INTERNATIONAL JOURNAL OF ARTIFICIAL INTELLIGENCE
ISSN: 2692-5206, Impact Factor: 12,23
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ACTING SKILLS IN THE UZBEK MUSICAL DRAMA
Orifjon Qudratov
Uzbekistan state institute of arts and culture,
lecturer at the department of "Musical theater art".
Abstract:
This article mainly discusses the role and main tasks of acting skills in "Musical
Theater Acting" education, as well as what should be paid more attention to when working on
musical performances combining vocals and our national singing.
Keywords:
Actor, student, vocal, expression of attitude, creative imagination, touching
singing, theater, opera, musical dramaturgy, methodology, singer, singing actor, musical
theater, excerpts.
The acting art of Uzbek musical dramaturgy developed its realistic traditions in a sharp
and difficult struggle, based on the historical experience of national culture and the
achievements of world theater culture. As one of the significant branches of Uzbek theater art,
musical drama requires the actor not only to perform dramatic roles at a high level but also to
deeply enter the character through music and song. This genre places the actor in front of a
multifaceted art task — to harmonize word, movement, mimicry, music, and vocals as a
whole. Acting art reflects the ideological-political, moral, aesthetic, and spiritual possibilities
of the Uzbek people at all stages of its development, and this not only enriches its content
with vivid imagery but also serves the advancement of professional acting skills. In turn, this
contributed to achieving artistic unity in the performance and characters. In musical drama,
acting becomes a unique phenomenon of artistic creativity, synthesizing various performing
techniques determined by the specific characteristics of the art itself. The formation of acting
in Uzbek musical dramaturgy is distinguished by the continuity of the concept of the human
being and the progressive development of its social-political and moral-aesthetic content with
each new stage.
In the first stage of the development of acting art, the ability to properly reproduce what
one sees in life and express the outward appearance, characteristics, and behavior of a person
was formed. For musical drama actors, training requires a comprehensive approach. Speech
culture, vocal preparation, stage movement, and dramatic exercises are all conducted together.
Furthermore, the actor must also pay attention to their physical and mental health, as this
genre demands strong endurance. Later, actors succeeded in selecting the most characteristic
and typical features of a person and creating images that are distinct and individually
different.
Modern acting art relies on the realism style, strengthening its ideological and artistic
positions. The process of creating new stage images takes on a programmatic, systematic
development. The concept of a person, their spiritual nature, and philosophical essence
undergo multifaceted study, which changes acting art. Acting is becoming more sensitive and
expressive, and most importantly, more capable and rich. Actors strive for a synthesis of the
reality of life and the poetic convention. Stage images are becoming more individualized and
enriched by the inner world of the performing actor. In modern musical drama, the growing
interest of the audience in synthetic theater, which reflects life in dialectical development,
INTERNATIONAL JOURNAL OF ARTIFICIAL INTELLIGENCE
ISSN: 2692-5206, Impact Factor: 12,23
American Academic publishers, volume 05, issue 04,2025
Journal:
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page 1767
makes the actor's role in the performance increasingly complex. The multifaceted nature of
theater has also led to changes in stage art, with all means being mobilized to reflect the idea
of the work in a deep and multifaceted way.
The artistic integrity of a musical-dramatic performance is a multifaceted and complex
concept. The prominent founders of Uzbek stage art – H. Hamza, M. Uyg‘ur, Qori-Yoqubov,
and their closest companions – fought sincerely to create an artistically unified work, imbued
with a single spirit and idea. However, this solution to the problem primarily involved
professionalizing acting, abandoning everyday realism, and avoiding improvisational
interpretations of roles. In the works of leading Uzbek actors, naturalism and simplicity
predominated. At the present stage, this issue is closely related to the resolution of a number
of ideological and creative problems, centered around dramatic and staging issues, where the
actor plays a key role, as they are the main figure in the performance. As Alexander
Dmitrovich Popov wrote: “The main, endless strength of the theater lies in the actor’s living,
trembling heart – in their fiery thoughts and emotions. While they are the creator of the stage
images that move the audience, literature, music, painting, and dance address the viewer
indirectly, that is, through the actor, thereby losing their independence and acquiring the
qualities of theater.”
Uzbek musical drama draws its roots from puppetry and buffoonery, oral folk art, as
well as maqom and folk songs. In such stage works, music plays a special role: it influences
the development of events, reveals the internal emotions of the characters, and gives rhythm
and melody to stage actions. K. S. Stanislavsky, discussing the fundamental issues of stage
art, emphasized: “...I consider the elevation and deepening of acting skill to be the main task.
Without the actor’s complete and profound skill, neither the idea of the performance, nor its
theme, nor its lively, imagery-filled content can reach the audience.”
In musical drama, this issue becomes even more complex with the performance of
songs that carry out a number of internal and external functions. As a systematic element, it
becomes an inseparable part of the dramatic work, if it conveys the inner world of a person,
their emotions, and experiences in a traditional language unique to them. At the same time,
the art of singing loses its independence, acquiring the qualities of "theater" and becoming
part of a unified whole. In musical drama, the actor must be an artist who has mastered
several arts at once. They must have mastered the following aspects: the actor must express
the character of the image through dramatic speech, the actor must perform musical phrases
clearly, correctly, and emotionally, stage movements and dance elements must be in harmony
with the music, and the actor must deeply understand the inner world of the character and be
able to express emotions vividly. This defines the actor-singer’s tasks: ensuring the natural
change of creative activity on stage, transitioning organically from one performance type to
another, constructing the logic of the character’s development without hindrance, and helping
to uncover the deep layers of the conflict in the dramatic action.
Without considering the peculiarities of musical stage art, mechanically transferring the
laws of dramatic theater to musical theater will not bring success. Therefore, the director
must create all the necessary conditions, considering the psycho-physiological characteristics
of the vocal apparatus, which help in forming an aesthetic and expressive vocal sound, to
support the creative freedom of the actor-singer.
Currently, the issue of aligning the aesthetic standards of national singing with the
translated repertoire, the state, suitability, and prospects of national singing in musical drama
theaters, and the cultural standards of the actor-singers’ singing – including the folk forms of
INTERNATIONAL JOURNAL OF ARTIFICIAL INTELLIGENCE
ISSN: 2692-5206, Impact Factor: 12,23
American Academic publishers, volume 05, issue 04,2025
Journal:
https://www.academicpublishers.org/journals/index.php/ijai
page 1768
song – remains one of the weakest aspects. From the early days of Uzbek musical dramaturgy,
a traditional form of national singing emerged, which successfully existed until it was
disconnected from the traditional folk craftsmanship schools. Considering the many
achievements of music and dramatic creativity and its national distinctiveness, the quality of
this form of singing should be reconsidered, linking the best aspects of traditional singing and
developing them further. Strengthening the performing base of theaters with new professional
actor-singers who have undergone special vocal training is necessary, as the more diverse and
colorful the means of expression in theater, the wider and more interesting its range becomes.
Moreover, the versatility of modern theater, its broad and large-scale creativity, reflects its
strength and artistic flexibility.
Time inevitably sets its own conditions. The social activity of theater and acting art is
increasing because it aligns with the needs of the day and modern processes. The content of
the performance, which is irrigated by the desire to dialectically understand and repeat real
events and personal images, changes as well. The development of acting art is in constant
research and movement. And this research must be carried out in the unique realm of musical
and dramatic genres.
The acting art of Uzbek musical drama provides substantial material for research and
generalization. However, this is not the only reason for the limited interest in it. The
uniqueness of acting art in the genre of Uzbek musical dramaturgy leads us to understand the
new essence of stage art and the artistic unity of stage images. The over eighty-year history of
Uzbek musical drama is a history of numerous musical-dramatic performances that
contributed to the emergence and development of professional and amateur theaters in the
republic. This genre has had a significant impact on the formation and development of Uzbek
art as a whole. Uzbek musical drama is not only a part of our theatrical heritage but also a
complex and captivating genre that tests the acting skills. Actors working in this direction
strive to convey not only the plot but also the emotional state and aesthetic beauty to the
audience in every stage performance. For this reason, acting skills in musical drama are one
of the most complex, yet one of the most compelling forms of art.
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INTERNATIONAL JOURNAL OF ARTIFICIAL INTELLIGENCE
ISSN: 2692-5206, Impact Factor: 12,23
American Academic publishers, volume 05, issue 04,2025
Journal:
https://www.academicpublishers.org/journals/index.php/ijai
page 1769
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