ACTING SKILLS IN THE UZBEK MUSICAL DRAMA

Аннотация

This article mainly discusses the role and main tasks of acting skills in "Musical Theater Acting" education, as well as what should be paid more attention towhen working on musical performances combiningvocals and our national singing. Keywords:Actor, student, vocal, expression of attitude, creative imagination, touching singing, theater, opera, musical dramaturgy, methodology, singer, singing actor, musical theater, excerpts. The acting art of Uzbek musical dramaturgy developed its realistic traditions in a sharp and difficult struggle, based on the historical experience of national culture and the achievements ofworld theater culture. As one of the significant branches ofUzbek theater art, musical drama requires the actor not only to perform dramatic roles at a high level but also to deeply enter the character through music and song. This genre places the actor in front of a multifaceted art task — to harmonize word, movement, mimicry, music, and vocals as a whole. Acting art reflects the ideological-political, moral, aesthetic, and spiritual possibilities of the Uzbek people at all stages of its development, and this not only enriches its content with vivid imagery but also serves the advancement of professional acting skills. In turn, this contributed to achieving artistic unity in the performance and characters. In musical drama, acting becomes a unique phenomenon of artistic creativity, synthesizing various performing techniques determined by the specific characteristics of the art itself. The formation of acting in Uzbek musical dramaturgy is distinguished by the continuity of the concept of the human being and the progressive development of its social-political and moral-aesthetic content with each newstage. In thefirst stage of thedevelopment of acting art, the ability to properly reproduce what one sees in life and express the outward appearance, characteristics, and behavior of a person was formed. For musical drama actors, training requires a comprehensive approach. Speech culture, vocal preparation, stage movement, and dramatic exercises are all conducted together. Furthermore, the actor must also pay attention to their physical and mental health, as this genre demands strong endurance. Later, actors succeeded in selecting the most characteristic and typical features of a person and creating images that are distinct and individually different. Modern acting art relies on the realism style, strengthening its ideological and artistic positions. The process of creating new stage images takes on a programmatic, systematic development. The concept of a person, their spiritual nature, and philosophical essence undergo multifaceted study, which changes acting art. Acting is becoming more sensitive and expressive, and most importantly, more capable and rich. Actors strive for a synthesis of the reality of life and the poetic convention. Stage images are becoming more individualized and enriched by the inner world of the performing actor. In modern musical drama, the growing interest of the audience in synthetic theater, which reflects life in dialectical development, page1766 INTERNATIONAL JOURNAL OF ARTIFICIAL INTELLIGENCE ISSN:2692-5206,ImpactFactor:12,23 AmericanAcademicpublishers,volume05,issue04,2025 Journal: https://www.academicpublishers.org/journals/index.php/ijai makes the actor's role in the performance increasingly complex. The multifaceted nature of theater has also led to changes in stage art, with all means being mobilized to reflect the idea ofthework ina deep and multifaceted way. The artistic integrity of a musical-dramatic performance is a multifaceted and complex concept. The prominent founders of Uzbek stage art – H. Hamza, M. Uyg‘ur, Qori-Yoqubov, and their closest companions – fought sincerely to create an artistically unified work, imbued with a single spirit and idea. However, this solution to the problem primarily involved professionalizing acting, abandoning everyday realism, and avoiding improvisational interpretations of roles. In the works of leading Uzbek actors, naturalism and simplicity predominated. At the present stage, this issue is closely related to the resolution of a number of ideological and creative problems, centered around dramatic and staging issues, where the actor plays a key role, as they are the main figure in the performance. As Alexander Dmitrovich Popov wrote: “The main, endless strength of the theater lies in the actor’s living, trembling heart – in their fiery thoughts and emotions. While they are the creator of the stage images that move the audience, literature, music, painting, and dance address the viewer indirectly, that is, through the actor, thereby losing their independence and acquiring the qualitiesof theater.” Uzbek musical drama draws its roots from puppetry and buffoonery, oral folk art, as well as maqom and folk songs. In such stage works, music plays a special role: it influences the development of events, reveals the internal emotion