CC BY
0INTERPRETATION OF GENERAL HUMAN VALUES IN THE THEATER ART: PROCESSES OF MODERNIZATION AND
TRANSFORMATION
Mukaddas Vakhabovna Akhmetzhanova
Doctor of Philosophy (DSc), Associate Professor State Institute of Arts and Culture of
Uzbekistan https://doi.org/10.5281/zenodo.11215973
Abstract. It should be noted that in his article the author describes the process of modernization of Uzbek theatrical art through the processes associated with the staging of a number of works by Chingiz Aitmatov. Among them are the poem "Ascension to Fujiyama", the play "Naiman ona nidosi" based on the novel "Asrga tatigulik kun", "White ship", "Olapar running along the shore", "Momoyer" and others.
The results of the analysis of the article are important not only for the Uzbek national theatrical art, but also for the re-evaluation of folk theater and national theatrical traditions in different countries where theatrical art is developing, re-staging performances based on modern and audience requirements. The author also provides a systematic and comprehensive analysis of the processes of transformation and modernization of theaters, with the effective use of comparative, retrospective and dialectical methods.
Keywords: universality, individual, nationality, ethno-theaters, spectator, dialectical approach, international reality, play, abstractionism, "radical nihilism", artistic-aesthetic creation, artistic-aesthetic consciousness, transformation.
Аннотация. Следует отметить, что в своей статье автор описывает процесс модернизации узбекского театрального искусства через процессы, связанные с постановкой ряда произведений Чингиза Айтматова. Среди них спектакль «Восхождение на Фудзияму», спектакль «Найман она нидоси» по мотивам романов «И дольше века длится день», «Белый корабль», «Олапар, бегущий по берегу», «Момо ер» и другие.
Результаты анализа статьи важны не только для узбекского национального театрального искусства, но и для переоценки народного театра и национальных театральных традиций в разных странах, где развивается театральное искусство с помощи перепостановки спектаклей на основе современных требований аудитории. Также автор проводит системный и всесторонний анализ процессов трансформации и модернизации театров с эффективным использованием сравнительного, ретроспективного и диалектического методов.
Ключевые слова: универсальность, индивидуальность, народность, этнотеатры, зритель, диалектический подход, интернациональная реальность, игра, абстракционизм, «радикальный нигилизм», художественно-эстетическое творчество, художественно-эстетическое сознание, трансформация.
I.INTRODUCTION.
Since the transition to the stage of professionalization, the Uzbek theater has been promoting universal culture and ideas through artistic and aesthetic research, stage productions and images. In this sense, it is necessary to analyze the artistic and aesthetic research in the Uzbek theatrical art through the renewal of universal ideas, socio-spiritual and creative research. This approach, of course, requires looking at the problem in the context of the achievements,
experiences, and epistemological research that national and universal culture has achieved. Because "common features manifest themselves through the private, so it is natural to think that national culture reflects one aspect of universal culture. But just as universality cannot embrace all aspects of national cultures, so national cultures cannot embrace all aspects of the culture of the peoples of the world. Hence, the impact of the general on the private depends not only on the characteristics and capabilities of the general, but also on the characteristics and capabilities of the private. In fact, in the field of culture, the characteristics and capabilities of the private sector are more crucial. " [1, p. 14].
THE MAIN PART.
It is clear that the term "universal" means not for the authority of an individual, group, nation or country, but for all people, for humanity.
"Humanity is the main subject of human socio-historical development, the harmony of humanistic behavior, such as the fact that culture, by its substantial nature, must serve the interests of man, the basis of all change is to glorify man as a being, to increase its positive qualities" [2, p. 35]. So, at the heart of humanity is the socio-cultural ideas and values of man, which honor him, encourage him to mature in all respects, and have undergone historical experience. Existentialism is in the nature and essence of humanity.
In fact, universal feelings, ideas and views are formed from the place where a person is born and raised, from the cultural environment in which he is formed. As U.Utanova writes, "Through the formation of human (cultural) qualities in a person, culture gives a humanistic purpose to the human-society (people) -human system, connects a person with a universal being through the social environment in which he lives. The individual is connected with humanity not because of its biological existence, but through its place in socio-cultural life as an individual, through its relationship to existing cultural riches. The deeper and broader this connection, the deeper and broader the harmony of the individual with humanity, the deeper and broader the involvement in the universal culture within him. Although the ideas of universal feelings in folk culture, such as beauty, purity, moral qualities, diligence, love, devotion to the motherland, seem to be national features, plots and themes, in fact, at the heart of folk culture is universality "[2, p. 37]. This process shows that the socio-ethical phenomenon is that nationalism and humanity are interrelated, mutually demanding, in constant contact, that universal ideas, values that have become recognized, stable reality, are formed as a result of social demands.
Preservation of nationality, ensuring its stability in social life should not lead to its absoluteization, an aggressive attitude towards other cultures, beliefs, lifestyles, art. "... The deepening of international integration serves not only the specificity of national cultures, but also their commonalities and broad roots. This process, in its positive form, undoubtedly contributes to the rapprochement and enrichment of cultures "[3, p. 104].
Uzbekistan is not left out of the ongoing globalization, integration processes, existential changes and general philosophical paradigms. Political, economic, spiritual and cultural development in our country is on the path of developing both national and universal ideas, creatively mastering best practices in all areas. The relations of our ethno-theaters with creative troupes abroad, joint international festivals, the fact that many of our performances are highly valued at prestigious international conferences reflect in our artistic and aesthetic consciousness, in our research universal values, high spiritual ideas. shows that it is changing for the better.
Over the last 20 years, our culture and art, especially theatrical art, have been renewed in both content and form. The creators were given the opportunity to create the work of their choice,
to freely choose the method and style, to create in any method. This trend was the beginning of integration with universal ideas.
It can be said that the new philosophical and aesthetic approaches observed in the Uzbek theatrical art in 2000-2020, the formal research was formed in accordance with the requirements of socio-spiritual development, national and universal democratic paradigms that are gaining ground in Uzbek society. "One of the future tasks of the spiritual and enlightenment sphere (culture, theater - M.A.) will be to promote international values and culture, while the Republic is establishing broad ties with the peoples of the world and declares its mission to support and rely on universal values." [1, p. 32]. Because "innovation in the field of art includes a variety of processes, such as new ways of expression, the introduction of genres, as well as the impact of a particular work of art on people's worldview, the enrichment of the spiritual world and the creation of new works of art" [3, p. 75].
Consequently, today's Uzbek theatrical art is a complex reality with its versatility, diversity, incompatibility with a clear scheme, and unpredictability of future trends. Ms. Tulahojaeva tries to classify the modernizations observed in modern Uzbek theaters as follows: "There is a tendency in modern Uzbek theaters to seek colorful, new means of artistic expression. Stage effects that amaze the audience, the use of new means of performance are becoming more widespread. Today, the practical experience and directing of Uzbek theater is generally characterized by the following factors:
- The integration of the traditions of folk theaters, clowns and hobbies into the atmosphere of European-style Uzbek theaters;
- to follow the theatrical traditions of the 30s and 50s of the last century;
- mastering the complex stage language and means of modern western theater "[4, p. 121]. From this classification, it is not difficult to see that the process of Uzbek theatrical art to follow the traditions of world theatrical art, and, consequently, universal ideas and values, is accelerating. This process also reflects the growing style of theatrical art, the skills of directors and actors. At the same time, "modernist style should be expressed on the basis of Uzbek thinking, oriental thinking. Otherwise, it will not reach the heart of the reader (spectator - M.A.) "[5, p. 168].
On the same issue, A. Ochildiev puts forward a slightly different, dialectical approach. According to him, international "elements appear within one culture and then penetrate into another culture, acquiring a specific national color and content. For example, under the influence of cultural events such as opera, ballet, cinema, which have appeared abroad, our unique and distinctive national opera, ballet, cinema is formed. At the same time, it is no secret that our achievements in these areas, our unique works of art and the activities of our mature artists have in one way or another influenced the development of these areas in neighboring nations. This means that the phenomena formed within one culture can be absorbed into other cultures, go beyond their own sphere, imbued with the national spirit, that is, acquire a new interstate content "[3, p. 65]. This phenomenon, the process continues permanently, undergoing specific transformational changes, becomes an existential reality. Because "Art is an international reality, which, while reflecting ethnic characteristics, does not reflect ethnogenesis. That is, art is national, but it does not promote nationalism. His language, images, ideas are understandable to all and have the same power of influence. Art is really for everyone, for the people "[6, p. 95].
Well-known writer Chingiz Aitmatov mainly wrote prose. Currently, the only poem written by him is "Ascension to Fujiyama". But almost all of his novels and short stories have been staged and staged in theaters around the world. In particular, representatives of the Uzbek theatrical art -T.Khojaev, O.Salimov, A.Rahimov, R.Khamidov - addressed the works of Ch.Aitmatov. In the
theaters of our country, theatrical interpretations have been created on the basis of the novels "White Ship", "Olapar running along the coast", "Sarvqomat dilbarim", "Momo er", "Asrga tatigulik kun" . The deep philosophical and aesthetic views in the works of the writer, the high universal ideas expressed through the nation, fascinate not only ordinary readers, but also representatives of theatrical art, enriching their thinking, expanding their creative horizons, appealing again and again in different years.
The play "Naiman ona nidosi" (1999) based on the novel "Asrga tatigulik kun" by Chingiz Aitmatov, directed by the theater-studio "Eski machit" in Karshi, shows the universal problem of the tragic consequences of losing one's identity and becoming a manic creature (director F. Kasimov). I.Turaev played the role of Jo'lamon and O.Khalilova played the role of Naiman's mother. Jolaman is a miserable man, a boy who has lost his memory, who only executes orders, who has lost his mind. The worst part is that he doesn't understand it, he doesn't understand it. "In the middle of the stage, a drunken, youthful Julamon (actor Ishak Turaev) turns him around and pours out all his joy. As he happily eats the food brought by his mother, his whole body is full of youthful passion and passion " [7, p. 184]. A Naiman mother who came looking for her son is horrified that her child has become unrecognizable to her. Is there a more painful, unbearable grief in the world for a mother than to see her children living in the clutches of misconceptions, selfishness, and inefficiency? Naturally, the mother-in-law suffers greatly from the fact that her child has changed so much, making groans that restore her human memory and return it to itself. "Suddenly, the quiet atmosphere on the stage is replaced by noise, and a gala mancurt with a rope in his hand pulls Jolaman out of his mother's arms and into his ranks. In the eyes of the Naiman mother, the world looks dark, and no matter how much she cries, she cannot save her child.
In the play, these events are shown through dramatic contradiction, sharp conflict, psychological performance, philosophical scenography. Originally a pure fantasy, it now takes on the appearance of a manatee's place of worship and belief " [7, p. 184] . Unfortunately, the mother's efforts are in vain, and she herself dies from the attack of manicurists like Jolaman. It is only after Naiman's mother's death that the mancurt's son's blind eyes are opened, realizing what a tragedy that has been. "Even though the show ends at such a tragic point, it encourages the audience to refine their morale," he said. Because it expresses the idea that a nation that does not know its past, history and values will be annihilated and destroyed from the face of the earth. In his performances, text, music, song, melody, figurative generalization prevail. In a small place, worldly problems are raised that cannot be embraced by man " [8, p. 179] . Through the tragic fate of a mother and son interpreted in the play "Naiman's Mother's Cry", the whole of humanity is called to consciousness. It should be noted that the play won the Grand Prix at the International Theater Festival "Aitmatov and Theater" in Kyrgyzstan, the Grand Prix, the international competition "Save the world from mangroves!" In Cairo. It is no coincidence that the nomination of the play, which reflects the most pressing problems of mankind, was approved.
III. DISCUSSION.
In the Uzbek theatrical art, it is impossible to say that the universal ideas in the works of Chingiz Aitmatov are always fully covered, correctly captured and interpreted. The first reason for this is the complexity of the plots of the writer's works, the richness of symbols, which always make it difficult for theater creators to find a reasonable artistic and aesthetic solution to the events of the work. Because turning a prose work into a dramatic work requires many years of experience and great talent from the author of the script. Researcher Sh. Abdurasulov writes about the shortcomings of the play "White Ship" staged at the Uzbek National Academic Drama Theater (director A. Rahimov, artist B. Turaev - 2018): The symbolic image of the horned mother deer is
seen in an extremely woolly and schematic approach. Actress Madina Mukhtorova's appearance on the stage in a deer dress and speaking in a didactic tone disproves Aitmatov's philosophies. Given that the ancient legend of the mother deer defines the culmination of the story, and also expresses the universal ideas raised in the play, it was necessary to find a symbolic solution to this symbol " [7, p. 183] .
It is the works of humanity and universal ideas that "turn artistic and aesthetic creativity into a humanistic reality" (Ch. Aitmatov), curb the non-vital instincts of the individual, lead him to spiritual purity and beauty. Transformation and modernization also take place on this basis.
The question arises from time to time as to whether artistic and aesthetic creation should be national or whether it should be constantly irrigated with universal ideas and promote cosmopolitanism. It is a common phenomenon in art that some artists (supporters of Dadaism, Surrealism, Abstractionism) who want to get out of the shell of their narrow artistic and aesthetic views promote cosmopolitan ideas. In theatrical art, such aspirations were at the beginning of the last century (in Europe and Russia), some of which were influenced by F. Nietzsche's "radical nihilism", but later realism prevailed over them. There are no such trends in Uzbek theater, as its professionalization has emerged on the basis of traditional theater in the stage of popularization, in harmony with it, and even as a gradual continuation of it. Popularity was based on folk traditions, ethnoesthetic and ethno-didactic heritage, moral imperatives deeply rooted in folk culture and way of life, which became a guarantee that the new form of theater (modern, professional, European) would not follow radical nihilistic ideas. No matter how drastic, dramatic and nihilistic changes in social life, the ethno-cultural paradigm and values of the Uzbek people kept artistic and aesthetic creativity within the framework of nationalism and humanity. That is why high morality, based on spiritual imperatives, based on national and universal values are a priority in the Uzbek theater.
IV.CONCLUSION.
As a result of our research, we came to the following consulsions:
"First" - Evaluation of artistic and aesthetic creativity, work based on universal ideas is an accepted approach in philosophy of art and art criticism. Universal ideas, common to all peoples and nations, are eternal themes for art. All artistic and aesthetic researches in the theater, the processes of transformation propagate these universal ideas, forming in the audience humanistic views of an existential nature. At the heart of artistic and aesthetic consciousness are these universal ideas, which have an existential essence, which give the stage works a social humanistic essence and change the national and social consciousness. It is true that the artist may not sometimes realize that he is following universal ideas of existential significance, and it is not surprising that he is interested in the national problem.
"Second" - However, nationality is not a reality that is separate from universality, because the above values apply to one degree or another, from a national perspective. A true artist, a creator, can instinctively interpret nationalism on a universal level. This existential requirement is a universal feeling based on artistic-aesthetic consciousness and knowledge, "pain in the heart" in his heart. It takes this feeling first of all from the social-spiritual environment, polishes it in the process of artistic-aesthetic creation, wraps it in emotional ornaments, encourages the recipient to think, to re-evaluate his behavior and life.
"Third"- Nationality or national artifact, creativity, value, which has undergone a synthesis of universal, existential existence, can be a claim to reality. These transformation processes are not easy, especially today in social life, in artistic and aesthetic creativity, competition, marketing. The transformation in theatrical art is an expression of changes in the life of society and in the
social consciousness. Transformation yields expected results when based on existing positive
experience.
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