A.Kalmykov on the development of elitist art in Russia - В МИРЕ ЦИРКА И ЭСТРАДЫ

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A.Kalmykov on the development of elitist art in Russia

A.KalmykovToday our community knows and speaks little about the modern circus and the history of circus art in the country. Average people consider only two circuses to be leading: Moscow circus on Tsvetnoy Boulevard and Moscow State Circus on Vernadsky Prospekt. They are mistaken, as one of the best Russian circuses, remarkable from the point of view of the building, the hotel, development of creative power, is in Yekaterinburg. Its director is an outstanding Russian clown, artist Anatoly Marchevsky. Fantastic circuses are to be found in Ufa, Tyumen and Kursk.

During the "perestroika" era, Moscow circus on Tsvetnoy Boulevard and Moscow State Circus on Vernadsky Prospekt earned 30% of the company s profit, and that is why they could easily go out of the structure. Today "Rosgostsirk", on the behalf of Alexander Dmitrievich Kalmykov, is on very good terms with Maksim Nikulin and Leonid Kostyuk. An agreement “About non-aggression towards each other” was signed between the companies, there is frequent interchange of programmes, and it is thought that the relations that have been established for today must continue to be strengthened.

According to Alexander Kalmykov, the companies have spent the recent years independently from each other, and each of them has a lot to compare. When Anatoly Marchevsky is asked which circus is better, the circus in Moscow or his one, he answers that the Moscow circus works for 1.5% of the population while the Yekaterinburg circus - for 30%. The difference is great. If one of the circuses in Moscow doesnt work any more, few are likely to notice it. In Sverdlovsk and Yekaterinburg, the circus is the main cultural centre in the provinces, together with the theatre and the philharmonic hall. Alexander Dmitrievich noted that in any case the circuses must be on friendly terms.

The conception, which is prepared by the Ministry of Culture, deals with the necessity to develop the circus as “the elitist art”, and not the property and legal relations between the state and private circuses. Only then will people appreciate the circus art and come to the circus the same as in Paris.

 "Every year I visit all the festivals with the colleagues. Three times a day you can see a queue of one and a half thousand well-dressed men and women without children in the central squares waiting for their turn to buy a ticket to the circus. Every time I think whether there are no places to go except for the circus, but we all know there are thousands of places in Paris, and still people choose the circus. They don not think it to be a childish silly anachronism like many our people do. That  is what we are striving for!”




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