CC BY
6DIRECTORS SEARCH IN THE INTERPRETATION OF THE IMAGE OF OUR GREAT ANCESTOR AMIR TEMUR IN THE
MODERN UZBEK DRAMA THEATER
M.I. Sadikova1, M.X. Tosheva2
This article is about the unjust condemnation of Amir Temur in the past, the justification of their pure names today, the fact that now our people know who their children are, live in pride. Directors, actors, painters and other artists unite for a common cause and put their work about Amir Temur on stage. It is written about striving to be mature in all respects.
Key words: directing, director, theater, performance, approach, ancestor, personality, nationality, actor, artist.
"See art in yourself, not yourself in art". (Stanislavskiy)
In this process, the director is trying to build on the traditions that existed before independence.
During the period of independence, the modern Uzbek drama theater has passed a unique stage of development - from an objective approach to the image of historical ancestors, to the depiction of a modern image, to a new approach to the interpretation of classical works and search for new forms of authorship. In this process, the director is trying to build on the traditions that existed before independence. In this case, the traditions that develop in accordance with the requirements of the times, rather than falling into a mold and becoming a stamp, play an important role in the art of directing today. The directors are conducting their research in the creative assimilation of historical experience in the field. The historical-analytical study of this process, the main directions and trends in the development of modern Uzbek theater directing is becoming an urgent task for today's sphere of theater studies.
After gaining independence, we tried to justify the pure names of our ancestors, who were slandered in the past, and to make our people proud of who their children really are. After all, the harmonious upbringing of the younger generation in our country, the awakening in their hearts a sense of pride to our great ancestors, the formation in their minds of respect for the spiritual and cultural monuments of scientists and great statesmen. It is an important task to realize our identity and encourage us to contribute to the great future of our country.
The president of the Republic of Uzbekistan Sh.M.Mirziyoyev at a meeting with representatives of the creative intelligence of Uzbekistan on August 3, 2017, emphasized: "Our esteemed theatrical figures in their speeches in the press and on television often use the words of our enlightened ancestor Mahmudhoja Behbudi "Theater is a school". They like to quote the words of wisdom. But it would be useful not only to utter these wise words, but also to follow them in our work". [3, 2017]
Special attention is paid at the governmental level to the image of Amir Temur. Due to the fact that Amir Temur's personality was previously unjustly criticized, the directing art did not have clear experience in interpreting the image of our great ancestor on the stage. Therefore, the art of directing of modern Uzbek theater, based on the creative research of M.Uyghur, A.Ginzburg and other directors on the staging of historical works, began to stage performances in accordance with the requirements of the new era. As a result of this research, the performances showed a unique direction in the staging of historical works in the art of directing during the independence period. This direction is reflected in the performances of the image of Amir Temur not only as the founder of a centralized state, a just king, but also as a perfect man, a sage who made
Scientific adviser: Sadikova Muqaddam Islamovna - Senior teacher of the chair World languages and literature, Uzbekistan State Institute of Arts and Culture.
2Tosheva Mavjuda Xalmatovna - postgraduate UsSIAC.
a great contribution to the world civilization, the interpretation of human inner experiences through various means of artistic expression.
Among such performances is the play "Sakhibkiron" by A.Aripov, staged in 1996 at the Uzbek National Academic Drama Theater by director Olimjon Salimov. The author includes the most important events in the life of Amir Temur. The dramatic poem tells about Sakhibkiran's adolescence, his struggle for the throne, his attitude to family members, the movement of soldiers, the battle against Sultan Boyazid and other events. "The skill of the playwright is that he does not force historical facts into the work, but draws on the logic of events in places that help the characters to appear historically clear, in essence, when the plot of the work requires it."
O.Salimov staged the play in a philosophical and romantic way, typical of the traditions of Uzbek theater directing art. The director added a prologue and an epilogue to the play. The prologue begins with the representatives of the choir in red and white and G.Khodzhiev's prophesy about the birth of the great commander. The birth of Timur, the cradle descending from above, was a symbolic sign that God had sent to earth a great figure who would establish a centralized state and justice in it. Both the prologue and the epilogue are poetic.
O.Salimov tried to show that Timur was not even afraid of death, that his enemies were forced to kneel before his greatness.
Almost all performances about Sakhibkiran it is payed a special attention to the relationship between Amir Temur and Sultan Boyazid and interpreted it in differentways. In this regard, a pertinent question arises: how did O.Salimov approach this scene? The director skillfully designed the scene of the battle between the two kings. It is characterized by both figurativeness and being worth to be watched. Thanks to the director's plot, the audience will be witness to both chess and war scenes at the same time.
In the final of the play, director O.Salimov shows the death of Amir Temur, and after the protagonist's testimony, a large white cloth appears on the stage, swaying in the wind. As soon as the fabric spreads, it flies lightly and then falls on to the ground. This directorial discovery is a sign that a destiny that by uniting half of the world, could creat a single state and establish justice in this state has left this world as wind.
The director tried to show a close-up image of our great ancestor. In the world full of provocations, conspiracies and prejudices, he tried to express truly Amir Temur's truth-seeking heart on the stage. So, his main motto "Power is justice!" was resolved: in the play.
In the interpretation of the director O.Salimov, the People's Artist of Uzbekistan T.Muminov embodied the image of Amir Temur as a glorious, powerful, strict, incomparable mind - intelligent, high-hearted person. His Amir Temur was a skilful commander, a just ruler, a unique military leader, a smart strategic warrior, the founder of an unparalleled state, a beloved companion. The director also paid great attention to the mental world and psychological state of the protagonist, as a result of which the image was embodied in the stage with his inner experiences. His post-war conversation with Sultan Boyazid, performed by E.Kamilov is noteworthy. The pause in this scene was originally designed by the director. For the first time, the eyes of the two kings, who had been silent for a while, seemed to speak. Boyazid - E.Kamilov's eyes were filled with an angry thought: "In the world that defeated me, you were Timur, but I came and lost to you". You can see the proud words of Amir Temur - T.Muminov tries to keep calm and even in a good mood on this stage and to defeat Boyazid, who is angry with the defeat.
In conclusion, we can say that the director, uniting actors, artists and other creators in a common goal, sought to portray the personality of Amir Temur on the stage in a mature and harmonious way. His figurative discoveries and symbolic means of expression, combined with a realistic style of performance rich in psychological experiences, led to the creation of an interesting and spectacular performance. As Stanislavsky wrote, "Let every nation, every people reflect in art their most delicate national human aspects, let this art preserve their national colors, tones, originality; a good national work, their good interpretation better illuminates the hearts of the people". [4, 1959] So, modernity, relevance, nationalism should become the goal of today's directing.
In all the performances in which the image of Sakhibkiran was interpreted, the main emphasis was placed on his qualities as a statesman, a skilled warrior, a commander-in-chief, as well as a genius, a philosopher who was unmatched in intelligence. But "the image of our ancestor Amir Temur - the pain of the homeland, longing, burning with dreams, burning heart, a true father of the country, a great, wise image as a symbol of the nation", at the same time, Temur - the head of the family, Temur - father, Temur - important aspects of his life as a grandfather were poorly covered. Therefore, the national art of drama and directing still needs to continue its research on the perfect stage interpretation of the image of Amir Temur.
References:
1. Mirziyoyev Sh.M. Achievements of science - an important factor of development // "People's word", 2016, December 31.
2. Mirziyoyev Sh.M. We will resolutely continue our path of national development and raise it to a new level. Volume 1. -T.: "O'zbekiston", 2017. -592 p.
3. Mirziyoyev Sh.M. The development of literature, art and culture is a solid foundation for the development of the spiritual world of our people // "People's Word", 2017, August 4.
4. Stanislavskiy K. Sobranie sochineniy, 8 vols. Volume 6, -M.: "Art", 1959. -466 p.
5. Toji Muhammad. Director. -T.: Sparks of Literature, 2015. -256 p.
6. Tulakhojayeva M. Director's researches // "Theater" magazine, 1999 / issue 1-2.
7. Rahmatullayeva D. Uzbek theater: historical drama. -T.: "Art", 2004.
8. Tolakhojayeva M. Directing in the way of research // "Theater", 2008/4.
9. Rizayev O. The image of Amir Temur on the stage // "Theater" magazine, 2013/5.
© M.I. Sadikova, M.X. Tosheva, 2023.
