INTERNATIONAL JOURNAL OF ARTIFICIAL INTELLIGENCE
ISSN: 2692-5206, Impact Factor: 12,23
American Academic publishers, volume 05, issue 07,2025
Journal:
https://www.academicpublishers.org/journals/index.php/ijai
page 485
TEACHING THE DRAMA “SOHIBQIRON” THROUGH INTERACTIVE METHODS
Bozorova Gulruh Ravub qizi
Independent Researcher of Samarkand State University of Veterinary Medicine,
Animal Husbandry and Biotechnology
bozorovagulruh77@gmail.com
Keywords:
“Sohibqiron” drama, state educational standard, competence, plot, composition,
technology, method.
Annotation:
This article provides recommendations for teaching Abdulla Oripov’s drama
“Sohibqiron”, which is included in the 9th-grade Literature textbook.Teaching the Drama
“Sohibqiron” in 9th Grade Using Interactive Methods Teaching the drama “Sohibqiron”
through interactive methods in the 9th grade serves to deepen students' understanding of the
content, develop their critical thinking skills, and make the lesson more engaging. Below are
effective methods for teaching this drama interactively:
1
.
Role-play
Students are assigned different characters from the play and perform a selected scene. They
analyze each character’s motivation, emotional state, and objectives. This method helps
students understand the conflicts in the drama and feel the historical context.
2. Hot Seat Technique
One student takes on the role of Amir Temur, while the rest ask him various questions
(e.g., “Why did you make that decision?”). Through these questions and answers, the
psychological depth of the characters is explored.
3. Cinquain Method
Students are assigned to write a five-line poem (cinquain) for the main characters of the
drama. This method helps to briefly describe and better understand the characters' traits.
4. Creating a Cluster Map
A cluster (mind map) is created around the key themes in the drama (such as justice,
patriotism, courage). Students find their own examples related to these ideas and analyze the
drama according to its thematic elements.
5. Debate
For example, a class debate can be organized on the topic: “Do you consider Amir
Temur’s decisions to be fair?” Students are divided into groups and defend their positions with
supporting arguments from the play.
6. Reconstructing the Historical Context
INTERNATIONAL JOURNAL OF ARTIFICIAL INTELLIGENCE
ISSN: 2692-5206, Impact Factor: 12,23
American Academic publishers, volume 05, issue 07,2025
Journal:
https://www.academicpublishers.org/journals/index.php/ijai
page 486
Students are given tasks to work with historical sources to study the historical
foundations of the drama. They compare events from “Sohibqiron” with actual historical facts.
The connection between the beginning and end of a dramatic work helps develop a
comprehensive understanding of the play. It is crucial to draw the class’s attention to the time
period covered in the drama. What we see on stage always occurs in a specific moment. The
audience's time and the dramatic action’s time align, but the events and actions can span days,
weeks, or even years.
The emergence of a problem, its root causes, the basis of existing relationships, and the
origin of certain signs are often linked to real-life events outside the drama itself.
Choosing events to read in class depends on the goals of both studying the entire drama
and analyzing specific actions. This selection is determined during the teacher’s preparation for
teaching the whole play. At this stage, the teacher decides during which lessons and for what
reasons to focus on specific events.
Additionally, during the preparation process, the teacher must determine when to use audio
recordings, what and why students will read, and whether reading aloud is appropriate.
However, it is especially important to encourage students to imagine what is happening on
stage. One of the methodological approaches that encourages students to engage with the
dramatic text is the creation of imaginary scenes—in other words, during analysis, students are
invited to imagine how characters might be positioned at a certain point in the action, including
their posture, gestures, and movements. At the same time, the teacher must ensure that when
students are working on an individual scene, they perceive it as part of a whole, understanding
its role in the development of the action and in transitioning to the drama’s finale. To help them
grasp how the main elements of the plot unfold and are prepared within individual actions, the
teacher should guide students to identify:
Exposition
Rising action (plot)
Climax
Students’ ability to track the development of the action should be inseparable from their
deep engagement with the characters. As they observe how characters behave and what they
experience in various dynamic situations, students gradually begin to grasp the essence of
different character traits.
In the process of analyzing the drama, identifying the meaning of the characters’ speech
plays a crucial role. Working on uncovering the subtext of characters’ dialogue requires special
attention in grades 9–11. In the final lessons, it is advisable to complete the study of dramatic
works by visiting a theatre, watching a film adaptation, or attending a school performance.
Discussing the drama also requires including information about the stage history of the studied
work and drawing from the history of Uzbek theatre. In the final lessons, students can be
introduced to the most significant facts in Uzbek theatre history. elivering this content through
lectures that include the study of dramatic literature is effective.
INTERNATIONAL JOURNAL OF ARTIFICIAL INTELLIGENCE
ISSN: 2692-5206, Impact Factor: 12,23
American Academic publishers, volume 05, issue 07,2025
Journal:
https://www.academicpublishers.org/journals/index.php/ijai
page 487
It is also beneficial to involve students in:
Performing Uzbek dramatic works on stage.
Learning about the theatrical life of the studied drama.
Understanding the creative path of the Uzbek playwright.
Exploring how the drama influenced the formation and development of Uzbek dramaturgy. To
conclude the discussion of the viewed drama, the teacher can offer the following reflective
questions:
1. How well did the actors’ appearance match your visual impression of the characters?
2. In which scenes did the actors most clearly and accurately reveal the characters’ key
traits? What external means (such as gestures, facial expressions, tone) did they use to
draw attention to those traits?
3. What role did music, scenery, and lighting play in conveying the mood and meaning of
the performance?
Thus, the teaching methods used in studying dramatic works are not entirely different from
those used in analyzing epic and lyrical works, though the proportion and emphasis of certain
techniques may differ.
REFERENCES:
1. Yo‘ldoshev Q. Yangilangan pedagogik tafakkur va umumiy ta’lim maktablarida adabiyot
o‘qitishning ilmiy-metodik asoslari. Ped. Fanlari doktori ilmiy darajasini uchun dis-ya. T.: 1997.
2. Yo‘ldoshev Q. va boshq. Adabiyot. Umumta’lim maktablarining 9-sinflari uchun darslik. –T.:
O‘zbekiston. 2019. 368 b.
3. Bozorova, G.R. (2022). Effective ways to teach the life and creativity of Muhammad Yusuf
in school literature education. Международный журнал языка, образования, перевода, 3(2).
4. Bozorova, G., & Eshniyazova, M. Zahiriddin muhammad Bobur hayoti va ijodini
o‘rganishda interaktiv metodlardan foydalanish. Lteachin anguage, 156.
5. G.Bozorova.
. Til ta’limining uzviyligini ta’minlashda innovatsion
texnologiyalar: muammo va yechimlar respublika ilmiy-amaliy onlayn konferensiya. – Navoiy,
2021.
6. GR Bozorova.
Turfa zakovatlar nazariyasi asosida o‘quv topshiriqlarini ishlab chiqish
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“Veterinariya sohasini rivojlantirishda ijtimoiy-gumanitar fanlarning o‘rni” mavzusidagi
respublika ilmiy-amaliy konferensiya materiallari to‘plami. – Samarqand, 2023.
