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DOI 10.24412/2223-0564-2022-3-40-44 3.T. Рахматуллина УДК 821 (470.57) -2
IDEOLOGICAL AND THEMATIC FEATURES OF THE MODERN BASHKIR FAMILY AND DOMESTIC DRAMAS (ИДЕЙНО-ТЕМАТИЧЕСКИЕ ОСОБЕННОСТИ СОВРЕМЕННЫХ БАШКИРСКИХ СЕМЕЙНО-БЫТОВЫХ ДРАМ)1
Аннотация
Тематика современной башкирской драматургии очень широка: в ней воссоздаются различные стороны современной действительности, отражаются острые проблемы семейных отношений. Данная статья посвящена проблематике и тематике современных башкирских драматических произведений, которые по жанру относятся к семейно-бытовым драмам.
Основное содержание исследования составляет анализ драматических произведений «Китмэгез, торна-лар!» («Не улетайте, журавли!») Т. Гариповой, «взелде омет» («Прервалась надежда») Н. Асанбаева и «Яран гол» («Цветок герани») Ф. Булякова. Семейно-бытовые драмы Т. Гариповой и Н. Асанбаева объединяет тема борьбы с болезнью зависимости, которая приводит к трагедии семьи и к гибели героев драмы. Рассматриваемые драмы посвящены теме отцов и детей, проблемам молодого поколения. В пьесе «Яран гол» («Цветок герани») Ф. Булякова отражается целый мир отношений между мужем и женой, пожилыми родителями и взрослыми детьми, между родственниками. Автор показывает обыкновенную историю семьи, где царит любовь и уважение. Но затрагивает трудности взаимоотношений в родственных связях, а также показывает безразличие повзрослевших детей к своим пожилым родителям.
В результате анализа автор статьи приходит к выводам о том, что башкирские семейно-бытовые драмы отражают наиболее актуальные проблемы современных семей, показывают проблемы в воспитании подрастающего поколения, выявляют причины трудностей в отношениях отцов и детей, делается акцент на важности семейных ценностей.
Ключевые слова: современная драматургия, жанр семейно-бытовой драмы, тема семьи, проблема отцов и детей, семейные ценности
Zukhra T. Rakhmatullina
IDEOLOGICAL AND THEMATIC FEATURES OF THE MODERN BASHKIR FAMILY AND DOMESTIC DRAMAS
Abstract
The topics of modern Bashkir drama are very broad: various aspects of modern reality are recreated and acute problems of family relations are reflected in the drama. This article is devoted to the problems and topics of modern Bashkir dramas, which belong to the genre of family and domestic dramas.
The main content of the study is an analysis of dramas «Don't fly away, cranes!" by T Garipova, «Hope is Lost» by N. Asanbayev and F. Bulyakov's «Geranium Flower». Family and domestic dramas by T. Garipova and N. Asanbaev are combined by the theme of fighting the disease of addiction, which leads to the tragedy of the family and the death of the heroes of the drama. These dramas are devoted to the theme of fathers and children, the younger generation problems. A whole world of relationships between husband and wife, elderly parents and adult children, relationships of relatives are reflected in the play «Geranium Flower» by F. Bulyakov. The author shows the ordinary story of
Рахматуллина Зухра Тимасовна, младший научный сотрудник отдела литературоведения Института истории, языка и литературы Уфимского федерального исследовательского центра Российской академии наук (Уфа), e-mail: saf_zuhra@mail.ru
Zuhra T. Rahmatullina, junior Researcher of the Department of Literature, Institute of History, language and literature, Ufa Federal Research Centre, Russian Academy of Science (Ufa), e-mail: saf_zuhra@mail.ru
© Рахматуллина 3.T., 2022
ПРОБЛЕМЫ ВОСТОКОВЕДЕНИЯ. 2022/3 (97)
the family with their love and respect. But also F. Bulyakov presents the difficulties of relationships in kinship ties, and shows the grown children's indifference to their parents.
As a result of the analysis the author concludes that Bashkir domestic family dramas reflect the most actual problems of modern families, show the problems in the parenting, help to identify the causes of difficulties in the relationship of fathers and children, emphasize the importance of family values.
Key words: modern drama, the genre of family drama, the theme of the family, the problem of fathers and children, family values
Recently the family theme is becoming more and more relevant in society. It may be because there is more focus on family saving, parent-child relationships. This theme remains actual at all time. As noted by Dr. Sc. in Philology R.B. Akhmadiev: "Everyday drama takes on a literary form in the 1930s, and post-war decades, when private topics became socially meaningful, filled with civic pathos, correlated with the moral consciousness and family traditions of the Bashkir people, the development problems of the whole society" [2, p. 114].
Most modern Bashkir dramas raise the problems of family relations, reveal the family destruction reasons, but not all dramatic works are able to show ways out of given situation.
The modern young family breakdown problems are revealed in the family drama "Don't fly away, cranes!" ("Kitmagez, tornalar!") by Tansulpan Gari-pova [5].
In terms of composition, the play consists of three periods in the lives of the main characters. The first period is the carefree life of a simple family of two people: the main character Almukhamet and his mother Bibizata. The plot begins when Almukhamet meets Saria and he brings her home as his future wife. His mother Bibizata is happy for him and meets her daughter-in-law with love.
But what is going on in the mind of the heroine Saria herself? The viewer and the reader only know that she has come out from not far away place recently. Why did the young girl fall into the trap of life? Almukhamet is not interested in wife's past life. Sariya tries several times to reveal the truth to her husband, her soul, but Almukhamet does not want to listen and always stops her during the six years of marriage. Perhaps he did not want to denigrate image of a "beautiful" wife, two children's mother with the past. But the author deliberately includes a cut of the announcer from the radio at the very beginning of the first episode, and it talks about alcohol and its consequences, which initially hints at what will happen next. We find out that Saria likes to drink.
The second period in the play is the stage of complication of this problem - problem of the female alcoholism. The worsening of the situation begins with the arrival of a new hero - Islam. He is hired as a worker to Almukhamet and forces Saria to run away with him to the city. When Saria came back to family she reveals the truth that Islam was her ex-husband. Almukhamet sets fire to his own two-story unfinished new house in a rage, that house was a symbol of a happy family for him. There he dreamed of starting a new life with his beloved healthy wife, children and mother. These difficult events destroy Bibizata's health and she leaves this world, unable to find the strength to forgive her daughter-in-law.
The third period of the main character Saria's life is the bottom of life. Her life has almost no meaning. She is deprived of motherhood, she with Islam sold all the household of her husband and mother-in-law. She believes in her heart that one day her husband will come back for her and forgive her. In the climax, we learn that her ex-husband killed Almukhamet. At the end of the drama, Sariya realizes that she not only crossed out her life, but also broke the life of Almukhamet, her mother-in-law and her children. Her mistake is that she could not let go of her past, give up her first love when fate gave her a chance to make a life and she found happiness in the person of Almukhamet, she had bottomed out in chains with alcohol and her ex-husband.
Hope awakens in her soul to fix and change something when she reads her daughter Gulsibar's letter from the orphanage. But there is the question: What can be changed already? Everyone she loved has gone from her life. Perhaps it was only for the love of her children that she would be able to get back to her normal life. But the finale of the drama is left open and the reader is left to say goodbye to the characters of the play.
The drama leaves a very heavy, conflicting feelings filled with pity and love for Almukhamet, Saria and Bibizate. It should be noted that the language of the play is full of artistic metaphors, as well as
poems by Z. Altynbayeva, which relieves the heavy atmosphere of the drama.
Let's try to see the motives of the heroes in order to explain the reasons for this tragedy of this family. Islam is rather self-satisfied, a very rude, unpleasant person. He destroyed Saria's family, killed Almukhamet, to some extent took revenge on his beloved because of Saria did not wait for him from prison, married a hardworking man, bore him children, and lives happy.
Almukhamet certainly deserved the best in life, but when he married to Saria, he hoped that she would change and start a new happy life with him. But Almukhamet also made a mistake too. He never gave his wife the opportunity to speak out, because Saria several times tries to clarify her past, and tell about her ex-husband. The main character, Al-mukhamet, should hear his wife, try to understand and forgive.
Saria: Can I explain to you?.. Almukhamet, you have never... how I got there...
Almukhamet: Again the same thing! Why do I need to know your past? Should a person live in the past? After all, there is you, we are together, the daughter is growing ... [5, p. 161].
Saria was unable to give up the past that haunted her. She lost everything because of this. The destruction of their family reason is that they could not hear each other, try to understand, forgive, accept themselves, and also fight all problems together.
The family drama "Hope is Lost" ("O^oldo omot") by Najib Asanbayev [1] also raises the urgent problems of the family, the young generation, the topic of parents and children. It should be noted that a specific feature of the compositional structure of this play consists of two parts and ends with a climax. In the first part of the play, the reader is introduced to the main character Rail's family. Rafil is a self-satisfied boy of 20 years old from the city. He is lazy young man who is used to his parents' provision. As he was the only child in the family, his mother Rauzila, constantly took care of him, satisfying all the wishes of her beloved son since childhood. Iskander is the father of main hero, he is a teacher at a university, a deputy. Due to work, he did not pay the necessary attention to his son. And so Rauzilya complains to her friend: "I live with my husband, but all my life I'm alone" [1, p. 88].
The son grew up with his mother, so the reason for his selfishness and unwillingness to become
an adult depends on his upbringing. All successes and faults, as we know, come from childhood, from the family. Even when Rafil decides to join the army, Rauzilya finds reasons for him not to join the army. The father gives his son one week to look for a job so he can start to make a living on his own. But the situation begins to change after the coming of her friend Gatifa. Gatifa is an unmarried woman and she is 40 years old. She is very jealous of her friend Rauzili's life and wants to hurt her, maybe even take her husband away from her. Gatifa offers to introduce Rafil to Lyra, Lyra is from a very wealthy family. Lyra is also the sole daughter of Zauhat and Bylbyl. It is revealed Lyra got involved with drugs and is now ready to involve Rafil, getting him to fall in love with her. Rail's meeting and relationship with Lyra is going very well. These episodes are riddled with sarcasm and comedic tone, they can be described as burlesque - an exaggerated comic image on stage. Further, we can easily predict the following actions. It is clear that Rafil fell into the unkind hands of Lyra, Gatif and Ramazan. Lyra instills in him her thoughts about life, parents, and everything else. She is sure that the worldview of her parents is an outdated, past stage. "Your father smells of mothballs," she laughs at Iskandar. [1, p. 94]. The girl convince s the guy that a new generation is coming, and the motto of this generation sounds: "Take everything from life at once, live and not think about anything."
Lyra: You feel the world in the old way. And today we must think in a new way, live in our own way!
Rafil: How is it?
Lyra: We must strive to ensure that the pleasures of youth last longer. The world is unlimited, so its pleasures must be unlimited. Do you understand me, baby? [1, p. 93].
The guy goes to self-destruction, along the border of life and death because of Lyra. Rafil believes the girl, falls in love, and does everything that the beloved asks. Lyra owes a very big money to Ramazan. Ramazan is a drug dealer who wants to get a good income from Rafil and Lyra. But when Rafil begins to understand that he is in trouble, Ramazan proves him otherwise.
Ramazan: Swamp! On the contrary, I'm trying to pull you out of the swamp life. We were lied to all the time that we would have a beautiful life ahead of us. But he is not there ... This is a beautiful life! [1, p. 99].
By the end of the play, Rafil turns into a person who cannot be recognized, he needs only money and nothing all. Rauzilya is desperate, she cannot fight this alone. She constantly asks her husband to talk to his son like a man to a man, but Iskandar always has one answer: "I'm in a hurry, later!" And then it was already too late. One day, Iskandar tries to talk to his son, but he understands that his son has already grown up, and dad is no longer an authority for him. Iskandar blames his wife for everything that she raised such a son.
Iskander: I am at work day and night! It's your fault that he's like this! Where did you look? He grew up in front of you in a kindergarten. You raised him at home.
Rausilya: Only the upbringing of his mother is not enough for a boy!.. After all, you didn't even see how he grew up. You return home just to sleep and rest. Did you take him anywhere by the hand? He grew up with his father without a father. And I live without a husband, even though I am married... You are just a roommate in this house. [1, p. 106].
It should be noted that, the author reveals another hot topic by the image of Rausilia: the loneliness of married women, and he shows the role of fathers in raising children, the younger generation.
Further, the action of the play is accelerated, and the end of the story is getting closer. The reader and the viewer may hope that the situation will change, that the characters will be able to save each other. After Ramadan blackmails Iskandar and Rauzilia, and takes a huge amount of money from them, the woman cries a lot.
Iskander: Don't cry, the neighbours will hear...
Rauzilya: I lived all the time and hid everything from people so that no one would notice. It has been necessary to shout for the whole world, there would be some good people, perhaps they would help with good advice ... [1, p. 107].
It should also be noted that this play reveals acute problems between fathers and children, the role of parents in the fate of their children. The play gives the idea that you can't patronize others too much problems should be solved by everyone together.
Thus, the dramas "Hope lost" by N. Asanbaev and "Do not fly away, cranes!" T. Garipova show the ways of personality degradation, in one case, in connection with drug addiction, and in the other -with alcoholism. Both plays reveal these problems, show the family tragedies where it is impossible
to fight such diseases alone. A lot of things depend only on the people themselves, who are consumed by addiction.
The talented playwright Florid Bulyakov's plays have become a special phenomenon in modern Bashkir drama. The family theme, especially the theme of fathers and children, is revealed in the drama "Geranium Flower" ("Yaran gol") by F. Bulyakov [3]. The whole world of relationships between husband and wife, elderly parents and adult children, between relatives is reflected in the play. The author shows an ordinary story of a family where love and respect rule. Gali and Galiya are the parents of three sons and they live with their youngest son Bayan in love and respect for one another. The purity of feelings can be found not only in the remarks, but also in the dialogues, and in the eyes of the main characters. Gali and Galia communicate through their eyes and thoughts, and deeply understand each other in front of the children who arrive from the city. The careless relation to the elderly parents is revealed in the dialogues of the sons Zaki and Rail. For example, eldest son Zaki didn't even know that his mother couldn't walk for six months, her legs give out. They have not visited their parents for a very long time, although they live nearby. Zaki and his wife Zakia, Rail and Raila came to say goodbye to their mother. They are ready to take away that ancient geranium flower, which the children think is a hundred or two hundred years old. Zakia asks to leave the flower while she is alive, for her it is a symbol of life and hope, as well as a good force that protects their house from harm.
The children have grown up a long time ago, they live with their families, except for Bayan, and they live their own lives. They are not interested in the lives of their parents. They came to say goodbye to their mother. Also the relationship between the daughters-in-law shows that the brothers also do not communicate with each other. By this play, the playwright raises the kinship problems, relations between parents and adult children, questions of family values.
If we consider the structure of the drama, we can see that there are a beginning (the Gali and Galiya life); plot (sons arrive with daughters-in-law); development of events (death of the last goat, Ramadan arrives, who once loved Galia. Zabira takes everything from Galia's house, while it is very strange that Gali, as the owner of the house, does not try to stop her, and she behaves as the owner of the house
and everything. This is an observation makes it clear that, perhaps, there were conflicts between Gali and Zabira, and Ramazan, but all this was in the past. There is no any conflict between them in the play. The drama ends with the fact that the children all go to the river to admire the waning sun. Gali has radiculitis, he is unable to help himself. And then, Galia gets up, for the first time during the last six months as a surprise for everyone. The author at the end gives a remark: And a geranium flower was smiling on the window - this flower is a companion of all mothers and sisters, a symbol of peace and farewell [3, p. 385].
In the end, parents are left alone, and they do not feel help from their children. Also, the dramas "Love Thief' ("Mokhabbat Urlausy"), "Splinter" ("Shyrau") by Florid Bulyakov are devoted to the problems of the family and morality, loyalty, love and empathy.
In this way, Bashkir family dramas reveal the problems of relationships between spouses, identify the causes of the modern young families problems, dificulties in the relationship between fathers and children, in family ties, emphasize the importance of family values.
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