THE ISSUE OF TRAINING YOUNG PROFESSIONALS FOR MUSICAL THEATRES

Аннотация

This scientific article discusses the requirements and recommendations for musical theatre actors, as well as the achievements made in this field and the issues that need to be addressed inthe future. Keywords:Performance, music, melody, tradition, creativity, performance, tempo-rhythm, directing. The art of musical theatre is one of the most beloved and admired forms of performance among our people. It is appropriate to mention the renowned artists who made significant contributions to the formation and development of this art form in the early 20th century. Among the devoted figures of the Uzbek nation who played a vital role in the growth and perfection of musical theatre are the great director, actor, and organizer Mannon Uygur, and the playwright G‘ulom Zafariy. Furthermore, prominent contributors such as the connoisseur of folk music and composer To‘xtasin Jalilov, directors Muzaffar Muhamedov and Zuxur Qobulov, and notable representatives of art like Tamaraxonim, Xalima Nosirova, Muxiddin Qoriyoqubov, and Yusuf qiziq Shakarjonov, devoted their hearts and souls to this cause. Thanks to the invaluable contributions of these individuals, the Uzbek musical drama theatre developed its own unique path, methods, and traditions. Today, young actors trained under the guidance of experienced and knowledgeable mentors in institute workshops and later joining professional theatres are expected to uphold and respect these traditions in their creative work. The creative activities, achievements, and shortcomings of young theatre actors are currently among the key issues both practically and theoretically, especially when it comes to the natural integration of the unique movements of a musical theatre actor with the musical-vocal performance. What aspects should a musical theatre actor pay attention to in order to master purposeful stage movement? In this article, we aimto share ourperspective onthisissuetothebest of ourability. The primary mission of musical theatres is to serve the public artistically and to contribute to the ideological and aesthetic education of the working masses. In its development, the Uzbek musical theatre has undertaken this highly responsible mission, passing through a challenging yet fruitful path. The distinguished representatives of our national musical theatre, relying on the finest traditions of our classical heritage and incorporating progressive ideas, created qualitatively new works. These works not only introduced fresh themes and characters butalso demonstrated thevast creativepotential ofmusical theatre. The expansion of ideological and artistic possibilities in the country's theatres, along with the growing complexity of the creative tasks facing musical theatre, has increased the demand for professionally trained musical actors at the Uzbekistan State Institute of Arts. One of the most serious and modern requirements set by contemporary musical theatre for actor page666 INTERNATIONAL JOURNAL OF ARTIFICIAL INTELLIGENCE ISSN:2692-5206,ImpactFactor:12,23 AmericanAcademicpublishers,volume05,issue04,2025 Journal: https://www.academicpublishers.org/journals/index.php/ijai training is not merely to prepare singers, but to cultivate singing actors — performers who can seamlessly combinevocal skills with compelling dramaticexpression. One of the main requirements placed upon a young actor in musical theatre is the ability to synthesize and interconnect vocal performance, musical-vocal skills, and purposeful stage movement. Creating a vivid artistic image on stage presents a young actor with a number of complex tasks. The successful fulfillment of these tasks each time depends largely on the level ofprofessional training theactor received during theirhigher education. In analyzing theunique characteristics of musical theatre, the experience of Russian and Azerbaijani musical theatres— both of which have produced outstanding performers—plays an important role. Their experiences demonstrate that, despite the specific features of musical theatre acting, the fundamental principles of directing are universal across all types of stage arts. As K.S. Stanislavski famously said, “For all those engaged in theatre art, the laws of creativity are the same.” What is the commonality in the nature of acting in drama and musical theatre? First and foremost, the art of acting is always an art of movement, and this is where they share common ground. In dramatic theatre, it is primarily a psycho-physical movement, while in musical theatre, it is further complemented by musical-vocal movement. The roots of both types of theatre lie in folk art. The requirement to artistically express reality on stage is the same for both. The creator who fulfills this demand is also thesame — theactor. In both types of theatre, the actor's method of creating an image on stage is similar, as it is based on a unified psycho- physical movement directed towards a specific goal. The way to reveal the processes occurring in a p