The shape of the circle is directly related to the origin and history of circus art.

History of the circus

The very first circuses appeared in ancient Rome. However, these were not circuses in the modern sense; gymnasts and acrobats did not perform there. In ancient Roman circuses, chariot races and horse races were held. In the modern world, "hippodrome" is used to indicate the place of such competitions.

The birth of the modern circus took place at the end of the 18th century in London, and it was also associated with equestrianism. The creator of the new circus, the Englishman Philip Astley, was, therefore, the basis of the spectacles that he offered to visitors to his establishment was precisely the demonstration of horse tricks, although such numbers were already supplemented by acrobatic studies.

Later, Astley and his followers expanded the program of the circus spectacle: it began to include performances of tightrope walkers, jugglers, clowns, and yet for about a hundred years the main theme of circus performances was horse performances. The structure of the circus arena was formed precisely based on the performances of riders.

Horse tricks in the circus

Horses must run smoothly and measuredly. This cannot be achieved with corners, so the arena should not have them, i.e. it should be round.

The convenience of the performance of the riders was dictated not only by the shape of the circus arena, but also by its size. The diameter of the arena was established in 1807 at the Franconi Circus in Paris and has not changed since then. It remains the same even now. The diameter of the arena in all circuses of the world, in whatever country they are located, is 13 meters (in the English system of measures - 42 feet). This diameter is determined by the laws of physics, on the basis of which horse tricks are built.

The centrifugal force acting on it depends on the diameter of the circle along which the horse runs. In turn, the centrifugal force determines the angle at which the horse's body will be inclined in relation to the arena during the run. It is with a diameter of 13 m that the angle is optimal for the rider, who needs to maintain balance while standing on the horse's croup.

For illusionists, gymnasts, acrobats, clowns and other circus performers, the shape of the arena and its size are of no fundamental importance. However, the invariability of the shape and size of the arena in all circuses of the world is also important for them. Thanks to this, the numbers staged in the conditions of a particular circus do not have to be specially adapted during the tour.

Publications section Theaters

A native Muscovite from Tsvetnoy Boulevard

Magicians and trainers, jugglers and equestrians, acrobats and clowns. In 1880, a whole new world appeared in Moscow. The circle of the arena and, like rays, the rows of seats in the auditorium. A circus was opened on the site of the booths near the flower market. Not the first in Moscow, but from the very first performances it became a favorite. Natalia Letnikova collected 10 facts from the history of the first state circus of the USSR.

From booths to circus art. The Moscow circus on Tsvetnoy Boulevard has Italian roots. One of the first successful stationary circuses in Moscow was opened by an Italian, hereditary circus artist Albert Salamonsky. Initially as part of an international project. The "brothers" of the circus on Tsvetnoy were scattered throughout Europe: in Berlin, Odessa, Riga.

Salamonsky Circus on Tsvetnoy Boulevard. Photo: mos-open.ru

Circus on Tsvetnoy Boulevard. 1947 Photo: retromap.ru

Circus on Tsvetnoy Boulevard. 1965 Photo: russkiymir.ru

famous circus building- the work of the architect August Weber. A graduate of the Vienna Academy of Fine Arts in Moscow built a lot - the Actor's House, once the Katkov Lyceum - now the Diplomatic Academy of the Ministry of Foreign Affairs, Grandpa Durov's Corner. The Salamonsky Circus Weber built with the money of the merchant Danilov. By the way, the first audience of the new entertainment venue consisted mainly of representatives of the merchant class.

circus place. Circus booths were traditionally set up at the Flower Market in Moscow. The place is familiar. Before the start of construction, Salamonsky did not have a penny - he built on credit. After the opening, he provided for stalls and boxes and the most democratic places - a standing gallery, where a ticket cost a penny. Salamonsky hung the first ruble he earned in a frame at the box office - for good luck, and the circus fortune did not disappoint.

The circus has become the world of childhood. With the light hand of Salamonsky, children's Sunday performances - matinees - appeared on the circus arena. A special petition assured that "programs will be adapted to children's understanding." Especially for the young spectator at Christmas, circus Christmas trees with gifts, ballets and pantomimes were arranged. One of the most popular, The Doll Fairy, came out in 1895.

Decree ... about the circus. In 1913, the circus brilliance faded with the death of Salamonsky, six years later the circus on Tsvetnoy became the first state circus. The document was signed by Lenin. Under the wing of the young republic, the troupe was not in the best shape. In the early years of Soviet power, artists starved and even performed on the streets. The new repertoire proved: "the Soviet circus can do miracles." Mayakovsky himself participated in the creation of the reprise.

Yuri Nikulin, Mikhail Shuidin, Dmitry Alperov. Scene "Log". 1981 Photo: moiarussia.ru

Yuri Nikulin and Mikhail Shuidin at the circus. Photo: tverigrad.ru

Yuri Nikulin and Mikhail Shuidin at the circus. 1958 Photo credit: coollib.com

"On the arena - Pencil"- Pravda wrote in announcements about the life of the theater in Moscow. People's Artist of the USSR Mikhail Rumyantsev, with his constant companion, the Scottish Terrier Klyaksa, entered the circus arena on Tsvetnoy in 1936 and worked for half a century. He brought Yuri Nikulin and Mikhail Shuidin to the arena, who made up the famous clown duet throughout the country. The arena remembers both the “solar clown” Oleg Popov and the clown with “autumn in the heart” Leonid Yengibarov.

Memory of generations. In the lobby of the circus there is a memorial sign - in 1941, an ensemble of Don Cossacks went straight from the arena to the front. Artists not only went through the whole war, but also reached Berlin. In the circus itself, the performances did not stop. The famous pantomime "Three of Ours", fights of motorcyclists, acrobatic clownery, and in the final - a tank crushed "enemy pillboxes" in the arena. In the circus on Tsvetnoy, they raised morale as best they could.

Circus Yuri Nikulin. After the war, the beloved artist graduated from the clowning school, worked in the famous duet with Mikhail Shuidin for 30 years, and in 1982 headed his native circus. Circus tours did not allow the actor to play many roles - for example, Yuri Detochkin in the film "Beware of the Car". But with the light hand of the clown Nikulin, the short film "Moonshiners" appeared. An interlude played out in the arena was offered by Yuri Vladimirovich to Gaidai. I liked the idea and hit the screen.

The new building of the old circus. Having served circus art for one century and five years, the August Weber building required modernization. The house at number 13 with a 13-meter arena was demolished after the performance on August 13, 1985. "Hello, old circus" - the artists on Tsvetnoy said in a new program already in 1989. Technological progress has affected the filling of the building, they tried to keep the appearance of the auditorium in its historical form.
Cinema and circus - on Tsvetnoy united in the monument to Yuri Nikulin, the work of the sculptor Alexander Rukavishnikov. Nikulin in clown boots and a boater hat - at the famous convertible, which shone in the comedy "Prisoner of the Caucasus". Bronze car "permanently parked" at the door of the circus. It could have been a circus trapeze or a falling curtain, but in bronze the sculptor embodied the idea of ​​the unity of circus and cinema. Everything is like in the life of Yuri Nikulin himself. Whose name has been borne by the circus on Tsvetnoy for 20 years.

17:39 - 21.03.2018

As a child, almost everyone was at least a few times in the circus. Some of us sometimes look there even as adults. The inexplicable magnetism of the circus has always attracted the viewer with incredible force. The circus is an amazing, mysterious, fun, beautiful and colorful place that can make a person feel a wide range of emotions, from admiration to tenderness and sincere joy. A circus performer is just as laborious a profession as any other. It has many different nuances and features. The work of the circus is associated with many interesting facts, many of which we told in this article.

The standard diameter of the circus arena is 13 meters

All circuses follow the arena diameter standard. It is 13 meters and was introduced not by chance.

The fact is that in the 18th century, the Englishman Philip Astley empirically established that such a diameter is the most optimal for horses galloping in a circle: their back with a given diameter has a constant angle of inclination.

Philip Astley - founder of the clowning genre

The same Englishman, Philip Astley, who established the optimal diameter of the circus arena, is considered the inventor of clowning.

He did it simply: he hired people who had never ridden a horse and asked them in public to try to mount it and ride it. Of course, inexperienced people made various funny body movements and constantly fell, causing the laughter of others.

Why do clowns have red noses?

As you know, there is a tradition among clowns to wear a red nose. But few people know that it originates from the moment when clowning was invented.

The thing is that the people who were hired by Philip Astley, already well known to us, most often decided to become a laughing stock while in a state of intoxication. And the peculiarity of the action of alcohol is such that in drunk people, most often, the nose turns red. This is how the tradition took hold.

Circus superstition associated with eating seeds

Clowns don't eat sunflower seeds (at least not in the circus). Yes, and other circus workers, too, often have a taboo on eating seeds. Moreover, circus performers even urge viewers not to eat them.

This is due to superstition: in the circus environment, it is believed that in this way you can “click on the audience” and ticket sales will fall.

The number 13 for circus performers is lucky

Many circus performers believe that the number 13 brings happiness. This is confirmed by the fact that the diameter of the arena is equal to this number (we mentioned this fact above).

For example, the Moscow Circus on Tsvetnoy Boulevard is located in building No. 13, and there are 13 rows in its stalls.

The circus has the position of ringmaster

This word, which any Russian person is unlikely to read correctly the first time, denotes a very important position. Ringmaster is a circus employee in charge of the performance. As you probably already guessed, the word comes from the German language and consists of the words "speak", "stable" and "master".

In the circuses of the USSR, this position was called more simply - arena inspector.

Animal training can be brutal at times

Some of the most memorable childhood circus experiences are acrobats and, of course, trained animals.

However, their training in the circus is a very difficult process. Often it is associated with cruelty, because the animal, at times, is not easy to force to perform any trick.

In this regard, animal welfare organizations are always on the alert and often go to court with claims against circuses that treat animals with particular cruelty. History knows the case when, in one of these claims, Ringling Brothers paid a fine of 270 thousand dollars.

Leonid Brezhnev was a circus lover

Leonid Brezhnev, General Secretary of the Central Committee of the CPSU, was very fond of the circus during his lifetime. They say that the Moscow circus had an underground garage for Leonid Ilyich's car, and to watch the performance in the government box, the Secretary General went up to it using a special elevator.

Origin of the word "circus"

The name "circus" comes from the Latin adjective circus, meaning "round". This is not surprising, given the traditional shape of the circus arena.

There is also another version of the origin of this name. According to her, the "circus" is associated with the name of Circe, the Homeric sorceress who turned the companions of Odysseus into pigs.

There is a phobia associated with clowns

It seems that there cannot be a character in the world more cheerful and positive than a clown. But there is a category of people who are afraid of clowns and everything connected with them. These are people who suffer from clownophobia.

Perhaps this is largely the merit of the modern film industry, which releases horror films with the main villains - clowns.

Psychologists believe that a phobia is associated with the rejection of images similar to a person. That is, clownophobia is similar to, for example, the fear of robots in human form, etc.

It is also worth noting that recently the prestige of the profession of a clown has fallen significantly. And in many respects this happened precisely because of the negative image that is actively promoted in the cinema.

In other words, this is also due to the emergence of other entertainment and leisure activities that supplanted the circus and influenced its decline in popularity.

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On April 30, the Big Moscow State Circus on Vernadsky Avenue celebrates its 45th anniversary. Did you know that this is the largest circus in Europe and can rightfully be considered one of the capital's attractions of international level?

To date, the circus employs 680 people, of which 300 are artists of various genres, who not only work in their own arena, but also tour throughout Russia and abroad. The capacity of the auditorium is 3300 people.

On the eve of the anniversary, the director of the circus, a well-known trainer, People's Artist of Russia Edgard Zapashny told TASS about the sports regime of tigers and the most dangerous circus genres, and Olesya Ekk, a cat trainer, assistant to the head of the famous horse attraction Yakov Ekk, answered questions about why you can’t gnaw in the auditorium seeds, which cat breed is the most talented and which horses are suitable for which number.

What is the most dangerous circus genre?

Zapashny:"Even the top 5 would be hard for me to pick. Even when an artist gets on a flip board and does a simple somersault, he flies to a great height, and the risk of landing on his head is great. Any rise in the air, even three -four meters, dangerous, because at any moment the equipment can break.Here is a person tied, the loop is good, the lounge, but no one has canceled the failure of the winch, no one can guarantee 100% that the safety net, on which from under the artist will fly the dome, it will not break.

Of course, one of the most traumatic genres of circus art is work on horseback, in particular jockey work. Because in this genre there are a large number of tear-off tricks - jumps, somersaults. What is the danger? That you work with a living pedestal. The artist flies down from three meters, and at that moment the horse stops. It turns out that a person is already flying not on a horse, but lands in front of it, and not on his feet, but on his back, because he will definitely have a torsion, there will be a serious injury. Therefore, it is very important for the head of the performance, who in the center of the arena makes sure that the horses do not stop. But he cannot fully control the process. A horse can jump out into the auditorium. I myself jumped out like that five times on a horse.

Of course, there are record tricks in the circus that involve the greatest risk. For example, at the Idol festival, which took place in this circus, Mongolian artists did six somersaults from a flip board. In such a twist, when the floor and the dome quickly change before your eyes, you need to count to six and land on your feet exactly. Even if you land on the mat incorrectly, there will be a serious injury.

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And the tightrope walkers! Especially when a column of six people, without a lounge, walks along a rope at a great height, it’s scary to imagine what will happen if, for example, the electricity goes out. Even if the emergency light turns on, the tightrope walkers will be disoriented for a second.

And, of course, working with predatory animals is dangerous. Especially work with a mixed group of predators - tigers along with lions, bears, panthers. But there are also fairly safe genres. For example, an illusionist has more mental work. A good illusionist works very hard on acting, on developing tricks.

Clowning is also a fairly safe genre, if the clown does not rise under the dome, as did Iriska (Irina Asmus, Soviet circus artist, clowness. - Approx. TASS), who died performing a trick. But clowning involves the work of the heart, the soul. To be honest, I'd rather go up under the dome than try to make three thousand people laugh in the hall."

Is it true that the last head of state to visit the circus was Leonid Brezhnev?

Zapashny:"Yes. By the way, it was thanks to Leonid Ilyich that this circus was completed. Its construction was frozen for 10-15 years, only the piles stuck out. Until Brezhnev drove by. He ordered the circus to be built by 1971. Our circus has the underground garage, where Brezhnev's limousine drove in, then Leonid Ilyich went up to the government box in an elevator specially made for him. Now it is a VIP box.

Near the elevator there is a room where Brezhnev's guards were on duty, and a special room for his medical staff. Now all this is not used. After Leonid Ilyich, none of the heads of state was in the circus. I think this is some kind of historical injustice. Recently we had a tour in Bulgaria. So, at the first performance there was the Bulgarian president with the entire government. At the same time, we did not officially invite them, they called us and said: "The President is coming."

Why is the arena always 13 meters in diameter?

Zapashny:"No mysticism, simple calculation. 13 meters in diameter is an international standard, thought out in England in the 19th century. It was calculated that this is the optimal size for the horse to run comfortably and so that the arena is clearly visible from the auditorium.

Now 99 percent of the world's circuses are equipped with a standard arena. And the equipment is made under 13 meters, and the animals are already getting used to it. But there are also non-standard ones. For example, a 24-meter arena in Shanghai. There, the circus is designed for 8 thousand spectators - now it is the largest hall in the world, but in China they have already begun construction of a circus with a capacity of ten thousand. The Riga Circus has an 11-meter arena, and there is a small hall there.

How many arenas are there in the Great Moscow Circus?

Zapashny:"Six. A rehearsal one - backstage, and five arenas in the auditorium. The first, main arena is an equestrian arena, the second is a wooden one, which is used for the genre of illusion, ice, variety, all luminous, and water.

Now not all arenas are in working order. Water doesn't work at all. We completely dismantled the water management, because everything was in a terrible state. The tanks, which contained 350 tons of water, were so rotten that they could fall under the circus. We use all other interchangeable arenas to a minimum, because the circus was built 45 years ago, all lifting mechanisms are old, and there are no factories that made them.

Any accident will entail the closure of the circus. If the arena weighing 120 tons goes down, and an accident occurs there, then no force will lift it, because it is impossible for a crane to enter here, and such a load cannot be placed on the dome. Before the devaluation of the ruble, a German company that produced similar mechanisms for removable arenas calculated that it would cost 1200,000 rubles just to replace the starting and lifting mechanisms of all arenas. With today's money, this part alone will cost more than two billion."

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Why can't you sit with your back to the arena?

ekk:"This is an old sign. We all observe it. The arena feeds us. How can you sit with your back to it? Only with your face - out of respect and respect, and so that misfortune does not happen. the artist to the arena to cross his path, otherwise you will act as a black cat.

In general, each artist has his own signs. For example, the clown Yevgeny Maykhrovsky will never put on new make-up for the premiere. Even if there is a drop of old make-up left, he will still take it to the next city and will make up with it for the premiere performance. And I must kiss my husband before he goes to the arena. Only then will I be at peace."

Do tigers perform better hungry or full?

Zapashny:“My father, Walter Mikhailovich Zapashny, taught me that a tiger should be like an athlete – not full and not hungry. we feed the tigers at 9-10 am Tigers eat once a day, a lot at once - 10-12 kilograms of meat. And if you rehearse with the "youth", then you need to feed right on the arena, because Pavlov's reflexes are developed through food. It's like a way to a real man - lies through the stomach.

Is it true that only stallions work in the circus, but no mares?

ekk:“In Russia, only stallions really work in the circus. If there are both boys and girls in the stable, then the boys will simply take apart the stable, they will not be up to work.

Often, retired horses that have already worked in the arena are given to horse farms, where they can continue their family. Because we have very thoroughbred horses. There is a specific breed for everyone. We have, for example, a horse of a very rare Isabella color - so sandy-pink, with blue eyes.

Light horses are needed for jigging - trotters, Oryol trotters, trakens. Jockeys do somersaults on horses, jumping from horse to horse, in this issue heavy horses are needed - heavy trucks, percherons, so that there is mass and a wide back, on which panels are put on.

Depending on the breed, the horse is hired at three or four years of age. For example, heavy trucks mature later. You can’t jump on them until the backbone is strong.

Excellent conditions have been created in our circus for horses - a newly renovated stable, a large walking area on the street, there is even a solarium, where it is useful to take horses in winter and after work in the arena. The veterinary service monitors the quality of feed. In the daily diet - hay, oats, in the arena we encourage them with carrots, breadcrumbs, rarely - sugar.

And, for example, horses from the Turkmen circus eat only alfalfa. Akhal-Teke horses from Turkmenistan came to our festival "Idol". Each is worth millions of dollars. These horses were presented to the circus by the president of Turkmenistan. He gave them a plane, on which they fly on tour around the world. Special feeds come with them."

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How are animals encouraged to work in the arena?

Zapashny:"Everything is individual. The trainer knows that he prefers each of his animals. For example, at the bear trainer Alexandrov, someone likes condensed milk, someone likes crackers. We don't give our tiger Diter chicken, simply because he is allergic to chicken. But "Dieter himself would have been happy to eat chicken. But Elton the tiger himself did not eat chickens, even when he was very hungry. Everyone says that all monkeys love bananas. Fairy tales are all. My brother and I had one monkey who was ready for his homeland sell for a tomato."

Is it true that cats are not trained?

ekk:"Absolutely true. Every cat needs to be monitored from a kitten's age, to note what she is capable of. It is impossible to force her. You can only be friends with a cat. I now have 15 mustachioed muzzles working in my room. They live in a spacious aviary, with a swing, toys, cats along with kittens. But we don’t breed kittens in the circus on purpose. Cats are castrated. Because each cat needs at least two cats, this will be his pride. Imagine how many kittens there would be! We would have no time to do work. The most capable to tricks cat breed - Cornish Rex. But it is very difficult to negotiate with them, with all their minds they are very wayward animals. Persian cats are lazy. And the most talented are half-breeds. "

Or sawdust 6-8 cm thick, this barrier was disassembled to form passages at the inlet and outlet of horses; when the horse was in the arena, the barrier was closed.

Story

roman circus

Middle Ages

Traveling circus performers in China, ca. 1655-1657

After the collapse of the Roman Empire, the circus gradually lost its importance as the main place for the entertainment of the people. The grandson of Clovis I, Chilperic I, king of the Franks, built circuses in Paris and Soissons, where various performances were given to the people, but the latter were not particularly successful, and therefore the circuses were soon abandoned and broken. Mysteries and theatrical performances, which received significant development in the Middle Ages, finally undermined the significance of the circus as a public entertainment.

new time

The circus of the modern type appeared for the first time only at the end of the 18th century in France. Its creators were two English riders, father and son Astley. In 1774 they built in Paris, in the faubourg Temple, a round hall, which they called the circus, and began to give performances here, consisting of various exercises on horseback and acrobatic studies. Astley's successors, the Franconi Italians, soon built a new circus for 2,700 people. They also introduced pantomime into the performance program, as well as the fight of wild animals among themselves and with dogs. From Paris, circus performances soon spread throughout Europe.

Performances with trained animals began to be given in the circus from the end of the 19th century. By the end of the century, permanent circuses existed in almost all the capitals and major cities of Western Europe and Russia. In 1764, in Moscow, not far from the Kazansky railway station, the English rider J. Bates built an arena, where he opened horse shows. The following year he toured in St. Petersburg. So, the Russian viewer got acquainted with a professional circus. Performances were given in the arenas of private houses or in temporary, hastily put together premises. The circuses of Chiarini (1803), Trange and Robbe (1812), Finardi (1818) and others were especially successful. The first stationary circus in Russia was opened by Jacques Tournier in 1827 in St. Petersburg. Then stationary circuses were built in Yaroslavl (1850), Moscow (1853), Tula (1854). Performances in them were given by foreign troupes. The Russian stationary circus was first built by the Nikitin brothers in August 1873 in Saratov. It is still considered one of the best in Russia. The circuses of Paris were considered the best (fr. Cirque d'hiver, Cirque d "éte and etc.). In addition, a very significant number of mobile circuses constantly wandered around Western Europe and Russia. In 19th century Italy there were no permanent circuses, but most of the most significant theaters were arranged so that the stalls could be turned into a circus arena. Circuses are most widespread in Spain, where bullfighting has been preserved since antiquity.

Newest time

Interwar period

The Second World War

From the first days of the Great Patriotic War (1941-1945), circus performers performed at mobilization points, at railway stations before sending front-line echelons, and in hospitals.

Walter Zapashny and Mstislav Zapashny took their first steps in the arena of the Saratov Circus. It so happened that Walter and Mstislav remained in the besieged Leningrad. Their house burned down from the bombings and they lived with their grandmother in the dressing room of the circus. The younger Zapashnys were taken out along the "Road of Life". They went to their mother, Lydia Karlovna, in Saratov. Here, back in the war years, they began to rehearse their acrobatic stunt number, and then perform. This is how the Zapashny Brothers group appeared on circus posters, which was glorified by Mikhail's sons: Walter, Mstislav, Igor. The brothers tried themselves in a variety of genres: clowning, aerial gymnastics, horse riding, motorcycle racing, training horses and exotic animals, taming predators.

An equestrian acrobatic studio operated in the Ivanovo Circus under the direction of A. Alexandrov-Serzh

Among the participants in the front-line brigades and teams during the war years were: A. Vadimov, B. Vyatkin, Z. Gurevich, V. Gursky, V. Doveiko, V. Durov, P. Esikovsky, A. Irmanov, A. Kazini (Kozyukov), Pencil, V. Lisin and E. Sinkovskaya, Pavel Alekseevich, A. and G. Popov, T. Ptitsyna and L. Maslyukov, A. Rapitto, G. Rossini, Sim (S. Maslyukov), I. Symbolokov, N. Tamarin , M. Tuganov, F. Khvoshchevsky and A. Budnitsky, aerial gymnasts Polina Chernega and Stepan Razumov, grotesque equestrian Valentina Lerry, trainer Alexander Kornilov, aerial tightrope walkers sister Koch and many others.

Many young talented artists died in the battles for their homeland. Among them: aerial gymnast I. A. Shchepetkov (1910-1941), he was posthumously awarded the title of Hero of the Soviet Union, acrobat M. M. Barlyaev (1912-1943), clown L. I. Bondarenko (1898-1942), rider and juggler on a horse N. N. Nikitin (1912-1943), acrobat jumper A. S. Pavlov (1902-1942), rider-jockey A. I. Pushkin (1913-1942), juggler V. B. Roslavlev (pseudo - Bortar, 1920-1941), cyclist G. M. Sergeev (1903-1942), acrobat and musical eccentric A. V. Triputin (1918-1942), carpet clown V. B. Shestua (1912-1943), aerial gymnasts A. S. Aslanyan, N. P. Astakhov, A. E. Afanasyev, I. F. Kuleshov, clown A. A. Belyaev (pseudo-Belyand), cyclist P. L. Voroshilov, satirist M. V. Vurgaftik (pseudo-Damirov), juggler V. A. Guryev, artist-wrestler V. S. Denisov (pseudo-Zorin), equestrian K. S. Dmitriev, acrobat S. A. Doneman, equilibrists P. Ilyin, G A. Mataradze, dance acrobats brothers P. and N. Orlov, plastic acrobat V. N. Sklyarenko, acrobats L. Grushkin, V. K. Davydov, N. S. Igolkin, N. Ozerov, V. Postnikov, I Pustovoi, F. Titarenko, B. V. Ushakov, L. N. Tsvetkov.

post-war period

Modern circus

Modern circus arts include clowning, acrobatics, tightrope walking (keeping balance with an unstable body position, on a wire, a ball, etc.), juggling, musical eccentricity, illusionism, pantomime, sideshow, etc.

Circus specialties, in addition to working with animals, include a variety of acrobatic and gymnastic disciplines, including: tightrope walking, aerial gymnastics, for example, trapeze numbers, aerial canvases and various ground exercises.

Clowning is the most complex circus genre. The clown is a master of several disciplines, and his participation in "foreign" numbers is a popular phenomenon in any circus.

Recently, one of the oldest circus professions, fire swallowers, has been experiencing a rebirth. Many circuses have begun to include a fire show in their program of performances.

The circus is one of the main nominations in the competition program of the youth Delphic Games of Russia.

Circuses of the countries of the world

Russia

Rostov State Circus



Yekaterinburg circus

CIS countries

Azerbaijan Armenia Kazakhstan Kyrgyzstan

• State Circus of Kyrgyzstan, Bishkek.

Moldova Tajikistan Turkmenistan

• Turkmen State Circus, Ashgabat.

Uzbekistan

• Tashkent City Circus "Uzbek State Circus" RO.

Ukraine

Foreign circuses

circus artists

Circus training (training) - the process of teaching circus animals to perform tricks in the circus. Its process uses a rewarding, pain-free principle, through which animals are trained by feeding and affectionate handling. This is the principle advocated by circuses. For example, the National Circus of Ukraine, headed by Lyudmila Alekseevna Shevchenko, who claims: "If a trainer mocks an animal, he does not suit the circus in principle."

At the same time, in the works of Vereisky and Semenov, features of splendor are outlined, which in subsequent years degenerate into the pomposity of official art. At the same time, lyrical and poetic artists continued to draw the circus. The romantic fairy-tale world of the circus lived in the paintings and watercolors of A. Fonvizin, A. Tyshler, V. Lebedev, D. Daran (illustrations for Goncourt's book "The Zemgano Brothers").

The circus is presented in an interesting way in the works of A. Rodchenko. The heroes of his paintings were buffoonery clowns, riders on panels jumping through hoops, parterre acrobats. It was a circus of the past and, according to the artist, he painted it from memory.

The circus was a favorite theme in the engravings of F. Bogorodsky, who worked as a circus performer in his youth. Artists turn to circus scenes even today: Y. Pimenov (“Young dancer on a wire in the circus”), V. Shmokhin (album “Merry Clown”), S. Chernov (“Circus Planet”, “Chapiteau”, “ Course ", etc.).

The most famous works

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• "Bestiary Gladiators in the Circus Ring". The so-called "Zliten Mosaic", 1st c. n. e.
• "Acrobats with a bull". 16th century BC e. Knossos palace. Now - in the Archaeological Museum in Heraklion (Crete).
• P. O. Renoir. Clown. 1909, "At Fernando's Circus", Clown. 1868 (unavailable link)
• Georges Seurat. "Circus" . 1890-1891 Musee d'Orsay, Paris.
• B. V. Ioganson. "In the circus arena". (1893-1973)
• Salvador Dali . Wandering Acrobats (1921), Circus (1921)
• Franz Rees. "Buffoons in the Village". (1857)
• Giovanni Domenico Tiepolo. Booth of acrobats (unavailable link). Painting of a villa in Zianigo. (1791-1793)
• Henri de Toulouse-Lautrec. "At the Circus: The Animal Trainer". (1899), "At the Circus: Dressage", "At the Circus", Drawing Series: "At the Circus", "White Horse Rider", "Clown Woman"
• Pablo Picasso. "Acrobat and Little Harlequin" (1905), "Girl on a Ball" (1905), "Family of Wandering Acrobats"
• I. Bosch. "The Magician". The painting was painted in the early period before 1480.
• Alexander Tikhomirov. "Circus", "Acrobat with a Parrot", "Tragic Clown"
• Moses Feigin. "Circus Pyramid".
• Blyumel Irina Fedorovna. "Clowns" ("Compliment", 1962), "Clown with balls" (1969, fireclay), "Acrobat Clown" (1969, fireclay), "High voltage" (1971, fireclay), "Clown with a mirror" (1976, metal), "Clown with an umbrella", "Clown with a book" (1976, bronze), "Old clown" (1977, fireclay)
• Edgar Degas. "Miss Lola at the Fernando Circus". (1879)
• Marc Chagall . "Big Circus", "Dream of the Circus", "Rider", "Circus Horse"
• Vladimir Dmitriev. "Circus"
• A. Arapov. "Circus show" . (1928)
• James Tissot. "Circus Lovers". (1885)
• Boris Kustodiev. "Balagans".
• R. V. Levitsky. "Leonid Yengibarov", "Yuri Nikulin", "Mikhail Shuidin", "Oleg Popov", etc.
• F. A. Bronnikov. "Circus Backstage". (1859)
• Joseph Christian Leyendecker. "Rider"
• Marta Czok. "Acrobats" (unavailable link)
• A. V. Fonvizin. "In the circus" (unavailable link), A. Fonvizin, A. Belyakova "Circus rider with a raised leg", (1962) lithograph.
• arch. V. A. Kenel. "Cinizelli's Circus in Petersburg", (1877)
• V. V. Tarasenko. "Riders" (1959), "Clown Durov with an elephant" (1958), "Oleg Popov" (1969), "Circus" (1957)
• Lev Fomichev "Circus Performance" (unavailable link).
• E. E. Lansere. "Chelyabinsk stagecoach and the old circus"]. Beginning 20 in
• Frank Hector Tompkins Circus Time. (1882)
• Bryullov Karl Pavlovich "Voltiger". (1818-1830)
• Herman Max Pechstein. "Circus with camels". (Circa 1920)
• Boris Bomstein. "Circus Fantasy"
• Vitaly Volovich. "Clowns and dummies", "Donkeys and clowns", "Clown and butterflies", "Rehearsal", "Donkey training a lion", "Clown catching a butterfly", "Clown behind a screen", "Donkeys - cyclists", "Clown and mannequin", "Donkey on stilts", "Donkey - antipodist", "Circus, musical eccentric", "Clown jumping over donkeys".
• V. A. Milashevsky. "In the circus". (1930s)
• Pizarro Camille. "Fair in Dieppe"
• Jan Matejko. "Station". (joke). (1862), Warsaw, National Museum.
• Alma-Tadema, Lawrence. "Egyptian juggler". (1870) Private collection.
• Illusion number "game with cups". Engraving (1470)
• Joseph Froelich. "The Court Jester Magician". Engraving (1728)
• "Jester Farnos, Red Nose". Splint. Woodcut, watercolor. 18th century
• "The trick of the fakir Shashkhal". Engraving from 1850
• [Viktor Vasnetsov] Acrobats at a Feast near Paris (1877), Jesters (1885), Buffoons in Moscow
• Turkish miniature from the 16th century depicting circus performances in a hippodrome.
• Diego Velazquez. "Portrait of a court jester".

Quotes

see also

	Portal "Circus "
	Circus in Wiktionary