CC BY
4
ISSN 2310-5666
Раздел 3. Театральное искусство Section 3. Theatre arts
UDC: (UDR) 792.808.5 BBC: (BBR) 85.33 (5 uzb.) N- (N) 18 DOI: 10.29013/EJA-21-4-132-136
I. B. NAZAROVA1
1 Uzbekistan State Institute of Art and Culture
TRADITIONAL THEATRE ACTOR AND HIS SPEECH SKILLS IN UZBEKISTAN
Abstract:
The article is devoted to the emergence and development of pop art in the world, as well as the origins of the national Uzbek pop art, its origins and the reasons for the development of the verbal genre of national pop music. In addition, the role and place of Uzbek artists in the development of the national stage will be analyzed.
In the 18 th-19 th centuries, our country was under the rule of different khanates, and their attitude to art was different. Vivid examples of pop art can be found in the Kokand Khanate. Their cheerfulness, joy, playfulness and, most importantly, the desire to identify the shortcomings and vices of the khanate and thereby courageously act as the protector of the people are reflected in their work.
Objective: to determine the impact of original pop art in the development of pop art in Uzbekistan.
Methods: The article uses artistic analysis, comparative and historical typological scientific methods of art criticism. To determine the general features and peculiarities of the art of speech as a result of the application ofhistorical-comparative scientific method comparison, generalization, observation, systemic analysis, data grouping, theoretical cognition, the method of analogy and historical method were used.
Results: The article is devoted to the emergence and development of pop art in the world, as well as the origins of the national Uzbek pop art, its origins and the reasons for the development of the verbal genre of national pop music. In addition, the role and place of Uzbek artists in the development of the national stage will be analyzed.
In the 18th- 19th centuries, our country was under the rule of different khanates, and their attitude to art was different. Vivid examples of pop art can be found in the Kokand Khanate. Their cheerfulness, joy, playfulness and, most importantly, the desire to identify the shortcomings and vices of the khanate and thereby courageously act as the protector of the people are reflected in their work.
Scientific novelty: for the first time on the basis of the presented methods, the article studies similarities and differences of the modern pop art and former perfomers.
Practical significance: the main provisions and conclusions of the article can be implemented in methodical and educational activities in addressing issues of pop art performance.
Keywords: pop, Varete, cabaret, actor, maskharaboz.
For citation: Nazarova I. B. Traditional Theatre Actor And His Speech Skills In Uzbekistan // European Journal ofArts, 2021, №4. - С. 132-136. DOI: https://doi.org/10.29013/EJA-21-4-132-136
Section 3. Theatre arts - PRE_M|ER European Journal of Arts 4 (2021) - ISSN 2310-5666 -
The roots of pop art go back a long way, to the era of art that existed in Ancient Egypt and Ancient Greece. Satire about the life and customs of the townspeople, sharp jokes on political issues, criticism of the government, songs, humorous scenes, word games, clown performances, juggling, musical eccentricity, which appeared during the carnivals and field performances, became the first buds of future pop numbers. Elements of the variety appeared in the performances of skomorox (Russia), spielmans (Germany), jugglers (France), frants (Poland), clowns (Central Asia). "The development of pop can be observed at all times, for example, on ancient holidays, walks, cornovals, Russian skomorokh (clown), Russian fair performances and modern pop concert programs. It is easy for people to accept and digest pop music because it is in close contact with the people" [1. P. 15].
Naturally, the influence of Western countries on the development of Russian pop art is great. Performances in hotels, cafes, pubs, cabaret, varete, music-hall arts also appeared in Russia. However, it should be noted that the theater was a great impetus to the development of Russian pop music. In 1908, "Letuchie mysh" and "Kri-voe zerkalo" (Curved Mirror) cabarets were opened in St. Petersburg. Tarasov, the head of the cabaret in Letuchie Mysh, suggested that artists from the Moscow Art Theater performed "kapustniks" on the stage inside the restaurants. The idea started with the name of a miniature theater and went to the level of ticket sales. The Miniature Theater was disbanded in 1920 due to the transfer of private theaters to the state.
"The creators of "Curved Mirror" performed in the genre ofparody. The theater, founded by actress Z. V Khol-mskoya, was closed in 1931 because after the death of its director A. R. Kugel the theater could not perform well" [2, P. 245]. After the October Revolution of 1917, artists began to perform small, narrow, dark cabaret, varets to large squares for the people as concerts, rallies for those who were going to the front, in working clubs, barracks and conscription places. It is worth noting that the uniqueness of Russian pop music is that it gave the audience a festive mood with joy, which encouraged, inspired, encouraged something. Joy, uplifting entertainment is more important in pop than any other art form. In Russia, the emphasis was on the genre of pop music. Thus, there was a high level of public interest in performances such as monologues, stories, short plays, feuilletons, lapars, parodies, conference performances. In the 20-30 s of the XX century, in order to bring a large part of the audience closer to classical and
modern literature, variety was widely used, masters of art reading (chtets) helped to fully express the author in front of the audience. On the genres of pop music, Klitin suggests studying them in three parts: the first - "pop concert" where we meet all kinds of pop, "pop theater" - theatrical miniature, "pop festival" - open-air parties, concerts at sports festivals, activities can be included. Variety is closely connected with everyday life, folklore, values. Its various appearances are mentioned as an interesting pastime. In vain we did not dwell on the circumstances that led to the development of Russian pop music. Because the Russians had an influence on the art ofUzbek theater, especially for comedians and clowns. M. Khamidov writes about this: "The new economic and political conditions have affected Russian culture, including the Russian circus, the theater of clowns and amateurs. These innovations are reflected in the activities, repertoire, skills, attitudes and habits of folk comedians, enriching the types and genres of folk theater, construction and visual aids" [3, P. 84]. So, the first appearances of pop music in our country are studied through the history oftheater. Theatrical scholar Mamaj on Rakhmonov's book "History of Uzbek Theater" says that since ancient times the people have called their national theater "a joke" or "clown", in some districts "a curiosity", and actors as a clown or a comedian [4, P. 36]. Professor M.H Kadyrov, who conducted research in this area, said, "Why do we call the interest in clowning (once these concepts were expressed in the form of" mockery"," muqal-lid ") theater?" Because they have a unique drama, there are actors who embody the image of the heroes with their abilities, mind, client, feelings, body, actions, there are spectators who can enjoy their performances - let alone all the signs of theatrical art.
"Many years of folklore research and scientific research show that in the traditional Uzbek theater, the art of three local groups - Bukhara, Khorezm clowns and Fergana amateurs - is clearly visible" [4, P. 37].
In the XVIII-XIX centuries, our country was under the rule of different khanates, and their attitude to art was different. Bright examples of pop art can be found in the Kokand khanate. Their cheerfulness, joy, playfulness and, most importantly, the desire to expose the flaws and vices of the khanate, and thus to act courageously as a defender of the people, are reflected in their work.
In the memoirs ofone ofthe Kokand historians, Mullo Qasim Haji, he wrote about the details of the play "Mudar-ris" performed by the Bidiyorshum troupe in the palace in 1840 during the reign of Madalikhan. The repertoire of
I. B. NAZAROVA TRADITIONAL THEATRE ACTOR AND HIS SPEECHSKILLS IN UZBEKISTAN
ISSN 2310-5666
Uzbek theater and its themes in Kokand during this period is rich, and the art of professional acting is a great force.
"Musicians and singers and dancers used to sit in teahouses on both sides of the choir. The show began with the rehearsals of the musicians, the game was led by the employer. The guards came out into the circle, and then a breath of ascension went away. After that, it will be the turn of the dancers, and at the end there will be a few performances" [5, P. 42].
In 1866, a peace treaty was signed with Russia and the Kokand Khanate, which led to development in all areas. But Khudoyorkhan, whose treasury had been emptied due to various wars, was raising taxes, aiming to replenish his treasury by constantly oppressing the people. The wise khan, realizing that the consequences of this violence would be bad, used artists to his advantage in order to alleviate the situation, that is, to distract the people by organizing various performances and festivals. In addition to the military orchestra, the palace housed 75 musicians, a 60-member dance ensemble, and a 30-mem-ber troupe of actors. The leader of the troupe was Zokir Eshan, in addition to Rizo Kiyik, Sa'di Mahsum, Nor-mat Qiziq, Boybuva Qiziq, Rozi Gov, Bakhtiyor, Shomat Qiziq, Davlat Qiziq, Kalsariq Qiziq, Avliyakhan Qiziq.
In the Bukhara khanate in the XVIII-XIX centuries various forms of art were widespread. L. R. Kostenko, who traveled from Russia in 1870, wrote about the performances I. L. Yavorsky saw in in Bukhara in 1878, but it is not clear whether there was a troupe of actors in the palace. The differences between the performances in the Bukhara Khanate and the performances in the Kokand Khanate are related to their content. In the Kokand khanate, social themes were performed by actors, while in the Bukhara emirate, performances were simple, depicting the way of life of ordinary people or animals, and similar actions. Yusuf made two creative trips to Bukhara, the first during the reign of Muzaffar Khan and the second during the reign of Alimkhan Khanate. "Yusuf Qiziq Sha-karjanov, satirical couplets by Zuhur Kobulov, Muhiddin Qoriyokubov and Tamarakhonim duets have performed on the Uzbek stage. Rhythmic and plastic images of dances staged by Master Olim express the character and mood of the character. When the legendary Saib Kho-jayev appeared on the stage, an image that no one could repeat was created. Ergash Karimov's sharp rhetoric was astonishing" [6, P. 9]. "Probably in 1897, Muzaffarkhan wrote a letter to the governor general of Fergana and forcibly took us to Bukhara. We have prepared many new
games for Bukhara. But our work did not heat up well. The Emir was reluctant to show ridiculous games from the judges and scribes. Because during the festivals and feasts in the palace, the Sheikh of Bukhara himself sat next to the Emir. During our visit to Bukhara, we showed examples of Fergana's sersukhan and sernazm askiyas. But no one understood and no one laughed except ourselves. The swear words and sweet stories were also in vain. After that, we started to make the audience laugh with fun and imitations" [5, P. 140].
From a religious point ofview, there has been no spectacle about Shaykh al-Islam as if he were laughing at the clerics and mocking them. However, it should be noted that the actors, who walked among the people in the remote rural areas of Bukhara, put on performances, expressing their views on various problems and shortcomings.
It is known from the records of Russian travelers who traveled to Khorezm that the Khorezm khanate also had all kinds of art, music, dance, and the performance of hafiz. Among them, the Russian merchant Abrosimov Muham-madaminkhan (1846-1855) writes about a spectacle in the palace, which means that in one of the gardens of the palace musicians and tents, as well as puppets on the stage, the guards performed a series of concerts. Admittedly, in Khorezm small and large performances were performed in musical harmony, dance, movement and pantomime prevailed. M. Rakhmonov writes that pantomime performances are divided into two groups on the theme of animals and everyday life. There was also the development of the One Actor Theater, in which one actor performed two or three characters. They also performed story and dance professionally. All of the above information means that pop art has developed differently in different regions of the country, but in all of them the actor leads.
"The reflection of the social theme in the repertoire of the troupes working in the palace in the XVIII-XIX centuries varied in different khanates". This issue also depended on the socio-political conditions in the khanates. In reflecting the social theme, the troupes working in the Kokand Palace differ from the troupes working in the palaces of Bukhara and Khiva khanates by the sharpness of their ideological position. The repertoire of the Kokand troupe includes "Muddaris", "Zarkokil", "Sirkataroq azizlar", "Shaykhul Islam's court debate", "Rais", "Imam domla's expulsion from the mahalla", "Khan hajvi" or "Osilsin", "Avliyo", "Farzand duosi" There were hundreds of satirical works, such as "Hajji Kampir", "Mausoleum". [5. p. 130-131].
Section 3. Theatre arts
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European Journal of Arts 4 (2021)
"Clowning and curiosity means a sharp comedy, a metaphor, a funny story, a comic song, a funny play; it is a wonderful folk art that gives an optimistic mood, laughter, enthusiasm, pleasure to the good, while the gurzi to the bad. It is no coincidence that this theatrical artist is called a clown (clown), a comedian (funny), an imitator (a pimp). A clown, a comedian, and a joker are masters of humor and criticism, humor and imitation, laughter and laughter. After all, their art has a comedic-comic orientation, the main weapons of which are satire and humor. With this weapon, the majority of the working people, in the position of the masses, ridiculed and exposed the tyrants, the usurers, the corrupt officials, the hypocritical priests" [4, p. 36-37].
This is especially true in the works of Kokand actors. In order to prove the above, we will focus on the history and performance of the play "Children's Prayer". The actors from Kokand, especially Zokir Eshan, stood up against the people in the palace without showing their heart and brought various actors to the stage. The actors who were expelled from the palace walked among the people and were more impressed by their various circumstances. It was at such times that the actors staged a more interesting and at the same time observational situation. One of them is "Child's Prayer". The play, directed by Zokir Eshan, is about a "Kuf-Sufi Eshan" who was in everyone's mouth at the time, and rumors spread that infertile women, sick of his sharp breath, would go to him and have children. Realizing that this is not true, Zokir Eshan puts on such an interesting parody number that the people who see it are overwhelmed with laughter. The role of Eshan is played by Normat, and the role of the bride is played by Rizo Kiyik. Because Eshan's "kuf-
suf" parodied the fact that the man who came to him would hold his hand and cure his pain, thus satisfying the beauty of women. This can be included in the type of "social parody" ofpop. In this way, the actors masterfully revealed the details of Eshan. Such ingenuity and courage in the actors of Kokand can be called the result of the teachings of Bidiyorshum. In the first half of the XIX century in Kokand under the direction of Bidiyorshum staged performances, hafiz, dancers, musicians, actors demonstrated their skills. In addition, under the sounds of music, drummers, performers, tricksters demonstrated their skills. Bidiyorshum is a "director", both a director and an actor. He is the creator of the Uzbek school of acting and directing. Theatrical scholar Mamajon Ra-khmonov writes that Bidiyorshum emphasizes mime and pantomime, that is, the actor works from the body to the eyelashes, adapts to the character, works tirelessly on himself, gestures in accordance with what he says, behaves moderately when interested. The most important thing is that the actor should know the norm. In addition, the issue of speech was also demanding of the actors. He said that in order to have a clean, clear, fluent speech, it is possible to repeat the speech many times, to rehearse, and only then to achieve a sense of urgency. He taught that there should be a difference between the speech in the spectacle and the speech in life, that the character of the image being created should speak out of the clip and find a tone that suits him, that he should speak to the audience. From the information above, we understand that the first performances of pop music in Uzbekistan go back to the traditional theater. "If a traditional theater actor is an entertainer in terms of today's pop theater, it's safe to say that he has been a real pop artist" [7, P. 6].
References
1. Klitin S. S. Estrada problem, istori I metodiki (Variety problems, history and methods), "Art" 1987.- 15 p. (in Leningrad).
2. Umarov M. Estrada va ommaviy tomoshalar tarihi (History of pop and mass performances), A new generation, 2009.- 245 p.
3. Kadyrov M. Masxaraboz va qiziqchilar san'ati (Clown and amateur art), Publishing, 1971.- 84 p.
4. Kadyrov O'zbek xalq tomosha san'ati (Uzbek folk art), Teacher, 1981.- 37 p. (in Tashkent).
5. Rahmonov M. History of Uzbek theater (O'zbek teatr tarixi) Science, 1968.- 140 p. (in Tashkent).
6. Yusupova M., Rashidov T., Hamidova Sh. Aktyorlik mfhorati qo'llanma (Acting skills manual), UzDSMI, 2013.9 p. (in Tashkent).
7. Hamidova Sh. Estrada teatri va uning janrlari (Variety of theater and its genres), 2009.- 6 p. (in Toshkent).
I. B. NAZAROVA TRADITIONAL THEATRE ACTOR AND HIS SPEECHSKILLS IN UZBEKISTAN
European Journal of Arts 4 (2021) - PRE_M|ER Section 3. Theatre arts - ISSN 2310-5666 -
Information about the authors
Inoyatkhon B. Nazarova, Teacher, Uzbekistan State Institute of Art and Culture, Independent Researcher II stage (Ph.D.), USIAC
Address: 127 "a" Yalangach, Str., 100164, Tashkent, Uzbekistan
E-mail: inoyatkhonnazarova@gmail.com; Tel.:(Fax) (+998 71) 230-28-15, (+998 71) 230-28-02
