A talented playwright who headed the first national theater. Kazakh Drama Theater

With the acquisition of independence by Kazakhstan, cardinal changes took place in the country in all spheres: political, economic, social. At first, the theater continued to develop at the expense of previously accumulated resources. However, over time, the culture and art of the country faced the task of updating the artistic process. First of all, it's a search national identity. Height national consciousness in the context of globalization, it has activated interest in the historical past, especially in previously closed pages of history. The genre of historical drama, which has taken the main place in the repertoire of theaters, comes to the fore. The main characters of the performances are Abylaikhan, Makhambet, Amir-Temir, Tomiris and other heroes.

Throughout the period under review, the repertoire of theaters, along with historical performances, was largely determined by national classics and performances of folklore themes. Classics always attracts attention with its content, artistry, value orientations, consonance with modern topics and problems. In classical works, the directors were looking for ideas and images that could be correlated with the new realities of our time.

Features of the formation and development of the Kazakh theater, as well as the originality of the national style of acting and directing, are largely due to folklore. Themes, plots, art of the word, figurative and genre system folklore, folklore symbolism and the principles of creating characters - all this was refracted and transformed in the theater in accordance with the laws performing arts. Throughout the history of the Kazakh theater, various stage versions of the plays by M. Auezov "Enlik-Kebek", "Karakoz", "Abai" (together with L. Sobolev), G. Musrepov "Kyz Zhibek", "Kozy-Korpesh and Bayan- Sulu", "Ahan-sere - Aktokty". In the conditions of independence, the desire to find a new hero, to determine his role, place and significance led to the intensification of interest in folklore. Orientation to the poetics and aesthetics of folklore, to the height of its moral values, on deep ideas about being, good and evil contribute to an increase in the artistic volume of the performance.

The productions of the late 20th and early 21st centuries reflect the search for new forms, a variety of directorial interpretations, in which the metaphor and poetics of folklore allow reaching the level philosophical reflections And figurative language parables. The state of the theatrical process in Kazakhstan is reflected in the republican theater festivals. Every year more than ten theaters show their best performances. Public discussions of productions by a panel of critics give the forum a business-like working character and reveal the main problems and development trends.

The real theatrical landscape of Kazakhstan during the period of independence is relatively even and calm. For the most part, the performances are quite traditional in terms of artistic solution, staged according to the laws of a realistic theater of a psychological orientation. An important key place of the current modern dramaturgy in the repertoire of theaters occupy household comedies, melodramas or commercial plays. It is vital for the national theater to reflect modern reality, to bring the hero of our time to the stage. The main obstacle to the emergence of new theatrical forms, directorial decisions is the lack of new high-quality dramaturgy with contemporary themes and bright heroes topical issues. Playwrights are still in search, and the theater is still waiting for modern plays.

A striking example of the actualization of the theater was the German Theatre of Drama 1990s. With the performance of 1997 "Field of Miracles" by I. Lauzund, he opened himself to the theatrical world of Europe and the richness of the diversity of the world theatrical process for himself. Unprecedented success BAT on international festivals and tours in Europe led to the fact that the theater became open area for experimental stage projects with directors different countries. It was here that for the first time in Kazakhstan the works of G. Bell, S. Mrozhek, A. Jarry, T. Williams were staged.

The productions of the NDT showed a mercilessly sober view of the world, the rigidity of the performance and the acute sociality of the theater. An important creative result for the theatrical process of Kazakhstan was the involvement of artists different theaters Almaty in NDT projects and productions, which used new theatrical forms and means of expression, a different way of acting existence. The repertoire of the NDT of this period was distinguished by genre diversity: a performance-concert, a performance-improvisation, a performance-performance, a physical theater were played, the dance theater was widely represented in the theater’s own productions and in joint projects. The NDT of this period was the link between the world theatrical process and the theaters of Kazakhstan. Since the 2004-2005 season, with the change of leadership, the policy and artistic vision of the world of BAT has changed.

There are strong troupes with actors in the theaters of Kazakhstan great experience stage work, good level professionalism. Adaptation to creative work in the new conditions it was not easy for them. The positive resolution of this problem, the artistic enrichment of the stage art is facilitated by the exchange of experience with representatives of other theater cultures. Workshops are held annually in Kazakhstan with the invitation of leading foreign theater figures. Over the past ten years, master classes, trainings, "workshops", seminars have been held in Kazakhstan by actors, directors, stage designers, theater critics and managers from the UK, Germany, France, Switzerland, Italy, Russia.

Cooperation with the leading theater directors of the Central Asian region turned out to be a fruitful practice of Kazakh theaters: K. Ashir (Turkmenistan), V. Umarov, O. Salimov (Uzbekistan), B. Abdrazakov, S. Usmonov (Tajikistan), N. Asanbekov (Kyrgyzstan), free Turkmen artist - director O. Khodzhakuli. Russian theaters actively cooperate with Russian directors. Such joint work gives impetus to the development of the search for new artistic imagery, plastic expressiveness, and a different theatrical vocabulary.

In the early 2000s, the Swiss actor and director Markus Zohner held master classes in Almaty on improvisation for development creativity actor. After that, he organized a whole series of master classes for British, German and French theater educators on acting, on stage movement, on the development of voice abilities, on scenography, on the technique of creating a play, on theater management. According to M. Tsoner, the system of exercises he proposes is aimed at educating a thinking actor, at distributing energy, and at developing a dramatic situation. Master classes by M. Tsoner contributed to the development of theatrical art Almaty. Evidence of this is the activity of the theater "ARThIIIOK", the first years of which were spent in close cooperation with M. Tsoner.

The center for the revival of the theatrical process is moving to the ARLISHOK theater. Established in 2001, this first independent troupe in Kazakhstan follows the path blazed by BAT. Their arsenal includes various forms of theatrical performances: improvisation, physical theatre, pantomime, street performances - new interactive ways of interacting with the audience. A busy festival life does not interfere with the creation of important theatrical projects: the festival of modern Kazakhstani dramaturgy "Theater in search of an author" (2005); own theater festivals, the theater club "ARLISHOK-session", which introduces viewers to independent theatrical, musical and artistic projects. The theater itself defines the direction of its activity as "theatricalization of theatrical art" and "theatricalization of life". Best Performance"ARLISHOK" - "Back in USSR" is a montage of vivid stage sketches, which are based on improvisation.

The leading directors of Kazakhstan are a small cohort of professionals who are over sixty years old. These are Zh.Khadzhiev, E.Obaev, R.S.Andriasyan, E.Tapenov, N.Zhakipbai, A.Rakhimov, B.Atabaev. They passed their "theatrical universities" in Moscow and Leningrad on the performances of the best directors of the near and far abroad.

They have their own directorial vision, often not indisputable, their own theatrical style, understanding of artistic tasks and the ability to embody them. Zh.Khadzhiev gravitates towards the actual reading of the national classics, E.Tapenov - to the psychological theater, N.Zhakipbai - to the theater of plastic expressiveness, A.Rakhimov - to the conventional theater of symbolic imagery, to the metaphorization of the stage solution. The hopes of the Kazakh theater today are associated with young theater troupes formed on the basis of the graduation courses of the Kazakh National Academy of Arts named after T. Zhurgenov: Kazakh State Music and Drama Theater. S. Mukanova (Petropavlovsk), Mangistau Regional Music and Drama Theater named after N. Zhanturin (Aktau), Youth theater(Astana). Youth, artistic energy, plasticity, musicality, creative passion demonstrate the great potential of these theaters.

The brightest production of this generation is the performance of the chief director of the Mangistau Regional Music and Drama Theater named after. N. Zhanturina G. Mergalieva "38, or the Black Widow." This is a modern free stage adaptation of the 38th edification of Abai, which fits into 38 minutes of stage time.

Sharp director's decision, exaggeratedly sharp actor's drawing, expressive performance, unexpected modern reading classic text make the performance relevant. The performance reflects the director's extraordinary attitude to artistic traditions, transforming them into unforeseen and stylistically heterogeneous stage vocabulary, into new forms of plastic expression, revealing postmodern tendencies. "38, or the Black Widow" is a modern stage interpretation artistic heritage as a theatrical statement of the thirties generation.

In the modern Kazakh theater, the potential of national performing arts is being developed by searching for new stage forms in the game ritual nature of folklore; the development of metaphor as the basis of a director's decision, a polyfunctional figurative system, a multi-level pictorial range. The theatrical process of modern Kazakhstan is ambiguous. There are more than fifty theaters in the country, eleven of them are located in Almaty. Among them are national theaters: Kazakh, Russian, Uighur, German, Korean. All of them have their own history, with the fundamental traditions of the national performing school. Most of the rest are regional theaters as important cultural centers. In the conditions of independence of Kazakhstan, all theaters of the country are faced with the task of artistic comprehension modernity, revealing the picture of the world through the life of a new hero in comparison with the new historical era, inclusion of the fate of the character in the universal context, since the theater is integral part national culture, and the purpose of the theater is to be in tune with the time.

This year marks the 100th anniversary of the birth of Askar Tokpanov, the first professional Kazakh theater director, the founder of Zhurgenovka and the school of theatrical skills, the man who first staged the play Abai on stage. Let's get to know the life story of this great man better.

Kazakh theatrical art originated in a turbulent time of change and social upheaval. In 1925, the first Kazakh Academic Drama Theater. At the origins of the Kazakh theater were such prominent cultural figures as a playwright and director Zhumat Shanin, singer and actor Amre Kashaubaev, actor Kalibek Kuanyshbaev, theater and film actors Elubay Umurzakov And Serals Kozhamkulov. Askar Tokpanov began his creative activity later, in the mid-30s, but he managed to enter his name into this brilliant galaxy. Mukhtar Auezov once said: "Askar's merit in the development of the national theater cannot be surpassed."

Askar from a young age showed talent and a craving for beauty. He was born in 1915 in the vicinity of Almaty, in village No. 2 of the Ili district. The family of the future director was not rich, his father, Tokpan Kunantaev, was engaged in cattle breeding. Under such conditions, the boy could well continue his work and not get higher education, but fate would have it otherwise. Askar's parents died early and he was raised by his uncle's family. In 1930, Tokpanov, as an orphan, was admitted to a boarding school. He was a diligent student, and soon the teachers saw that the young man had artistic talent.

Young Askar was noticed by the artistic director of the Kazakh theater Zhumat Shanin. He decided that the young man should be given a chance to get a good education. Askar entered Abai Pedagogical Institute at the faculty of Kazakh language and literature. Tokpanov showed his talents here too. Shanin spoke about young talent Temirbek Zhurgenov- Minister of Education of the Kazakh SSR. Zhurgenov decided to send Askar to study in Moscow. So Askar entered the faculty of directing Moscow State Institute of Theater Arts named after A. V. Lunacharsky.

His teacher was a theater connoisseur, People's Artist of Russia and director of the Moscow Art Theater Professor Vasily Sakhnovsky. We can say that Tokpanov became a "grandson" Stanislavsky And Nemirovich-Danchenko, because Sakhnovsky was their student. Askar diligently absorbed the best practices of the Russian school of acting, in order to then apply them to the Kazakh theater. Despite all the difficulties and obstacles in training, in 1939 Tokpanov graduated from the institute with excellent marks, thus becoming the first professional theater director who worked in the Kazakh theater.

Returning to his homeland, the young director was in a hurry to put his knowledge into practice. From 1939 to 1944 he worked as the head of the department Alma-Ata Theater School. In parallel, he became a director Auezov State Academic Theater and began to stage performances by famous Kazakh playwrights.

The first serious challenge for Tokpanov was the play "Abay". Auezov at that time was looking for a talented director to entrust him with his tragedy. In the process of working on the performance, Askar Tokpanov and Mukhtar Auezov communicated closely, argued a lot, discussing the production. The director worked on "Abai" very carefully for a year and a half. He sought to convey the entire philosophical depth of the work. For the main role in the production, he approved Kalibek Kuanyshpaeva. The actor managed to brilliantly embody the image of the legendary sage and poet on stage. The audience greeted the performance with applause, and in the history of the theater, Tokpanov and Kuanyshpaev forever remained the first to show the audience the real Abai many years after his death.

Mukhtar Auezov liked the performance so much that after the curtain closed he stood up and said: “I thought Tokpanov was a bad director and he would make a bad performance. Now I realized that Askar is just a great director. Abay found new life today on the stage of this theatre.

Askar Tokpanov had a chance to work in " golden age» national theatrical art. It was during these years that the period active creativity writers like Auezov, Musrepov, Mustafin, Mylin. The director knew each of them well. In his productions, he sought to convey the deep essence of the Kazakh classics, while maintaining the spirit of the work. Among his productions are such successful performances as "Marabay" Sh. Khusainova (1941), "In the hour of testing" And "Enlik-Kebek" M. Auezov (1943), "Maidan" B. Mailina, "Ybyray Altynsarin" M. Akynzhanova (1951), "Millionaire" G. Mustafina (1950), "Akan Seri - Aktoty" G. Musrepova (1945).

In 1945-1946 Tokpanov worked artistic director Karaganda Regional Theater. From 1951 to 1953 he was chief director Theater for the Young Spectator. In total, for the entire period of his work, Askar Tokpanov staged about 70 performances on the stages of republican and regional theaters.

Tokpanov was actively engaged in the translation of plays from among the Russian and foreign classics. In fact, through his efforts, world classics were opened for the Kazakh theater: plays "Ivanov" And "The Seagull" Chekhov, “Truth is good, but happiness is better” Ostrovsky, "Nora" Ibsen, "Cook" Safronov. Askar Tokpanov himself composed plays. Known for his works "Tazsha bala" And "Tasygan Togiler".

IN individual cases Askar Tokpanov himself went on stage as an actor. His images are known Lenin, Abaya Kunanbayeva And Ibraya Altynsarina.

Despite all the merits of Tokpanov in staging performances, he is more remembered in the history of the Kazakh theater as the founder of professional acting and directing education. The director achieved this for a long time at the cultural top, and in 1955, on his initiative, the theater department was opened in Alma-Ata State Conservatory named after Kurmangazy. Tokpanov became a teacher of acting, and in 1965 he received the title of associate professor at the Kurmangazy Conservatory.

To study at his faculty, Tokpanov looked for talents all over the country. He had a special gift for finding such "nuggets" in the most unexpected places.

Before taking someone as a student, he asked various questions, checked vocal skills and acting talent.

Tokpanov loved the true game without falsehood. He said that an actor should literally live the life of his character, learn to think like him.

One of the most famous students of Askar Tokpanov is the master of Kazakh cinema Asanali Ashimov. Aksakal shared with us the story of how, thanks to Tokpanov, he became an actor:

— I am grateful to Tokpanov. He is the one who made me who I am today. I met him in 1955. Then my friend, who later received the title of People's Artist of Kazakhstan, Rayymbek Seitmetov entered the acting department. I, a rural guy, worked on a collective farm and came to enter the Agricultural Institute. I didn't even think about acting. A friend invited Askar Tokpanov to visit us. He sat, drinking champagne, and I poured it into glasses. Then Tokpanov unexpectedly asked me: “Where are you going to enter?” I answered. He thought for a minute, and then he says to Raiymbek: “Bring this guy to me tomorrow. Help him get ready. I think there will be one less agronomist in the country.”

During the night we prepared a monologue by Oleg Koshevoy from the Young Guard. I read badly, because at school I didn’t even participate in amateur performances. The members of the commission frowned, but then one of them—namely Akhmet Zhubanov- He said that the guy, they say, is young, and he will learn more. In the second round, I also, apparently, did not perform brilliantly. However, Tokpanov probably did not want to send me back. He went to the Central Committee and achieved that, in addition to 30 students, 5 candidates were added to the course. Now I understand that it was a sign of fate, because, as a candidate, I had to study two or three times more than others in order to become a full-fledged student, get a scholarship and a place in a hostel. Later, I was expelled from the university when I started acting in films and skipped 20 days. A year later, I returned there again. Thus, in total, I studied for seven years and graduated from the conservatory with the second graduation of the acting department.

Tokpanov was distinguished by his original teaching methods. Some thought they were too harsh. The director could criticize the work of his student to the nines, and then, having cooled down a bit, give the fuse for new achievements.

- What is there to hide: sometimes he even beat us. It was also a method of education that disciplined the students well. Everyone was afraid when he came to the performance, because they knew that after evaluating the work of everyone, he would tell the whole truth in person. Some of the students were angry with him for his directness and rigidity.

In the classroom, he often went into long stories about his acquaintance with famous artists, recalled incidents from his life. It pissed some people off, but in the end we realized that every story he had had a meaning. He explained to us what art is, theatrical life, the skill of reincarnation and immersion in the image. Tokpanov loved the true game without falsehood. He said that an actor should literally live the life of his character, learn to think like him. Now you will not find a student who would remember Askar Tokpanov badly.

We often met with him after I graduated from the institute. Once Tokpanov even scolded me for not taking him on a small role as a poet in the film Chokan Valikhanov. The fact is that this poet was his ancestor. Sometimes he criticized my roles, sometimes he praised. In the end, he told me something like the catchphrase that Zhukovsky wrote to Pushkin: "To the winner-student from the defeated teacher." I will never forget everything that this wonderful person did for me and many others.

Tokpanov was distinguished by a tough character. The students were afraid, but at the same time they loved him. He quickly made it clear to us that the profession should be taken seriously, or not at all.

Another student of Tokpanov, People's Artist of the Republic of Kazakhstan, director and former director of the Kazakh State Academic Drama Theater named after Auezov Esmukhan Nesipbaevich Obaev, also recalls Tokpanov with warmth:

- It happened a long time ago - about forty years ago, it was winter. I lived in the village of Kegen, 250 kilometers from Almaty. I finished the 10th grade and stood at a crossroads in choosing a profession. I remember - as usual, I was feeding the cattle, and I see: two people are walking along the road. I immediately recognized the first one, it was our chairman of the village council. The second is a very colorful man with a high hat on his head and in a chapan. He came up to me and asked: “Do you want to be an artist?” I answered: "No." He told me: "Do you sing?" I answered: "Yes." He asks me: "Are you a bully?" I say bully. Then he suggested that I go to the House of Culture at three o'clock to show what I can do. I said that I couldn't because the hay had to be removed. “Your hay is not going anywhere,” he said and left. At three I came to the House of Culture. There he read poems to Tokpanov and sang. I had a talent in those years - the ability to imitate the voices of artists. After listening to me, the director offered to come to the conservatory for exams.

In September, I went to the city with our rural children. Admission to universities in those years was exactly at this time. I came to the conservatory, and they say that the reception is over. I went up to Tokpanov on the third floor. He scolded me for being late. Then I said that I would go to enter the agrofaculty. At the very door, Tokpanov stopped me and offered to become a volunteer, to study without a scholarship, and if in six months I pass the exam, to become a student of the directing department. I agreed, and after the exams I really entered the university. Askar Tokpanov taught us acting skills. Tokpanov was distinguished by a tough character. The students were afraid, but at the same time they loved him. He quickly made it clear to us that the profession should be taken seriously, or not at all.

Among Tokpanov's students are 14 People's Artists of the USSR and Kazakhstan and about 30 Honored Artists of the Kazakh SSR. In total, the teacher has released more than 250 directors and actors. Among his students are eminent figures theater and film arts Sholpan Dzhandarbekova, Farida Sharipova, Idris Nogaibaev, Sabit Orazbaev, Mukhtar Bakhtygereev, Tungyshbai Zhamankulov. His students work as teachers, actors and directors in all parts of the country.

Tokpanov was a very extraordinary person, even outwardly. He walked with a cane, wore a fez or hat on his head. It was the bright image of this man that his contemporaries remembered. At the same time, the director and teacher differed high level culture, erudition and excellent knowledge of classical art.

- I remember once Moscow filmmakers gathered in my apartment. There were Mikhalkov And Adabashyan. At two o'clock in the morning the doorbell rang. Tokpanov entered the room. I don’t know from whom and how he found out what kind of guests I have in my house. As a result, we stayed until the morning. He recited poetry, talked about famous people with whom he spoke. Eminent Soviet directors and screenwriters were greatly impressed by Askar Tokpanov. Then, when I came to Moscow, Mikhalkov asked me where this genius is now, ”recalls Asanali Ashimov.

Everyone knew Tokpanov's famous sharp character and his truthfulness. A lot of people didn't like him for it. Once he came to the Academy of Sciences, where they remembered the deceased Sakena Seifullina. The director approached some of those who wrote denunciations against the writer and said: "You killed yourself, now you are also celebrating." Regardless of the regalia, titles and positions, Tokpanov always told the people he met what he thought about them and considered the truth.

- He could approach the people's artist, who, for example, plays Lenin, and say: “What kind of Lenin are you? Have you even read his writings? To play Lenin, you need to be the same genius and know him from head to toe. That's the kind of harshness we sometimes heard from him. There was no mat in Tokpanov’s vocabulary, but he could have scolded him without it,” says Asanali Ashimov.

Tokpanov did a lot for the development of the Kazakh theater in the regions of the country.

In 1969 he worked as chief director Drama Theater named after Abai in the Zhambyl region. In addition, he staged performances in the theaters of Atyrau, Semipalatinsk and other cities of Kazakhstan.

- When Tokpanov started, there were only 5-6 theaters in the republic. Now there are about 57 of them, and this is largely his merit. If something was needed for the development of the national theater, then he was ready to reach the very top. Tokpanov did not like officials, he called them "bureaucrats", but on duty he constantly communicated with these people. He always spoke with everyone directly and without hesitation, even with Kunaev, talking about the problems of the theater,” recalls Esmukhan Obaev.

Having summarized his knowledge and theoretical articles, he left many works on acting, teaching theater and directing. Tokpanov translated Stanislavsky's books into Kazakh. He himself produced works such as "Life on stage", "Before today» , "Foundation of my life". Tokpanov did not like awards and titles, but in 1957 he became an Honored Art Worker of the Kazakh SSR, and in 1974, a People's Artist of the Kazakh SSR.

Tokpanov continued to teach until the end of his life. From 1978 to 1987 he was the head of the department of acting and directing in theater and art academy. In 1991 he became a professor at this university.

- We came to Tokpanov a few days before his death. He was ill, but kept a sober mind. Even in the hospital, he did not part with his straightforwardness. He told some of us that there was nothing in acting career they will not succeed, others that they still have a chance. So we carried out the legend in last way- recalls Ashimov.

“I came to him the day before my death. Tokpanov opened his eyes, grabbed my hand and didn’t say anything else,” Esmukhan Obaev says.

Askar Tokpanov died in 1994. In memory of Tokpanov, a granite plaque was installed on the house where he lived. A couple of small streets in Almaty and Astana are named after Tokpanov. At the same time, the main memory of him is the schools of directing and acting, as well as hundreds of graduates who continue the work of their wise teacher.

Photo gallery

KAZAKH THEATER. The beginnings of the theatre. the lawsuits were contained in the Kazakhs. everyday life, in rituals, games, in Nar. creativity: for example, in wedding ceremonies, girlish games ("kyz-oynak"), performances of nar. comedians, wits and storytellers, song competitions ("aitys") of singer-improvisers ("akyns"). But the political and the cultural backwardness of the country under the conditions of the feudal system and the colonial policy of the tsarist government retarded the development of the theater. lawsuit. revival cultural life at many peoples tsarist Russia after the revolution of 1905 - 07, including in Kazakhstan, led to the emergence in 1911 - 12 Kazakh. nat. dramaturgy, to the emergence of amateur performances in Kazakh. lang. in cities where Kazakh. the population had the opportunity to get acquainted with the performances of the Russian. and Tatar troupes (Orenburg, Troitsk, Omsk, Petropavlovsk, Semipalatinsk). However, the beginnings of theater. amateurism in those years did not lead to the formation permanent theater. troupe.

Scenes from performances Kazakh academic. t-ra drama:

1. "Enlik and Kebek" Auezov. 1933

2. "Man with a gun" Pogodin. 1940

3. "Kozy-Korpesh and Bayan-Slu" by Musrepov. 1940

4. "Abay" Auezov. 1949

5. "The Taming of the Shrew" by Shakespeare. 1943

6. "Amangeldy" by Musrepov. 1952

7. "The tragedy of the poet" Musrepov. 1957

8 - 10. "One tree is not a forest" Tazhibaeva. 1957.

11. "Chokan Valikhanov" Mukanov. 1956

12. "Enlik and Kebek" Auezov. 1957

After the October Revolution, the intensive development of the Kazakhs began. nat. culture, including theater. lawsuit. In the years civil war Kazakhs appeared. theater. amateur circles in schools, clubs, units of the Red Army. In 1925, the first Kazakh was created in the capital of the republic, Kzyl-Orda. prof. theater (since 1928 in Alma-Ata), which included participants in the arts. amateur performances. Tr staged plays nat. playwrights, especially M. Auezov ("Enlik and Kebek", "Rival Wives"), S. Seifullin ("Red Falcons"), B. Mailin, Zh. Shanin. At the first stage, dramatic t-ru was entrusted with the development of muses. lawsuit; along with performances, he gave concerts, evenings nar. creativity, etc. T-r was firmly connected with the life of the Kazakhs. people. The actor appreciated the knowledge of everyday life, the ability to reproduce on the stage a character noticed by the people. Nar. had a strong influence on t-r. creativity, especially old poems, which gave the performance a romantic. elation. However, the separation from the owls. theater. culture delayed the growth of the Kazakh. t-ra. The overall growth of the economy and culture of Kazakhstan in the beginning. 30s caused (beginning in 1933) a powerful upsurge of nat. theater. art-va based on the development of culture and experience of all owls. and, first of all, Russian. t-ra. In Republican t-r drama were brought in by prof. directors who raised the arts. performance level. Pieces of owls appeared in the repertoire. drama and world classics ("Lyubov Yarovaya", 1937, "Inspector", 1936, "Othello", 1939). The theater became the center of the arts. life of the republic, contributed to the growth of drama, the development of local t-ditch.

1 - 2. Scenes from the performances of the Russian Drama Theater of the Kazakh SSR:

1. "Heirs" Anova. 1958

2. "Platonov" Chekhov. 1958

3 - 8. Scenes from operas (8 - 6) and ballets (7 - 8) Abaya:

3. "Birzhan and Sara" Tulebaeva

4. "Dudarai" Brusilovsky

5. "Abay" Zhubanov and Hamidi

6. "Family of Taras" Kabalevsky

7. "Kambar and Nazim" Velikanov

8. "Dear Friendship" Tlendeev, Stepanov, Manaev

In 1933, a Kazakh was created in Alma-Ata. music t-r, who first staged music. drama. "Ayman and Sholpan" by Auezov (1933), "Kyz-Zhibek" by Musrepov (1934) and "Zhalbyr" by Dzhandarbekov (1936) (music by E. Brusilovsky) were shown in the Kazakh decade. lawsuit (1936) in Moscow. In 1936 the t-r was reorganized into t-r opera and ballet with two troupes - Kazakh and Russian - and switched to the operatic repertoire. First Kazakh. the opera "Er-Targyn" by Brusilovsky was staged in 1937. In 1934, a permanent Russian opera was created in Alma-Ata instead of seasonal troupes. t-r. At the same time, the development of a network of regional shopping malls, which arose on the basis of the arts, began. amateur performances, but later (since 1937) replenished with professional actors. In 1940 there were 7 Kazakhs in the republic. regional and 14 district (kolkhoz-sovkhoz) t-ditch. Personnel for the tanks of Kazakhstan were prepared by: Alma-Ata Theater. school, GITIS, Alma-Ata and Moscow. conservatory, Leningrad technical school stage. lawsuit, Leningrad. choreographic teacher, etc.

During the war years Kazakh. t-ry created performances about the struggle of the people: in drama. t-re - "Guards of Honor" by Auezov and Abishev, in the opera - "Guards, forward!", libre. Mukanova, music. Brusilovsky and others. The development of the theater. art-va in the republic was facilitated by the activities of the troupe evacuated from Moscow, from Ukraine, etc. In Alma-Ata, a troupe for children and youth was created (Russian troupe in 1945, Kazakh - in 1948).

However, the influence of the cult of personality slowed down creativity. development of the national t-ra, gave rise to nat. limitedness, lack of conflict, ideological poverty of performances. At the end of the 40s. t-ry removed from the repertoire performances that painted past life Kazakh. people ("Kyz-Zhibek", "Enlik and Kebek", etc.). Only after the exposure of the cult of personality were the old ones restored and new ones appeared. and folklore performances: the dramas "Chokan Valikhanov" by Mukanov, "Maira" by Tazhibaev, the opera "Nazugum" by the Uighur composer Kuzhamyarov.

The performances "One tree is not a forest" by Tazhibaev, "Wolf cub under a hat" by Mukhamedzhanov, "Saule" by Akhtanov - in dramas. t-re; opera "Golden Mountains" by Kuzhamyarov and Tlendeev, ballet "Dear Friendship" by Tlendeev, Stepanov, Manaev, determined new stage development of national t-ra.

Kazakh. tr multifacetedly reflected the life of his people in the past and present. Colorful images of the heroes of the old epic (Kyz-Zhibek, Kozy-Korpesh, Er-Targyn), Nar. legends (Enliki Kebek), Kazakh figures. culture (Chokan Valikhanov, Abai, Akhan-sere), heroes of civil. wars (Amangeldy), our contemporaries are shown, the features of their characters are clearly outlined.

In 1962 in Kazakh. SSR existed: in Alma-Ata - Kazakh. Academician t-r drama them. M. Auezov, Kazakh. Academic tr-r opera and ballet them. Abai, Alma-Ata Rus. tr, Theater for Children and Youth; on the ground - regional Kazakhs. t-ry in Guryev, Dzhambul, Karaganda, Kyzyl-Orda, Chimkent, united Russian-Kazakh. shopping mall in Semipalatinsk, regional Russian. - in Karaganda, Kustanai, Pavlodar, Petropavlovsk, Uralsk, Ust-Kamenogorsk, Tselinograd; Korean - in Kyzyl-Orda; regional Kazakh. - in Wil, Aktobe region; Uighur tr.

Means. contribution to the development of Kazakh. theater. claims were made by playwrights M. Auezov, G. Musrepov, S. Mukanov, A. Tazhibaev, A. Abishev; composers A. Zhubanov, E. Brusilovsky, M. Tulebaev; nar. art. USSR K. Baiseitova, Sh. Aimanov, K. Kuanyshpaev, R. Jamanova, E. Serkebaev; nar. art. Kazakh. SSR K. Badyrov, X. Bukeeva, Sh. Dzhandarbekova, K. Karmysov, R. Koichubaeva, S. Kozhamkulov, S. Maykanova, S. Telgaraev, M. Surtubaev, E. Umurzakov - in drama, R. and M. Abdullins , K. Baiseitov, Sh. Beisekova, K. Dzhandarbekov, B. Dosymzhanov, M. Erzhanov, G. Kurmangaliev, A. Umbetbaev - in the opera, in regional theaters - A. Abdullina and G. Khairullin (Chimkent), S Kydralin and K. Sakieva (Semipalatinsk).

National tr helped the Kazakh. people to contribute to the common treasury of owls. multinational lawsuit and at the same time contributed to the familiarization of the Kazakhs. people to the achievements of the entire owls. and world culture.

Lit.: Lviv N., Kazakh theater. Essay on history, M., 1961; Kanapin A. K. and Varshavsky L. I., Art of Kazakhstan, Alma-Ata, 1958; Olidor O., Path to maturity, "Theater", 1958, No. 12; Surkov E., People look to the future, ibid., 1959, No. 3; Theaters of Kazakhstan. Photo album, Alma-Ata, 1961.

Sources:

1. Theatrical encyclopedia. Volume 2/Ch. ed. P. A. Markov - M .: Soviet Encyclopedia, 1963. - 1216 stb. with illustrations, 14 sheets. ill.

Kazakh Academic Drama Theatre. M. O. Auezov, organized in 1925 in Kyzyl-Orda (opened January 13, 1926). In 1928 he was transferred to Alma-Ata. The troupe included masters of folk art, amateur performances, including S. Kozhamkulov, K. Kuanyshpaev, E. Umurzakov, K. U. Badyrov, Zh. Shanin. Later, the troupe was replenished with actors who grew up in the theater itself, in drama schools Alma-Ata and Tashkent, graduates of the Kazakh studios of GITIS (1938 and 1954). Initially, the theater was headed by Zh. Shanin. Performances that reproduced the life of the old village were especially successful: "Enlik and Kebek", "Rival Wives", "Karagoz" by Auezov (all in 1926), "Red Falcons" by Seifullin (1926), "Arkalyk-batyr" by Shanin (1927) . Later performances were staged on the themes of collectivization and industrialization of the country: Shanin's "Mine" (1930), Mailin's "Front" (1931). In 1932-35 and 1937-39 the theater was directed by director M. G. Nasonov; Russian works were staged. dramaturgy - "The Government Inspector" by Gogol (1936), "Lyubov Yarovaya" by Trenev (1937), "My Friend" by Pogodin (1939), plays by national playwrights - "Night Peals" by Auezov (1935), "Amangeldy" (1937), "Goats -Korpesh and Bayan-Slu" (1940) Musrepov. During the years of the Great Patriotic War 1941-45 the patriotic play "Guards of Honor" by Auezov and Abishev (1942) was created, "Akhan-Sere and Aktokty" by Musrepov (1942), "The Taming of the Shrew" by Shakespeare (1943) and others were staged. In the 2nd half of the 40s and in the 50s. on the stage of the theater, plays about the life of the republic are successfully staged - "Friendship and Love" (1947), "Envy" (1955) by Abisheva, "Yesterday and Today" by Khusainov (1956), "Blossom, Steppe!" ("One tree is not a forest") Tazhibaeva (1952 and 1958), "Abai" based on the novel by Auezov (1949; State Prize USSR, 1952). Mastering the realistic method was facilitated by work on Russian and Western European classics: "Talents and Admirers" (1949), "Thunderstorm" (1950) by Ostrovsky, "Miserly" by Molière (1952). In the 50-60s. the theater turns to historical themes - Chokan Valikhanov by Mukanov (1956), Mayra by Tazhibaev (1957, 1969); in his repertoire of plays by young playwrights - "Wolf cub under a hat" (1959), "In a foreign land" (1968) by Mukhamedzhanov, "Saule" (1961), "Buran" (1966) by Akhtanov, and others. Plays by playwrights from other republics are systematically staged - "Mother's Field" according to Aitmatov (1964), "Shoes" Fayzi (1972) and others. In 1937 the theater was named academic, in 1946 it was awarded the Order of the Red Banner of Labor, in 1961 it was named after the writer M. O. Auezov. In the troupe of the theater (1972): People's Artists of the USSR Kh. Bukeeva, S. Maykanova, People's Artists of the Kazakh SSR K. U. Badyrov, Sh. Dzhandarbekova, A. Dzholumbetov, S. Kozhamkulov, K. Karmysov, Sh. Musin, I. Nogaibaev, B. Rimova, M. Surtubaev, S. Telgaraev, E. Umurzakov, Z. Sharipova and others. Main director- People's Artist of Kazakh. SSR A. Mambetov.

In January 1926, the production of "Enlik-Kebek" opened the first national Kazakh theater in the republic in Kyzyl-Orda. talented playwright, director and actor Zhumat Shanin (1891–1937). The first theatrical troupe was E. Umurzakov, S. Kozhamkulov, K. Badyrov, K. Kuanyshbaev, A. Koshaubaev, I. Baizakov. The first performances of the theater were plays by S. Seifullin "Red Falcons", Zh. Shanin "Arkalyk Batyr", B. Mailin "Shanshar Molda" ("Cunning Mulla"). The repertoire of the world classics included the plays "Marriage" and "The Government Inspector" by N. V. Gogol, "Rebellion" by D. A. Furmanov, "Othello" by W. Shakespeare. Major events in the life of the theater were the premieres of performances based on the play by G. Musrepov "Kozy-Korpesh and Bayan Sulu" and the play by M. Auezov and L. Sobolev "Abay" (1940). In 1937 the theater was given the name Kazakh academic theater drama.

In 1933, the first Uighur musical and drama theater in the history of the people was organized in Alma-Ata. In his repertoire, the play "Anarkhan" by Zh. Asimov and A. Sadyrov took a firm place. In 1937, a Korean theater was opened in Kyzyl-Orda. The musical drama "Chuphin-dong" by D. I. Dong-im had the greatest success.

In January 1934, the Kazakh State Musical Theatre, now the Kazakh Academic Opera and Ballet Theater named after Abay. The premiere of the theater is the opera "Aiman-Sholpan". In the first season alone, the performance was shown over 100 times. The first Kazakh opera was "Kyz-Zhibek" by E. Brusilovsky.

Amre Kashaubaev conquered the enlightened spectators of Europe with his mighty talent: in 1925. At the World's Fair decorative arts in Paris in France, and in 1927 at the World Music Exhibition in Frankfurt am Main in Germany. In May 1938, the first decade of Kazakh art in Moscow, where the operas "Kyz-Zhibek", "Zhalbyr" were shown. honorary title People's Artist The USSR was awarded K. Baiseitova.

In 1934, the Kazakh state orchestra named after Kurmangazy. The first leader was famous composer A. K. Zhubanov. In 1936, the Dzhambul Philharmonic was opened.

Much has been done to develop musical art ethnographer and composer A. V. Zataevich. He recorded over 2300 folk songs and kuev and published: in 1925 a collection of "1000 songs of the Kirghiz (Kazakh) people"; in 1931 - a collection of "500 songs and kyuis of the Kazakh people". In 1932, A. V. Zataevich was awarded the title of "People's Artist of Kazakhstan". Writers M. Gorky and Romain Rolland spoke enthusiastically about the composer. The Soviet musicologist B. V. Asafiev rightly considered the work “1000 Kazakh Songs” to be the most valuable monument of a century-old, and perhaps even a thousand-year-old culture.

The workshop of P. G. Khludov became the center of Kazakh professional painting. One of his students was the first Kazakh artist Abylkhan Kasteev, later folk artist Kazakhstan.

The cinema art of Kazakhstan was born in the 1930s. At its origins was the Alma-Ata branch of the Vostokkino trust, which released a number of documentaries "On Jailau", "Turksib" and silent feature films"Songs of the Steppes", "Jute", "The Secret of Karatau". In 1934, the first feature film studio was opened in Kazakhstan, and in 1938 Lenfilm produced the first Kazakh sound film, Amangeldy.

Such famous figures Kazakh literature, as Mukhtar Auezov - the author of the scripts for the films "Raykhan", "Songs of Abai"; Gabit Musrepov, who wrote the scripts for "Amangeldy", "Poem of Love", "Son of a Fighter", "Kyz-Zhibek"; Abdilda Tazhibaev, according to the scripts of which the films "Dzhambul", "It was in Shugla" were created. One of the leading playwrights of the republic, Shakhmet Khusainov, together with Vladimir Abyzov, wrote the scripts for the films "Dzhigit Girl", "We Live Here", "On the Wild Bank of the Irtysh". In 1937, the number of film installations reached 846, including 270 sound ones.

By the end of the 30s. there were 200 printing houses in the republic, 337 newspapers were published (including 193 on Kazakh language) and 33 journals (13 in Kazakh). The main book depository in the republic was the State public library named after A.S. Pushkin, in 1936 its book fund exceeded half a million copies.

Kazakh Soviet literature

Special place in cultural heritage these years are occupied by Kazakh literature. It took shape as part of the multinational Soviet literature. S. Seifullin, A. Baitursynov, Zh. Aimauytov, M. Dulatov, M. Zhumabaev, B. Mailin, I. Zhansugurov, S. Mukanov, G. Musrepov and others stood at its origins.

S. Seifullin, M. Zhumabaev became the singers of October, freedom. S. Seifullin's poem "La Marseillaise of the Kazakh Youth" was very popular among the revolutionary Kazakh youth. In 1927, in the historical and revolutionary novel “Tar Zhol, Taigak Keshu” (“Hard Path, Dangerous Crossing”), S. Seifullin described the situation of the Kazakh people during the national liberation movement of 1916, the February and October revolutions, during the civil war. In the poem "Freedom" (1918), M. Zhumabaev sings of the proletarian revolution, which allowed "all the hungry and destitute" to perk up, and in the poem "Red Flag" the poet reveals the continuity of the revolution with the ideals of the national liberation movement in Asia.

Kazakh Soviet poetry in those years was replenished with the works and poems of S. Seifullin "Sovietstan", "Kokshetau"; S. Mukanov "Sulushash"; I. Zhansugurov "Kulager"; I. Baizakova - "Kuralai Sulu".

Kazakh Soviet prose was enriched with such works of art: B. Mailina - "Azamat Azamatych"; Zh. Aimauytova - "Kartkozha"; S. Mukanova - "Zhumbak Zhalau" ("Mysterious Banner"); M. Auezov "Karash-karash okigasy" ("Shot at the Karash pass"); S. Erubaeva - “Me kurdastarym” (“My peers”); G. Mustafina - "Omir men olim" ("Life and death").

Huge successes have been achieved in Kazakh dramaturgy: "Aiman-Sholpan", "Tungi sary n" ("Night Peals") by M. Auezov; "Zhalbyr" B. Mailin; "Kyz-Zhibek", "Kozy-Korpesh and Bayan Sulu" by G. Musrepov; "Mansapkorlar" ("Careerists"), "Yel korgany ("Stronghold of the people") Zh. Aymauytova and others.

In the late 1920s and into the 1930s V Kazakh literature talented creative youth came: G. Ormanov, A. Tazhibaev, Zh. Syzdykov, Zh. Sain, A. Sarsenbaev, K. Amanzholov, T. Zharokov. A. Dzhumagaliev, D. Abilev, H. Bekhozhin.

Enriched bright works poetry of Kazakh akyns. Exciting songs and poems about the revolution, the Soviet Motherland, freedom, humanism, love were created by outstanding Kazakh akyns Nurpeis Baiganin, Shashubai Koshkarbaev, Isa Baizakov, Zhambyl Zhabaev.

TOPIC #47: Kazakhstan during the Great Patriotic War 1941-1945.Kazakhstan is the arsenal of the front.