Traces of Kyrgyz epic sagas are prominently evident in Kyrgyz theatre. Kyrgyz epic sagas boast rich narrative subject matter, involving a diverse range of oral folk literature products such as tales, laments, riddles, rituals, rites of passage, birth, weddings, death, stories, and epic saga narratives. This rich reservoir of content serves as the bedrock of Kyrgyz theatre artistry. While the Manas Trilogy, comprising Manas, Semetey, and Seytek, remains a cornerstone of Kyrgyz epic tradition, its influence on the theatre extends beyond, encompassing small-scale epics that find their place on stage. Among these is the epic of Janyl Mırza, which features a female protagonist and is classified within the scope of heroic epics. In this study, we discussed the “Janyl Mırza” epic, a small-scale, yet heroic and historical saga of the Kyrgyz people. The Janyl Mirza epic dates back to a period when the Kirghiz were subject to Kalmak rule during the 17th and 18th centuries. Janyl Mırza has four variants. In our study, we conducted research on Kyrgyz’s repertoire theatres. Among the plays written about the Cañıl Mırza epic, we chose the puppet theatre text written by Calil Sadıkov. The text was written for a puppet theatre. It was also staged as theatre other than puppet. The play was written between 1978–1979. The name of the play is “Janyl Mırza.” At the beginning of the play’s text, a description states, "an epic drama written for puppet theatre." At the beginning of the play, the author states the type of play he wrote as "Epic Drama." This extends beyond Bertolt Brecht’s understanding of epic theatre to the epic tradition and the theatre texts written based on this tradition. Thus, we examined the subject of the Janyl Mırza text, the number of acts, characters and their functions, and their similarities and differences with the epic text. In addition, we discussed the staging processes of the puppet theatre and the cultural elements revealed in the decor and costume design. Our research reveals that out of the nine main scenes of the puppet text, one introductory scene wherein Race Girl plays the komuz stands out. The play features ten main characters and a Komuzcu character named “Irchı Kız,” who sings and provides game-related information. Incorporating songs and poems, traditional musical instruments such as the “komuz” are employed throughout the performance. Notably, the puppet plays have been staged at festivals in different languages. Our research revealed that Janyl Mirza’s puppet theatre productions have been staged internationally in different languages, including regional theatres in conventional theatrical format, beyond puppetry. These enactments serve as practical tools for disseminating Kyrgyz culture and enhancing theatrical arts. The author stated that “Irchı Kız” wore traditional Kyrgyz women’s attire, while other characters used traditional Kyrgyz clothing, “Ak Kalpak,” “Tebetey,” “Eleçek,” and “Köynök,” garments. Cañıl has a sword and a shield in his hand and a warrior’s helmet on his head. The author took some episodes from the epic but did not use the exact words of the epic. The author also referred to Kyz Saykal, another Kyrgyz epic, within the text of the puppet play. Despite Janyl Mırza categorizing the text as an “epic drama,” it diverges from Brecht-style epic theatre. Instead, it represents a puppet text derived from an epic narrative-based oral folk literature product. This work includes elements of the epic, poems, and song narration. Conversely, these epic saga-based narratives and reenactments are unique creations. Thus, the stage presentations of Kyrgyz epic sagas epitomized a genre specific to Kyrgyz performance arts, termed “Kyrgyz Epic Saga Theatre.” In conclusion, when considering works stemming from Kyrgyz epic sagas, they are rightly characterized as Kyrgyz Epic Saga Theatre. "Janyl Mırza" also stands as an example of this tradition.