CC BY
20"Oriental Art and Culture" Scientific-Methodical Journal - (4) IV/2020 ISSN 2181-063X
PROBLEMS AND SOLUTIONS IN PERFORMING CLASSICAL THEATER
PERFORMANCES
Sh.Usmonov
Professor, Director of the Fergana regional branch of Uzbekistan state institute
of arts and culture
Abstract: This article discusses the ubiquitous classical theater performances, their return to the stage and problems in this regard. It also underlines the attitude of today's actors to classical plays.
Keywords: classics, actor, time, space, audience, literary comedian, analysis.
Present time has set the highest goals in front of us. One of our main goals is to create conditions for the comprehensive cultural and spiritual development of our people.
To achieve this goal, the ideological content and artistic skill of Uzbek art should strive to reach the highest levels. One of the main criteria for this is to fill constantly our theaters with young creative. The fate of our theaters requires us to meet its modern demands, and bringing up a new generation of new actors and directors with an ideological and professional level of professionalism.
Art forms the highest artistic need of man and his innate emotional, spiritual, aesthetic, and ideological needs. It influences public consciousness through artistic images, shapes human outlook and serves as a tool to influence one's spiritual image. The influence of art on the consciousness of the masses through artistic images will help to nurture the person at the highest level of perfection. The first President of the Republic of Uzbekistan I.A.Karimov in his book "High spirituality is an invincible force" writes about the contribution of art to the culture and spirituality of the nation, its comprehensive development, its role of the person upbringing.
The classical works, which have existed for many years and centuries, which do not know the time, place, language or nation, and which have brought hundreds, possibly thousands, of generations, have served not only as art, but as an ideal model for all aspects of our spiritual life and it will continue to be so. We often refer to classics as never-ending, modern-day innovations, as they are for today. They talk about common human experiences, and valuable as it offers new ideas in various interpretations and forms. So what is the need for classical works today? Which theaters that are operating in our country bringing classic pieces to the stage today? These issues still concern the industry and the audience.
The importance of the actor's work is that the role he plays has to be deeply embedded in the hearts of the audience. The modern actor must be able to hear the
"absurd", to be able to hear the demands of time, and to act in harmony with it. The modern actor must have an "absolute" hearing, to be able to hear the demands of the time and to step in with it.
The skill of a contemporary actor is that he should be able to change his form while keeping up with himself and be consistent with the times. It is the ability of the actor to control the unique vividness and individual emotional abilities of the individual, his or her body and psyche with his plastic movement and speech.
The theaters of this time have undergone many creative processes and times, created plays that coincided with the thoughts and feelings of our people, rejoicing in successes and victories, enduring defeats, and sometimes through exciting and sometimes treacherous roads. Most importantly, our classical literary heritage, along with modern-day drama, the fact that the classics of the world, in particular Western dramaturgy, are staged with great success, and we are pleased to remember that we have created performances that deserve to be "noisy" not only in ourselves, but even on the world stage. The tragedies of the great British playwright William Shakespeare "Othello", "Hamlet", "King Lear", "Romeo and Juliet", "Julius Caesar" and "Richard III", german playwright Friedrich Schiller's tragedies "Cunning and Love", "Pirates", "Maria Stewart", french comedian Jean Baptist Molly's comedies "Tartyuf', "Violent Doctor" and "Skype", it should be noted that the Russian dramaturgy representatives A.Ostrovsky, L.N.Tolstoy, N.Gogol, A.P.Chekhov's plays were performed at the highest level by leading directors and actors. It is also true that the performances have received the sincere recognition of the most outspoken fans from abroad, and critics of the "forty strings". Do you think the actors and directors of that time still remain?Yes, they do. It is enough to add just a little responsibility for work and avoid laziness. Such classic works will be staged, again, the theaters will be crowded with audience.
Imagine if you are sitting at a table where tablecloths, spoons, forks, rum, etc. are located, or where the nobleman's wife puts the "umbrella" in the process, which dish is the first to eat and when the second one is eaten? At what stage you can get up and dance during the process, "if you can dance," when you should be in your place. If the actors or actresses who play the role in classical works today understand this. If they were wearing corsets of that time, how should they go about it, and there are a number of other issues.
For example, in the present time we often hear rumors that the actor can't even dress normally. The content does not mean that the actor is wearing the frac incorrectly or that he is awkward and not slim, the point is that dress is a means to represent the image, but at the same time to reveal the character of the image that is not known to the viewer.This is exactly what our actors lack, because they don't even think about mastering it. From time to time, the voices of the directors are heard for the slackness, low mobility, inefficiency and inability to create a beautiful plastic picture. Sometimes
the directors complain about the actors that they are less relaxed, less active, less impressive and that they could not create a beautiful plastic picture of themselves. It is unfortunate that such processes are evident in the interpretation of classical works, as well as in the live performances of today's plays. The process is different, and this is one of the most difficult issues that today's actors can properly understand.
Of course, history is history in its own name. It cannot be ignored, forgotten or erased, and at the same time the history of our scene. But the pursuit of the past, the pursuit of great triumphs in the past, the pursuit of new heights and new goals - hinders progress. Therefore, it is not wrong to say that the theater of independence has become the main task of theatrical artists of our country as an example to the generations and to turn it into a chronicle that will be remembered with great pleasure and excitement.
It is a pity that, with few exceptions, the young actors' performance maneuvering is becoming more and more adapted to everyday life, fake performances, emotionally and with no sense. There is no end to the comic actor who wants to make fun, but the tragic actor, whose flamboyant tragedy is breathtaking, is becoming fewer and fewer.
It should be noted that today republican theaters are in great demand and need modern dramaturgy. The changes taking place in the life of society, the thoughts and daily lifestyle of our contemporaries, in short, the fate of the man of the time, are the ones that make the stage artists more excited, more searching, more creative. However, the attention to classical works seems to be diminishing. Of course, there are some works that have reached the level of classics at a certain time, which have served to the ideals and ideas of that time and haven't lost their significance and relevance.
However, classical work is an invaluable opportunity for an actor. Each of our performers is unique while acting personalities of national heroes such as Amir Temur, Navoi, Z.M.Bobur, M.Ulugbek, Jaloliddin Manguberdi and,as well as the individual handwriting and individual features of Hamlet, Othello, Desdemona, Ferdinand, Louise, and Khlestakov, manifesting individual traits, releasing their spiritual world, experiences and passions, and reaching the smallest cells of the hero world, and, finally, can enjoy the formal magic and charm of acting. In other words, each actor who wants to find his own identity and wants to find his own reality at the same time, wishes to play the role in a classical masterpiece. "The magnificence of the classics shouldn't frighten or embarass anyone, wrote the playwright Inna Vishnevskaya, on the contrary, it must be deeply felt by the director, actor and spectator, to feel its beauty and warmth and to live freely and happily."
It would not be fair for us to blame only the directors and actors for this. There is a person in the theater who is responsible for the level of performances, sorting out unnecessary works - a literary comedian. It is the job of these people to create a theater and remind them of the need for classics. But when we see the weak influence of literary comedians on the theater, we get even more frustrated. On the contrary, there
are many poets and writers who, for the most part, do not tolerate the classics but forcibly recommend the plays themselves or of those around them. What can young playwrights and amateur artists do when the greats stand aside and have just begun to hold the pen? It is true that while freedom of creativity is guaranteed, there is no obstacle to the way of the brave. But our modern playwriting is "very fast", but we must not forget the works that have become the spiritual property of mankind! This is true, but it is still happening today.
In this regard, it is worth noting the following remarks of the First President of the Republic of Uzbekistan I.A.Karimov regarding theatrical art in the book "High Spirituality - Invincible Power" in the section "The road to the human heart" says: "At the same time, we must admit that in theatrical arts, unfortunately, there are very few artistic works, both dramatic and direct, that expose our present life, the image of our modern heroes, that captivate the audience." On the contrary, it is more common to fill a theater box office with works that do not provide much spiritual nourishment for people."
At the beginning of the XX-th century Uzbek professional art in Tashkent, Samarkand and Fergana developed dramatically and flourished in various genres and forms. Along with world classical works, the first Uzbek national dramaturgy is to be seen. In particular, a professional theater for children and youth has been established, has gone through the path of development and has its own creative principles and form. So, if the demand for classical works was high then, that would have to be doubled today. But this is not the becoming so as we wanted it to be. Instead this, those same social life performances continue staging at the theaters again and again.
References
1. А.Ф.Исмоилов, Ш.Ю.Усмонов, Д.А.Имоилов - Сахна харакати ва жанги. Т. Тошкент - 2015. Б. 3-4-7-бетлар
2. И.А.Каримов - "Юксак маънавият - енгилмас куч". Т. "Маънавият -2008".
3. Ш.С.Хамидова - "Режиссура асослари ва актёрлик махорати" фанидан маъруза матнлари. Т. ТОШКЕНТ - 2018. Б. 2. 3. 5 - бетлар.
4. Шохрух Абдурасулов - "Яна классикага талпиниб". Театр журнали.
5. Абдуназаров З. МИЛЛИЙ УЙИНЛАРИМИЗ ИШТИРОКИДА ЁШ АКТЁРЛАРНИ ТАСАВВУРИ ВА ДЩ^АТИНИ ЧАРХЛАШ //Oriental Art and Culture. - 2020. - №. III.
6. Фазлиева З. К. УЗБЕК СА^НА РА^СИ ВА УНИНГ РИВОЖЛАНИШ ЙУЛЛАРИ //Oriental Art and Culture. - 2020. - №. III.
7. Умарова Н., Абдувалиева Н. АЛИШЕР НАВОИЙ ГАЗАЛЛАРИДА МАВДЛ ВА ИБОРАЛАРНИНГ МАЪНОВИЙ ХУСУСИЯТЛАРИ //Oriental Art and Culture. - 2020. - №. III.
8. Расулов Ш. ХАТТИ-ХАРАКАТ САХНА САНЪАТИ АСОСИ СИФАТИДА //Oriental Art and Culture. - 2020. - №. III.
9. Умаров К. РОЛЬ НАСЛЕДИЯ ВЕЛИКОГО АЛИШЕРА НАВОИ В МИРОВОЙ ЦИВИЛИЗАЦИИ //Oriental Art and Culture. - 2020. - №. III.
10. Мухаммадиев Л. F. МОДДИЙ ВА МАЪНАВИЙ МЕРОСИМИЗ-АЖДОДЛАРИМИЗ ЖАСОРАТИНИНГ ЮКСАК ТИМСОЛИ //Science and Education. - 2020. - Т. 1. - №. 5.
11. Mahmudovna J. G. YOSH AVLODNI MA'NAVIY BARKAMOL ETIB TARBIYASIDA ALISHER NAVOIY MEROSINING MUHIM AHAMIYATI //Oriental Art and Culture. - 2020. - №. III.
12. Джалилова Ф. ДИПЛОМ СПЕКТАКЛИ ЯРАТИШ ЖАРАЁНИДА ГРИМ ЭСКИЗИ УСТИДА ИШЛАШ //Oriental Art and Culture. - 2020. - №. II.
13. Ходжаметова Г. И. СТАНОВЛЕНИЕ И РАЗВИТИЕ ХОРЕОГРАФИЧЕСКОГО ИСКУССТВА В РЕСПУБЛИКЕ КАРАКАЛПАКСТАН //Science and Education. - 2020. - Т. 1. - №. 5.
14. Рахматуллаев Д. Санъатшунослик ва бадиий танкидчиликнинг жамиятдаги урни //Oriental Art and Culture. - 2020. - №. I (2).
15. Кучкоров Д. Узбек театр санъатида актёрлик махорати //Oriental Art and Culture. - 2020. - №. I (2).
16. Болтабоева У. Ижодкор шахс-актёрни тарбиялашда жонли сузнинг урни //Oriental Art and Culture. - 2019. - №. IV (1).
17. Юлдашев К., Эгамбердиев Х. Режиссура: кеча ва бугун //Oriental Art and Culture. - 2019. - №. IV (1).
18. Рахматуллаева Ш., Болтабоева У., Каримов Б. Фольклор санъати ва халк достонлари: кеча ва бугун //Oriental Art and Culture. - 2019. - №. IV (1).
19. Умарова А. Узбекистон давлат драма театрининг шаклланиш боскичлари //Oriental Art and Culture. - 2020. - №. I (2).
20. Хатамова Ё., Болтабоева У. Нутк техникасини такомиллаштиришда халк огзаки ижодидан фойдаланиш усуллари //Oriental Art and Culture. - 2019. - №2. IV (1).
