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8THE MAIN DIRECTIONS AND TRENDS IN THE DEVELOPMENT OF THE PERFORMING ARTS IN REGIONAL THEATERS BEFORE
INDEPENDENCE
Charos Rakhimova charosraximova961 @gmail.ru
UzSIAC
Abstract: This article examines the features of the organizational and creative formation of theaters in the Fergana region, in particular the Kokand Music and Drama Theater at the dawn of the formation of the European Uzbek theater. The study of the creative team in the formation of the repertoire is analyzed.
Keywords: regional theater, musical drama, creative team, repertoire, stages of development, creative traditions
It is known that the Uzbek theatrical art, one of the rare events in the history of the culture of the XX century, has passed a unique creative path. In the history of theatrical art, from the establishment of theaters in the Fergana region, which has taken its rightful place, in the years of independence, it has been recognized as a proud creative team. It is no secret that the historical formation of this place of creativity, the performance skills of dramatic works, still operates as a kind of school.
Among the theaters operating in the Fergana region, the relatively early establishment of the Kokand Musical Drama Theater, which has become a sufficient basis for many cultural centers, speaks about the organizational and creative processes of pre-independence period. It is expedient to think.
From today's point of view, it can be said that the European-style theater, which entered our country in the early twentieth century, is now fully integrated into the socio-political, spiritual, and educational life of society. Over the past period, the interest of the world community in Uzbek culture and art has increased. Today, the status of our theaters has been restored, and the needs of our people have expanded.
According to historical sources, Kokand was once a major center of culture and enlightenment in Central Asia, as well as one of the places where the national folk art flourished. If we talk about when and where the Uzbek national art was first created, we can say with great pride and satisfaction that the Uzbek national theatrical art was first created in Kokand, structured, and developed. Its deep roots go back to the reigns of the Kokand khanates, especially Amir Umarkhan, Madalikhan and Khudoyorkhan. [1.b.3]
The emergence, formation, and creation of the Uzbek national theatrical art took place with people who lived and worked in Kokand at that time, as well as in Fergana,
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they associated with famous artists, lyricists, askiyas, hafiz, musicians and singers, and dancers from the major cities and villages of the valley.
Professional actors such as Bidyorshum, Zokir Eshan, Sa'di Makhsum, Rozi Gov, Normat Qiziq, Shomat Qiziq, Usman Qiziq, Rustam Qiziq, Matkholiq, Qiziq, who lived and worked in Kokand at the end of the 18th and 19th centuries. The most famous singers such as Boymat Hafiz, Saydali Hafiz, Abdurahman Pari, Ogul Hafiz, Zuhra Qiziq Iqlim Dodho, Huvaydo Otin, Oynisa Hafiz, Isirga Otin, Hamdam Bachcha, and dancers such as Farzinkhan bachcha, Oq bachcha, Chontak bachcha, Kumush bachcha, Chnrvon bachcha were great artists who laid the foundation stone of Uzbek professional theatrical art not only in Kokand, but in the whole republic. [2.b.4]
According to historical records, during the reign of Khudoyorkhan in Kokand, the palace had a troupe of 30 actors, a dance troupe of 60 people and a folk ensemble of 75 people. The troupe's repertoire is mainly composed and performed by them: "Mudarris", "Auliyo", "Khan hajvi", "Zarkokil", "Qalandarlar", "Dorbozlik", "Kelin tushirdi", "Qazi", "Sudkho". It consists of about 200 plays, narrations and parables of various genres and sizes. [3.b.28.]
Political events and changes in the Turkestan region in the second half of the XIX century, the conquest of Central Asia by Tsarist Russia, the end of the Khudoyorkhan Khanate in Kokand in 1896, and then the Russian invasion of Turkestan, strengthening their position In order to carry out their policies, as everywhere, in Kokand there was an attempt to establish their own culture and spirituality instead of the centuries-old national culture, spirituality and traditions of our people. As a result, after the dissolution of the Kokand Khanate, the first European-style musical-drama circle was established in the city. Rozi Gov Nazarmat oglu, who had worked in the Kokand Palace troupe until 1876, was appointed its leader, and its leadership lasted until 1915. [ 4.b.31.]
As a result of research on the serial processes of the cultural and literary environment of Kokand, the period we have identified covers the first quarter of the twentieth century - the long period before independence, and its significance in the development of socio-cultural life and society. It is expedient to study the process of organizational and creative formation of the Kokand Musical Drama Theater in the following periods:
1. The first stage of organizational and creative formation (1915-1940);
2. Organizational and creative processes during World War II (1941-1945);
3. The stage of organizational and creative development in the postwar period (1945-1960);
4. The period of growth in the organizational and creative formation of theaters (1961-1990).
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Although the ancient Uzbek theater made good use of costumes, it did not allow for the artistic use of costumes, lighting, decorations, props or makeup and wigs. The actors often tried to express these means live on stage. The most important place for us is that at the end of the XVIII century in Kokand the drama circle headed by Ruzigov Nazarmat oglu was formed in 1915 in the city by Hamza Hakimzoda Niyazi and Mirshohid Mirakilov. It is the foundation of the current Uzbek State Musical Drama Theater named after Hamza, which celebrated its 95th anniversary in [5.b.18].
We would like to reiterate that the path of formation and development of theater in Kokand has come a long way, as the Uzbek People's Theater, in particular, the puppet theater, has developed over the centuries. In addition, performances by professional and semi-professional traveling theater groups, circuses and various concert groups from Russia, Azerbaijan, Tatarstan and Armenia have aroused interest in the intellectuals and youth of Kokand. Mahmudkhoja Behbudi's play "Padarkush", which was staged in Samarkand in 1913, in Tashkent in January 1914, and in Kokand in February 1914, inspired a group of intelligent and progressive youth, decided to form a similar creative troupe in the city as well. As a result, in the fall of 1912, such a traveling troupe was formed.
The members of the troupe first staged the plays "Hungry Letters" and "Old Turkey" translated from Azerbaijani. Azerbaijani director Ali Askar Mahkamov was closely involved in this work.
As early as the fall of 1914, these two performances would be shown to the public in the building of the Public Assembly in the new city. The young amateur Mirshohid Mirakilov took part in the performances together with his brothers Mirzohid Mirakilov.
Kokand State Musical Drama Theater is one of the first theaters in the Fergana Valley of the Republic. As mentioned above, it was founded in 1915 by one of the founders of the Uzbek National Theater, poet, playwright, and statesman Hamza Hakimzoda Niyazi and People's Artist of Uzbekistan Mirshohid Mirakilov. The school was recognized as a semi-professional theater in 1918 and a professional theater in 1925. In 1927, the theater was awarded the status of "State Theater" by the Government of the Republic of Uzbekistan. As a state theater, the repertoire is based on the above instructions and staged in 1930, "Arshin mol olon"(director K.Yoqubov, artist P.A.Koval), "Lolaxon" (director Zanjirali Mirzatov, artist P.A.Koval). In 1931 "Attack", "Two Communists" (director K.Yakubov, artist P.A.Koval), Sabir Abdulla's "Struggle for cotton" (director Zanjirali Mirzatov, artist D.Begmatov), "Comrades", "Marriage" (director K.Yoqubov, artist P.A.Koval). In 1932, "Halima" (directed by K.Yakubov), "Who is right?" (director Zanjirali Mirzatov, artist P.A.Koval in both performances), "Inside" (director Mirobid Musaev). In 1933 "Malikai Turandot" (director Kurban Nazarov, artist S. Gabidov). In 1934, "TorI icclT^^^^H 356 http://oac.dsmi-qf.uz
mor" (directed by N.V.Molchanov, artist S.Gabidov), "Victory" (Sotti Hussein, directed by Eryigit, artist S.Gabitov), V.Shkvarkin's "Stranger Child" (directed by N.V.Molchanov, artist Malishevsky), "Farhod and Shirin" (director N.V.Molchanov, artist E.P. Carlson). In 1935, "Burning" (director Muhsin Hamidov, artist P.A.Koval), "Skapen's tricks" (director Zanjirali Mirzatov, artist Malishevsky), "Rustam" (director NV Molchanov, artist Malishevsky).
It is worth mentioning the selfless work of the Kokand Musical Drama Theater during World War II. From 1939 to 1941, young and talented people such as Murodjon Ahmedov and Mahbuba Mansurova joined the theater team. In 1940, the theater's creative team staged a play by playwright Sabir Abdulla and composer Tokhtasin Jalilov, based on the Uzbek folk epic Tohir and Zuhra (directed by K. Nazarov). The main roles in the play were played by Valijon Hamroyev (Tohir) and Sabokhon Karimova (Zuhra), Kurban Nazarov (Khanbobo), Solijon Ahmedov (Nozim).
In addition, during the war, the theater staged performances such as "Kurban Umarov", "Oftobkhon", "Farhod and Shirin", "Layli and Majnun", said one of the leading playwrights Kommuna Alimova. [6.b.90.]
In the post-war years, the creative team of the Kokand Musical Drama Theater performed "Farhod and Shirin", "Alpomish", "Layli and Majnun", "Golden Lake", "Maysara", "Nurkhan". Murodjon Ahmedov successfully performed the characters of Farhod, Alpomish, Majnun, Tursunali, Mulladost, Haydar in these works. The roles of Khisrav and Navfal were given to the talented actor and director Solijon Ahmedov.
The 1970s also went down in theatrical history with their prolific plays. During these years, the theater's repertoire included "Navoi", "Hotel Lady", "Painful Teeth", "Parvona", "Hamza", "Five-Day Groom", "Nodira", "Caravan Wind", "Horizon", "Two Boys", "Malay", "Karakum tragedy", "Sepsiz qiz", "Bakhtim menin", "Kuyovning omonati", "Before the court", "Ali clown", "Blood-splattered willow", "Bride of five sums". The results of the team's fruitful creative work have been recognized by well-known art critics and theater critics of the republic, as well as famous foreign artists. As a result, in 1979, at the request of many theater fans, the Kokand Theater was restored the status of "Musical Drama Theater". [7.p.154.]
In the early 80's of the last century, the theater team brought together more than 130 artists. In the spring of 1987, the theater moved to a new magnificent 750-seat building in the Furkat Park of Culture and Leisure. This joyful event inspired the team to new creations and to create ideologically significant works.
Over the years, a number of existing performances has been enriched on the basis of "Friend's Call", "Mother", "Face to Face", "Iron Woman", "Black Belt", "Rifle", "Pearl", "Muqimiy", "Moon eclipse", "At night", "Yoriltosh", "Yulchi Yulduz", "Nomus", "Tahir and Zuhra", "Toshbolta Oshiq" were staged again by the
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new generation of artists working in the theater. The creative team also began staging historical works. Among them is a two-part philosophical play based on Sabir Abdulla's "Alpomish" in 1988. Azimjon Azizov's play "Aksado" ("Face to Face") was also successfully staged. This is a journalistic drama took the 3rd place in the Republican Theater Festival, among the works "Iron Woman" and "Black Belt".
Based on what we have studied above - theatrical sources and websites of these cultural institutions, as well as archival data reflecting their activities, we can conclude that the Kokand Musical Drama Theater in the process of initial creative formation was an amateur performance, a traveling troupe. During almost a century, it has risen to the level of an integrated artistic community, attracting amateur performers as well as professional actors. According to the requirements of the time, in addition to the plays that implement the policies and ideology of the former Soviet Union, the masterpieces of national, classical and world classical drama were also addressed. This has allowed our people to stay as far away from ourselves as possible, to get acquainted with the best examples of world drama. For almost a century, the creative forces of the theater have been able to creatively study the theatrical experience of the peoples of the world and master the secrets of creative mastery through various tours and cultural events. Such results are the consequence of the reconstruction of theatrical activity in the last quarter of the XX century, the education of the new era since 1991, the years of independence of Uzbekistan, undoubtedly served as an important ground for cultivation.
References
1. Umarov A., Mirzahamdamov Z. Hoqandi latif - the awning of art. // Pearls of the history of the Kokand Theater. Fergana, 2011., p. 3.
2. The same source, b. 4.
3. Rahmonov M.P. Uzbek theater (from the 18th century to the beginning of the 20th century). Tashkent, Fan, 1968., p.28.
4. The same source, page 31.
5. Solihov M. Materials for the history of Uzbek theater. Tashkent, Uzdavnashr,
11 p.
6. Olimova K. One century inscriptions. - Tashkent: Istiqlol Nuri, 2015, page 90.
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