ACTING SCHOOL AND CREATIVE RESEARCH IN THE UZBEKISTAN PUPPET THEATRE

Аннотация

This article analyzes the stages of development of acting and special schools in the Uzbek puppet theater. It also shows the physical and spiritual preparation of actors, their attitudeto theprofession, and theirimportance for thefuture ofthetheater. Keywords:actor, school, puppet,stage, art, image, puppet, artist, master, professional. There is a famous saying inthe world of theater. Theater begins with a clothes hanger. Puppet theater begins with a puppet and ends with a puppet. In any case, this is the main advice ofall theaters strivingfor professionalism. The Republican Puppet Theater accelerated towards this professionalism in the 60s- 70s.During these years, continuous work was carried out to fully master the features inherent in puppet theater, not content with children, but to serve adult audiences as well, and to increase the artistic completeness of performances. Young directors V.S. Iogelsen, I.R. Yakubov, artist V.A. Akudin, master puppeteers E.G. Podgurskaya, A.S. Semikova, S.L. Strashnova joined the theater. The cast was divided into Uzbek and Russian groups, and the Uzbek group included actors A.Saidaliev, N.Zaynuddinov, U.Allakulova, Z.Ishokova, and theyoung artist T.Makhramov. During these years, one can see significant changes in directing, a desire for innovation in the activities of the artist and puppeteer, and growth in the creativity of the actors. These achievements did not happen by themselves, of course. Behind this lies great work and the extensive use of the rich possibilities of the traditional puppet theater. As proof of our opinion, we found it appropriate to cite the thoughts of the critic T.Yuldashev about the director I.Yakubov, who served in the formation of the theater repertoire at that time. “If director I.R. Yakubov achieved significant achievements during his creative career, we consider this primarily to be the case when he worked on the ancient roots of the traditional Uzbek puppet theater, combining the artistic methods of staging classical and modern works withspecificity”[1], says theresearcher. We are far from relying on this very idea. After all, comparing the activities of the entire theater in the 60s-70s and beyond only with the creative path of director I. Yakubov and drawing conclusions can be one-sided. It is also necessary to separately note the work of such directors as F. Shein, S. Yogelsen, L. Hait, M. Korlov, who worked in these years. They staged works on serious topics for adults, with strong dramaturgy in a modern direction, on thetheater stage. These include I. Shtok's "The Devil's Mill", B. Gador and S. Darvash's "The Beautiful Galatea", and E. Schwartz's "The Naked King". Another achievement of the Republican Puppet Theater in the late 1970s was the entry into the theater of actors specially trained in the field of puppetry. This, in our opinion, is one of the main reasons that ensured the fruitfulness of the theater's creative path during this period and its achievements in professional performance. There is reason to say that one. page701 INTERNATIONAL JOURNAL OF ARTIFICIAL INTELLIGENCE ISSN:2692-5206,ImpactFactor:12,23 AmericanAcademicpublishers,volume05,issue04,2025 Journal: https://www.academicpublishers.org/journals/index.php/ijai By the 1970s and 1980s, the performances included in the theater's repertoire had become more diverse in terms of subject matter. Serious work was started on making puppets. The puppets were made more expressive, compact and mobile. The previous "glove puppets" animated by fingers were replaced by puppets with moving hands and eyes, controlled from below by wires and special mechanisms. As a result, significant changes occurred in the performing arts. The new puppets were handled by a modern professional theater actor who had graduated from a special school. New methods and discoveries began to be used in working with puppets on the image, in transferring the image of modern heroes to the stage. The use of new methods in open work with puppets provided variety. This became the basis for achieving great successes. At many prestigious festivals, the actors of the Republican PuppetTheater achieved anumber ofsuccesses with theirskillful performances. The issue of training personnel for the puppet theater for its own field was solved for thefirst timeinthisimitation. The Department of"Puppet Theater Acting", opened in 1974at the Tashkent Institute of Theater and Fine Arts, became the only educational institution for training personnel for puppet theaters in our republic and neighboring republics. The lack of acting specialists for regional puppet theaters and theaters in the capital or the existing shortcomings in the field necessitated the establishment of the department. In addition, the puppet theater, which was improving year by year, needed professional personnel in its field. Also, there were problems in the theaters regarding the replacement of the younger generation, and there was a great demand for young sp