The purpose of this study is to shed new light on pioneering kinetic sculptor Alexander Calder’s Cirque Calder, which was created during his Paris years (1926-33) and became a starting point for his work, and to examine the artistic connections between Cirque Calder and the early mobiles (1930-36) as geometrical, abstract sculpture. Calder who loved play and toys and enjoyed the circus from his childhood had created a miniature circus called Cirque Calder, and presented it to many artists and writers during his stay in Paris. He invented his geometrical, abstract mobiles departing from Cirque Calder, while he was influenced by abstract forms and primary colors of Mondrian around 1930. However, the artistic connections between Cirque Calder and early mobiles can be summarized by the five characteristics of abstractness, motility, spatiality, playfulness, and theatricality. First, Cirque Calder and early mobiles commonly exhibit an ‘abstractness’ that crosses the borders of fact and symbol, second, a ‘mobility’ that encompasses calculation and spontaneity, third, a ‘spatiality’ that displays a microcosm and balance, fourth, a ‘playfulness’ based on play and experimentation, and fifth, a ‘theatricality’ that is directed toward a total work of art. The abstractness, mobility, spatiality, playfulness, and theatricality that Alexander Calder explored throughout the entire scope of his works have their roots in Cirque Calder, and these characteristics played a significant role in the development process of his early abstract mobiles.