CC BY
8AN'ANAVIY TEATR AKTYORLARINI TAYYORLASHNING DOLZARB
MASALALARI
Mahmud Rashidov O'zbekiston davlat san'at va madaniyat instituti
Annotatsiya: Mazkur maqolada an'anaviy teatr aktyorlarini tayyorlashning dolzarb masalalari o'rganilgan bo'lib, an'anaviy teatr sohasidagi tadqiqot ishlari tahlil qilingan va bo'lajak aktyorlarni o'qitishning spetsifik metodikasi tadqiq etilgan. Bo'lajak an'anaviy teatr aktyorlarining kasbiy bilim va ko'nikmalarini takomillashtirishning nazariy va amaliy asoslari yoritilgan.
Kalit so'zlar: teatr, sahna, aktyor, an'ana, kasb, adabiyot, nazariya, amaliyot janr, ijro, mahorat
FEATURES OF TRAINING ACTORS OF A TRADITIONAL THEATER
Makhmud Rashidov Uzbekistan State Institute of Arts and Culture
Abstract: In this article, the current issues of training traditional theater actors are studied, research works in the field of traditional theater are analyzed, and the specific methodology of training future actors is researched. The theoretical and practical foundations of improving the professional knowledge and skills of future traditional theater actors are covered.
Keywords: theater, stage, actor, tradition, profession, literature, theory, practice, genre, performance, skill
Without setting ourselves the task of highlighting something new, unknown so far in the process of training an actor, let us resort to a generalized description made by a specialist in the field of Uzbek traditional stage art M.Kadyrov. "Traditional theater is a performing (acting) theater. Here the actor speaks and shows, his faith, abilities, experience, talent. His essence concentrates and embodies what he collected from the audience and immediately on the "stage", on a special aivan, on a clay elevation, he presents to them" [1]. As you can see, improvisation in traditional theater has a decisive place. Maskharaboz-kizikchi did not have a literary text. The basis of their work was oral dramaturgy. And despite this, the actor improviser went through a great school -he adopted from his ustoz and other older and experienced performers the content of scenes, the main plots of comedies and pantomime, and, of course, the manner, plasticity, voice imitations of people and animals.
So, the actors of the traditional theater knew in advance the general scheme, the script of each work, its main episodes and characters, individual dialogues and the general direction. During the performance, the artistic form mastered by the actors, thanks to their creative improvisation, was filled with content, a mass of various words and intonations, movements and gestures, postures and mimic transformations. The meaningfulness and entertaining nature of improvisation depended entirely on the talent, life and professional experience of the performers. Full-fledged images and performances were created only by those actors who were distinguished by real talent, high skill, and a deep knowledge of life. Therefore, the traditional theater actor had to be a creative actor. And such an actor had to be brought up. In the education of actors in the traditional theater, there were two methods. Some masters did not conduct special classes with students, but limited themselves to advice, comments, assessments and approvals based on the results of direct performances of students, who from the very first steps had the opportunity to take part in performances (first, of course, in extras, then in episodic roles) . A student (shogird) for several years (training lasted from 5 to 10 years) watched the game of his teacher (usta) and other experienced actors. Remembering everything he saw and heard, improving from role to role, he mastered the repertoire of his native troupe and the technology of acting, accumulated experience. Other masters (especially in cities) conducted special classes with students according to a pre-designed system. An example of this is a teacher.
The training of the actor Saadi Makhsum was carried out in two stages. The first stage began with learning imitation and parody. This developed observation in the student, a special aesthetic flair, the ability to select the funniest, comedic from what he saw, to reproduce it with the help of voice, body movements, gestures and facial expressions. After the student acquired skills in imitation and parody, he moved on to the study of lyrical and comedic dances. All this constituted the first stage of the school of Sadi Makhsum. At the second stage, the student learned the art of words, wit (askia), composing stage stories and monologues. When a student achieved the desired result both in stage movement and stage speech, Sadi Makhsum allowed him to perform in comedy performances. Why in comedy performances? Because the essence of laughter remains unchanged at all times, that is, through it a person appears in a specific perspective, and with the help of laughter, his real "I" is revealed. Moreover, both the one who is laughed at, and the performer himself. But this required special skill.
Professional training was closely connected with practical activities and moral and ethical education of future actors. Pupils were brought up on the basis of rules traditional morality, fixed in part in the charter (risola) of the workshop of artists and musicians. These rules obligated not only students, but all actors to thoroughly know the customs, customs, psychology of all strata of society, to have a purposeful creative
program and develop an acutely modern theme in their work, to be modest, honest and devoted to their profession.
The actor-improviser was required not only to have a deep knowledge of the life of society and nature, which were the object of display, the source of themes and plots, but also knowledge of classical poetry, professional and folk music, dance art, folklore, as well as the ability to use all these riches of culture in his creativity. Very often, the audience themselves became participants in the performance, and the usual plot acquired a new sound, acquiring inimitable details. That is why the maskharaboz-kizikchi had to instantly react to the remark of the audience and respond not only with words, but also with plasticity, which was especially liked by the participants in the action.
The folk entertainment art of Uzbekistan is very diverse and has several varieties of theatrical and spectacular forms. Theatrical performances of maskharaboz and kizikchi; sports and circus performances of Darboz (rope walkers), magalakchi (acrobats), nairangboz (clowns), afsungars (wizards), kuzbuyamachi (magicians), etc.; performances of kugirchokboz (puppeteers) etc. [2].
Almost all forms of folk art were used in the performances, which emphasizes the synthetic nature of the performances. We have every reason to assert that the features of the Uzbek traditional theater school, its ideological, moral and artistic requirements were well, one might say, thoroughly known to Mannon Uygur.
Evidence of this can be found in the character of the Uygur's dramaturgy, in his use of much of what has long been inherent in the theater of the oral tradition. There were many connoisseurs of folk art and, in fact, direct successors of his traditions in the theater led by Uygur. Among them - an outstanding comedian M. Mirakilov, a wonderful actor-improviser, then Gani Agzamov and others.
We cannot identify the theater of the European type with the name of M.Uygur. It arose as a result of the educational activities of the Jadids. We are talking about directing pedagogy, and it appeared a little later than this historical phenomenon. But it was in this movement that elements of European theater began to appear, such as dramaturgy, although not in its pure form ("Paricide" by Mahmud - Khoja Behbudi, "The Unfortunate Bridegroom" by Abdulla Kadyri, "The Oppressed Woman" by Khoja Muin, etc.), albeit an educational one, but a task, elementary but oratory, etc. All this led to the fact that the plays were not performed, or rather, they were reproduced. The actor more played the role of a moralist, mentor, preacher who taught moral behavior. But the task of the Jadids was precisely this.
In addition, an energetic stage began in the development of stage art and the accumulation of experience in a new type of communication between performers and spectators of the performance. M.Uygur, summarizing all previous experience, came to understand the need for directing as an even more voluminous art that requires a
special type of performers united by an artistic and aesthetic task. With all his guts, he felt that this profession opens the way to the inexhaustible possibilities of performing arts, but requires a great many talents and skills. The task of the actors of the Jadid Theater did not suit the young but searching director. He understood that it was necessary to prepare a new type of actors. After a long discussion and analysis of the experience of previous years, as well as of previously seen performances, Mannon Uygur concluded that natural talent in itself does not mean anything. We need a synthesis of talent and intellect. The actor needs to comprehend and master the "new proposed circumstances" in which one must speak, move and create "familiar" conditions for liberated behavior. The most difficult thing turned out to be the work on the consciousness of the performer.
Still not knowing how, Mannon Uygur begins, by trial and error, to build his concept of preparing a new actor, who will organically exist in fictitious details. The system of training performers of the traditional theater contributed and brought the actors closer to the tasks that Mannon Uygur set for him. And there were many of them: how to get away from declamation and reveal the essence of the text? At the beginning, the master almost did not succeed, since with the disappearance of the "pathos" of the speaker, any meaning of the text disappeared altogether. How to liberate the speaking actor and make his body plastic, and not just mobile, but expressive? How to make two or more partners communicate on stage so that they do not shout each other, and their behavior would be natural? And how to make sure that the partner's attention is not lost after the spoken text, but would be riveted all the time to the characters on the stage?
Subconsciously, Mannon Uygur began his work by analyzing the text and its emotional structure. The Uygur understood that certain voice data and acquired skills needed to be developed, trained, for future big loads, as well as to expand the range of emotional impact. It should be noted that he himself was an excellent comic actor. E.Ismailov, a researcher of the life of the great master, cites the testimony of a friend and peer of Uygur - director Muzaffar Mukhamedov: "He left an indelible impression with the truthfulness of his game. Uygur at that time was famous as a comedian - an improviser. He was such a master of facial expressions that it was impossible to follow the instantaneous changes in his face [3].
This skill made it possible to accurately assess the game and the plastic drawing of the role of the performers of his team. However, there were many objective reasons that prevented me from taking up directing pedagogy in those years. One of the reasons is the frequently changing composition of the troupe. That is why "pedagogy" was reduced to reading by roles, the Uygur himself, and even showing the game and exemplary mise-en-scenes. Naturally, the performers imitated the director in every possible way, trying to repeat everything exactly - both the movements and the voice.
In the process of repeated repetition of the performance, the same role was played by the prompter! With the arrival of a new actor in the troupe, everything started from the very beginning. Another reason that prevented Uygur from creating the theater of his dreams is pure naturalism. Mukhitdin Kari-Yakubov, who played the main role of the teacher in Khamza's trilogy "Ferghana Tragedies", recalled one of the most important episodes of the play, where, in order to authenticate the execution of the teacher, the executioner cut the lamb intestine with blood tied in advance on the neck of the performer. Horror gripped the audience from the streams of "natural" blood.
The question arises why Hamza himself, who also sought to get away from the transfer to the stage of everyday life, bordering on naturalism, could allow such a decision for the death of the protagonist? And how could the performer of the leading role M. Kari-Yakubov - a subtle romantic, an expert in the field of literature, music and theater, agree to such a stage decision? We think that at the initial stage it was possible, because in the traditional theater it corresponded to the style of the game, the nature of the reproduction of events and the aesthetics of the theater. The "truth of life" among the maskharaboz-kizikchi has its own conventionality, which is expressed in the exaggeration of the event to the point of grotesque.
And each event has its own depth of human emotions, which determines the nature of behavior. Mannon Uygur begins his search in this direction. He wanted the actors, based on the new dramaturgy, to go beyond the usual actions and take up the emotional palette of the characters' actions.
This process is one of the most difficult, since not all the skills of traditional theater could help the performers. But there were no others at that moment. And then Mannon Uygur realized that they (the former skills) can be grouped in a new way, fantasized and the real experience can be enriched by the creative imagination and new experience of the performer. And most importantly, a conscious perception of oneself in the new "proposed circumstances" will be painless.
Here we can recall the inscription of K.S.Stanislavsky on the banner of his system: "to create the subconscious creativity of the artist through conscious psychotechnics" [4]. Of course, on this path, relapses of handicraft cannot be avoided, since one wants to display the final feeling. And then the character is interesting when the actor is looking for himself . In the image during the game, before the eyes of the viewer, it forms its full-blooded and unexpected form. Speaking of surprises! This feeling was evoked in the actors by a new interpretation of improvisation - not every time a new text, but when it was saved, create an improvisational feeling of well-being. Real life is the fundamental principle, the source of everything. Uygur understood this well, and his life and professional experience developed in parallel. Naturally, the director's direction of those years could only give rise to a superficial repetition of what he saw
and heard. Actors, not distinguished by independence, were limited to clichés indicating certain feelings.
"In order to show that the hero is passionately in love, the performer of the role of the hero put his hand to his heart; in misfortune, the hero hit himself on the forehead with his palm or fist; in a joyful state - widely spread his arms and circled in place [5]. And independent work led to completely unexpected results. There could be no talk of reincarnation and the creation of an artistic image. Although, gifted actors had moments of insight. An example is the role of Wurm in the play "Deceit and Love" performed by Abror Khidoyatov. Undoubtedly, having shown considerable independence, the actor exactly followed the instructions of the directors - Kamal 1st and Mannon Uygur, who took everything into his arms. This performance stands apart in the biography of the young director. It is no coincidence that critics of that time became interested in him, noting: "that "Deceit and Love" is "the most successful performance of the Uzbek theater among all those played on its stage before it".
However, there was no talk of a full-fledged artistic image of the entire performance yet. But the production was distinguished by a deep reading of the material and insight into the essence of the conflict of some images. Mannon Uygur was constantly concerned about the desire to understand the ways of conscious performance by actors of his tasks. How does a stable feeling arise for further use as a skill? And how much do you need to rehearse to develop such a skill? The Uygur constantly analyzed new knowledge and gradually learned the eternal laws of art. With experience comes awareness the quality and quantity of rehearsals. Fluency, short duration and non-systematic nature, forced me to stagnate and did not solve problems both in performing and directing art. It's come awareness of the careful study of the image. "In the world of wildlife, there are unshakable deadlines for everything," Alexey Dikiy repeated, - such as fruit ripening time. The process of childbearing. The biological clock. There are deadlines in acting. You can't miss them" [5].
Director M. Uygur learned this clearly and forever. Along with this, came the awareness and readiness of the director himself for such rehearsals. But this was not the most important and decisive discovery for the master, since at the general rehearsals the director was concerned about the play itself, but the consolidation of the newly acquired skills of the performers did not find a place in this process. So how many rehearsals do you need? A question that is solved anew with each new production. When the actor and the director feel the fullness of not only the mise-en-scene and subtext, but the critical point of approaching catharsis, then play urgently. Slowing down and repeating "empty" rehearsals can destroy the best work in the bud. And perhaps the biggest, most correct, discovery for M.Uygur of that time was the understanding that the possibility of a figurative solution to the performance lies in real
dramaturgy. And that this drama is not just a work of faces, but a special way of artistic penetration into the souls of people.
A.Ibragimov, head of a number of amateur circles, in particular in the boarding school where the future outstanding actress Sara Ishanturayeva was brought up, recalled the process of working on the performance of the great master: "He talked with us about how to create an image on stage. At the beginning, the actor needs to know exactly who, what kind of person he is playing, and only after that you need to think how to play [6]. Theater does not exist outside of time. And the "truth of life" that the director forms and broadcasts from the stage must correspond to the "truth of life" of today. And it is necessary to correlate the time of writing by the author of the work, the time that is described in the play with the time of staging, and moreover, you need to be able to find a modern sound and appropriate expressive means. That is why the joint search for the Teacher and the Student forms the basis for the formation of the artistic image and role of the entire performance. In his book "Direction and Pedagogy" Burov A.G. writes about time in the theater: "It can be said that in the theater time overtakes the teacher and the student at the same time. They are equal before the laws of stage truth. Yesterday's knowledge of the director (or the skill of the student) may no longer be useful today, today it is already necessary in a -different way [7].
To the question of how - differently, Mannon Uygur searched for an answer for a long time in his productions, defining both his place in art and his task.
It should be noted that the truths that the Uygur discovered for himself seem naive and simple to us. But for that time, they were very personal and expensive. The task of switching from everyday, everyday well-being to work included not only the director's explanation, but also the ability to set the performer in a creative way. But too long to engage in "moralizing" is just as harmful as confusing, non-specific phrases and tasks before the start of rehearsals. So you need a golden mean. And how to determine it in each specific case and in each specific team?
One of the skills of the director's profession, which Uygur acquired during rehearsals, is not to get carried away by the performance skills of one actor, but to distribute attention to the entire passage, which requires logical expressiveness and completeness. But you need to finish not only when you "pull up" the performer to a certain point, but when the actor himself has questions that will need to be considered before the next rehearsal.
In general, this process proceeded in a complex and ambiguous way. The question of the complete reincarnation of the performers was not so acute. And later, when such phenomena occurred, they were associated, firstly, -with similar roles, and secondly, with Uzbek or Azerbaijani dramaturgy. In European plays, this rarely succeeded. That is why, when in 1921 in the troupe of M.Uygur in the play "Deceit and Love" Abror Khidoyatov as Wurm amazed everyone with his artistic interpretation of this image,
there was confirmation of the correctness of Uygur's thoughts about the professional training of actors.
Quite logically, at that moment, another question appeared that haunted the master - this is the question of the ensemble character of the entire team. Not all actors understood the importance of this theater phenomenon and prepared their role and then existed in the play, each on his own. If we return to the play "Cunning and Love" (stage director Kamal-1), then this work for Uygur himself was some kind of illustrative material of all his principles. He often began to speak to the audience and write articles about the preparation of the play, its idea and features of dramaturgy, thereby increasing the responsibility of the actors to the audience. And this is also traced his pedagogy.
In 1921, M.Uygur was sent to Bukhara, where the first professional theater was being formed. As its leader, he managed to unite talented people around him in a short time and prepare several performances. A long-term friend and colleague of M. Uygur, Yatim Babajanov, testified about that period: "After the arrival of the Uygur, real work began in the theater" [8]. Being consistent in his development of the director's profession, he fully began to test his postulates on specific works.
Speaking about the significance of the acting profession, about its responsibility to the audience, M.Uygur always spoke about faith in one's own abilities and the ability to develop and improve them. What did he do in Bukhara. Naturally, all the training of young performers took place during rehearsals. It was here that the nature of the relationship between the director and the actors was determined, as well as the methodology for working on the role and the type of the theater itself. Mannon Uygur understood that his past merits and authority could fade if there is no hard and competent work on a specific production.
He chose comedy, because this genre, like no other, was close to the theater of the oral tradition. Distinguished this play and the fact that it was small in volume. Uygur completely revised Hakberdiev's play "Hungry Clients". There were only two main characters. The owner of a private canteen is Khasan (M.Mukhamedov), and his worker Zarbala (this role was played by Uygur himself). But the rest of the participants are Hasan's clients, they appear only once and for a very short time.
It is here that the opportunity opens up for the Uygur to work on the characters of these small ones almost episodic images, going from simple to complex. And the master did not miss this option of training actors. Very quickly the troupe overcame the barrier of amateurism. The Uygurs begin to demand actions from performers that go beyond their personal experience. He explains that a goal is needed that influences behavior. From the definition of a chain of actions, actions are born that will characterize this image and its leading emotions.
References
1. Qodirov M.H. An'anaviy teatr dramaturgiyasi. - T.: Yangi asr avlodi, 2006. -
7 b.
2. Kapa6aeB y.X. 3raoKynbTypa. - T.: fflapK, 2005. - C.45.
3. Ismailov E. Mannon Uyg'ur. - T.: Fan: 1998. - 89 b.
4. Ismailov E. Mannon Uyg'ur. - T.: Fan: 1998. - 45 b.
5. Matskin A.P. Theater of my contemporaries. - M.: Art, 1987. - 345 p.
6. Burov A.G. Directing and pedagogy. - M.: Russia, 1987. - 68 p.
7. Qodirov M.H. An'anaviy teatr dramaturgiyasi". - T.: Yangi asr avlodi, 2006. -
75 b.
