Abstract
The article is devoted to the analysis of the figurative components of the circus art. The problem is considered via the analysis of one of the most difficult circus genres – the work of acrobats with flip boards. The equipment number makes it necessary to pay special attention on the modification of the props, which allows to improve the jumps qualitatively and quantitatively. The following fruitful tendency is also analyzed – using technical discoveries of the related genres in the performance. It helps to increase the spectacularity of trick combinations performed from a flip board. Particular attention is paid to the search for various methods of activating the figurative saturation of the partners’ communication, both in the process of performing tricks and between them. The circus number is taken as a full-fledged performance and now using specific examples it is possible to consider how the artistic enrichment of the performances happens (the bright costumes, music and light, which helps to form the figurative content). This process is analyzed in details on the example of the director’s work of A.V. Zapashny with a troupe of acrobats on a flip boar. The acrobats headed by S.A. Trushin, act the “Emotions” performance.The analysis allows us to recognize the circus performance as a full-fledged artistic phenomenon that meets the requirements of modern stage production culture.
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