International Journal of Pedagogics
160
https://theusajournals.com/index.php/ijp
VOLUME
Vol.05 Issue05 2025
PAGE NO.
160-162
10.37547/ijp/Volume05Issue05-40
Differential Approach to The Dramaturgy of Stage Plays
Damir Urazbaev
Assistant teacher of the department "Acting", Nukus branch of the State Institute of Art and Culture of Uzbekistan
Received:
20 March 2025;
Accepted:
16 April 2025;
Published:
18 May 2025
Abstract:
This article talks about writing the script of the dramaturgy of pop and public shows and its basics,
dramaturgy. There is also information about drama and the feature that distinguishes drama from other genres.
Keywords:
Theatre, scenario, spectacle, actor, the viewer, drama, dramaturgy.
Introduction:
As we know, a large number of creative
groups participate in the creation of pop and mass
performances. The audience being created must have
artistically perfect dramaturgy.
In this case, a differentiated approach to the
dramaturgy of pop performances is of great
importance.
The word differentia (from the Latin differentia -
difference) means to divide a whole part, form, step
into different parts.
During the development of civilization, in the process
of differentiation, the whole was divided into small
parts, and the differences and connections between
them were scientifically analyzed by Plato, Epicurus, I.
Kant, V. Plekhanov, M. Bakhtin, and studied as the
process of integration, the development of the level of
spiritual wealth, and systemic social development.
Differentiation and integration (from the Latin
integranio-restoration - uniting parts and fragments) in
modern philosophy, pedagogy, and psychology is a
comparative concept of a general nature, reflecting the
dialectical unity of opposing tendencies in nature,
society, and human thought.
In the second half of the 20th century, B.N. Ananyev
made a great contribution to the development of the
differential approach to the object. He pointed out the
following principles of differentiation.
a) a socio-historical feature, including socio-
demographic, national, religious, and cultural
characteristics;
b) characteristics of the totality of human activity as a
person (labor, knowledge, communication), work-
professionalism, socio-political and cultural-creative
activity;
c) personal characteristics of the roles and functions
performed by a person, indicating their social status.
Such psychologists as S.S.Vygotsky, K.N.Karnilov,
S.A.Rubinstein,
A.N.Leontyev,
K.K.Platonov,
V.N.Myasishev, V.S.Merlin, L.I.Bojovich, V.A.Krutetsky,
K.N.Abulkhanov, A.A.Bodolev tried to study a person as
a personality through a differentiated approach to a
person in a social society.
The mechanisms of a differentiated approach to the
object of education and upbringing were studied by
such prominent scholars of pedagogy as N.K.
Goncharov,
M.A.
Danilov,
B.S. Yesipov,
V.I.
Zagvyazinsky, F.F. Koralyov, M.N. Skatkin.
Scientists
such
as
D.M.Genkin,
M.A.Ariarsky,
G.M.Birzhenyuk,
G.A.Svteeva,
A.D.Zharkov,
K.N.Izmailov, A.S.Kargin, A.A.Kanovich, B.S.Sayfullaev,
V.D.Lutansky, A.P.Markov, E.I.Smirnova, Yu.A.Strelsov,
V.S.Triodin, G.I.Frolova conducted research on the
significance of a differentiated approach to human
leisure activities. In them, when applying a
differentiated approach to participants in recreational
activities, it is proposed to pay attention to:
- socio-demographic (gender, age, education, marital
status, national characteristics);
- socio-professional (profession, position, level of
qualification, nature of labor activity, social status in
the labor collective);
- socio-psychological (competence, interests, needs,
motives, traditions, habits);
- personality-characterological (health, temperament,
International Journal of Pedagogics
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International Journal of Pedagogics (ISSN: 2771-2281)
abilities, and other personal abilities).
B.G.Palsev tried to determine the typology of musical
interests of workers, and F.E.Akhmedov - the criteria
for a differentiated approach to participants of mass
events.
Based on these tasks, the creative group of pop and
mass performances, the significance of the
performances in which creative activity is carried out,
the processes of their creation, and the differential
approach were studied. During the preparation of pop
and mass performances, creative individuals, poets, or
writers are invited to write scripts. He creates a
screenplay in creative collaboration with the director.
However, in some of our events, especially those held
in remote districts and villages, the head of the cultural
center in that area or a special specialist works alone.
In this case, he writes the script for the event and stages
it. In some cases, this gives a positive result, in others -
a negative one. Professor U.Kh.Karabaev, a festival
scholar, writes about this: "Whoever writes a
screenplay must meet the following requirements:
a) be a person capable of deeply understanding and
correctly analyzing socio-political, cultural life, the
labor and life of the local population;
b) possess knowledge in the field of literature and
dramaturgy, be able to use it effectively;
d) must be a creator capable of collecting life materials,
documentary evidence, and presenting them in a
literary and artistic form.
V.Rustamov, one of the teachers in this field,
emphasizes that the following tasks should be
implemented when writing a script.
- the venue of the celebration or performance is
studied;
- search for sources based on local conditions, the
topic, the idea of the event;
- documentary materials are made artistic;
- Stage techniques and methods are explored, and
effective tools are selected.
As can be seen, the screenwriter, in creative
collaboration with the director, must be able to create
a new work with their own idea and content, based on
the laws of art, using real-life and local materials. The
author needs to plan the work process to create a
thorough script and submit it to the organizing group in
a timely manner.
In this regard, the playwright's work begins with the
process of creating a screenplay. The main task is to
determine the topic, idea, ultimate goal, and
ideological aspect of the script. Variety numbers are
built in the classical style of K.S. Stanislavsky, that is, in
an ideological and artistic style. For example, the
musical-speech genre begins with a couplet. Studying
the musical-speech genre helps the playwright
determine how skilled the actors are. K.S. Stanislavsky,
regarding the specific characteristics of an artist
performing a couplet, writes: "He may not have a vocal
voice, but he must have the ability to sense and hear
the rhythm and volume of the music. His ear should be
able to distinguish all "piano" and "fortissimo." He must
sense the meaning in the couplet, the phonetics of each
word.
...A couplet is never lifeless. Couplets...give the
performer the task of the strongest acting, encouraging
the performer to perform from the heart" .
The directions of verses performed on the pop are
diverse. A couplet, as a form of satire, is aimed at
exposing the shortcomings of people in life, at home,
or at work. Couplets can also be presented in the form
of sharp pamphlets, in the genre of political satire.
However, there are no artists performing in this genre
in Uzbek pop music. One of the most widespread
genres in Uzbek pop music is parody. The playwright
must know what forms the basis of this genre. Parody
is divided into two types: literary and pop. By nature,
both species share a common structure:
1. Friendly joke (charge) or humorous parody.
2. Satirical parody.
A friendly joke is made over the object being parodied,
some aspects of its character traits are lightly joked
about. Examples include Mirzabek Kholmedov, Hojiboy
Tojiboyev, and others from Uzbek pop music.
The creator's ability to foresee needs affects emotions
and needs. Negative emotions evoke a pessimistic
mood in achieving goals. Positive emotions, on the
other hand, bring the path closer to achieving the goal
and become an impetus for success.
In particular, the causes, interests, aspirations, desires
arising from needs are the driving force of a person in
achieving goals. A person's character is determined as
a result of the analysis of their personal needs .
If emotion plays a key role in the interaction of action
with a need, then the mechanism for evaluating this
action becomes its satisfying characteristic. Through
the subject's creative activity, norms develop, and the
growth of needs expands and enriches.
The term "occupying a place" by a creator in the social
environment, by its origin, is figurative-metaphorical.
Having social needs requires real action, demonstrating
its acceptability to human society.
Today, it can be said with certainty that higher
consciousness (creative intuition) serves to satisfy
needs. The activity of higher consciousness (creative
International Journal of Pedagogics
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International Journal of Pedagogics (ISSN: 2771-2281)
intuition) manifests itself in the first stages of creativity
and is controlled by consciousness and will. In the
course of creative activity, a person gains experience
and, of course, learns from the experience of others.
But this is a collection of collective experience and
knowledge, the accumulation of learning technologies,
ethical and aesthetic norms in the consciousness of a
specific creator.
A broad evolutionary approach to the nature of higher
consciousness confirms that direct intervention in the
mechanism of creation is impossible. K.S. Stanislavsky,
emphasizing the groundlessness of such intervention,
suggested searching for other ways to influence this
mechanism. The instrument of such influence is the
actor's psychotechnics, which encourages the
performance of two functions: preparing the mind for
activity and not interfering with it. "We approach what
concerns us - creativity, psychotechnical methods.
They teach us when our consciousness begins to
function and not to interfere with it." It is precisely the
creation of conditions for the creative group, in an
incomprehensible creative activity, that arms the
general artist with artistic practice, realizing the
inspiration hidden in the subconscious.
It can be said that F.I. Shalyapin roughly ascertained
how an artistic image is formed in an actor. - This is half
of some difficult process - this is what lies behind the
wall. It can be said that part of the actor's conscious
work is of primary importance. It influences and
increases intuition.
K.S. Stanislavsky used two terms to define the
unconscious stage of artistic creation: "subconscious"
and "high consciousness." According to K.S.
Stanislavsky, "true art must awaken, at the highest
level, the nature of unconscious creation, for the
creation of a higher conscious organic creation." .
Art is a type of activity of consciousness, in the main
moment of which
hypotheses
perform
the
phenomenon that Stanislavsky called the "highest
goal." "Just as a seedling grows from a seed," wrote
Stanislavsky, "just as his work grows from the writer's
ideas and lines... This condition... the main, main goal,
the task that attracts all tasks can be called the author's
highest goal."
The highest goal is characterized by the following
features.
1. The highest goal from a civic position, inextricably
linked with the creator's worldview, is a special
phenomenon of artistic activity and is an aesthetic
category.
2. The highest goal cannot be defined by words,
because it cannot be transferred from the language of
images to the word concept. From this, it becomes
clear that the concept of the highest goal in one work
has many meanings.
3. The process of finding a higher goal occurs in the
sphere of unconscious mental activity, and with the
active participation of consciousness, it is characterized
by aesthetic, philosophical, and social aspects.
In the process of perceiving a work of art, the viewer
tempers
their
higher
consciousness;
in
the
metaphorical lines of the work, they encounter
questions that must answer various questions,
problems, and riddles. But there are no answers to
these questions here. People who independently find
answers to these questions will find answers to
questions previously unknown to them. Art helps to
satisfy a person's thirst for knowledge.
CONCLUSION
Variety and public performances are an art form
capable of actively influencing human spirituality and
enlightenment, possessing powerful expressive means.
Variety and public performances provide spiritual
nourishment to the audience. Especially today, it is
required to create performances that meet the
demands of the time and reveal the image of the hero
of the time. Considering that thousands of participants
participate in performances, it is relevant to create
performances that are compositionally perfect and
fully meet the requirements of dramaturgy.
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енгилмас куч» –
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