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Аннотация

The article examines the scenography of a historical opera created in the first years of our country's independence and the problems of creating a historical image in it. Keywords: Historical image, scenography, opera, pictorial and artistic solution. result, many works in the historical genre were Introduction: Opera is an extremely complex form of produced. artistic creation, representing a musical theater genre that encompasses unique forms as well as a broad Among these is A. Ikromov's opera "Amir Temur", range of creative, aesthetic, and technological issues. which portrays the great statesman Amir Temur—a Interest in opera is primarily determined by the personality still studied in world history, art, and synthetic nature of the genre and its powerful artistic culture today. The first Uzbek art scholar to investigate impact. As scholars note, "The opera genre integrates Amir Temur’s representation in European opera was vocal and instrumental music, poetry, theater, visual Professor T. Gofurbekov, Doctor of Art Studies. arts, dance, and plastic movement. To this must be According to his research, one of the first composers to added theatrical technical effects, particularly lighting depict the image of Amir Temur in Europe was technologies." Alessandro Scarlatti, founder of the Neapolitan opera The famous composer Wolfgang Amadeus Mozart once school, followed by Italian composers such as Leonardo said: "In opera, the most important thing is the music." Leo, Niccolò Porpora, Antonio Vivaldi, Antonio Sacchini, These words emphasize that while music is central, and Antonio Sapienza (the younger). Unfortunately, other components that complement it and transform it many musical and stage works in which Amir Temur into a complete work—such as scenography—cannot was declared the main character have not survived to be disregarded. this day. In any traditional theater, the first impression as the As noted by Ghulom Mirzo, a well-known Uzbek scholar curtain rises is born from the artistic labor of the stage and translator, “In 2015, a translation of the opera designer. The setting, time, and place of a staged opera ‘Amir Temur’ by the great German composer Georg are naturally conveyed through the accurate use of Friedrich Händel was presented to the Uzbek public in visual and artistic means on stage—this being the Uzbek language, published by the ‘Yangi Asr Avlodi’ product of the scenographer’s vision and creativity. publishing house, from the archives of the National Library of Uzbekistan.” Since the early years of independence, an increase in the staging of historical works on the theater stage has In 1996, A. Ikromov’s opera "Amir Temur" was one of been observed. This trend emerged from the shift in the first productions in Uzbek theaters to address this the creators’ consciousness, sparking an interest in the theme, directed by B. Yuldoshev in collaboration with lives of historical statesmen, their paths, and the debuting stage designer Z. Botirov. The staging of this cultural and spiritual legacies they left behind. As a historical subject marked the beginning of Botirov’s American Journal Of Social Sciences And Humanity Research 45 https://theusajournals.com/index.php/ajsshr American Journal Of Social Sciences And Humanity Research (ISSN: 2771-2141) search for a scenographic solution to such a When reflecting on scenographic works of this monumental production. Director B. Yuldoshev, while historical period, D. Qodirova, in her monograph “20th adhering to the professional conventions of the opera Century Scenography”, highlights that the artist was genre, approached the task of recreating the national able to work on par with the director. She emphasizes mentality and historical atmosphere with seriousness that the scenographers of the time predominantly and respect. Among the earliest European operatic opted for symbolic, grand, and imaginative solutions, works depicting Amir Temur are also mentioned I.F. and that the stage designer was able to integrate Forche’s “Bajazeth and Tamerlano” (1690) and M.A. themselves into the creative process as an equal Ziani’s “Il Gran Tamerlano.” collaborator within the overall conceptual framework of the performance. In A. Ikromov’s opera Amir Temur, the image of the great historical figure was uniquely interpreted through Based on the reflections presented in N. Tashpulatova’s the vision of Z. Botirov. In depicting the character of dissertation regarding the scenography of the opera Amir Temur—a prominent statesman and military “Amir Temur”, several factors must be taken into commander—through scenography, the artist had to account. She notes that color composition is a leading rely on accurate, source-based historical knowledge feature of scenography in musical theater productions about the era and the individual being portrayed. The and emphasizes that this quality serves as a scenographer explains: “In my first sketch, I depicted a foundational element in the work of