THE DRAMATURGY OF THE CIRCUS PROGRAM

Abstract

One of the primary challenges in the theory of circus art is defining the fundamental principles and rules of circus dramaturgy—and, consequently, the scope and boundaries of directorial work within the circus. A circus act can be classified as a work of art only if it possesses an artistic dimension. However, is it possible to apply the principles of other branches of performing arts—specifically theatrical dramaturgy—to the circus? At first glance, this might seem impossible, given the vast differences between theater and circus regarding the creation of artistic characters. Yet, contemporary circus art has undergone a radical transformation. Its distinctive features have come to include virtuoso, record-breaking feats and the application of highly complex techniques, alongside a program characterized by profound moral subtext—evident not only in meticulously conceived individual acts but in the entire performance. Consequently, the involvement of specialized directors in the staging of circus productions has become essential. This necessitates a systematic study of the subject, particularly given the scarcity of research on this topic within the field of Armenian art studies.