ОБРАЗОВАНИЕ НАУКА И ИННОВАЦИОННЫЕ ИДЕИ В МИРЕ
https://scientific-jl.org/obr
Выпуск журнала №-70
Часть–3_ Мая –2025
341
2181-3187
THE EMERGENCE OF NATIONAL THEATRE ART DURING THE
RUSSIAN EMPIRE
Asian University of
Technology
Teacher
Chorshanbiyev Q
Abstract:
Theatrical art occupies an important place in the cultural life of every
nation. It is formed as a reflection of the customs, traditions, national values, and social
life of the people. Looking at the history of Uzbek theatrical art, one can see that the
socio-political processes of the Russian Empire played an important role in its
formation. In particular, the national theatrical movement, which emerged in the late
19th and early 20th centuries, began to take shape through the efforts of local
intellectuals, Jadids, and art lovers.
Keywords:
national theater, theater art, Tatar professional theater, Sh. Rizayev,
S.G. Yenikeyev
As a product of the Jadid movement in Turkestan, national theater art
emerged at the beginning of the 20th century. Along with Russian and Azerbaijani
traveling troupes, Tatar theater troupes also played a significant role in the formation
of this art form. Sh. Rizayev, who conducted research on the emergence and formation
of Jadid dramaturgy, noted that Tatar traveling theater groups gave an important
impetus to the birth of Uzbek national theater art. Tatars got acquainted with European
theater art much earlier than the population of Turkestan, and it was customary for
Tatars living in the country to organize art parties. In particular, Sharif Yaushev, who
was engaged in trade in Tashkent, regularly brought art orchestras from Moscow and
organized concert programs in his garden in Tashkent.
ОБРАЗОВАНИЕ НАУКА И ИННОВАЦИОННЫЕ ИДЕИ В МИРЕ
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Выпуск журнала №-70
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K.P. von Kaufman also invited representatives of the Governor-General to
these parties, gaining many political rights necessary for his activities. The end of the
19th - beginning of the 20th centuries is a period of significant changes in the history
of Turkestan. The ideas of Jadidism rapidly entered the country and determined the
level of further development of Turkestan. Along with the ideas of Jadidism, European
theater art, which was considered a “novelty” for the people of the country, also
entered, and the interest of the local nation in it increased. The interaction of local p
rogressives with Tatar enlighteners played a key role in the short period of the
introduction and development of theater art into the cultural life of the people of
Turkestan. There are the following opinions about the emergence of Tatar professional
theater among the Turkic peoples and the beginning of its creative journey. According
to Kh.L. Kumisnikov, the emergence of Tatar professional theater and the period of its
full formation fell on 1905. On December 22, 1906, this theater troupe began its tour.
M. Rakhmonov also notes that under the influence of the Russian Revolution
of 1905, a real Tatar professional theater was founded in 1906. In 1908, the “Sayyor”
theater troupe was founded under the leadership of A. Qoriyev and the “Nur” theater
troupe under the leadership of Izzatullina. Sh. Rizayev notes that the “Nur” troupe,
headed by S.I. Volzhskaya, was founded in 1911 and visited various cities of Turkestan
from 1912. Art evenings were also regularly held in the house of General S.G.
Yenikeyev, who lived in Tashkent. On April 4, 1904, Navmik Kamol’s play “The
Calamity of Love” was performed in this house by Tatar amateurs living in Turkestan.
Before the performance of this play, Colonel Abubakr Divayev spoke and gave a
lecture on European theater. The owner of the house, S.G. Yenikeyev, was a Tatar from
Bashkiria. His wife, Saodatkhanim Yenikeyeva, was born to the Tatar wife of Mirza
Hakim Parvanachi, the ambassador of the Kokand Khan Khudoyarkhan in St.
Petersburg. Saodatkhanim was educated at the Tashkent Women's Gymnasium,
received a European upbringing, and was an enlightened woman who could play the
piano.
ОБРАЗОВАНИЕ НАУКА И ИННОВАЦИОННЫЕ ИДЕИ В МИРЕ
https://scientific-jl.org/obr
Выпуск журнала №-70
Часть–3_ Мая –2025
343
2181-3187
S.G. Yenikeyev served as an officer in the army of the Russian Empire in
Turkestan. While working in a responsible position in Asaka, he was dismissed on
charges of sympathizing with the Dukchi Eshon uprising of 1898. After his resignation,
he lived in Tashkent and defended the socio-political rights of the Tatars living in
Turkestan. For this purpose, he went to St. Petersburg several times for negotiations
with government officials. In 1909, in the house of S.G. Yenikeyev and Saodatkhanim,
Tatar amateurs staged a comedy by the "father of Tatar drama" Aliaskar Kamol,
entitled "The First Theater". The Uzbek intellectual A. Avloni also participated in the
theatrical performances of this comedy. Thanks to the efforts of S.G. Yenikeyev and
Saodatkhanim, a team of artistic Tatar amateurs was formed in Tashkent. In 1909, they
staged performances in Tashkent called "Musibati Fakhriddin" and "Kizlar kanyon
kulalar".
Since 1910, a permanent Tatar theater team began to work in Tashkent. This
troupe staged outstanding examples of Azerbaijani, Tatar and Russian drama. In 1908,
the "Sayyor" troupe went on a creative tour in the Caucasus and met with the
Azerbaijani theater troupe. This troupe was headed by Husain Arablinsky. He highly
appreciated the work of women in the Tatar theater and described it as “a great feat”.
At that time, women's roles in the Azerbaijani theater troupe were played by men. H.
Arablinsky contributed to the development of cooperation between Azerbaijani and
Tatar theaters. In the play “Nodir”, the role of Nodir's wife was played by 16-year-old
S. Izzatullina-Volzhskaya, and this role left an indelible mark on her life. At that time,
there were 2 women in the “Sayyor” troupe, S. Izzatullina-Volzhskaya and Z. Z.
Bogdanova. By the mid-1910s, the number of female actresses in the “Sayyor” troupe
had increased somewhat, and such actresses as Gulsum Bolgarskaya, Naima Tajirova,
Nafiga Arapova, Fatima Ilskaya and Sara Baykina joined the ranks. The roles they
played contributed to the further growth of the fame of the Tatar theater. S.lzzatullina-
Volzhskaya played the role of Bibijamal in the play "Master and Slave".
ОБРАЗОВАНИЕ НАУКА И ИННОВАЦИОННЫЕ ИДЕИ В МИРЕ
https://scientific-jl.org/obr
Выпуск журнала №-70
Часть–3_ Мая –2025
344
2181-3187
References
1. Akhmadjonov G.A. The Russian Empire in Central Asia. - T.: “Ta’lim Manbay”
Society, 2003.
2. Azamkhuzhaev S. Turkestan Autonomy. - T.: Manaviyat, 2000.
3. Gulomov Kh.-G. Central Asia and Russia (Formation of Interstate Relations at the
Beginning of the 18th Century). - T.: University, 2007.
4. Ziyoev Kh. The Struggle Against Russian Aggression and Domination in Turkestan.
- T.: Shark, 1998.
