MODERN CIRCUS ART AS A FIELD FOR COMBATING OF STEREOTYPES

Abstract

The purpose of the article is to actualize the problem of positioning of a circus artist in the modern cultural space. The circus industry is emphasized as a tool for popularizing the country's achievements in the field of culture and art, reinforcing a positive perception of the state in the international arena, influencing the formation and strengthening of the country's competitive image. The circus is considered not only as a phenomenon, which is a synthesis of art, sport, spectacular forms, but also as an intrinsic multicomponent cultural phenomenon that can present the country beyond its borders at a high professional level, acting both as a bearer of the traditions of the past and ushering in innovations. The circus today is also a business, the image-forming factor of the country in the world cultural field, thanks to which the state can be adequately represented. The artist’s talent, number, trick, program – everything is a product for which there is considerable demand in the world. However, the demand for circus artists of the former Soviet Union outside their countries has two sides of the coin. Obverse is the world-wide recognition of top-level professionals who perform tricks that are unique in terms of direction and technical performance, while reverse is their lack of demand in the homeland. The article emphasizes the need for a new look at the problem of “artist-spectator” in the context of the circus sphere as a field for combating stereotypes. The categories “clown”, “jester” as templates that terminologize a circus artist for the layman and leveling the hard work of a professional in his mind, have been fixed to representatives of the “art of the arena”, regardless of genre, for a very long time. The modern circus allows us to raise the question of the possibility of combating ideological stereotypes by virtue of the formation of a new paradigm of circus art. Popularization of the circus area, understanding of the real value and uniqueness of the circus, actualization of the circus as a means of presentation, an instrument of image formation of the country in the world cultural arena, the development of specialized higher education in the circus industry – all this could prevent the outflow of talented young circus artists outside the country. This can be called among the main tasks of the modern cultural space. The solution of the same problems would contribute to the destruction of many established stereotypes that exist in the circus world. The fight against stereotypes is also the creation of a new circus, more inclined to the synthesis of arts, and not just the synthesis of genres in one circus act or program, to the blurring of boundaries. But for success in this field, the circus must get out of the zone of inattention of the state and get hope for support, being one of those tools that contribute to the creation of a proper image for most countries of the post-Soviet space.

Key words: circus art, artist, circus number, entertainment industry, sports, spectator, «Raw circus», world outlook stereotype.