Improvisation, a pivotal epistemological indicator across various artistic disciplines, is rooted in a structuralist methodology. It draws upon knowledge originating from human perception and, consequently, emphasizes creative minds over objective realities. This ancient tradition, deeply embedded in Azerbaijani Ashiq art, relies on several factors, including the artist’s ability, mastery of artistic direction, and educational background. In the performance of Ashiqs, improvisation intricately combines the arts of drama, music, dance and literature. This research primarily investigates the extensive application of improvisation within the sub-arts of Ashiq. The significance of this inquiry stems from improvisation’s role in establishing a reputable position within Ashiq art and its potential applicability to other art forms. This article aims to analyze improvisation as an age-old tradition in the performances of Ashiqs, utilizing Richard Schechner’s theory of performance art. Schechner’s theory centers on six acquired skills that, when honed through training, prove crucial during both practice and performance. The central question of this article is: How does the tradition of improvisation, based on performance art theory, manifest in Azerbaijani folklore’s Ashiq art? This qualitative research, with an applied objective, employs a descriptive-analytical method. Drawing on library resources such as scholarly articles and relevant theses, it first analyzes the use of improvisation in Ashiq art and then interprets it in alignment with Schechner’s identified skills. The findings reveal that Ashiqs, much like other performers, adapt their performances to the prevailing atmosphere of the gathering and the audience’s needs and engagement. While adhering to established models, they also tap into their instantaneous inner intuition—which is improvisation. The results further indicate that Ashiqs’ improvisation is characterized by a blend of trust, spontaneity, receptiveness to suggestions, active listening, storytelling, and nonverbal communication. This multifaceted educational context allows improvisation to serve as a valuable model for art education, production, and performance.