Vasyl, Stepan, tell us how you first got acquainted with circus art? Why did you decide to try yourselves in this field?
Stepan: We started practicing circus art at 14 when we joined the “Kaskad” studio in our hometown of Truskavets. At first, we tried different directions — from juggling to aerial gymnastics, but eventually, we settled on juggling.
We were fascinated when we saw our classmate juggling. We couldn’t believe that so many objects could be kept in the air, and we decided to try it ourselves. Our friend went to the “Kaskad” studio and kept telling us about his performances and training. We decided we wanted to try circus art too.
That’s how our circus story began.
Stepan’s page on Instagram: https://www.instagram.com/stepan.kuts96/
Vasyl’s page on Instagram: https://www.instagram.com/vasili
Vasyl: I want to say many kind words about the “Kaskad” studio, which became our first step toward a career in circus art. It wasn’t just a studio — it was a place where we grew not only technically but also creatively.
We quickly found our genre — juggling. That’s where we understood how important it is not only to perform tricks but also to convey emotion through performances. The studio taught us not just skills, but how to interact with an audience and create shows that would not only captivate but evoke emotional responses. This became the foundation for all our future performances.
How did your family react to your decision to pursue circus art? Did they support you?
Vasyl: We were raised by our mother, and she truly supported us. When we said we wanted to enroll at the Kyiv Academy of Arts, she supported that as well. We weren’t from a wealthy family, so it wasn’t easy, but we’re very grateful to our mom for helping us with our education.
Stepan: Here’s an interesting story. There really wasn’t any resistance from our family. But the way we got into the Academy is worth telling. Our friend, who was already studying at the Kyiv Municipal Academy of Circus and Variety Arts, motivated us to apply. He visited and told us that if we wanted to keep developing in circus art, we needed to go to the Academy. He shared stories about performances and training, and we decided we wanted to try as well.
So that’s how it happened. One friend got us into “Kaskad,” another inspired us to enter the academy.
How do you evaluate your training at the Academy after your experience at “Kaskad”? What stood out the most?
Vasyl: Studying at the Academy was a challenge. At first, we thought it would be easy, but after the first few weeks, we realized the standards were very high. We came with limited experience, so we had to work hard to catch up.
But the Academy gave us what we lacked: a systematic understanding of circus, deep knowledge of techniques, and a creative approach to stage work. We realized that circus is not just tricks — it’s also about conveying a story emotionally.
Stepan: The Academy gave us the platform to really develop. We performed for large audiences, worked with professionals, and that’s where we understood the importance of being not just skilled performers but creators. The Academy made us see circus as a profession, not just a hobby. It was a huge leap forward.
What about juggling itself — do you have a particular style? How would you describe it?
Vasyl: Our juggling style is more than just performing tricks. We always try to add emotion so each performance is not just a technical showcase but a true artistic act. Every move, every trick is part of a bigger story we want to tell the audience. It’s important to us that the public feels we’re not just manipulating objects but conveying emotions.
Stepan: We try to combine classic juggling elements with something new and unusual. It could be new props or mixing juggling with other disciplines like acrobatics or dance.
We enjoy exploring new approaches to juggling to make it more dynamic and multifaceted, appealing to audiences everywhere.
Tell us about your first contract. What was it like performing abroad for the first time?
Stepan: Our first big contract came while we were still in school — we were invited for a month to Turkey. That was our first experience performing abroad and our first earnings.
It was a bit scary and unusual because it was our first exposure to another culture. The hardest part was going on stage since we had only performed at small events in Ukraine.
But overall, it was a very exciting experience. We met many other artists — acrobats, dancers — and exchanged experiences. It was very valuable for us as young performers.
Vasyl: Yes, it was an important experience. We also earned our first money — not a lot, around $900–$1,000 for the month. But for us as students, that was a big deal.
Your portfolio includes participation in the prestigious Young Stage Festival in Switzerland. How did you get there?
Stepan: We were invited to the Young Stage Festival in Switzerland. It was an incredible experience. Professionals from around the world gathered there. We were very nervous since it was our first major international competition. Although we didn’t win a prize, we made many contacts and understood that even if you don’t place first, it doesn’t mean your act was a failure. What matters is learning and gaining new opportunities.
Vasyl: It was a great experience. We met artists from Canada who performed aerial acts and won gold. We also spoke with clowns and acrobats from Europe. It was very valuable to see the level of performance from artists around the world — it motivated us to keep improving.
Speaking of other countries, how do you assess your work in Asia, especially Vietnam? How were your performances received there?
Stepan: We worked at Ba Na Hills Park, a large theme park located on a high mountain. Getting there took about 20 minutes uphill. The park had about 150 performers from different fields — circus, dance, body art.
We juggled at our location, and then people, mostly Vietnamese and Chinese, would surround us, take pictures, touch us. To them, we were like icons or gods. They treated us with admiration and respect. It was very pleasant.
How does the American audience differ from European or Asian audiences? Tell us about your performances in the USA.
Stepan: Before the war, we were offered work in the U.S. The offer came right after one of the festivals. We knew it would be a tough path, but we were sure that moving to the U.S. would help us grow not just as performers but as people. That’s how our American career began.
Vasyl: The American audience reacts very emotionally, unlike the more reserved European spectators. They’re enthusiastic and excited. For them, it’s entertainment — they enjoy the show.
We felt this difference when we performed in Las Vegas and Beverly Hills. The audience there was much more emotional. They cheer, applaud, and react to every move.
Unlike Europe, where the audience can be more restrained and critical, Americans just want to enjoy the show. They see it as fun, not as art that needs evaluation.
Now you’re teaching gymnastics to kids in Beverly Hills. How did you come to teaching?
Vasyl: When we first came to the U.S., we only performed, mainly in Las Vegas. But over time, we noticed people were very interested in circus tricks and gymnastics. Since we had lots of experience, we thought — why not share it? It was a natural next step in our career, and we decided to start teaching local kids and adults.
A career in Vegas and a studio in yellow and blue colors: an interview with Svetlana Rogozhina — read here.
Stepan: Our first lessons came through offers to work with local schools and studios. At first, it was a new experience since we hadn’t taught professionally, but we quickly realized we had valuable knowledge to share.
Vasyl: Our first classes were improvised, but we soon realized we needed to systematize the teaching process. We started using methods that work for performers — and they gave great results.
As for our current job, we applied on our own — just sent a resume to a gymnastics center in Beverly Hills. I went to the interview, gave a trial lesson, and they liked how we worked. So we stayed. I joined first, then invited my brother.
Beverly Hills is a celebrity hotspot. Have you met anyone famous?
Stepan: Yes. For example, we met Milla Jovovich when we worked with her daughter. At first, we didn’t know it was her, but when we found out, we were shocked. We were impressed by her simplicity and openness.
You’re focused on teaching now, but what are your future plans? Will you return to the stage?
Stepan: We’re focused on teaching now, but in the future we plan to open our own studio that combines gymnastics, juggling, and other circus disciplines.
We want to attract kids with a variety of styles — not just juggling — to keep them interested. We plan to open a space that includes gymnastics, aerial gymnastics, and other elements of circus art.
Vasyl: Alongside teaching, we’re still developing as performers. We’re preparing to participate in the International Jugglers’ Association Festival. We’re working on new performances, tricks, and ideas — in short, we’re not standing still and are getting ready for the big stage.
With all your experience, what advice would you give to young artists who want to dedicate themselves to circus art?
Stepan: Learn English — it’ll really help in your career. Find good friends who will support you and guide you in the right direction.
Vasyl: Be yourself. Don’t try to copy others — your uniqueness is your strength.
Read about the TOP 5 circus festivals in Europe in the article by Anastasia Sholokhova.
Also, it’s important to participate in festivals — they open up many opportunities for young performers. It’s at festivals that you meet circus directors, producers, and influential people in the industry. They can notice you and offer contracts. So we advise young artists to focus on festivals, not just on finding gigs.
Stepan, Vasyl, I wish you creative success and thank you for the frank conversation!
Stepan–Vasyl: Thank you!
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