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The Moscow State Circus Show, named New Year’s Eve, headed by clown Kamardin’s performance recently completed a series of performances in Ulaanbaatar that extended through December 31, 2004. While the Russian clown was the star attraction, the local Mongolian performers were more than able to show off some dazzling razzmatazz of their very own. This show certainly had something for everyone. And as an extra bonus the group of performers offered considerable warmth and enthusiasm that seemed to be felt by almost everyone in the entire audience.

In a display of clowning, juggling, Russian style magic, dancing bears, contortionists, and earthbound and aerial gymnastics, this talented group of performers had little difficulty charming an audience that was composed mainly of Mongolian school children. The auditorium was around half full and the children were all sitting very attentively. But with periodic shrieks of excitement these kids were obviously fascinated by the whole performance.

The opening act consisted of a small group of teenage and younger girls who walked the high wire. Clad in powder-blue outfits they performed their tasks with adroit skill. They were so composed that it was possible to wonder whether anyone considered the considerable risks that were being undertaken.

Clowning around

It was not long thereafter when Kamardin, a Russian man of tremendous size and girth began to tickle the collective funny bones of his audience. Kamardin appeared as the consummate clown. He seemed to be just a few years beyond middle age and had long scraggly hair with perhaps just a few strands sticking up from above his crown. Of course he had a red nose, and shoes that were beyond big. In fact they were just too big to fill.

He was accompanied by his sidekick, a fellow clown who was dressed in traditional tux and tails, with a funny hat that resembled the keys on a piano keyboard. This bespectacled young guy seemed to be the perfect straight man for this dynamic duo. It was just after their initial appearance however that a man in a gaudy gorilla suit chased them from the ring. The children chuckled with glee.

But it was there charming personalities and not the special effects that won the crowd over. Kamardin then went on to display a few magic tricks. With a bit of hocus pocus he seemed to elevate his partner who had slipped beneath an opaque black and white blanket on a flat platform table. When the blanket was swiftly pulled however, it was revealed that the bespectacled clown had merely been doing pushups. Again the children roared with laughter.

Kamardin then went on to balance his body on a flat board that was set atop 10 cylindrical cans. This group of interlocking tin cans, placed upon each other, revolved in unison amounting to a makeshift platform that could have tumbled at any moment. Kamardin did however seem to defy gravity. He skillfully shifted his considerable weight upon each side of the plank supporting his weight perfectly until the dramatic moment when his huge feet tumbled to the floor. This was just one example of a few balancing acts that he performed with more than just a little aplomb throughout the entire fun-filled afternoon.

Russian bears

The word “cub” may be a more fitting description for the animals used in the next act, however there is absolutely no question about their level of skill. Prompted by a young Mongolian ringmaster, these animals did an impressive number of somersaults and spins that must have made them quite dizzy. But
perhaps more important than their impressive acrobatic skill, these cubs were certainly some of the most endearing circus animals to be seen.

As they scampered on hind legs, much to the amazement of all the young kids in the audience, they looked even human. And to emphasize this point each bear took its turn as it slid face down on a real playground slide. Certainly this would make any kid envious.

While these simple charms were very much in effect, it was hard not to notice the subtle and not so subtle traces of Russian culture that permeated the various circus acts. While it is widely publicized that the Russian circus incorporates more than two hundred years of tradition, and is connected to the era of Catherine the Great, interactions between men and bears within Russian culture may be traced well into Russian history. The great frescoes of the Kiev-Sofia Cathedral in 1037 are a fine example.

And it is said that within the Middle Ages fights between Russian men and bears were quite common. Fights with bears were arranged for entertainment in villages and towns, in small and big cities, at fairs and on national holidays. It certainly must have been quite a spectacle.

Contortionists

While I have great respect for the athletic ability and discipline of the young girls in the next act, I must admit that I watched some of the performances with a bit of a heavy heart. The main event featured two Mongolian young girls, perhaps 13 and 7 years of age respectively. Dressed in tight fitting pastel leotards the girls engaged in an act that has yet to be replicated on any circus stage in any part of the world.

A very thin tube shaped bar perhaps 4.5 feet in length and 3 inches in circumference was fastened to the ground extending upward. A mouthpiece was attached to the top of the tube. And as you might have guessed, the elder of the two girls inserted the mouthpiece within her mouth before supporting herself in mid-air.

Quite astonishingly she was able to bend her torso so that her feet, with toes extending outward, came from behind her head so that they were placed ever so gently in front of her face. The entire body weight of her lithe young body was then supported by the strength of her neck, chest and abdomen that stemmed from her mouth and jaw.

After a few brief seconds the younger girl mounted the flat abdomen of her counterpart. Her hands were placed upon the older girls’ stomach and pubic bone. She then assumed the same position with her legs bent over her head with her feet placed gently in front of her face with toes extending outward.

I must say that of the entire set of circus acts the young contortionist made me feel a little queasy. Yet I have seen contortionists before. But the idea of these nimble young spines bending like jelly seemed a bit hard to take.

Ground acrobatics

The next phase of the circus again featured a talented Mongolian troupe. The ground acrobats wore striking traditional outfits. They included bright orange pants white leather boots and black and silver sequenced shirts, framed with speckled gold trim at the neck and waist. The troupe consisted of 15 wiry and muscular young men. The vast majority of them were in there early 20s. A young woman with auburn hair, of the same age, rounded out this impressive group of young performers.

But perhaps the most admirable feature of this troupe was their spectacular strength and agility. On several
occasions 3 and ultimately 4 acrobats were able to form a stack of human bodies with the soles of their feet placed on the shoulders of their partners. Then in groups of 3 and 4 arranged around the arena, they took turns catapulting each other across the stage.

And as the men somersaulted through the air, quite amazingly, they landed with feet pressed upon the shoulders of their awaiting comrade. As I focused upon the faces of the men who had received their partners I often noticed a slight grimace of pain. More obvious however was the intense level of concentration that was contained within the expression of each man. Certainly a high level of trust is necessary for such a performance.

Aerial acrobatics

The circus then reached its climax with the appearance of the aerial acrobats. For anyone who has dreamt of flying, this circus act may have touched upon some of these fantasies. They include the expression of excitement, freedom, tranquility and the ability to overcome one’s obstacles.

A group of ten scantily clad Mongolian men and women swung from the highest points of the stage with tremendous grace, speed and agility. On each occasion one of the women would travel through the air with her hands firmly attached to the trapeze bar. At the very last moment she would release them in midair to clasp the hands of her male partner who swung from a trapeze bar from the other side of the stage. Seconds later they could be seen standing arm in arm at the other side of the ring. This act was repeated several times. And on each occasion a wide eyed crowd seemed absorbed in the human drama as a beautiful young woman risked a great fall only to be caught by her male partner. After this act had been played out several times without any discernible problems the crowd seemed more than fulfilled. The troupe then finally dispersed to the applause of an appreciative crowd.

A retrospective view of the Moscow State Circus

In retrospect the latest exhibition of the Moscow State Circus in Ulaanbaatar was a special treat particularly at this time of year. Quite sadly however reports indicate that the Moscow Circus has in recent years faced financial hardship as state funding dried up with the fall of the Soviet Union more than a decade ago. A quick review of history indicates that since the advent of the Bolshevik revolution the circus became one of the state’s favorite forms of entertainment. Circus halls then went up across the entire country.

In hindsight it would therefore seem that the circus and the great Soviet sports programs of the past might have been more reflective of a state ideology that purportedly reflected the interests of the common folk. Certainly the circus could be contrasted with some of the more highbrow forms of art such as the ballet and opera that could have easily been labeled bourgeoisie. Yet at this point in time it is sad that such an important art form may not be getting full support.

In an age of dramatic technological developments including the internet, and the constant bombardment of electronic stimuli from a variety of sources, the Moscow Circus is a welcome contrast if only temporary. One may argue that the circus is perhaps representative of a simpler time. So while I feel fortunate to be a part of the lightning fast information age. a bit of nostalgia at the New Year may certainly be quite appropriate. With this in mind, for those of you who have the opportunity to see the Moscow State Circus on their next tour it is certainly worth your effort. There is little doubt that the performers will appreciate your support. And your kids will definitely love it.

2036

Gerald Marchewka is an American freelance writer currently staying in Bangkok, Thailand. He may be reached at geraldmarchewka@yahoo.com

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