Cirka k: Cirka – An elegant and sharp serif font

Cirka – An elegant and sharp serif font

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Cirka is an elegant typeface that combines classic forms & a vertical axis with sharp, pointy serifs ● It works great set large on posters or headers, or small, as body text.

■ Its personality stems from the combination of the subtle details in every curves and the flamboyant, spikey serifs ▲ Reminiscent of the ‘Italian Wedge’ shape from Lamborghini.

Styles	5 Styles with 387 Glyphs each
Designer	Nick Losacco
Latest Update	February 2019
Version	1. 10
Available Formats	OTF, TTF, WOFF, WOFF2

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The History of Everything Circa 1993: F/K/A Kissy Cousins Monster Babies (2018)

• 20182018
• 1h 30m

YOUR RATING

Play trailer1:08

1 Video

11 Photos

Comedy

Two Hollywood Producers try to save their dying careers by creating a blockbuster out of old movies and their warped imaginations. What they don’t know is that they are being mined for their… Read allTwo Hollywood Producers try to save their dying careers by creating a blockbuster out of old movies and their warped imaginations. What they don’t know is that they are being mined for their creative and technological ideas. The film was in production for 25 years and shot in sev… Read allTwo Hollywood Producers try to save their dying careers by creating a blockbuster out of old movies and their warped imaginations. What they don’t know is that they are being mined for their creative and technological ideas. The film was in production for 25 years and shot in seven states including Washington D.C. (Linklater eat your heart out!). Homages galore. The n… Read all

YOUR RATING

• Director
  • Wayne Keeley
• Writers
  • David Belafonte(co-writer)
  • Stephen Kearney(co-writer)
  • Wayne Keeley
• Stars
  • Jack Plotnick
  • Nipsey Russell
  • Joyce Brothers

• Director
  • Wayne Keeley
• Writers
  • David Belafonte(co-writer)
  • Stephen Kearney(co-writer)
  • Wayne Keeley
• Stars
  • Jack Plotnick
  • Nipsey Russell
  • Joyce Brothers

Completed

• 2Critic reviews

• Awards
  • 13 wins & 6 nominations

Videos1

Trailer 1:08

Watch The History of Everything Circa 1993 To The Present — F/K/A Kissy Cousins Monst

Photos11

Top cast

Jack Plotnick

Nipsey Russell

Joyce Brothers

Stephen Kearney

• Peter Grover

Irwin Corey

• Dr. Cy-Phun

Anthony Caso

• Elvis Group Actor

David Belafonte

• Jon Potters

Mario Todisco

• Mafioso…

Zac Jaffee

Tim Miller

• Ross Perot

Jane DeNoble

• Hillary Clinton

Malena Belafonte

• Sharon Stain

Mike Memphis

• Elvis Impersonator

Michael Medved

Keenan Shimizu

• Dr. Vinnicent Dakamoto

Jeffrey Lyons

John R. Smith Jnr

• Mooner
• (as John Smith)

Joey Lyons

• Dr. Kesey

• Director
  • Wayne Keeley
• Writers
  • David Belafonte(co-writer)
  • Stephen Kearney(co-writer)
  • Wayne Keeley
• All cast & crew
• Production, box office & more at IMDbPro

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• Country of origin
  • United States
• Official site
  • Official site
• Language
  • English
• Also known as
  • The History of Everything Circa 1993 to the Present Formerly Known As Kissy Cousins Monster Babies and Morphing Elvis
• Production companies
  • Siberian Films
  • Someday Productions.
• See more company credits at IMDbPro

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Home – Circa Fishhawk

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9/9: The Kids ‘R’ Kids Staff is central to our success. Each member is carefully selected and extensively trained to provide the best in early childhood development and childcare.

Glossary of circus terms

ACROBATICS (from the Greek arobateo – I walk on tiptoe, I climb up). The dominant genre (see) of the circus, consisting of its many varieties (jumping, power, plastic, equestrian, vaulting), is based on special exercises, different in nature and degree of complexity, demonstrating the physical perfection of a person.

ALLURE – (French allure – gait). Different types of horse movement: walk, gallop, amble, quarry, trot.

ANTIPOD – (Greek anti – against and rus – genus case, podos – foot). A type of juggling performed by an artist in a lying position on a special device – a trinca with his legs raised up, with which he throws and catches various objects, balances them, twists them with step movements and rotates them in a horizontal position.

ANTRE – (French entree – entrance, exit to the stage). A buffoonery comic scene played out by clowns, with which they enter the arena as with an independent number.

AP! (English up – up). A conditional command accepted in the circus, given by one of the participants in the performance to perform or complete an exercise or other action.

Apache – (German Patsch – slap, slap). A false slap performed by clowns as a game technique. One of them, unnoticed by the audience, claps his hands when a partner strikes him.

DEVICE (lat. apparatus – equipment, equipment).

1. Special mechanical designs, including a system of electric winches and motors. These structures are suspended under the dome or installed in the arena (behind the arena) and are intended to enhance the spectacular effect of the performance of the artists. This is achieved due to the technical features of the apparatus: rotating, rising, swinging, descending and similar structures.
2. A combination of several projectiles used in one number. For example, an air flight apparatus consists of bridges, trapeziums, stems, traps.

APPORT – (French apporter – to bring, bring). A kind of horse training, usually demonstrated by one horse, which performs various peculiar scenes of a comic nature. For example, she brings to the trainer in her teeth the objects given to her, hidden in the arena (handkerchiefs, a flower, etc. ) or in special boxes lying on the arena barrier, and also performs small pantomimes: “horse in bed”, “horse in a restaurant”, etc. .

ARAPNIK – (Polish). A long whip on a short whip. Arapnik is used in horse riding and in numbers with predatory and large animals, because. loud clicking with the tip of the rapnik encourages the horse to run fast, and the large predator to action.

ARABESQUE – (French arabesgue – literally – Arabic. Poses in classical dance). The position of the body, in which the weight of the body is transferred to one leg, and the other is retracted forward or backward. Various modifications of the arabesque are used in acrobatics, gymnastics, balancing act.

ARAB JUMPS – Acrobatic jumps first shown in Europe in the 40s. 19th century Arab acrobats. Differ in a peculiar configuration, high dynamism of execution. In our circus, the Arab wheel (a wheel performed not to the side, as usual, but forward) and the Arab somersault (somersault to the side) has become widespread.

ARNIR – (French – harnais – horse harness, harness). Two leather straps attached to the edge, which pull the horse’s head to the chest, which affects its course in a given rhythm and gives a beautiful curve to the neck.

ATHLETICS – (from Greek athletikos – characteristic of wrestlers). The circus genre, in which the demonstration of well-developed muscles and stunt exercises with weights (weights, shots, barbells, etc.) are shown by the artist in an artistic and figurative form as a glorification of the power of a person, his physical and spiritual qualities.

ATTRACTION – (French – attraction, literally – attraction). A particularly interesting and most spectacular number, which occupies a central position in the program and attracts the attention of the audience with its ideological and artistic qualities and high artistic skill.

BAGGUETTE – (French baguette – wand) a thin semi-hoop in the hands of a rider, through which she jumps over, like over a rope, standing on a running horse.

BALAGAN – (from Persian balakhane – upper room, balcony). Temporary plank building for circus and theatrical performances at folk festivals in the old days.

BALANCER – (French balansier – swing, balance) a long pole in the hands of a tightrope walker, with which he maintains balance on the rope.

BAMBOO – (from the Malay bambu – a genus of tropical plant) aerial gymnastics equipment, which is a metal pole, 3-4 meters long, suspended vertically, on which exercises are performed by two gymnasts. The name of the projectile comes from a well-known plant, whose thick trunk was once used in Japan and China for making perches, trapeziums.

BANOLLO – (from the name of the first performer of the exercise, Italian artist L. Banollo) gymnastic exercise – flight from one horizontal bar to another with a 180 degree turn to a handstand.

BATON – (French baton – staff, stick). A small stick (stack) with an oval pad at the end, or a thick bamboo stick, split at the end, for a slight but resounding blow.

TRAMPOLINE (BATUD) – (French batoud from Italian battuta – literally – Blow). Throwing device, which is a frequent mesh of strong braid, stretched with rubber shock absorbers inside a metal frame with legs or in the form of a mesh track on metal stands, stretched with cables and blocks to the arena barrier.

BEREITOR – (from German bereiten – to go round, prepare horses). A rider, a specialist who rides horses and teaches riding. In the circus – assistant trainer.

BOGEN – (German – bogen – arc, arch, vault). Deflection in the back, taxied during the performance of certain exercises.

BUBLIK – A small oval-shaped circle that serves as a support when performing a headstand. It is made from cork, belt, foam and adjusted to the shape of the performer’s head.

MACE – (from Latin bulla – metal ball). 1. An ancient tool in the form of a heavy breech or metal head on the handle. 2. Subject for gymnastic exercises. A juggler’s prop, resembling a modified model of a mace in shape.

Buffoonery – (Italian Buffonata – joke, clownery, buffoonery). Reception of the artistic image in the acting game, known since the time of the ancient Greek theater, square performances, in the performance of jesters in the Middle Ages, the Renaissance and in the productions of the Italian theater of masks. The basics of circus buffoonery is a tactile exaggeration of both the external features of the clown and his actions, props.

WALSET – (French valse – waltz). Tempo jump, jump, used as a connecting element, an auxiliary action for the transition to the jump.

VENTROLOGY – (Latin venter – stomach, Logos – word, speech. The old name is ventriloquism, that is, “broadcasting with the stomach”, from the Slavic womb – stomach). The art of speaking without lip articulation. On this reception, a conversational scene of an artist with a puppet is built.

VOLT – (French volte – turn). An element of equestrian training is a smooth circular turn of the horse in place.

VOLTAGE – (French voltiger – to flutter)

2. Acrobatic vault – a kind of acrobatics based on the techniques of tossing and throwing the top with the bottom or bottom, carried out only by muscular-tempo efforts without the use of throwing devices (the former name is “hand-voltage” from it. Hand – hand).
3. Gymnastic vault – exercises on a swinging trapezoid, as well as pull-off exercises in pair work of gymnasts on a frame, bamboo, doppel-trap.

GERADESHVUNG – (German Gerade – straight line, German Schwung – swing, flight – shvung) – Gymnastic exercise, direct (smooth) flight from one projectile to another or into the hands to the catcher.

GYMNASTICS – (Greek gimnastike from gymnazo – exercise, train) – circus gymnastics is a genre, the essence of which is to demonstrate in an artistic and figurative form the achievements of the physical development of the human body. In this case, gymnastic equipment used in the circus is used.

GREECE – (German Gratsche – sports position: legs apart). Gymnastic exercise – from hanging on close hands in a role, the gymnast rises to a sitting position on the horizontal bar, keeping his legs apart, and “in pace” flies to another horizontal bar or performs a back somersault from the horizontal bar to the exit. The exercise is also performed in the pair work of gymnasts on the frame, but with the interception of hands at the top of the takeoff.

GROTESQUE RIDER – (French grotesque – whimsical, comical) – a rider who performs dance-acrobatic and jumping elements on a galloping horse.

GROUPING – (from French grouper – to connect, group, German Gruppierung – grouping) – the position of the body, in which the legs, maximally bent at the knees and hip joints, are held by the hands below the knees.

GURT – (German Gurt – belt, sash) – a type of girth that encircles the horse below the withers, with two handrails, for which the rider holds his hands when performing exercises in equestrian acrobatic numbers.

YES CAPO – (Italian da capo – repetition). A trick or reprise performed by an artist as an addition to a number after reaching the applause.

DOPPEL-TRAPE – (German doppel – double, double). A gymnastic apparatus is a wide metal crossbar suspended on three ropes (with a cable inside), of which the middle one divides the crossbar into two trapeziums, on which two gymnasts (gymnasts) perform exercises both individually on each, and together on one of them.

TRAINING – (French dresser – animal training, horse dressage). A circus genre based on showing animals, beasts, birds, doing various actions, achieved as a result of developing stable conditioned reflexes in them to the trainer’s commands.

DIABOLO – (French diabolo – an old children’s game with cone-shaped tops). A number that demonstrates various configurations of rapidly spinning tops, resembling enlarged reels in shape, strongly untwisted with a thin cord with two handles at the ends, like a children’s skipping rope.

GENRE – (French genre – genus, species). The circus genre is a historically established set of performances characterized by certain expressive means and only their inherent effective features.

JOCKEY – (English jockey – rider on the run, races). An artist performing acrobatic exercises on a horse running around the arena. Jockey work is also done in pairs and in a group.

JUGLING – (French jongleur from Latin Joculator – joker, funny, wit). A genre in which the artist demonstrates the skillful ability to throw and catch objects in a certain sequence and in a set rhythm, as well as to balance them.

MIRROR – A special hoop pasted over with paper, through which the rider (rider) jumps, breaking through the paper. It is used for this purpose in acrobatic numbers.

SITZEN-TRUCK – (German sitsen – sit, see trick). Gymnastic exercise – flight from one horizontal bar to another with a 180 ° turn to a sitting position.

TOOTH – Forged tongue with a thickening in the middle part according to the configuration of the oral cavity, adapted to perform various exercises: hanging in the teeth, holding a partner, standing (“stand in the teeth”).

ILLUSIONIST – (from Latin illusio – error, delusion, optical illusion caused by distorted perception). An artist demonstrating various tricks with the help of special props, devices equipped with secret devices hidden from the audience, namely: intricate appearances, disappearances, transformations, movements of various objects, animals, people, based on optical illusion, the use of distracting maneuvers and the dexterity of the performer himself , his assistants.

IMITATOR – (from Latin imitatio – fake, imitation). An artist who knows the art of imitating various sounds: birds singing, musical instruments, animal voices, etc., which is achieved by appropriate training of the vocal apparatus in combination with the use of specially developed techniques.

CABRIOLET – (French cabriolet). A light two-wheeled carriage on high wheels, which is harnessed to a horse performing school gaits under the control of a trainer sitting in a convertible. It is also used in other numbers (“acrobats in a cabriolet”, “jugglers not in a cabriolet”).

CABRIOLE – (French cabriole – jump).

1. In training – a jump of a horse with tucked in front legs and extended hind legs.
2. In pair acrobatics – the lower one jerks the upper one into a handstand from the swing between the legs of the group.
3. In gymnastics, the gymnast, hanging on the frame on his knees, holds his partner in the swing, who swings back with a straight torso between the arms of the gymnast.

CASCADE – (French cascade – a small waterfall overthrown by ledges).

1. In acrobatics – a jump-fall on the back (rear cascade) or face down (front), performed from different positions: from a place, from a run, from a height. It is mainly used in the performance of eccentrics, clowns.
2. In juggling – the technique of throwing objects from one hand to another along one specific trajectory.

RUBBER – (English caoutchouc, from Spanish caucho, from Peruvian – an elastic substance extracted from certain plants for industrial purposes). A kind of acrobatics based on demonstrating the ultimate flexibility of the body when bending backwards (“bridge”).

KIPPE – (German kippe – swing). Gymnastic exercise on the horizontal bar – lifting from the hang on the hands at close range with a small initial swing.

KLISHNIK – (from the name of the English artist E. Klishnig). An artist who demonstrates, with the help of specially selected exercises, the ultimate flexibility of the body when bending forward (“fold”).

KOPFSHTEIN – (German stehen – stand). Balance in a headstand.

CLOWN – (eng. clown, from lat. colonus – a person from the common people, a sluggish dupe, a redneck). The traditional character of the circus, performing with comic reprises, comic scenes. According to different types of clowning, the roles of clowns are also different: buffoonery, musical, clown trainers, carpet clowns.

COLUMN – (French colonne – vertical support, from Latin columna – pillar). Acrobatic pyramid of three people standing on each other’s shoulders. According to the position of each of them in the column, they are called: lower, middle and upper. With a solo number of participants, the pyramid is called a “column of four”, “a column of five”. In separate exercises (back somersault to a column or back somersault from a column to a column), professionals call a pyramid of two people a column.

KOPFSHRUNG – (German Kopf – head, sprung – jump). Acrobatic element – a coup by jumping forward with support on the head or with support at the same time on the head and hands.

CORD-DE-VOLAN – (French corde – rope, cord, rope, volant – fluttering, flying). A gymnastic apparatus is a thick rope suspended horizontally at both ends so that a sag is formed, in the middle of which the artist performs exercises both in place and in swing.

CORPORATE – (from Italian corporatura – body, bodily). A relaxed state with a slight pain sensation in the whole body or in individual muscles, caused by their overwork.

CRAFT ACROBAT – (German: Kraft – strength). Acrobats performing exercises with only power moves (power acrobats).

CRAFT JUGLERS – Athletes who juggle weights: weights, shots and other objects (power jugglers).

CROUP – (French croupe). The widest part of the horse’s back used by riders when performing elements of equestrian acrobatics.

CULBIT – (French culbute – somersault, somersault). Flip forward or back roll over the head. It is performed from a place, as well as a running jump.

COUPE – (French – coup – push, blow). A position in acrobatics, from which the low or middle one throws the top partner, standing on joined hands, facing him.

COURAGE – (French courage – courage, courage). High volitional qualities shown by the artist when performing complex, dangerous stunts.

COURSE – (lat. cursus – running, movement). Jump of a jockey from a run onto a galloping horse, in which he stands on the croup.

COURBET – (French courbette – jump, jump). Acrobatic element – jump: from a handstand to stand on your feet.

LOVITOR – A participant in a gymnastic number who, while hanging on his knees on a short trapezoid or frame (catcher), receives (catches) a partner flying towards him from a trapezoid or from a horizontal bar.

LONGE – (French longe – rein, rope).

1. A long rein on which horses are driven during dressage and training.
2. a special device that protects against falls, bruises during training or performances, which is a rope (or cable) passed through a suspension block, one end of which is held by the passer, the other is fastened with a carabiner to the performer’s belt (single lounge). Double lunge – two ropes passed through two blocks hanging at a distance from each other, or waist lunge – a belt with two short ropes on the sides, held by two passers.

LOOPING – (Eng. Looping the loop – a dead loop in a closed circle). The rotation of the gymnast around the standard, to which his legs are attached by special protrusions in the soles of the shoes, which are included in the slots of the rotating sleeve on the standard. Another way of rotation is flips around the stem, standing on a trapezoid attached to it, which has rigid lines.

Frog Jump – Rise-jump from a prone position bent on the shoulder blades, performed due to a sharp extension of the legs in the hip joints and a push with the hands from the floor at the shoulders.

MANEGE – (French manege – a room for learning to ride and dressage horses). A round platform in the center of the auditorium of the circus, having a diameter of 13 m, on which the performance takes place.

MANIPULATOR (PRESTIGITATOR) – (lat. manus – hand, ital. presto – quickly, dijito – finger). An artist performing tricks with small objects (cards, balls, coins, ribbons, flowers, handkerchiefs, etc.) due to virtuoso finger technique and excellent coordination of the movements of trained hands.

MELANGE-ACT – (French melange – mixing, acte – action). A number consisting of elements of various genres, of which no one genre is predominant.

MNEMOTECHNIQUE (MNEMONICS) – (Greek mneme – memory, techne – art: the art of remembering). A number that demonstrates the art of memorization. One performer, being in the auditorium, with the help of a special oral code, a change in intonation, conditional phrases (“tell me soon”, “what the citizen blew”, etc. ) and other methods of transmission, informs his partner, who is on the arena (stage ), questions asked to the audience (significant dates, names of famous figures, events, banknote numbers, etc.), which are followed by quick answers.

ONE CYCLE – (Greek mono – one, ziole – wheel). A unicycle used in bicycle numbers to perform various tricks on it.

NUMBER – This is the name of a work of art of circus art, which is a set of tricks performed in a certain compositional sequence, which, in combination with other specific means of expression, reflect an ideological and creative task and have an emotional impact on the audience. The term originated in the second half of the 19th century. and denoted the order of performance of artists in ballet and opera divertissements.

PA-DE-DE – (French Pas de deux – dance together). An equestrian number consisting of ballet and acrobatic lifts performed by a rider and a rider on two horses running in a row around the arena.

PA-DE-TROIS – (French Pas de trois – threesome dance). Equestrian number, in which acrobatic lifts and pyramids are performed by three artists on three horses, running side by side in a circle of the arena.

PANNO – (French Panneau – plane). A flat, firm mattress that covers the horse’s back. It is used in some equestrian numbers as a convenient support for riders.

CIRCUS PANTOMIME – (Greek pantos – everything, mimein – express). A circus theatrical performance with a specific plot that combines performances from different circus genres, in which the character of the characters and the content of pantomime are expressed by gestures, facial expressions, body movements, and tricks.

PARADE-PROLOGUE

1. Solemn exit-march of the entire troupe before the start of the performance with a greeting addressed to the audience.
2. Introductory part of the performance with a short plot, dedicated to some date, event.

PARFORIAN RIDING – (French Par forse, literally – through force). An equestrian number performed by a rider (rider) standing on a horse jumping at a fast pace over various obstacles (barriers, ribbons, etc.).

PASSAGE – (French passage – passage, passage, flight).

1. In acrobatics – a given direction of flight of an acrobat from a flip board, springboard, from the lower hands, both in forward and in opposite directions.
2. In gymnastics – oncoming flight of vaulters in flight, on horizontal bars.
3. In riding, the rhythmic lifting of the horse’s front and hind legs diagonally at a short trot.

PASSION – (French passage – to transfer, forward, pass). Quick, dexterous actions that facilitate the implementation of the exercises being learned or protect against falls, bruises (push, hold, grab), as well as the ability to take or bring the ribbons, the hoop at the right time, when the rider (rider) jumps through them.

PERSH – (French perche, Eng. perch – pole, pole). The balancing apparatus is a long duralumin tube with various fixtures and devices, balanced by the artist on the forehead, on the shoulders, on the waist support and in the toothpick. At the top of the perch, the partner (partners) perform exercises.

PIROUETTE-SALTO – (French Pirouette – turn, turn, see somersault). A somersault performed with simultaneous rotation of the acrobat’s body by 360 ° relative to the longitudinal axis.

PISTA – (French piste – race track). A narrow, track-like path at the arena barrier that provides support for a running horse, allowing it to maintain a certain body slope necessary for the stability of the rider.

PLANCHE – (French planche – board, smooth surface).

1. The horizontal position of the body, held by force in the hang or in emphasis on gymnastic apparatus. The back plate is face down, the front plate is face up.
2. Straightened torso (rather than tucked) when performing somersaults (planchet somersaults) or when powering into a handstand (planchet).

PONY – (English pony – a small horse). A breed of small horses used in equestrian training rooms and in mixed groups of animals.

REPRISE – (French reprise – resumption, repetition). In a circus, a short verbal joke or funny act performed by clowns.

RIESENVELLE – (German risen – huge, huge, Velle – wave). Gymnastic exercise – large turns around the horizontal bar on straightened arms. Among sports fans, the exercise is known as the “sun”.

RONDAD, RUNDAD – (French rond – circle, German rund – round). An element of jumping acrobatics is a flip with a turn, which serves as a link for the transition from a run to jumps performed with the back along the direction of the run.

SALTO – (Italian salto – jump, jump). Acrobatic jump – unsupported rotation of the body forward or backward, or to the side with a complete flip over the head. It is performed in a group or with a straight body, from a place or from a run, as well as with the help of tossing techniques or throwing devices.

SANGIROVKA – (French changer – to change, exchange, replace)

1. Dexterous, quick actions of a magician, skillfully and imperceptibly replacing objects while manipulating them or creating a deceptive impression of a replacement that actually did not exist.
2. In gymnastics, a 180° tempo turn with a forward swing on the horizontal bar or in flight.
3. In training – a change in the direction of a horse or a group of horses, performed at the command of the trainer (“sanzhe!”).

FREEDOM (FREE TRAINING) – One of the forms of showing a group of trained horses, performing under the control of a trainer, but free from the control of riders.

Buffoons – (traveling musicians, dancers, comedians). Wandering actors in Ancient Russia, performing on the streets and squares. fairs and showing elements of training, onomatopoeia, playing musical instruments, juggling, as well as satirical conversational skits and songs. They are the founders of certain types of spectacles and some genres of circus in Russia.

STREKASAT – (Italian strecatschere – lengthening, stretching). A method of performing some jumps that allows the acrobat to move in the direction opposite to the flip.

SUPLESS – (French souplesse – flexibility, suppleness). A sharp bending of the body with a throw back due to a strong deflection in the lower back.

TABLET – (French tableau – picture). General view of a large group of trained horses performing in a single composition, various figure formations, rearrangements around the arena, on pedestals, around them, etc.

TANDEM – (English tandem is a two-seater, two-wheeled bicycle driven by both riders sitting one after the other; a team of horses following in a train – one in front of the other). A kind of school riding on two or three horses walking along the arena one after another. The rider, sitting astride the last horse, directs the course in front of the running horses with the help of long reins, forcing them to make various turns, which the horse and rider repeat.

TWIST – (English twist – twist, twist). Acrobatic jump – a front somersault performed after a 190° turn.

TRAPEZE – (Greek trapesion – a quadrilateral with unequal sides, literally – a table). Gymnastic apparatus – a metal crossbar suspended horizontally on two ropes (with a cable inside) attached to it along the edges. Exercises are performed in the hang and in emphasis both on a fixed and on a swinging trapezoid.

SNAP – (German Trense – bit). Iron bits, which, when pulled on the reins attached to them, rest against the palate of the horse, forcing it to raise its head, stop, turn.

TRINCA – The old name for a special device on which the artist lies with his legs up while performing the numbers of the antipode, Icarian games, balancing perch or stairs on his feet. According to some sources, the name comes from the number of traditional items used by the antipodists of past times (Belgian cross, ball and barrel). At present, the name “antipodal pillow” will change more.

TURNING BAR – (French tourner – to turn, rotate, turn over). The oldest gymnastic equipment is a crossbar made of a steel bar, pasted over with a special tape. It is fastened horizontally on two metal vertical posts, which are fixedly fixed with cables and blocks to the arena barrier.

UNIFORMISTS – (German uniform – uniform, uniform). Specially trained workers serving rooms for installing props, devices, shells, participating in passaging and caring for the arena.

FOCUS – (German Hokus-pokus- trick). A clever trick trick of a magician, striking in its seeming supernaturalness, which is based on the sleight of hand of the artist, the technique of special equipment, props, and such optical illusion and distracting tricks.

FLIC-FLAC – (French flic-flac “slap, clap). Acrobatic element – flip by jumping back, bending over with intermediate support on hands.

CIRCUS – (from lat. circus, lit. – circle) .

1. Art form.
2. A building with an arena where circus performances are given.

CHEPRAK – Felt or canvas cape worn on the horse’s back when performing equestrian acrobatic numbers. Cheprak is sprinkled with rosin against slipping.

SHVUNG – (German schwung – swing, flight). A sharp jerk with the whole body or one leg to increase the swing, swing.

STAMBOARD – (German: stamm – barrel, bord – edge). A metal bar that is suspended horizontally by the edges and fixed with braces. Shells and devices of circus performances are suspended from it. Also used for “Acrobats on Stemboard” number.

EQUILIBRISTICS – (lat. aeguilibris – in balance). A circus genre based on a demonstration of the art of maintaining balance in various conditions, complicated by the use of special props and projectiles.

Circus

In the aesthetics of futurism, the circus was supposed to replace outdated theatrical forms (“Down with the theater, now there should be a kingdom of muscles”). Russian “futurists” in public behavior, extravagant costumes, face painting (futuristic makeup), outrageous antics willingly tried on farcical, buffoonish roles / images of “circus performers”, without protesting against this contemptuous nickname. The Jack of Diamonds included parodies of circus performances in their homely playful performances, and in “Self-portrait with Pyotr Konchalovsky” (1910) I. Mashkov portrayed himself and his friend as strength athletes. M. Larionov introduced elements of the circus into performances for S. Diaghilev’s entreprise. I. Zdanevich, V. Kamensky, F. Bogorodsky repeatedly demonstrated circus acrobatic numbers.

The first avant-garde film “Drama in the Cabaret of the Futurists N 13” (1913), which was attended by V. Mayakovsky, N. Goncharova, M. Larionov, V. Shershenevich, V. Maksimovich, V. and D. Burliuks, B. Lavreneva, was insisted on circus aesthetics. In the next film “I want to be a futurist” (1914) together with Mayakovsky, the clown V. Lazarenko played, representing M. Larionov.

The circus arena sporadically served as a platform for the avant-garde artists’ own performances and propaganda theatrical spectacles. From October 7 to October 16, 1916, seven solo performances by V. Kamensky, who recited poems and excerpts from his poem “Stenka Razin”, took place in the Tiflis circus of the Esikovsky brothers. He also delivered a speech “On the Poetry of the Circus”, which declared that it was in the circus that “scientists, philosophers, artists, poets, musicians and other representatives of science and art should do their great work of ennobling morals, enriching the minds.” The poet performed in Razin’s costume and on a horse (“I am the First of the Poets of the World Who majestically performed in the Circus arena In a caftan of brocade Riding a black horse”). In the work of Kamensky, by self-determination – “a dizzying circus performer”, the theme of the circus occupied a significant place in subsequent years (“Dancer in the Circus”, “Elephants in the Circus”, “Nikitin’s Circus” and other works).

In 1920, the allegorical entre-agitation “World class struggle championship” for the phrase-book clown and acrobat, “the people’s jester of the republic” V. Lazarenko was created by V. Mayakovsky. Like Lazarenko’s previous performance of Mayakovsky’s “Soviet ABC”, it took place in the arena of the Second State Circus (the former Nikitin Circus on Triumfalnaya Square).

On April 21, 1930, Moscow hosted the premiere of a propaganda circus pantomime, “heroic melomime”, by V. Mayakovsky “Moscow on fire (1905) directed by V. Radlov and designed (including costumes and make-up) by V. Khodasevich. The director and the artist, among other things, were connected by a recent jubilee production for the 10th anniversary of October in the arena of the Leningrad circus.

Circus concepts and terms penetrate into the theory and methodology of related arts and literature – a trick, an attraction (“Installation of attractions” – an article by S. Eisenstein in 1923), balance. Circus art – acrobatics, clowning, etc. – forms the basis of new developments in the method of training a theater and film actor, endowed with impeccable control of his body, physical capabilities. The “circusization of the theatre”, which spread to the organization of Parisian balls by I. Zdanevich, made special demands on the artist. (Theatrical drama was introduced into circus performances). According to Mayakovsky, the theater is an arena that represents life. At 19In 21, at the arena of the First State Circus on Tsvetnoy Boulevard, Alexei Granovsky and the artist N. Altman staged a performance in honor of the Third Congress of the Comintern “Mysteries-Buff” (in German). The light, sometimes “blue sea wave”, sometimes “scarlet hellish flame”, was an assistant to the directors in the creation of the “new world”. Just as at the premiere performance of The Mysteries at the Petrograd Musical Drama Theater on November 7, 1918 (directed by Meyerhold, artist Malevich), circus techniques were widely used here (instant reincarnations, flights of “devils” on aerial trapeze, pantomime, etc.). In the program that was distributed to the delegates, Mayakovsky presented his creation as a miniature of the world within the walls of the circus.

In 1923, the phonological department of the GIHK under the direction of K. Malevich planned noise productions not only in the open air, but also in the arena of the Cinizelli circus in Petrograd. The precedent of using this site for other purposes happened in the spring of 1918, when A. Granovsky staged here “Oedipus Rex” by G. Hofmannsthal in the design of M. Dobuzhinsky.

From the first years of the Soviet state, the circus was in the sphere of his interest as an art capable of revealing to a new viewer the perfection and dexterity of the “human body” (A. Lunacharsky), his will and courage. Clowns were called upon to “become publicists”, satirists. 26 August 1919 stationary circuses (including two in Moscow, which became the First and Second State) were nationalized. The phrase of V.I. Lenin, recorded in mass distribution, recorded by Lunacharsky (1923) and, perhaps, invented by him, “Of all the arts, cinema and circus are the most important for us” became a kind of program slogan. Among the new spectators, besides other representatives of the masses, Vkhutemasovtsy were constant and devoted. Among the artists there were those who completely denied the educational role of the circus.

At the initial stage of the formation of the Soviet circus, the sociocultural duality (combination of mass and elite cultures), the desire to blur the boundaries between the arts was fully manifested. “Of particular importance for our time is the newly emerged understanding of the role of the circus and cinema, which are still considered evidence of degeneration and inferior phenomena that cannot be classified as art. ” (V. Kandinsky).

For avant-garde artists, the circus continued to be not only the embodiment of the highly valued culture of celebration, carnival, imagination, eccentricity, danger, the “other world” outside the ordinary norm, the possibility of naked reception, but also the sphere of application of artistic experiments, as well as a bright opportunity for the implementation of synthetic art. .

The section of the circus, where the artists S. Konenkov, P. Kuznetsov and B. Erdman collaborated, since September 1919 functioned under the TEO Narkompros. Involved in the design of performances, young masters at first introduced “life-affirming” costumes in the form of frame structures, which, according to B. Erdman, sometimes caused sharp protests from the artists. However, understanding of circus specifics soon prevailed. When staging numbers, artists offer new plastic ideas. So, S. Konenkov at 1919 in the traditional circus genre “bronze people” puts on a plastic suite “The Feats of Samson”. P. Kuznetsov created for Lazarenko the costume of a tragic jester. B. Erdman is a bright two-tone transforming suit, dividing each piece of clothing in two. Overalls were worn under the jacket, on which the necessary applications were sewn. A new clown image was also invented.

V. G. Bekhteev, in 1921-1922 – the main artist of the State Circus, makes sketches of forgang and posters, costume designs that combine functionality with the brightness of the palette and the actual geometric kinematics of forms.

In 1919, Yuon, Konenkov, Lentulov, Nivinsky, S. Gerasimov and others were invited to paint (not implemented) interiors of circus buildings.

A. Rodchenko, V. Stepanova, A. Levin, G. and V. Stenberg, D. Moor, M. Cheremnykh, A. Deineka, N. Akimov also worked on the creation of the circus poster. The trend of theatrical performances of the young Soviet circus was reflected in the nature of the artistic embodiment of the poster. Nevertheless, the generic specificity was also preserved, in which the eccentric and tricky beginnings (composition, plasticity, color), major were expressively indicated. In text posters 19In the 1920s, with their tricky montage of letters of different sizes, the influence of constructivism was especially evident. There is a reasoned opinion (O. Burenina-Petrova) that, on the contrary, the circus poster could have influenced the composition of the poster “announcements” of the futurists.

B. Anisfeld, B. Grigoriev, A. Arapov, A. Exter, N. Kulbin, V. Favorsky, I. Zdanevich, V. V. Lebedev, I. Puni, V. Tatlin addressed the theme of the circus, circus motifs, P. Chelishchev, V. Sterligov, M. Feigin and many others. In addition to paintings, attention should be paid to the illustrations for “The Circus” by S. Marshak, which made it possible to adapt the avant-garde visual vocabulary for a multimillion-dollar children’s audience. At 1930s – 1940s A. Rodchenko creates a series of paintings and photographs dedicated to the circus. Circus characters inhabit the works of M. Chagall throughout his long creative life – in graphics, painting and other techniques, including 19 gouaches of the “Circus Vollard” series, the cycles “Big Circus”, “Circus” (1956-1962), circus characters in many pictorial and graphic compositions, in the panel “Introduction to the Jewish Theater” of 1920.

Author of the article: N.V.Getashvili

Tickets to Moscow Nikulin Circus on Tsvetnoy Boulevard

DEAR VIEWERS!

Booking of tickets for organizations (by transfer) is open
for New Year’s performances
“TWO FROM THE CASKET”
From October 15, tickets will go on free sale
DAILY from 11:00 to 19:00,
BREAK from 15:00-16:00

Electronic tickets can be purchased on the official website of the circus WWW.CIRCUSNIKULIN.RU – section “Tickets”,
and also from official partners: Ticketland.ru; KASSIR.RU; Parter.ru; Yandex.Afisha

WE WISH EVERYONE HEALTH AND PROSPERITY!

WE WELCOME YOU IN THE CIRCUS!

ADMINISTRATION OF THE CIRCUS

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Dear viewers, due to the fact that in recent years there has been an increase in the sale of tickets for the performances of our Circus by resellers (both by hand and using the Internet), the administration of the Moscow Nikulin Circus on Tsvetnoy Boulevard informs that the sale of tickets for the performances of our Circus is carried out by purchasing tickets directly at the box office of the Circus, located at: Russia, Moscow, Tsvetnoy Boulevard, 13 , as well as by booking on the official website of the Circus http://www. circusnikulin.ru with their subsequent redemption at the above cash desks.

When purchasing tickets from other persons, as well as on the Internet (not from the official partners of the Circus), in the event of any negative consequences, the Moscow Nikulin Circus on Tsvetnoy Boulevard does not bear any responsibility.

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Useful information

• A child under 6 years old can travel with an adult on one ticket and sit on their knees. If you want a separate seat for a child, you can purchase a full ticket.
• Our circus is equipped with the necessary means of protecting spectators: air recirculators, sanitizers! On the eve of the performance and at the end, we sanitize the audience area with disinfectants in accordance with the requirements of Rospotrebnadzor.
• Forgotten items can be retrieved during the cloakroom hours, on performance days (see performance schedule)
• Performance duration 2 hours 20 minutes (with intermission)
• There is air conditioning in the auditorium!
• Our Circus is equipped to accommodate spectators with disabilities (lift through the ticket office).

Views highlighted in yellow are target views. Target View is a view fully redeemed by organizations. Tickets for it are not sold .

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December 18, 2021 marks the 100th anniversary of the birth of Yuri Nikulin!

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We offer you three options for purchasing tickets:

• Buy tickets on our website – circusnikulin.ru. Technical support – Dilyaver Theater and Concert Agency. Phone: 8 (495) 215-0000.
• If you have any questions about buying an electronic ticket, please contact the technical support service at e-mail: [email protected]

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Conditions for purchasing tickets on the website:

• Sale is carried out only in the online purchase mode.Pay for tickets by bank card.
• The maximum number of tickets in one online order is no more than 6 pieces.
• After the purchase, an e-ticket will be sent to the e-mail address you provided.
• Access to the event is carried out only with a printed ticket. Receipt of payment is not a basis for admission to the circus. Please print your tickets in advance of the event.

• Buy tickets on the website of our official partner – Ticketland.ru
• Buy tickets on the website of our official partner – KASSIR.RU
• Buy tickets on the website of our official partner – Parter.ru
• Buy tickets on the website of our official partner – Yandex.Afisha

• group applications for organizations with their redemption at the circus box office

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Moscow Nikulin Circus on Tsvetnoy Boulevard

presents a new program
ALMOST SERIOUSLY

Saturday 14.00 18.00 2 Sunday 14.00 18.00 3 Monday DAY OFF four Tuesday DAY OFF 5 Wednesday DAY OFF 6 Thursday DAY OFF 7 Friday 19. 00 eight Saturday 14.00 18.00 9 Sunday 14.00 18.00 ten Monday DAY OFF eleven Tuesday DAY OFF 12 Wednesday DAY OFF 13 Thursday DAY OFF fourteen Friday 19.00 fifteen Saturday 14.00 18.00 16 Sunday 14. 00 18.00 17 Monday DAY OFF eighteen Tuesday DAY OFF 19 Wednesday DAY OFF twenty Thursday DAY OFF 21 Friday 19.00 22 Saturday 14.00 18.00 23 Sunday 14.00 18.00 24 Monday DAY OFF 25 Tuesday DAY OFF 26 Wednesday DAY OFF 27 Thursday DAY OFF 28 Friday 19. 00 29 Saturday 14.00 18.00 thirty Sunday 14.00 18.00 31 Monday DAY OFF

November 2022

004
one	Tuesday	DAY OFF
2	Wednesday	DAY OFF
3	Thursday	DAY OFF
four	Friday			18.00
5	Saturday		14.00	18.00
6	Sunday		14. 00	18.00
7	Monday	DAY OFF
eight	Tuesday			19.00
9	Wednesday	DAY OFF
ten	Thursday	DAY OFF
eleven	Friday			19.00
12	Saturday		14.00	18.00
13	Sunday		14.00	18.00
fourteen	Monday	DAY OFF
fifteen	Tuesday	DAY OFF
16	Wednesday	DAY OFF
17	Thursday	DAY OFF
eighteen	Friday			19. 00
19	Saturday		14.00	18.00
twenty	Sunday		14.00	18.00
21	Monday	DAY OFF
22	Tuesday	DAY OFF
23	Wednesday	DAY OFF
24	Thursday			19.00
25	Friday			19.00
26	Saturday	11.00	14.30	18.30
27	Sunday		14. 00	18.00
28	Monday	DAY OFF			Thursday	DAY OFF
2	Friday	DAY OFF
3	Saturday	DAY OFF
four	Sunday	DAY OFF
5	Monday	DAY OFF
6	Tuesday	DAY OFF
7	Wednesday	DAY OFF
eight	Thursday	DAY OFF
9	Friday	DAY OFF
ten	Saturday	DAY OFF
eleven	Sunday	DAY OFF
12	Monday	DAY OFF
13	Tuesday	DAY OFF
fourteen	Wednesday	DAY OFF
fifteen	Thursday	DAY OFF
16	Friday			18. 00
17	Saturday	11.00	14.30	18.00
eighteen	Sunday	11.00	14.30	18.00
19	Monday			18.00
twenty	Tuesday			18.00
21	Wednesday			18.00
22	Thursday		14.30	18.00
23	Friday	11.00	14.30	18.00
24	Saturday	11. 00	14.30	19.00
25	Sunday	11.00	14.30	18.00
26	Monday	11.00	14.30	18.00
27	Tuesday	11.00	14.30	18.00
28	Wednesday	11.00	14.30	18.00
29	Thursday	11.00	14.30	18.00
thirty	Friday	11.00	14.30	18.00
31	Saturday	11. 00	14.30	18.00

January 2023

NUMBER	DAY OF THE WEEK	MORNING	DAY	EVENING
one	Sunday		14.30	18.00
2	Monday	11.00	14.30	18.00
3	Tuesday	11.00	14.30	18.00
four	Wednesday	11.00	14.30	18.00
5	Thursday	11. 00	14.30	18.00
6	Friday	11.00	14.30	18.00
7	Saturday	11.00	14.30	18.00
eight	Sunday	11.00	14.30	18.00
9	Monday	DAY OFF
ten	Tuesday	DAY OFF
eleven	Wednesday	DAY OFF
12	Thursday	DAY OFF
13	Friday			18.00
fourteen	Saturday		14. 30	18.00
fifteen	Sunday		14.30	18.00
16	Monday	DAY OFF
17	Tuesday	DAY OFF
eighteen	Wednesday	DAY OFF
19	Thursday	DAY OFF
twenty	Friday	DAY OFF
21	Saturday	DAY OFF
22	Sunday	DAY OFF
23	Monday	DAY OFF
24	Tuesday	DAY OFF
25	Wednesday	DAY OFF
26	Thursday	DAY OFF
27	Friday	DAY OFF
28	Saturday	DAY OFF
29	Sunday	DAY OFF
thirty	Monday	DAY OFF
31	Tuesday	DAY OFF

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Hall layout and ticket prices

The indicated prices are for reference only. You can check the price for a specific circus performance on our website or at the circus box office. Circus box offices are open seven days a week from 11.00 to 19.00, lunch break from 15.00 to 16.00. On the days of the morning performances, the circus box office is open from 10.30 to 19.00

The reservation department, where you can get information about the availability of tickets and their cost, is open from 11.00 to 17.00 daily, seven days a week, a break from 15:00-16:00. tel. +7 (985) 595-93-08; +7 (495) 628-83-49. For discount tickets: e-mail [email protected]

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Purchase and reservation of tickets

• Reservations by phone are not available
• You can book tickets on our website for performances that will take place no later than 5 days before the performance (button book performance tickets) by filling out the booking form. Within a day, you will receive an e-mail with the order number and the redemption date.
• Payment for tickets at the box office is made both in cash and with a bank card (for individuals).