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Asian Journal of Multidimensional Research (AJMR)
https://www.tarj.in
437
AJMR
Baku artists. This was the first Muslim opera performance in Tashkent. In the role of Majnun,
Siddiqui Ruhullo had a great influence. Caucasian artists showed their skills openly. There were
a lot of spectators… these artists, who knew the national theater well, used to come here often
and give a good and useful lesson to the amateurs who took the stage here.
Ouryoungpeoplewouldcorrecttheirshortcomings. [6]
Such cultural ties have had a positive impact on the culture, literature, music and theatrical art of
Russian, Tatar, Azerbaijani and other nationalities, interested and inspired various generations of
Uzbek intellectuals, poets, writers and artists. For example, the first period of the creative
activity of the famous poet, playwright, public figure, founder of the Uzbek Soviet theater
KhamzaHakimzodaNiyazi (1889-1922) began with this impression and interest. During these
years he became more and more interested in secular knowledge, literature, music and theatrical
art and social events. As a result, he studied Uzbek literature and music. In this direction, first of
all, he began to shake his first pen in literature and drama. “Mrs. Feruza” 4 curtain tragedy
(1915), 4-scene tragedy “Poisonous Life” (1915), 4-act drama “Ilimhidoyati” (1915) and 1-act
comedy “Mulla Normuhammad teacher blasphemy mistake”.
The first period of the creative activity of the famous poet and playwright GulomZafari (1889-
1937) began under the influence of Russian, Tatar and Azerbaijani theaters. In 1914, he wrote a
one-act play, The Unhappy Disciple. In the years to come, he will write short plays and sketches,
such as “Spring”, “Gunafsha”, “Rabbit”, “Obstacle”, “Merciful Student”, “Proud Man”, “In the
Graveyard”, “Father Tatinboy”. He wrote the epics “Cholpon Temir” (1924), “Youth is no
longer given” (1926). [7]
The musical drama “Halima” brought him fame in 1920. Until 1937 he worked as a researcher at
the Institute of Art History. Ghulam Zafari was imprisoned in 1937 on charges of unjust
nationalism. He was acquitted in 1956.
Well-known poet and playwright Shamsiddin Khurshid is one of the artists who contributed to
the formation and development of Uzbek musical theater in the European form. In addition to the
Uzbek “People’s Theater” and “Puppet Theater”, his love for European theater awakens. Since
1905, Khurshid has been involved in performances organized by local Russian and Tatar
intellectuals, as well as drama and musical theaters on tour from Russia, Tatarstan and
Azerbaijan. He has written one-act plays “Bezori”, “Taryazkhor” and “Black Woman”.
In 1912, the musical drama “Poor mother or merchant wife” was staged for the first time in 1913
in the “Khudojestvennoe cinema” in Andijan. Well-known theater critic B. Nasriddinov writes
about this: in 1913, ShamsiddinSharofiddinov reworked Khurshid’s play “Poor mother or
merchant wife” and renamed it “Arifvamaruf”. Events have also been changed in the name of the
play. His music was composed by Sultan Khan Tanburchi and he performed with musicians
under his direction.[8]
Thus, while Khurshid’s creative work in theater and drama and poetry took shape before the
October coup, it flourished after the revolution. It should be noted that Sh. Khurshid played a
significant role in the emergence and development of musical drama and opera in Uzbekistan.
He was the first to use the terms "musical drama" and “sad comedy” in the development of the
performing arts. In 1918-1919, he first used the term “Opera” in the musical “Little Work”
staged at the Oriental Stage Theater; In the early 20's, with his musical dramas, in collaboration
with composers, he founded the “Stage Navoiynoma”. In 1922, Khurshid’s musical dramas
“Farhod and Shirin”, “Layli and Majnun” appeared on the stage. In 1928, the Andijan State
ISSN: 2278-4853 Vol 10, Issue 9, September, 2021 Impact Factor: SJIF 2021 = 7.699
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