Buster Keaton's earliest training came in the family vaudeville act The Three Keatons, where his father Joe routinely tossed the small child across the stage, into scenery, and even into the orchestra pit as part of a knockabout routine. Technical measures — a sewn‑in suitcase handle, slapsoles for controlled falls — turned what looks like abuse into a practiced physical discipline, but the act drew accusations and occasional arrests under laws banning child performers. The Keatons were promoted as 'The Roughest Act That Was Ever in the History of the Stage' and billed young Buster as 'The Little Boy Who Can't Be Damaged.' Decades later Keaton defended the technique as skillful falling rather than cruelty, but contemporary arrests and repeated complaints make this apprenticeship one of vaudeville’s darker, legally fraught corners and a formative trauma behind Keaton’s famous deadpan.
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