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The first came from his deep appreciation of silent movie comedians, and notably Buster Keaton, his idol—and like him a very physical clown if any.
Engibarov’s clown silhouette and appearance would be reminiscent of Keaton’s in his early shorts, or even in later movie features such as The General or Hospitality.
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At first, Leonid was a little disoriented: Nine years of participating in competitive sports had taught him that the knowledge and use of precise techniques brought out clear results.
By Dominique Jando Although he had a meteoric career that lasted only twelve years, the influence of Leonid Engibarov (1935-1972) on modern clowning has been considerable.
His untimely death also propelled him into the realm of show business legends, in the rarefied atmosphere shared by prematurely disappeared young artists who helped define a generation: James Dean for the American cinema, Gérard Philippe for the French theater, Vladimir Visotskiy for Russian pop music—among others. In the ring, Engibarov’s character reflected his true off-stage persona: A fiercely independent young man, mischievous, belligerent, in constant revolt against the powers that be—whether the in the circus ring, or Soyuz Gos Tsirk, the central Soviet circus organization, in real life.
