CC BY
9ART STUDIES
MODERN CREATIVE SEARCHES OF YOUNG KAZAKH DIRECTORS
Yerkebay A.,
associated Professor, candidate of art history T. Zhurgenov Kazakh national Academy of Arts
Almaty, Kazakhstan Totayeva Z.
T. Zhurgenov Kazakh National Academy of Arts Master's degree 2nd course Almaty, Kazakhstan
Abstract
The article is devoted to the search of young modern directors of the Kazakh theatre. In recent years, young theatre specialists have been developing new forms of stage space, paying special attention to the external form of performance. The article analyzes several performances, reveals director's ideas and innovations. Keywords: modern Kazakh theatre, director's search, stage form, actor's skill, scenography.
Introduction
In modern theatre art, experimental performances predominate, as an alternative to those who are tired of traditional theatre. "Experimental" plays did not appear today. They originate from the XX century. The performances indicated by this term break usual patterns of traditional theatre. But sometimes elements of the experiment can be seen in traditional performances. Therefore, theatre directors in the world refer to mixing genres, using different forms of expression, for example, use together circus, pantomime, musical, opera and performance. Some put an artist's work in a foreground, so that viewers can look at objects differently. Of course, in this case, words, acting are fading into the background. Some directors take their plays outside of the usual theatre space, where the audience itself turns into the main characters. Thus, limitlessness of directorial vision, solution of performances in a completely different format - these are signs of an experimental theatre. Here it is appropriate to recall the words of B. Zahava: "Let there be any content, any form, any genre, any style, as long as all this does not go beyond diversity allowed by the main principle of realistic art: requirement of artistic truth that reveals the essence of displayed reality" [1, p. 68]. In fact, in our time, a director is free to put the production as he wishes, but he must always follow principles of artistic integrity and high level of each work.
After gaining independence, the Kazakh theatre, though not immediately, but gradually began to experiment. For example, in the productions of B.Atabayev and K.Sugirbekov of the 1990s, we can observe some techniques that are completely new for their time. There were also those who did not accept these performances. We have no right to challenge their opinion, because domestic audience is traditionally used to realistic, psychological theatre. Actors and directors are also inclined to work on traditional Stanislavsky system. In the works of next generation of directors, namely, A.Maemirov, G.Mergaliyeva, R.Yesdauletov, we observe elements of the experiment. A current generation of young theatre directors - B.Abdrakhmanov,
Y.Nursultan, D.Zhumabayeva, and others are distinguished by creative searches. They made stage forms previously unknown to the Kazakh audience. Of course, not all of this can be called innovative experiments. Because many of these methods have already been used in world practice. Such plays are no longer even called experiments. But, again, for the Kazakh audience, for the Kazakh theatre, many of these productions were new, and were perceived as an experiment.
In recent years, young directors, thanks to foreign trips and limitless possibilities of the Internet, can watch performances from other countries, they have an opportunity to improve their skills through trips to far and near abroad. Such events certainly have a positive impact on their creativity. Their bold directorial decisions are positively perceived by audience.
Main part
Farkhat Moldagaliyev, a young director of S.Mukanov Petropavlovsk regional Kazakh drama theatre while preserving the main storyline of R.Otarbekov's drama "Qasiret" ("Tragedy"), expands the theme proposed by the playwright, offering his own interpretation. He significantly reduced dramatic work, abandoned the previous form of the play, abandoned realistic direction and used new solutions. Gradually introducing actors on both sides of the stage into the action, he uses technique of a real theatrical performance. An interesting solution was the fact that the characters in the play Zhalqytai, Togzhan, Kamila at the beginning of the play came out to the audience and introduce themselves (their characters), share their dreams for the future. So, in the following scenes, audience witnesses reasons why their dreams did not come true.
A big problem of our society - drug addiction is reflected in the example of one family and has an educational impact on the younger generation. Zhalqytai, who became drug addicted, has a broken fate. But this circumstance breaks lives of his parents and girlfriend, which makes a viewer think.
On the black background of the stage, there is nothing but iron chairs. The director played well and hanging in the middle of the stage arcane. The main character, who knows about his illness, then tries to put
a noose on himself, then walks around the stage holding a lasso. Thus, the director is trying to show us that Zhalqytai left in a vicious circle. The delicacy of the director was evident in the love scene of Zhalqytai and Kamila. Many modern directors try to describe love scenes with a delicate plastic drawing, and some even rely on realistic scenes. Farkhat Moldagaliyev decided this scene in such a way that his characters run after each other on the stage, laughing merrily. And in the scene of death of Zhalqytai, he drags his gravestone on his back, and falls prostrate as soon as he puts it on the ground, which is also very symbolic. And the fact that drug addiction caused not only his death, but also death of all the people he loved, we can see in the next scene, where all the characters come on stage in white attire. This scene also turned out to be very effective, due to the fact that it was accompanied by the song of Abai -"Segiz ayaq". However, it seems to us that appearance of a mosque on a black background was unnecessary. It is clear that the director calls humanity to faith, but in this scene this idea is not so obviously reflected.
The actors of Petropavlovsk theatre were able to convey the director's idea. We would like to mention Aida Supatayeva, who played a role of a mother Zhalqytai. She was able to convey her mother's pain not in a classical manner, but was able to find subtle psychological threads, which pleased us. We see a Mother who has resigned herself to her fate, who is trying to help morally her only son's physical illness, and who has gathered all her strength in a fist for this purpose.
A solo performance "He", staged by a creative laboratory "EGO", at G.Musrepov Kazakh State Theatre for Children and Youth, became a cultural event. The creative tandem of a young director Y.Karibayev and an actor D.Bazarkulov turned out to be harmonious. A solo performance is a very difficult thing. Not every performer manages to capture attention of audience, and their actions and words to retell the story of their character, because he is on stage alone. The performance fully corresponds to proposed genre, and is staged at a high professional level. The fact that the performance is performed on a chamber stage, where audience and an actor are almost face to face, helps to convey the atmosphere. "The predilection of modern directors for a small format testified to transition of the theatre to a new quality" [2, p. 45]. I would like to say that every year the Kazakh theatre is dominated by performances in a small space.
Modern theatre of the XXI century is director's theatre. It interprets each work in his own way. The director significantly reduced the work of Yermek Amanshayev "Interrupted lullaby song", leaving only a line of the main character. The character of an actor D. Bazarkulov lives between reality and phantasmagoria. He is experiencing a spiritual decline. This is a man who is tired of modern society, his worthless life. The actor is deeply aware of psychology of his character. Since the production takes place on a chamber stage, the director conveys the character's mental suffering through sound effects. The sounds of drops falling on a large bowl installed on the stage, well convey the inner feelings of the character. Kobyz player girl sitting in the
corner of the stage, also accompanied by popping sounds and every movement of the hero, which also gives a certain atmosphere.
The solo performance "He" showed creative potential of the young director and actor, added a new work to the repertoire of the Kazakh theatre. For forty minutes, one actor keeps all the audience in suspense. At the beginning of the play, for five minutes, in absolute silence, we watch the actor: he smokes, then puts out a cigarette and buries it in the ground, picks up a cane and begins to draw patterns in air, thereby transmitting the inner state of the hero, his experiences. "In every performance, there are very fast movements and very slow ones. It is only necessary to decide which speeds, tempo-rhythmic patterns and which motion graphics will help to express the inner truth of the image. And to focus on this, focusing a little or extremely, depending on what material suggests" [3, p. 52] - wrote Y.Mochalov. Admittedly, the director was able to convey the hero's psychology and inner tragedy with the help of silent silence.
The guy who positions himself as Korkyt is 27 years old. Thus, the actor raises a big problem - the place of youth in modern society. What have I done, what have I achieved, what is in store for me in the future? He also tries to raise these issues during the meeting. The director reveals this theme metaphorically. The actor plays on a small platform, and as soon as his foot goes over the line, the siren immediately turns on. Thus, the director tries to show how much today's society tries to level everyone under one form. And even if it tries to go beyond this form, society does not allow it.
The director uses water as a symbol of purity. When his character washes with water filled in a bowl, he asserts this idea. The contours of an old TV also play a role. Thus showing that even if life changes, humanity remains unchanged, its problems remain unchanged. This we can observe from the poor state of the hero. His character occasionally climbs on the TV and tries to row, the Director thereby shows how difficult it is sometimes for a small person to stay afloat. And at the end of the play, his character wraps tape around the TV screen. With this episode, the director seems to be trying to show that no one has the right to interfere in someone else's life.
I would also like to mention a performance "Dear Yelena Sergeyevna", staged at the Youth theatre of Ust-Kamenogorsk. A young director Aydin Salbanov, who directed the play by the founder of the "New drama" L.Razumovskaya, distinguished himself with original directorial decisions, which allow us to talk about his potential prospects.
Once this play stirred up the entire former Soviet Union. Students of the final class came to congratulate Yelena Sergeyevna, but, they planned something different. They are trying to steal the key to the safe in order to change the results of yesterday's exam. These are young, ambitious guys who want to study at university. Yelena Sergeyevna, a math teacher, also wants their life to be bright, so that they can realize their potential. But to do this, conscience must be clear, and thoughts must be good. This creates a conflict.
The director was able to reveal fully the author's idea. He supported his idea with several successful finds and details. Together with the artist, they considered a scenography very well. If in the play the place of the event was Yelena Sergeyevna's apartment, then Salbanov decided to change the scene. According to his plan, one part of the scene depicted an apartment, and the other part turned into a volleyball court on the coast, and on the foreground there was a bath depicting a river, which was a very interesting solution. And the fact that this set was played during the performance showed skill of the young director. He showed several plans at the same time, the action took place on different parts of the stage. Guys playing with the ball talk like adults, their determination in solving problems, on the one hand instills fear, and on the other hand shows the face of our time.
Also, according to the director' s idea, each character holds a stone in his hands, thus embodying the thoughts and aspirations that torment him. The largest stone in the hands of Yelena Sergeyevna. Because she is faithful to her work, confiding in others, merciful, ready to sacrifice her life for others. She has been caring for her sick mother all her life. She is single and has no children. However, she gives herself completely for the education of students, and is content with a small salary for a school teacher. And her desire to give birth to a child, the director conveys with the help of a tiny figure of a child made of sand and located in the foreground. When Yelena Sergeyevna is alone, she tries to perfect this figure, and when her students come, she hides it with a handkerchief, thereby protecting her secret dream. And when one of the students lifts the handkerchief and looks at what is hidden under it, we understand that teenagers are ready to interfere in the personal life of a stranger to achieve their goal. At the end of the performance, when she sees the true face of her pupils and realizes that there is no purity in this world, the teacher breaks the child's figure with her own hands. This scene turned out to be very emotional, it makes the viewer think. Who knows, if her students had not come to visit her that day, perhaps this figure would have come to life, like the Galatea of Pygmalion. However, the director has shown that reality is very cruel. D.Kazykeshova, who played Ye-lena Sergeyevna, was able to convey this complex tangle of thoughts and emotions of his character.
The smallest stone was in Volodya's hands. His parents are very wealthy people, he is confident in his future, has no doubt that he will become a diplomat. It was he who came up with how to change the results of the exam, and suggested that his classmate carry out this task. Also, the director gives him a Rubik's cube, thus showing us that he perceives this life as a game.
The bathtub, located in the foreground, also plays a significant role. At the beginning of the performance, Yelena Sergeyevna washes her hands in this water,
dreaming, sitting by the coast. And after the arrival of the children, the director plays this detail as the transience of life. The fact that Vitya falls into the water is also very symbolic. Because this is a guy with a difficult fate, he grows up in a dysfunctional family. His future is also not clear. Such as Victor, sometimes makes mistakes, and gets into dubious companies, experience the blows of fate... Pasha and Lyalya also solve their relationship in the water. And in the final, Yelena Sergeyevna falls into this water holding her stone in her hands. She renounces today's society, but does not give up. She leaves without staining herself in clean and clear water.
"The play also has two plots. One is horizontal, it moves forward, the other is vertical, which helps to perceive the depth of content. It is conveyed by allegory, metaphor, and allegory. That is why it is very important that the metaphor (sign) should be able to evoke associations and analogies in the viewer, that is, it would spiritually enrich the content. The meaner, but more accurate the sign, the more opportunities for creative work of the viewer" [4, 118 b.] - said a famous director M.Tumanishvili. Following this principle, the director A.Salbanov played each subject well on the stage. Students turn to the teacher, and ask for forgiveness, standing behind a volleyball net, thus the director shows that among people living in the same society, there is an invisible border that runs between them. Internal experiences of the characters, tormenting their thoughts, especially in the scene with Yelena Sergeyevna, psychological vicissitudes are enhanced by playing the cello (N. Kabykenova), which also turned out to be very expressive.
Conclusion
The development of directing provided new opportunities for the actors. Artists who try themselves in different genres, do not stay only within the theatre, but try to express themselves in private cultural organizations, and actively participate in creative projects. As a result, through the association of several artists, new works appear that give the audience spiritual food. On the one hand, this allows actors to express themselves from different sides, which increases competition. Where there is competition, strong, meaningful works appear.
References
1. Zahava B.E. Masterstvo aktera i rejissera. -Moscow: Prosveschenie, 1978. - 334 p.
2. Mochalov Y.A. Kompozitsia stsenicheskogo prostranstva. - Moscow: Prosveschenie, 1981. - 240 p.
3. Vislova A.A. Russkiy teatr na slome epoh. Rubej XX-XXI vekov. - Moscow: Universitetskaya kniga, 2009. - 272 p.
4. Tumanishvili M. Rezhisser uhodit iz teatra. -Moscow: Iskusstvo, 1983. - 280 p.
