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Section 3. Theatre arts - [^¡¡lER European Journal of Arts 1 (2022) - ISSN 2310-5666 -
Раздел 3. Театральное искусство Section 3. Theatre arts
UDC: 792(575.1:470.41)(091)(045) DOI: 10.29013/EJA-22-1-33-37
M. MAKHMADAMINOVA 1
1 Institute of Fine Arts of the Academy of Sciences of the Republic of Uzbekistan
CREATIVE RELATIONS BETWEEN TATAR AND UZBEK THEATER: HISTORY AND TODAY
Abstract
The role of Turkic peoples, including Tatar theater, in the formation of theatrical art in Uzbekistan is great. The activities of Tatar drama and troupes served as a model for Uzbek intellectuals. Under the influence and example of Tatar and Azerbaijani theater artists, the Uzbek theater was established in the early twentieth century. This article examines the main features of the creative ties between the two national theaters.
Objective: The purpose of the research is to study the stages of development and creative features of the Uzbek theater in the context of the drama of the Turkic nations.
Methodology: This topic is scientifically studied on the basis of historical, socio-artistic, comparative, genre and chronological methods.
The results of the study: The study substantiates the art of acting and directing in the Uzbek theater, the creative role of Tatar drama in the creative development of drama. Scientific findings serve to enrich the fundamental knowledge of Uzbek theater studies.
Scientific novelty: The creative ties between the Uzbek and Tatar theaters have a century-old history. One of the most controversial topics in theater studies is that the Uzbek theater, which was founded on the basis of the Jadid movement, was ideologically and creatively influenced by the Tatars, not the Russian theater.
Practical significance: The research serves as a fundamental source in the study of the creative stages of the history of Uzbek theater. It also demonstrates the creative advantages of intensifying the creative collaboration of Tatar and Uzbek theaters, which are currently stalled.
Keywords: Uzbek theater, Tatar theater, creative relations, Tufon Minnullin, Jadid period, Turkic peoples.
For citation: M. Makhmadaminova. Creative relations between tatar and Uzbek theater: History and today // European Journal ofArts, 2022, №1. - С. 33-37. DOI: https://doi.org/10.29013/EJA-22-1-33-37
Theatrical art in Uzbekistan appeared in the early twentieth century. During the so-called Jadid national awakening, many Uzbek intellectuals, such as Abdulla Avloni, Mahmudhoja Behbudi, Abdurauf Fitrat, Abdul-
hamid Cholpon, Munavvarqori Abdurashidov, Hamza Hakimzoda Niyazi, fought hard to establish a national theater. Until this period, it was not an easy process to create a real theater that existed all over the world on the
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basis of the folk art that existed in the traditional form. In general, the goal of renewing socio-cultural life cannot be achieved without studying the experience of other peoples in making reforms. At the heart of the development of any industry lies a certain factor of interaction with other nations. First of all, the influence of the Turkic peoples with the same ethnic roots in the formation of theater and written drama in Uzbekistan is great.
In particular, the Tatar and Azerbaijani theaters have played an important role in the formation and development of the history of Uzbek theater. Just as the ethnic core of the Tatar and Uzbek peoples is the same, their history and culture are close to each other, there are interactions and interdependencies in the development of art, including theater. While written drama and theater appeared in the Tatars in the second half of the nineteenth century, professional theater in Central Asia appeared relatively later.
If the Uzbek theater was officially founded in 1914, the process before that is a separate stage. Tatars, whose language, religion, and traditions are close to those of Uzbeks, have long lived in Central Asia. Many Tatars came to Uzbekistan to study in madrassas in Bukhara, Samarkand and Tashkent. "At the beginning of the Russian occupation of Central Asia, the influx of Tatars into the country increased. Tatar soldiers were transferred to Turkestan as part of the Russian army, as well as as translators. By 1865, about 5,000 Tatars lived in the cities of Uzbekistan" [10.]
Later, theatrical circles were often organized in the homes of these Tatars. According to sources, in 1904, in the house of Tatar lieutenant colonel Sohib Erikeev and ethnographer Abubakir Divaev, a work by Turkish writer Nomik Kamol "The pain of love" was exhibited. This is confirmed by the Tatar theater critic Iltani Ilyalova: "The first Tatar play was staged in Tashkent in the early twentieth century, in the house of ethnographer A. Divaev and General Erikeev. Not only Tatar audiences, but also leading Uzbek intellectuals took part in the performances" [2, 31].
In 1909, the play "The First Theater" by Tatar writer Ali Askar Kamal was performed. Abdulla Avloni, one of the founders of the Uzbek theater, did not miss any of the performances in these Tatar homes. In the same year, amateur troupes of local Tatars in Tashkent staged plays such as " Fakhriddin's tragedy", " How do girls laugh?" (based on the works of Azerbaijani playwright N. Vezirov). According to the publications of that time,
in the 1910s in Tashkent began a permanent Tatar amateur theater troupe.
In 1909, the play "The First Theater" by Tatar writer Ali Askar Kamal was performed. Abdulla Avloni, one of the founders of the Uzbek theater, did not miss any of the performances in these Tatar homes. In the same year, amateur troupes of local Tatars in Tashkent staged plays such as "Fakhriddin's tragedy", " How the girls laugh?" (based on the works of Azerbaijani playwright N. Vezirov). According to the publications of that time, in the 1910s in Tashkent began a permanent Tatar amateur theater group.
Tours of Tatar theater troupes to Central Asia, including Turkestan, began in 1911. In the same year, the troupe of Ilyasbek Ashkazarsky (1884-1942), one of the representatives of the Tatar theater, performed in Tashkent, Samarkand, Bukhara and the Fergana Valley in various theaters based on the works of playwrights such as Aliaskar Kamol, I. Bogdanov. In 1912, the "Nur" troupe, led by Sahibjamol Gizatulina-Volzhskaya (18921974) and Kasim Shamil (1892-1881), toured many cities in Turkestan. In 1912-1913, the Tatar troupe led by another artist from the Ashkazarsky studio Abdulla Qoriev (1886-1920) performed "Secrets of our city", "Bankruptcy" (Aliaskar Kamol). One of the manuscripts in the archives of the house-museum of the first Uzbek director Mannon Uygur (Mannon Majidov) contains the following memoirs: "I first saw a theatrical performance in 1912. At that time, a Tatar theater troupe came to Tashkent on tour ... the theater completely fascinated and amazed me ... " [9, 6].
Ashkazarsky I. performed in Tashkent, Namangan, Bukhara and Kagan during the visit of "Sayyar" troupe to Turkestan in 1913. In the same year, with the support of Ashkazarsky, a permanent troupe of local Tatars was formed in Tashkent. Zakiy Boyazidsky and Mustafa Man-surov led the troupe as leaders and directors.
Tatar theater troupes also regularly toured Bukhara. In the 10s of the 20th century, a theater troupe of the Tatar intellectual Hussein Najib performed in Bukhara. According to Sh. Rizaev, the troupe asked Behbudi for permission to stage "Padarkush". With the consent of the author, the play was staged in the Tatar language on March 5, 1914. [5, 87].
In his articles on theater, Abdullah Qadiri emphasizes the influence of the creative journeys of Tatar theater troupes on the emergence of national theatrical movements in the country. He also reported that the theater
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European Journal of Arts 1 (2022)
industry began in 1912 as part of the Turkestan Jadid movement. The date indicated by the author marks the beginning of the expansion of theatrical movements in the country, the beginning of the practice of writing plays for the theater among local intellectuals, and the acceleration of initiatives.
At the end of 1913, the "Turon" Society was founded in Tashkent by U. Khojaev, T. Norbotabekov, M. Abdu-rashidkhonov, A. Avloni, M. Poshshahojaev, B. Asadul-lakhojaev, N. Isomiddinkhojaev, K. Bobokhojaev. The "Padarkush", unpublished for two years because of government censorship, will be published as a separate book in Samarkand this year. Poet, editor and teacher Abdulla Avloni, one of the founders of the Turon Society and its amateur theater troupe, began staging the first Uzbek play, "Padarkush", in December 1913 with the Tatar director Muhammadyorov. Muhammadyarov may have been a member of a local Tatar amateur troupe living in Tashkent at the time. The staging of "Paradkush" began in 1913 and was completed in early 1914 by Azerbaijani director Aliaskar Askarov. The troupe of the first Uzbek theater "Turon" began its work with this first performance. In addition to Aliaskar Askarov, the theater team, together with such Tatar directors as Muhammadyarov and Zakiy Boyazidsky, staged performances of "Istanbul" and "Unfortunate Bride" in 1915.
Initially, women did not participate in Uzbek theater performances. Therefore, in the first Uzbek plays, female characters were few and mostly episodic roles, played on the stage mainly by men or women of other nationalities. In the first performances of the Uzbek theater troupe, the role of women was played by local Tatar women.
The repertoire of the "Turon" Theater in 1915-1916 includes works by Tatar, Turkish and Azerbaijani playwrights. Exposing the ignorant, propagating faith and enlightenment was a common feature of the literature and theater of the Turkic peoples of this period.
Despite the difficulties of the time, with the arrival of Mannon Majidov (Mannon Uygur) to the troupe, the Uzbek amateur theater gradually improved creatively and organizationally. The troupe's director and leader, Man-non Uygur, continued to work with Tatars. In 1921, he invited director Abdullah Kamal (Kamol I.), the brother of the famous Tatar playwright Aliaskar Kamal, to direct the troupe. According to theater critic Ildar Mukhtorov, "Kamol first came to Turkestan in 1913 as an actor of the "Sayyar" Theater. He visited Samarkand, Bukhara, Tashkent, Namangan and Fergana. The second time
came after the Civil War. Mannon Uygur staged his first performance at the "Namuna" Theater together with Ka-mol I. Kamol I played an important role in the period of professionalism in acting and directing, dramaturgy of the First Uzbek Theater" [7, 42].
The arrival of Kamol First led to the introduction of European drama on the stage of the Uzbek theater. Because Kamol I begins its work in this theater with a production of Schiller's play "Deception and Love". This play was performed by such actors of the troupe as Mannon Uygur, Abror Khidoyatov, Basit Koriev, Masuma Korieva and Kamol I's wife Fatima Kamolova. Abdullah Kamal's directing experience and work on characters and speech showed its influence on the skills and aesthetics of the troupe's actors. However, by 1922, with the cessation of state funding, the theater again faced financial problems. The efforts of the theater leaders ended in vain, and the team disintegrated again. Mannon Uygur will be called the Ministry of Education of Bukhara, followed by Ka-mol I and Fatima Kamolova who left the theater.
After the establishment of the Soviet Socialist Republic of Uzbekistan in 1924, the close cooperation between the Uzbek theater and the Turkic peoples was significantly weakened as a result of the gradual increase in the influx of socialist-proletarian works. Nevertheless, a large part of Uzbek culture has gradually continued on the path of development. Between 1920 and 1930, the image of Jadid theaters was fully formed, and one after another professional theaters with state status were established. In addition to the works of Uzbek authors, the theaters continued their creative path, staging classics of Western and Eastern drama. Directors such as Mannon Uygur, Alexander Ginzburg, Tashkhoja Khodjaev, Bak-hodir Yuldashev, Rustam Khamidov have done a great job in showing the creative image of the Uzbek theater.
The appeal of Uzbek theater artists to the work of Tatar playwrights was revived in the 1980s, during the Reconstruction. In 1981 director Bahodir Yuldashev staged the comedy "Aldermishlik Almandar" by the famous Tatar playwright Tufon Minnullin (1935-2012) at the Hamza State Theater (now the Uzbek National Academic Drama Theater), the first theater in Uzbekistan. The poem was translated by Uzbek writer Said Ahmad. The staging of a play about human dignity in the comedy genre in a theater where mainly tragic and dramatic works of socio-political content were staged was a unique change.
The idea of humanity in Tufon Minnullin's work, the romantic-realistic expression of life attracted Uzbek audi-
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ences and directors. Therefore, even during the period of independence, theaters continued to appeal to the work of the playwright. In 1991, director Rustam Hami-dov staged a play based on T. Minnullin's drama "Alla" ("Mothers and Babies"), which depicts the socio-moral landscape of the time in the image of women. Translated into Uzbek by Uzbek poet Halima Khudoiberdieva, the play is one of the best realistic performances staged by the Uzbek National Academic Drama Theater in the early years of independence. "Director R. Khamidov staged this play as a kind of debate about life, conscience, kindness, goodness and patience. This play became a poem of boundless respect and love for women" [3, 202].
In the play, the artistic characters found by the author are masterfully animated by the actors. Young and old actresses of the National Theater Shirin Azizova, Tuti Yu-supova, Gavhar Zokirova, Sayyora Yunusova, Erkli Ma-likbaeva, Ikroma Boltaboeva, Yayra Abdullaeva skillfully performed their roles, and the play is still remembered with bright memories.
Tufon Minnullin's work has a worthy place in the repertoire of Uzbek musical theaters. The subtle human emotions expressed in his comedies, the lyricism at the heart of the events, the romantic spirit are in keeping with the aesthetics of musical theater. In 1998, the Uzbek State Musical Theater named after Muqimi staged the play "Four Lovers of DilafToz" (translated by Askad Mukhtor). As the name suggests, the work is about love. The author has a different approach to this topic than others. It expresses the pure, sincere love of youth in an interesting way based on comedic situations and characters. The play, which evokes sweet feelings in a cheerful mood, attracted the attention of the Uzbek audience. Directed by Maruf Otajonov, the play serves as an artistic platform that enhances the performance skills and vocal abilities of the theater's young actors.
In addition, the play "Aldermeshlik Almandar", which was remembered by the audience for its populism and sincerity, was later reinterpreted by the creators of the Muqimi Theater. Director Nasrullo Kabul staged the play in 2012 in the form of a musical comedy. The play "Almandar gets married" was enriched with arias and interpreted in a lyrical spirit performed by musical theater actors. "There are no sharp turns in the plot, no intrigue. Aldermeshlik Almandar has been described by the author as a "sad comedy", but it is not a comedy in the
classical sense. In general, there are comedic situations, jokes, cheerfulness, but the more you read carefully, the more you feel the pain and drama" [8, 1]. This is the peculiarity ofMinnullin's dramaturgy, its artistic individuality. According to the requirements of classical comedy, "comedy portrays people who are worse than those who live in the present" [1,10]. That is, the comedy exposes the flaws of human character. Minnullin, on the other hand, does not think in his works of being in tune with such theories. The heroes of his poems are good people. He sought to show the lives of ordinary people, their human qualities such as nobility, kindness, friendship, perseverance, diligence, loyalty. Whether it's a comedy or a drama, there is such a beauty at the heart of it all.
The protagonist of the comedy "Aldermeshlik Al-mandar" is also a simple man, but he has a strong character. This ninety-year-old image conquers death for its ability to overcome the cares of life and love life and people. Playing such charismatic roles requires an in-depth approach from any actor. People's Artist of Uzbekistan Fayzulla Ahmedov (Almandar), Tursunboy Pirjonov (Death) and other actors showed their talents in the performance.
In general, the relationship between Tatar and Uzbek theater began in the early twentieth century as an amateur, and at the end of the century continued on a professional level. In the new century, modern Tatar drama has taken over the repertoire of Uzbek theaters. One of the main factors in the introduction of modern Tatar drama, in particular, the works of Tufon Minnullin into the Uzbek theater, was the translation work of talented writers. Selected, quality translations for the theater have always been important and necessary. In the example of Tufon Minnullin, the place of modern Tatar drama on the Uzbek stage is the work of great writers and poets such as Said Ahmad, Askad Mukhtor, Halima Khudoiberdieva. However, at the moment, this area is somewhat overlooked. No nation's theater can develop without the exchange of experience and skills. In this sense, modern Uzbek theater has always needed not only national works, but also the best examples of foreign drama. In addition, at a time when the efforts to strengthen relations between the Turkic countries are gaining momentum, the Tatar-Uzbek theater will serve to raise cooperation to a new level, enrich the creative traditions in the field of art and culture.
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Information about the authors
Maftuna Маkhmadnazar kizi Makhmadaminova, PhD student of the Institute of Fine Arts of the Academy of Sciences of the Republic of Uzbekistan Address: Republic of Uzbekistan, Tashkent city Mirzo Ulugbek district, Navnihol street, 10 house, 13 apartment E-mail: [email protected]; Tel.: +998(90) 999-63-03 ORCID: 0000-0002-0235-6663
