https://ijmri.de/index.php/jmsi
volume 4, issue 7, 2025
247
THE IMPACT OF THEATRICAL PLAYS ON YOUTH EDUCATION
Jo‘rayeva Hulkar
is an independent researcher of the State
Institute of Arts and Culture of Uzbekistan
Annotation:
This article explores the role and influence of theatrical plays in shaping the moral,
cultural, and intellectual development of youth. The study examines how stage performances
serve as an effective educational tool, fostering creativity, critical thinking, and emotional
intelligence among young audiences. By analyzing both classical and contemporary works, the
research highlights the ability of theatrical art to instill ethical values, enhance social awareness,
and encourage active civic participation. The findings emphasize that theater, as a form of artistic
expression, plays a significant role in building a well-rounded and socially responsible young
generation.
Keywords:
theatrical plays, youth education, moral values, cultural development, creativity,
emotional intelligence, social awareness, civic engagement.
Our great enlightener, Abdullah Avloni, said: “Upbringing for us is a matter of life or death,
salvation or destruction, happiness or calamity”, thus emphasizing the paramount importance of
educating the younger generation on the path toward perfection. Indeed, a person’s spiritual
maturity, formation as an individual, attainment of a worthy place in society, and earning the
respect of the community largely depend on the education and upbringing they receive in their
youth. The “salvation” and “happiness” or the “ruin” and “calamity” of an individual’s fate are
directly connected to whether upbringing is properly or improperly directed.
Especially today, in an era of information globalization, when various dangers and threats loom
large, the education of the younger generation must remain a constant focus of the elders’
attention. As it is rightly noted: “We must always be vigilant, alert, and cautious against such
growing dangers. The only effective response to these threats is through comprehensive, well-
thought-out, scientifically grounded, and continuous spiritual education.”
In our country, tremendous opportunities have been created to raise the spiritual level of the
younger generation, foster patriotism, systematically develop their knowledge and abilities, and
nurture them into highly qualified specialists in various fields. Ensuring that the younger
generation—especially children—are healthy both spiritually and physically, encouraging their
interests and talents in all areas, and educating them to be worthy successors of our great
ancestors—scholars and saints—are noble goals. The dedication of entire years to children, such
as “The Year of the Healthy Generation,” “The Year of Mothers and Children,” “The Year of
Youth,” “The Year of the Harmoniously Developed Generation,” “The Year of the Strong
Family,” and “The Year of the Healthy Child,” clearly demonstrates that we all share equal
responsibility for the future and destiny of our homeland’s rising generation.
However, the borderless nature of the Internet and communication systems, which are
increasingly shaping the face of our century, brings not only the promotion of noble deeds and
universal ideas but also alien concepts that are entirely foreign to our people’s spiritual world
and cast a shadow over our age-old values. It is no secret that under the guise of “democracy,”
“mass culture,” and “cosmopolitanism,” a so-called “culture” with negative undertones has taken
shape. This phenomenon threatens the social, economic, political, and spiritual life of the global
community, including our homeland, with its insidious aims. The fact that such harmful
intentions are primarily aimed at the spiritual world of young people, especially children, is a
https://ijmri.de/index.php/jmsi
volume 4, issue 7, 2025
248
cause for deep concern and calls for vigilance from us all.
Foreign music and music videos, unusual clothing styles among youth, tasteless hair fashions
among both men and women, films promoting vulgarity and moral decay, as well as the growing
influence of alien concepts through flashy, colorful consumer goods—all these undermine the
stability of our peaceful society. Even more alarming is the spread of toys, dolls, and cartoons
that promote cruelty, violence, and heartlessness, which can have a negative impact on the
worldview of small children. It is evident that a child’s heart is like a blank sheet of paper, and
their mind is pure. For those seeking to impose their aims, it is far easier to “educate” pure-
hearted children—who are just beginning to form an understanding of life—than to subjugate an
already mature individual with a developed worldview.
Therefore, in pursuing their vile goals, such forces focus their attention primarily on children and
youth. In this regard, forming “spiritual immunity” and a sense of aesthetic taste, as well as
developing the ability to choose and compare, is of crucial importance in resisting these foreign
influences. To achieve this, it is expedient to make use of the arts—one of the most powerful
means capable of sowing the seeds of kindness and humanism in people’s hearts, and of touching
their emotions and intellect. The influence of art is so great that it encourages people toward
goodness and courage, unites nations and peoples regardless of language, religion, or race, and
fosters mutual compassion and kindness among them. Understanding this well, we believe that
the effective and purposeful use of art is both a professional and moral duty of every creative
individual.
Regardless of the art form in which an artist works, they must convey noble and inspiring ideas
in their creations, singing aloud of patriotism and humanism. This is because any work that
promotes lofty human ideals will inevitably have a positive influence on the spiritual world of
children and young people. Therefore, through works of art, we must provide children with clear
and firm ideas, explaining—through the medium of art—what our ultimate goals are in today’s
ideological struggle, and instilling in them the values of goodness.
The importance of artistic works in shaping children into mature and well-rounded individuals is
immeasurable. Theater and cinema productions, compared to other forms of art, more quickly
and deeply occupy a place in children’s spiritual world and moral upbringing. The reason is that
these productions emerge as a synthesis (fusion, integration) of several types of art. While a play
or film is based on directing, cinematography, visual art, acting, and other components, there is
yet another crucial and fundamental element in their creation—dramaturgy.
A child often remembers the events they see on stage or screen for a long time—perhaps even
for a lifetime—and constantly strives to resemble the work’s heroes, aspiring to show the same
extraordinary courage as they do. In line with the main purpose and mission of art, which is to
promote noble ideas through stage productions, both the author (and later the director, actors,
designers, cinematographers, etc.) must possess great skill and a strong sense of creative
responsibility. This is because in the spiritual development of a young audience member, in
shaping their artistic and aesthetic taste, and in their upbringing as a whole, the influence of a
stage work is revealed, first and foremost, in the author’s idea (the dramaturgical foundation),
and then in the director’s interpretation and resolution of the work, the actors’ mastery, the music,
costumes, stage decorations, and the harmonious integration of other elements.
For this reason, in works intended for children, the literary foundation—meaning, flawless
dramaturgy—serves as the key to the future success of any stage or screen production.
It must be noted that in our country, the education of the younger generation, the elevation of
their spiritual level, and the fulfillment of their aesthetic needs have always been “topics of the
day.” In this regard, specialists in the field plan to create examples of children’s literature and
drama, stage plays based on the fairy tales and folklore of various peoples, produce films, and
successfully adapt works by famous world and Uzbek writers. In doing so, theater repertoires are
enriched with beautiful stage productions, while cinema is complemented with unique films that
do not repeat one another.
https://ijmri.de/index.php/jmsi
volume 4, issue 7, 2025
249
The focus of this monograph specifically on children’s dramaturgy invites us once again to
reflect on what should be given priority in works aimed at satisfying the spiritual needs of the
younger generation—the future of our nation.
It is well known that the foundation of stage and screen works differs significantly from that of
literary works, and thus, not everyone can easily take on writing for these media. An artist who
sets out to write a screenplay (for the screen) or a play (for the stage) must, without fail, be
familiar with the principles of theater and film. The author must carefully study the psychology
of children, the ways to touch their hearts, as well as the emotions taking place in their inner
world, their interests, dreams, and aspirations. All of this significantly influences the composition,
genre, theme, idea, and artistic integrity of the work to be written.
Moreover, for a dramatist or screenwriter aiming to write on a specific topic, the completeness
and originality of the work depend greatly on their awareness of the contemporary literary
environment, the past and present state of dramaturgy, the field’s achievements and challenges,
and the degree to which they are familiar with current theater and film productions. This
complex process creates the conditions for the emergence of high-quality works in children’s
dramaturgy. Observing the literary foundations of stage and screen works being created in line
with the above requirements, analyzing them, and recognizing their strong aspects is one of
today’s most urgent issues.
REFERENES
:
1.
Abdulla Avloni. Selected works (2 volumes). - T.: Ma'naviyat, 2009. - p. 38.
2.
Karimov I.A. High spirituality is an inexhaustible power. - T.: Ma'naviyat, 2008. - p. 116.
