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After the Revolution of 1917, the Soviet avant-garde conceived of a revolutionary popular theatre as a brilliant, eye-catching and exaggerated show, based on corporeal performance and articulated in visual – not literature-oriented – language, which should be accessible to everyone, first of all, to the new audience unfamiliar with arts. Circus seemed to be close to this vision. It was mobile, could perform in the city and in the country, was open to genre mix and free from the illusionism of nineteenth-century art. With these ideas, expressed in essays and manifestos, the Russian avant-garde was close to the aspirations of the Futurists and the experiments within the Bauhaus. This chapter explores the different stages of the symbiosis of theatre and circus from the theatricalisation of circus, the attempts to use it for political propaganda, to the circusation of theatre – from Vsevolod Meyerhold to Sergei Eisenstein and the Factory of Eccentric Actors.