The Role of Information Technology in Modern Society

Аннотация

This article examines the representation and interpretation of national family values in theatrical art, COPYRIGHT focusing on how these values are conveyed through © 2025 Original content from this work may be used under the terms performance, character development, and dramaturgy. of the creative commons attributes 4.0 License. By analyzing selected theatrical works from different cultural contexts, the study explores how theater serves as a mirror of society’s moral and ethical foundations, particularly in the sphere of family. The research highlights how national identity, intergenerational relationships, gender roles, and moral expectations are dramatized to reflect both traditional and evolving views on family. The findings demonstrate that theatrical art not only preserves and celebrates national family ideals but also questions and reshapes them in light of contemporary social dynamics. Keywords: National family values, theatrical art, cultural identity, dramaturgy, social norms, intergenerational relations, tradition and modernity. Introduction: Today, numerous staged productions convincingly demonstrate the significant role theatre plays as a synthetic art in reviving national traditions and instilling values into the public consciousness. This can be observed through the examples of past productions such as E. Khushvaqtov’s Chimildiq, Qalliq O‘yin, Qirmizi Olma, Andishali Kelinchak, Kh. Khursandov’s O‘lding, Aziz Bo‘lding, and N. Abboskhan’s O‘zbekcha Raqs. These plays, rooted in interpretations of national customs, reflect the ancient worldview and unique character of the Uzbek people, giving special attention to family values and the role of the family as the backbone of society, as well as its importance in educating the younger generation. Chimildiq (1996) is one of the plays from that period Journal of Social Sciences and Humanities Research Fundamentals 93 https://eipublication.com/index.php/jsshrf 9 Journal of Social Sciences and Humanities Research Fundamentals which achieved great success, becoming a sensation Some sources suggest that the custom of singing Yor-Yor and drawing full houses. Directors T. Azizov and M. dates back to the advent of Islam, specifically to the Abdullaeva, through this production, highlighted the wedding of the Prophet Muhammad’s daughter Fatima folkloric foundations of Uzbek theatre and the charm and Hazrat Ali. This is supported by the lyrics: of the “tomosha” (folk performance) genre. The use of By the streams, the “performance within a performance” technique Washing spoons, Yor-Yor. provided the directors and actors with wide creative opportunities. This production, which stirred much For the Prophet’s daughter, debate, was staged over 300 times. Its success was not Fell in love, Yor-Yor. only due to its accessibility for audiences or its The Prophet’s daughter, heightened entertainment value through comedic Ali married, Yor-Yor. elements, but also because it touched the hearts of the people, reflecting deeply ingrained family traditions Singing Yor-Yor to us, that represent the national identity and life of the Comes from then, Yor-Yor. Uzbek nation. Following this, the play presents wedding rituals and After its premiere, the play was performed repeatedly customs such as poyandoz to‘shash (laying the wedding not only at the Uzbek National Academic Drama carpet), kelin o‘tirmadi (the bride does not sit), and kelin Theatre but also at regional theatres across the osh yemadi (the bride does not eat pilaf). There are also country. Structurally and thematically compact, the symbolic actions like feeding honey to wish the couple a play begins with the Yor-Yor song and concludes with sweet life, offering sugar water, bringing in rice and the Kelin Salom (Bride’s Greeting). The decoration mung beans to wish them unity, and presenting a knife designed for the production, as well as the actors’ and ring to the groom for fertility. Then comes the ritual dialogues and the masterful portrayal of character of brushing the bride’s hair with a scarf. Additionally, the traits, contributed significantly to the play’s success. play features the southern regional custom of toshak The playwright does not focus on trivial domestic soldi (laying the bridal bed), including humorous problems of everyday life. Instead, through portraying exchanges between O‘lanji and Momo and the antics of the chimildiq — the sacred canopy symbolizing the “old women pretending to be young brides,” which foundation of the family fortress and associated evoke both laughter and interest among the audience. national customs — the play seeks to impress upon the According to D. Ikromova’s interpretation, the character audience its magical power and societal importance. Momo is eloquent, deeply knowledgeable about The stage representation of the chimildiq and its national customs, faithfully adheres to them, and has centuries-old values emphasizes the profound social overcome many hardships in life with p