THE WAY OF PARADOXES. THE ACTUAL IMAGERY OF THE SOVIET CIRCUS OF THE 1920-1930s
The article analyzes the facts from the national circus history using the new archival sources. These facts determined the tendencies of its development in the 1920s and 1930s as a synthesis of various types of arts. Back in 1928, the Soviet press called for the preservation of the self-identity of circus art through the rejection of theatricalization. But the whole history of this phenomenon, synthetic in nature, as well as the practice of the first years of the young Soviet state circus existence, confirm the unique ways of its development. This art requires the active interaction between the theatre, music, choreography, sports, elements of architecture and literature. The circus art, which is international in its basis,was transforming in each country, absorbing its culture and ideology. The Soviet circus art, as an independent branch of the world process, passed a long way after the nationalization in 1918. It also went through the most rapid process of internationalization - from the performances of the invited foreign groups to the receiving of a unique style. It expressed in a vivid ideological message, a massive performance, and the ethnic component in programs. The circus show, which is usually based on various physical skills, corresponds to the idea of a holistic stage performance. From the very beginning the circus has constantly dramatized its tricks, shows and performances. It has consistently asserted through the creation of a full performance with its self-sufficient arsenal of means. The figurative filling of its pieces of performance, relationships between partners, professional skills of all the genres - this is the high essence of the circus art.