Directions of drama in the circus art of the 1990s – 2000s. Problems of species relevance

Abstract

The article is devoted to the study of the genesis of “Nouveau Сirque” or the “new circus” as an artistic phenomenon. At the same time, the main attention is paid to the period from the beginning of the 1990s to the present day, an important characteristic of which was the actualization of the relevance of circus art, taking into account its markedly increased interconnections with the theater. Based on the analysis of modern content, as well as the statements of domestic and foreign researchers, the problem of the theoretical correspondence of theatrical circus show to classical specific canons is raised. The key point of the article was a clear demarcation line between circus and theater performances, and the definition of the nouveau cirque phenomenon as a full-fledged stage in the development of the circus.

In the last third of the XX^th century a phenomenon began to develop in Europe and North America, which later became known as “Nouveau Cirque”. The format of the universal theatrical and circus program has become more and more actively replacing and “absorbing” traditional performances. In Ukraine this artistic discourse has received an important historical impetus since the early 90s of the last century.

There are more and more circus shows with elements of “Nouveau Cirque” and an increased theatrical component began to appear in Ukrainian circuses.

The new form has a number of significant differences from the classic circus program. Against the background of the growth in the number of such theatrical shows in the Ukrainian circus, a problem emerged - the discrepancy between the new content and the established theoretical framework. The next important aspect is whether the further deep interbreeding with theatrical art the circus can really lose its specific identity and become a “kind” of theater?

The content of theatrical circus shows is analyzed to determine the phenomenological features of “Nouveau Cirque”, in combination with the socio-cultural conditions in which the formation of such forms became possible. It is also important to trace how the dialectical relationships between the circus and theatrical arts developed over time, which will make it possible to differentiate the role of the theatrical component in such forms.

Based on the definition of qualitatively new features in the development of the Ukrainian circus, the conclusion is formed that the search for new forms characterize the Ukrainian circus today; their hybridity has become a new healthful breath. In an era of change in the communicative paradigm, when the specificity of communication, forms of communication, the nature of value and worldview attitudes are rapidly changing, the art of the domestic circus organically merged into the world movement nouveau cirque and continues to develop its theoretical profile.