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Impalement arts are a type of performing art in which a performer plays the role of human target for a fellow performer who demonstrates accuracy skills in disciplines such as knife throwing and archery. Impalement is actually what the performers endeavour to avoid – the thrower or marksman aims ''near'' the target rather than at him or her. The objective is to land the throw or shot as close as possible to the assistant's body without causing injury. Impalement arts are often found in circuses and sideshows as well as sometimes in variety, cabaret or burlesque shows. In addition, impalement acts have provided subject matter for literature, art, photography and film and television scripts. There are important distinctions between knife throwing or archery practised as competitive sports and similar skills displayed as impalement arts. For example, organising bodies for competitive archery prohibit activity that involves deliberate shooting in the general direction of a human being.〔For example, impalement arts contravene rules 101(b) and 102(a) of the UK Grand National Archery Society (GNAS) Rules of Shooting (see ) and represent "substantial" or "intolerable" risk under GNAS Archery range health and safety policy (see (【引用サイトリンク】Copy of health and safety policy from SportFocus website ))〕 ==Forms and variations== The human target is the essential distinguishing feature of the impalement arts. It has been asserted by several sources, including well-known knife throwers, that the power and appeal of this type of act lies as much in audience appreciation of the target as in admiration of the skill of the thrower or archer.〔For example, Dr David Adamovich, aka The Great Throwdini, has frequently asserted the importance of his assistants in print and in web forums. In Adamovich, Heil & Schollenberger, ''A Day on Broadway: The art of being a knife thrower's assistant'', Turnshare (London, 2005), ISBN 1-903343-73-9, p.150, he writes of: "...my lovely and daring assistants - sine qua non - without which there'd be no act!". In the same book Astrid Schollenberger describes her initial instruction by Adamovich thus: "Rule one: The target girl is the star of the show and she has to be aware that the stunts depend on her. Rule two: You must not move".〕 Various theories have been put forward to explain this, ranging from simple awe at the display of steely nerves and complete trust to more complex psychological and philosophical theories. While some point to overtones of sadomasochistic eroticism, others cite dramaturgical works and point to parallels with the story arc of the hero in classic drama. In particular the assistant's performance is said to mirror the plot device of the hero's ordeal, in which the hero proves his or her heroic qualities through self-sacrifice or by facing extreme peril.〔Dr Joachim Heil PhD, "A short philosophical essay on the art of knife throwing", in Adamovich, Heil & Schollenberger, ''A Day on Broadway'', pp.83–114〕〔Extensive evidence of the debate on this topic is to be found in various online forums including the ''Dangerous Circus Acts'' groups on Yahoo!〕 The target or assistant role is most often taken by a female performer, sometimes known as a target girl, who commonly wears a revealing costume, thus adding an element of overt sexuality to the act. While a few contemporary acts feature a male in the target role, and some play upon role reversal, the traditional figure of a female target still prevails.〔Stanley Brion in the foreword to ''A Day on Broadway'', p.x〕 Generally speaking, the assistant, whether male or female, stands in front of a board, made of wood or some similar material, into which the knives or arrows are embedded. For some stunts the assistant is strapped to a moving board. There are several disciplines and a great variety of tricks and stunts that are performed within this basic format. Some tricks are done by performers in all disciplines while others are generally the preserve of one discipline. For example, moving target stunts, such as the "wheel of death", tend to be done by knife throwers but not by archers. Impalement artists have adopted a variety of guises, including wild west figures, "gypsy" characters or tuxedo-wearing cabaret performers. There have even been efforts to package impalement arts within dramatic productions, such as the play ''Pin Cushion'', which consists of a monologue delivered by an actress as she takes part in a real knifethrowing act (see Theatre).〔For official website see (【引用サイトリンク】Horse Trade Theater Group Presents: ''The Pumpkin Pie Show'' )〕〔For review see 〕〔For images see (【引用サイトリンク】 Maximum Risk performed at The Red Room Theatre on 5/25/02 )〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Impalement arts」の詳細全文を読む スポンサード リンク
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