Illustration: FIG. 3.--Tight-rope ready for walking.]
With the pole balanced in his hands, his eyes fixed steadily upon the
colored rag at B, known as the “point of sight,” and, supported by his
two friends, the first essay is made upon the rope. The feet should be
turned out as much as possible, and at each step the heel first and then
the great toe placed upon the rope.
THE “FORWARD WALK”
According to the recognized canons of the art, the first thing to be
learnt is the “Forward Walk.” The gaze must never leave the “point of
sight.” Each step must be made with the utmost care, and perfect
confidence gained before any attempt is made at more difficult tasks. As
soon as the feet begin to feel sore or tired, practice should be
abandoned for that day.
The next thing to be learned is walking backwards. This is really no
harder than the “Forward Walk” and can be as easily acquired. The eye
should be steadfastly fixed on the rag as in the former case. With the
amateur there is always a tendency to run. This must be checked, and a
stately gait acquired from the beginning.
After the “Forward” and the “Backward” walks comes the “Forward Spring.”
Both this and the “Backward Spring” are difficult, and can only be
learned by constant practice and patience. There will doubtless be a
price to pay in the way of harmless falls and stumblings, but everything
can be learned in time. Indeed, few instructions can be given that would
prove of any real assistance to the beginner. When once a person has
learned to ride a bicycle, the matter of balancing comes naturally; so
with rope walking. As soon as the tyro has gained confidence and
experience on the rope, the difficulties of the “jumps” will gradually
disappear.
Having learned the walks and leaps on the tight-rope, it only remains
for the performer to adapt them according to his own ideas. The aim and
object of every professional is to produce some novelty in his branch of
the art, and the amateur must imitate him in thinking out some effective
show to be produced “up aloft.” The great Blondin used to wheel out a
barrow and cook his pancakes upon a rope suspended at an incredible
height, and it is in ideas such as these that the art of successful
tight-rope walking consists.