Volume 04 Issue 12-2024
272
International Journal of Advance Scientific Research
(ISSN
–
2750-1396)
VOLUME
04
ISSUE
12
Pages:
272-278
OCLC
–
1368736135
A
BSTRACT
This article will describe the creative searches and reforms carried out in the theater-studio "Diidor" under
the leadership of director Bakhad i r Yuldoshev. The essence of ideological and artistic research that
appears as a result of the quest of the great director and the essence of a new look at studio aesthetics in
Uzbekistan will be revealed.
K
EYWORDS
Theater, studio, art director, Uzbek National Theater, actor, audience, theater history, professionalism,
modernization, transformation.
I
NTRODUCTION
Theater is a type of performing arts that reflects
the culture of a nation. The process of staging in
the theater, the live performance of events taking
place on stage, the implementation of directorial
interpretations, and other interesting processes
are unique to this type of art. These processes are
the basis not only of acting, but also of theater
directing.
Ensuring the harmony of youth spirituality and
spectacle culture, the globalization of socio-
political problems, the enrichment of people's
spiritual world and, in this way, the impact of
innovative approaches in theater art on the well-
being of society, the formation of audience
consciousness and spectacle culture, in
particular, the role and significance of the
Journal
Website:
http://sciencebring.co
m/index.php/ijasr
Copyright:
Original
content from this work
may be used under the
terms of the creative
commons
attributes
4.0 licence.
Research Article
STUDIOISM IS A NEW LOOK AND AESTHETIC OF
CONTEMPORARY UZBEK THEATER
Submission Date:
December 15,
2024,
Accepted Date:
December 20, 2024,
Published Date:
December 28, 2024
Crossref doi:
https://doi.org/10.37547/ijasr-04-12-42
Sadullaeva Kamola Olimovna
Senior Teacher Of The Academy, Independent Researcher At Uzdsmi, Uzbekistan State Choreography,
Uzbekistan
Volume 04 Issue 12-2024
273
International Journal of Advance Scientific Research
(ISSN
–
2750-1396)
VOLUME
04
ISSUE
12
Pages:
272-278
OCLC
–
1368736135
processes of integration of national and world
traditions of stage art in directing, along with
scientific
research
on
the
theoretical,
methodological, and conceptual issues of the
activities of theater studios, important
experiments and research affecting them. study is
gaining importance, has become a scientific
necessity.
- Literature review on the topic. D. Geruld, J. Feral,
L. Garbanati, K. Baker, M. Billington, M. Forte, H.
Castillo, G. Jiniannachi, N. Muller Scholl, H.
Lehmann, K. Schmidt, D. Meyer Dinkgraf, A.
Schmidt, A. Brandas, K. Peynado, O. Ponte di Pino,
discussed some issues of theater art and the role
of theater studios in historical and social life. A.
Saddik, J. Middleton, L. Gardner, P. Kümmel, D.
Fierro, T. Bell, Annie Le Gall, B. Reynolds, M.
Haridi, C. Perrot-Sheffer, Jose Luis G. Barrientos,
Y. Lux, F. Nogrett, K. Stanislavsky, Ye. Vakhtangov,
V. Nemirovich-Danchenko, A. Saricheva, A.
Petrova,
M.
Knebel,
B.
Muravyev,
S.
Aristarkhanova, Many researchers such as S.
Gerasimov, A. Efros, O. Yefremov, G. Tovstonogov
studied it.
who have covered this topic in Uzbekistan ,
including
academicians
G.Pugachenkova,
V.Rtveladze, M.Rahmonov, A.Hakimov; doctors of
science L.Avdeyeva, M.Kodirov, T.Tursunov,
T.Ofurbekov, T.Bayandiyev, M.To'lakhodzhayeva,
I.Mukhtarov,
S.Kodirov,
D.Rahmatullayeva,
D.Kodirov, M.Ahmadjonova; candidates of science
S.Tursunboyev,
H.Ikramov
,
O.Rizayev,
G.Kholikulova, N.Sayfullayev. They study the
genesis of Uzbek theater, its connection with
mass performances and folk holidays, the rules of
stage movements and mise-en-scene creation, the
actor and the audience, the playwright and the
director, skill and creativity, the problems of
theater and theater studios.
- Analysis and resul
ts. The “Diydor” theater studio
was founded in 1989 by Ergash Masafoyev, a
distinguished cultural worker of Uzbekistan, a
creative director with his own style and style of
directing, and in a short time became one of the
republic's theaters. According to the theater
studio's charter, the purpose of the studio was:
“...to create stage works of Uzbek and world
dramaturgy with the participation of young
actors and directors, based on new creative
projects, to conduct creative discussions and
dialogues with the audience, to enrich their
spiritual and aesthetic outlook, and to further
expand the foundations and achievements of the
Uzbek national theater.” During the 1990s, the
theater studio restored its stature, achieved a
number of successes, and received wide public
recognition with its noteworthy performances.
He diligently carried out the tasks assigned to him
above and vigorously walked along the path of
achieving his goals. Unfortunately, the death of
the theater's artistic director slightly diverted the
theater from its goals. It seemed that both the
grandeur of the performances and the strength of
the theater went with the artistic director.
In 2008, Bakhodir Yuldoshev was entrusted with
the fate of the "Diydor" theater studio. Various
opinions about the future of this studio and its
new artistic director were often heard. However,
after a short time, such talk stopped, and on the
Volume 04 Issue 12-2024
274
International Journal of Advance Scientific Research
(ISSN
–
2750-1396)
VOLUME
04
ISSUE
12
Pages:
272-278
OCLC
–
1368736135
contrary, it became clear that the studio's
prospects were bright.
Experts were the first to note that Bakhodir
Yuldoshev, who had gained extensive experience
in staging major works in large theaters, mainly in
an academic style, had entered the process at the
studio with a completely unique approach. As the
director took up his duties, “even when he
entered, he began to deepen the main tasks of
“Diydor” day by day, year by year, gathering
dedicated, enthusiastic theater professionals
around him, and trying to turn this theater into a
real workshop for young artists. In order for the
“Diydor” theater
-studio to have its own special
place and prestige in the theater world, Bakhodir
Yuldoshev, based on his many years of
experience, first of all began to renew the internal
structure of the theater-studio, its creative
direction, and lay the foundation for the theater of
the 21st century
. ” Indeed, Bakhodir Yuldoshev
has repeatedly expressed his views in interviews
with journalists and experts that the main task of
a theater studio should be fundamentally
different from the tasks of academic and large
theaters.
In short, the director, relying on young people and
their capabilities in his research, organized an
educational theater-studio for young actors and
directors under a professional troupe. The new
artistic director opened the “Bahodir Yuldoshev
Creative Workshop” within the studio a
nd soon
began working on special projects with his
professional actors and students. He dedicated
himself to these projects and began to stage
educational performances based on them. The
reason why these performances were based on
great works was understandable. That is, the
main goal was to educate young people through
excellent works, to acquaint them with good
works.
"Serious and tireless search" became the motto of
the theater studio. If we consider the plays
"Marriage", "Request", "Moonlit Nights", "People
Walking on the Moon", "War and Peace" and
others that were staged at the studio at the time,
we can be convinced of how true the above
statements are.
Perhaps many do not know, but "Diydor" is the
only special educational theater-studio in our
country in the theater field from 2008 to the
present day. The studio training course is
designed for training on a two-year program,
which is designed to train 20-25 young men and
women selected every two years on a number of
subjects of theater art. For many years, the
listeners have been given theoretical knowledge
by qualified specialists, the studio's teachers,
Doctor of Art History M. Tolakhodjayeva, theater
scholar Bakhiddin Nasriddinov, and art historian
V. Shapiro, and through practical training, their
knowledge has been strengthened, opening doors
to opportunities for them to become qualified
specialists in the performing arts in the future and
work in the leading theaters of the republic, and
this work is still ongoing.
It should be noted that some theaters of the
republic and regional theaters (the Youth Theater
of Uzbekistan, the Berdaq Theater and the
Samarkand Regional Musical Theater) have
Volume 04 Issue 12-2024
275
International Journal of Advance Scientific Research
(ISSN
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2750-1396)
VOLUME
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Pages:
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OCLC
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1368736135
theater studios that have established training
programs for young actors for their theaters. The
difference betw
een the “Diydor” theater studio
and others is that for many years it has been
engaged in training talents not for itself, but for
other theaters. The goal is that after studying and
graduating from this studio, every young artist
will be able to find his audience and contribute to
bringing Uzbek theater art to the highest heights.
The strict discipline in the studio, the distribution
of every day and every hour according to a clear
plan, serve as a basis for the studio students to
serve their profession faithfully in the future . In
addition to theoretical lessons, “Diydor” also
conducts high-level classes in acting skills and the
basics of directing, dance, stage speech and
movement, music and vocal art.
In the theater-studio itself, founded in 2008,
Bakhodir Yuldoshev staged Gogol's "The
Marriage." The performance was presented to the
audience and experts in a new interpretation,
using modern theatrical tools and elements.
The novelty of the play was that the director and
the actors playing the roles in the play completely
abandoned stage decorations, costumes, musical
tones, make-up, lighting and other stage lighting
effects and created a play, relying mainly on their
own talents. “On the stage there are only actors
and their bright images. This is how we get
acquainted with the inner world of the heroes on
the stage, their life path and relationships. And we
see that Russian nature and the traditions of
Uzbek national theater performances are
inextricably linked. This work is done with
extreme delicacy and is presented in artistic
harmony .” Indeed, in this play, the director seeks
to reveal the essence of the character of each
character, his artistic portrait, mixed with
elements of grotesque, and in some places
buffoonery, satire and humor. Young people act
on stage with great freedom. Due to the
interpretation of the characters, the audience gets
excited, hates, laughs, thinks, and draws
conclusions along with the heroes.
The roles in the play were performed in their own
unique interpretations by the studio's students at
the time, Jurabek Arzev (Podkolyosin), Abdujamil
Azlyarov
(Kochkaryov),
Gafur
Mardonov
(Anuchkin), Gulruh Yuldosheva (Fekla Ivanovna),
and Toir Rahmonberdiev (Kuymakov) and
Hayitali Nizomiddinov (Zhevakin), actors with
many years of experience at "Diydor".
During a conversation with the media after the
performance, Bakhodir Yuldashev said that he is
working on a new work based on the stories of
one of the Russian classics, A.P. Chekhov, and that
in the future he has decided to turn to E.A'zam's
"Aralashkurgan". "Today, it is difficult to create in
the theater with the old style and rules. The main
task has become to satisfy the spiritual demands
of each individual viewer, to expand the
boundaries of theatrical art, and to achieve your
goal by relying only on the actor you have raised
and trusted, to reveal his hidden, undiscovered
facets of skill . "
2010 , under the artistic direction of students
Bakhodir
Yuldoshev,
the
performances
“Moonlight Nights” and “Songs of the East” were
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presented to the audience. The role of Oikhon in
the play “Moonlight Nights”, staged based on
Hamza’s satirical comedy “Maysara’s Work”, was
skillfully performed by Feruza Jumaniyozova, a
student of the studio at that time. The fact that
this play participated in the international theater
festival in Paris, France, in the spring of this year
was proof of how well the work carried out in the
studio was organized. The famous French
director and actor Francis Dupre expressed the
following thoughts about this play. “I have never
been to Uzbekistan, but after watching your play,
I felt a desire to go to your country and get to
know your modern theater art better. I perceived
the play I saw today as a miracle. You not only
delighted our eyes with this performance, but also
illuminated our hearts, capturing our whole being
and emotions. The director's principles of
working with stage props and actors are so new
that they show that the world of theater has no
boundaries. In general, we Europeans can learn a
lot from you Uzbeks !
“Maysara's Work” (“Moonlight Nights”) was
created by Bahodir Yuldashev in the form of a
multimedia musical-dramatic canvas, relying on
the roots of traditional Uzbek theater. At the same
time, it can be seen that the means of stage
expression used by the director are far from the
traditional methods and styles that we know and
recognize. All the characters of Bahodir
Yuldashev's play, as a result of various intrigues
and conflicts, fully reveal the theme of true and
pure love between Oikhon and Cho'ponali
(Dmitry Kadyrov). In the interpretation of
Gulbahor Yuldasheva, Maysara's wisdom and
resourcefulness once again encourage the viewer
to understand that truthfulness and sincerity do
not always lead to wealth and prosperity.
The satirical comedy "Maysara's Work" opens the
way for the director to new discoveries and
means in the midst of a world of fantasies. Having
seen the performance, we are convinced that
there are no limits to the stage and directorial
imagination. The improvisational and expressive
means used in the performance are so new and
unique that even the viewer's heart feels a desire
to get up, join this spectacle and become a part of
it.
It is worth noting that this theater-studio has
recently toured about 20 countries around the
world, participating in various competitions and
festivals.
" Songs of the East" is a full-fledged theatrical
performance consisting of musical and
choreographic elements, which was created as a
stage work with deep ideological content and
artistic and aesthetic direction, in the style and
direction of "Shashmaqom", emdiving and
revealing all the spiritual wealth of the peoples of
the East.
Analyzing these performances, we can say that,
giving a full assessment, summing up, it would be
appropriate to conclude that Bakhodir Yuldoshev
began to create a new form of ancient Uzbek
theater art with actors. It is clear that this process
was not easy. Because the research conducted on
the performances staged in the studio, the master
classes that the director conducted with his
actors, a person who understands the true
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essence of the theater thinking of Bakhodir
Yuldoshev, will understand that
- Conclusion/Recommendations. In conclusion,
the goal of a director as accomplished as Bakhodir
Yuldashev was clear. That is, to help a person find
his place in society by studying his spiritual
world, and in this work, it is important that the
director and actors do not teach the audience to
reason, but rather encourage the audience to
come to their own conclusions.
In the theater studio, as we noted above, along
with a number of qualified specialists,
theoreticians and practicing artists, Bakhodir
Yuldoshev himself preferred to conduct practical
lessons with vivid, vital, meaningful and richly
experienced examples. He encouraged his actors
to deeply study, master, understand and, of
course, to greatly increase the essence of
dramatic and artistic works, the character, inner
and outer world, and psyche of the heroes, and he
was able to do this. As a director, he first of all
looked for undiscovered facets of the actors'
talent, considered it his main task to form a wide
range of roles in them, to form the skills and
qualifications to play roles of various plans in
different genres, styles and directions.
B.Yuldoshev links his thoughts on the fact that the
studio can make a significant contribution to the
development of Uzbek theater art with the
following factors. “In every country, the prestige
of theater art, its high and low levels, are
determined by actors. It will remain so in the
future. The actor is the beating heart of the
theater. In fact, the Uzbek theater has developed
and gained fame thanks to this. I have also worked
throughout my career, relying on the skills of
famous actors. On stage, in your created
performance, if there is suffering from the actors,
it is difficult to achieve any results and tell the
audience something new. The audience actually
comes to the theater for this newness.
There is nothing else here. No matter what role
the actor is playing, he must never spare himself
on stage. He must throw himself into the fire, be
left under the rain, under the snow, and still
attract the audience and convince them of what
he is saying. Stanislavsky is right a hundred times,
a thousand times. He always taught actors: “You
need to learn to show yourself, and only then will
the audience believe you . ”
Yes, according to Bahodir Yuldashev, when every
actor leaves the theater, he should have hope in
life, show love to his loved ones, family members,
and friends, and if necessary, grieve over the fate
of other people, cry, and achieve purification of
the soul through suffering.
As we watch the plays staged by Bakhodir
Yuldashev at "Diydor", we are struck by the
thought that we need to see and "read" them from
the heart, from the soul, and we ourselves have a
desire to tell others about them.
R
EFERENCES
1.
A. Rahimov. 36+1- Diydor Studio . Theater
Magazine . 2010. Issue 6 .
Volume 04 Issue 12-2024
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International Journal of Advance Scientific Research
(ISSN
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2750-1396)
VOLUME
04
ISSUE
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Pages:
272-278
OCLC
–
1368736135
2.
A. Rahimov. “The Gift of the Father”.
Literature and Art of Uzbekistan. 2008.
July 4 .
3.
G.Umarova. The sufferings of a pure heart.
Literature and art of Uzbekistan . 2018 ,
August 21.
4.
A. Rahimov. Stage works through the eyes
of a critic. Interview with B. Yuldashev.
Turan
–
the land of enlightenment. 2016, p.
389.
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