Circus is traditionally defined by jaw-dropping techniques and high-wire risks, but People’s Artist Tống Toàn Thắng believes technical prowess alone cannot create lasting artistic value. The director of the Việt Nam Circus Federation speaks to Thuý Hiền about storytelling, interdisciplinary arts and integrating circus into the cultural industries value chain.

Artist Tống Toàn Thắng has dedicated decades to Vietnamese circus with a fierce ambition to lead the country's circus sector into a new era. — Photo courtesy of vietnam.vnanet.vn

Inner Sanctum: You have emphasised that circus should not just stop at displaying technical stunts. How is this creative philosophy implemented in your productions?

Core technique remains the beating heart of circus. Without high-level skills and calculated risks, circus loses its defining characteristics. However, a difficult stunt usually only triggers a momentary gasp of admiration. To leave a lasting impression, a production must have a solid theme, a coherent narrative arc and an emotional rhythm.

Therefore, we always determine the conceptual framework first before selecting the appropriate techniques. Every acrobatic movement must serve the overall narrative, contributing to character development and the core message of the piece, rather than just displaying difficulty. When technical precision is placed within a holistic artistic structure, performers can transcend the mere completion of an act to truly embody their characters.

Inner Sanctum: How do you perceive the profession amid the national drive for cultural industries?

Through my directing experience, I have realised that a production must be envisioned far beyond a single opening night. Creators must start from artistic value while simultaneously considering the audience, organisational methods and the lifespan of the product after its premiere. Success lies in generating social interest, ensuring continuous performance runs and long-term commercial viability.

For historical or traditional themes, the execution must avoid being rigid. Art must touch viewers' emotions while connecting artists with communities, social organisations and enterprises. This expands our resources while artistic quality remains strictly maintained.

In my view, shifting from event-based programming to building long-term products with distinct identities is the core mindset of cultural industries. This approach aligns with current strategic goals, which champion the robust development of cultural industries and task artistic units with turning cultural assets into socioeconomic drivers.

Circus products need to participate in a value chain that links art with technology, media, tourism, design and education. This demands absolute professionalism from creation and production to marketing and commercial development.

Inner Sanctum: When combining circus with cải lương (reformed opera), dance, music or modern technology, what is the golden rule to ensure these elements blend into a unified artistic whole?

The epic production 'King Trần Nhân Tông' brings together circus physicality and the soulful melodies of 'cải lương', creating a distinctive theatrical experience. — Photo courtesy of baovanhoa.vn

I never combine elements simply to create a superficial sense of novelty. The starting point is always the story and the expressive requirements of the script.

A director must understand the unique strengths of each artistic language: cải lương excels at inner monologues and narrative depth; circus excels in physicality, action and high risk; dance creates smooth transitions while scenography and technology expand the visual world.

All art forms must serve a common script. If each party merely protects their own ego, the piece will become disjointed. Collaboration only makes sense when all components elevate one another while preserving their core roots. The real challenge is making circus techniques an organic part of the theatrical conflict, action and emotion.

Inner Sanctum: Through experimental shows like Cây Gậy Thần (The Magic Stick) or King Trần Nhân Tông, what have you learned about bringing historical and cultural themes closer to today's audiences?

Historical themes are naturally close to the public if we choose the right angles and storytelling language. In Trần Nhân Tông, circus recreated magnificent scenes, depicting battles, strength and morale, while cải lương delved deep into psychological layers and emotions. When the two art forms met at the right juncture, the historical story became both relatable and deeply solemn.

An experiment must also be validated by its box-office longevity. A production must maintain regular show schedules, secure an audience base and gradually move towards breaking even. Artistic goals must run parallel with organisational efficiency.

A meticulously produced play that only lasts a few nights before being locked away in a warehouse can hardly generate long-term cultural impact, while severely limiting the performing opportunities and livelihoods of our artists.

Inner Sanctum: Circus techniques possess a high level of international standardisation. What, in your opinion, gives Vietnamese circus its own distinct face on the global stage?

Artists from the Việt Nam Circus Federation perform a high-flying aerial act at the Ngôi Sao Theatre. — Photo courtesy of danviet.vn

Distinction does not mean placing a Vietnamese symbol onto a performance like a superficial decoration. Cultural materials must penetrate deep into the structure of the movements, props, costumes, music, aesthetics and the performing spirit. With acts like Đu Nón (Conical Hat Swing) or Đế Kiếm Trên Đu (Sword Balancing on Trapeze), we strive to make Vietnamese elements an inseparable part of the circus vocabulary.

When entering the international arena, technical execution must meet global standards, but the piece must show where it comes from. The strong results achieved by our three acts at the Golden Elephant International Circus Festival show the potential of this approach: elevating technical quality while sharpening national identity.

Inner Sanctum: The Việt Nam Circus Federation is currently researching 3D mapping, water stages and digital content development. How do you ensure that technology does not overshadow the human artists?

Technology is only meaningful when it expands the horizons of expression; it can never replace the core skills and raw emotions of a live performer. In our upcoming project Sơn Thần Thủy Quái (The Mountain God and the Water Monster), 3D mapping and special effects are designed to create an immersive space.

However, technology only holds value when it clarifies the narrative. If it only creates visual shock and awe, it stops at a demonstration of equipment, failing to become part of the artwork.

As director of the Việt Nam Circus Federation, Tống Toàn Thắng (left) continues to explore new approaches that combine traditional values with modern circus while prioritising mentorship. — Photo courtesy of vietnam.vnanet.vn

Furthermore, digital transformation must be viewed through a broader lens than just uploading videos to the internet. It requires a complete overhaul of production organisation, marketing and value development, which is also a key directive under digital transformation policies.

Circus possesses a rich source of content, ranging from official acts to backstage stories. If developed systematically, the digital space helps us reach entirely new audiences while opening up fresh avenues for brand promotion.

One direction we are particularly passionate about is applying projection mapping technology directly to the unique 360-degree stage structure of the Central Circus Theatre. When combined with carefully designed mapping and lighting, the entire theatre becomes an active part of the artwork. This offers a highly immersive experience for the public.

Yet, no matter how advanced technology becomes, the centre of the circus ring must always remain the talent, technique and soul of the artists. Whether on a live stage or in a digital environment, quality and identity are what we must preserve. VNS