CONCLUSION The Kyrgyz people, stepping from the world of feudal relations into the world of socialism as a result of the Great October Socialist Revolution, take pride in their achievements in all areas of the national economy and culture. The path that took the peoples of capitalist countries centuries, the Kyrgyz people, led by the Leninist party, traversed in half a century. In the development of education, healthcare, and other areas of culture, they significantly outpaced the wealthiest,
Reina Chokoeva's Roles After Giselle, Reina Chokoeva prepared the role of Marin in the ballet "The Fountain of Bakhchisarai" by B. Astafiev (before her, this role was performed in the Kyrgyz theater by B. Beishenaliev and Ch. Djamanova). For Chokoeva-Marin, it is characteristic to strive not only for technical mastery of the role but also to infuse it with significant intellectual content, revealing the subtext of Pushkin.
Soloist of the Ballet... It was a dream come true. Along with the joy that Reina always felt from dancing, a sense of responsibility was added. In the theater, she immediately immersed herself in its creative atmosphere. She was entrusted with the role of Cholpon in the eponymous Kyrgyz ballet. She was to dance alongside the renowned Kyrgyz ballerina Bibisara Beishenaliev. This came with a lot of expectations. She threw herself into her work, and by the following year, 1957, the debut of the
Reina Chokoeva In the south of Kyrgyzstan, in the Jalal-Abad region, there is a small village called Uch-Terek, which translates to "three trees." Indeed, once there were only three trees in the village. And around—stones, sand, sun-scorched earth.
Scene from the second act of the ballet "Romeo and Juliet": B. Suslov as Tybalt, E. Voevodkin as Mercutio. Honored Artist of the Kyrgyz SSR B. Suslov. L. A. Zhukov, who staged the ballet "Red Poppy" by R. Glière following "Swan Lake," entrusted B. Suslov with the role of Captain. Naturally, this static, non-dancing role could not captivate B. Suslov: Ma Lichen — that was the role to play! But what can you do.... The new choreographer of the theater, I. K.
One of the Leading Soviet Artists of the Kyrgyz Ballet Theater B.V. Suslov Boris Vasilyevich Suslov — one of the leading artists of the Kyrgyz Ballet Theater — was born in Kyrgyzstan and grew up in the village of Prokhladnoye in the Alamudun district. In his childhood, he harbored a boyish dream of "flying away" to distant lands — to see with his own eyes the vast world that lay far beyond the Kyrgyz mountains. Yet, Boris Suslov never left; his native land always drew him back. As a
Achievements of U. Sarbagishev During the decade of Kyrgyz art in Moscow, Uran Sarbagishev successfully performed in the roles of Kadyra and Nurdin. After the decade, Sarbagishev experienced a new creative upsurge, preparing the role of Albrecht ("Giselle" by A. Adam).
Images Created by U. Sarbagishev The next two years did not bring Sarbagishev much creative satisfaction. In partnership with E. Voievodkin and later with A. Abdurakhmanov, he performed in the episodic role of the friends of Phoebus in "Esmeralda," then danced the role of Prince Siegfried in "Swan Lake" and Desire in "The Sleeping Beauty." Both the productions themselves and the performance of these roles in the Kyrgyz theater were not innovative. In 1957, the
Frame from the movie "Cholpon - Morning Star". Aydai - B. Beishenaliev, Nurdin - U. Sarbagishev. U. Sarbagishev's Return to Frunze After His Studies Uran Sarbagishev graduated from the Ural School in 1955. At the graduation exam, he performed in a dance duet — a pas de deux from the third act of the ballet "Swan Lake" and in the duet of the Bluebird and Princess Florina from "Sleeping Beauty". Never before had Uran danced like he did that memorable evening.
Uran Sarbagishev Despite his youth, the People's Artist of the Kyrgyz SSR, Uran Sarbagishev, is widely known beyond the republic. In 1966, at the Cuban festival, performing at the García Lorca Theater in Havana, he captivated ballet connoisseurs with his artistry. Shortly after the festival opened, Havana newspapers unanimously recognized him as "the best of the dancers." And this was at a festival where the best dancers in the world competed! Most Kyrgyz actors come from
“No matter what role I played, I always danced from the heart...” Artists of the Kyrgyz ballet face the specific challenge of simultaneously working on both national and classical repertoires. This is not easy, but it sharpens all facets of talent, hones the actor's ability to transform, and utilizes all the achievements of Russian and Kyrgyz ballet schools. In this ability lies perhaps the secret of many successes of the Kyrgyz ballet theater. Saynat Djokobaeva possesses the skill to
Sainat Djokobaeva Sainat Djokobaeva's childhood was spent in a small Kyrgyz village, Tokoldesh. She first saw the city when her older brother Abdraim brought her to Frunze. The girl had no idea that this was the day of a significant turning point in her life. Right from the bus station, they headed to the theater, where the admissions committee was selecting students for the Leningrad Choreographic School. In the theater, Sainat timidly clung to Abdraim. She looked around — everything
The Role of Cholpon in M. Raukhverger's Ballet The role of Cholpon in the eponymous ballet by M. Raukhverger was inherited by Dzhamanova from Beyshenalieva. This role corresponded more closely to the peculiarities of her character. It was here that Dzhamanova's talent was widely revealed. The author of the libretto, O. Sarbagishev, named the heroine of the ballet after his niece — Cholpon Dzhamanova. Years passed. And the one whose name the ballet bore performed the role of Cholpon
Cholpon Dzhamanova Ch. Dzhamanova was born in Chaek — in the heart of the Tien Shan mountains. The small, abandoned village of Chaek in the mountains has given rise to many prominent figures in Kyrgyz art: one of the first directors, Otunchu Sarbagisheva, actor Muratbek Ryskulov, outstanding akyn and storyteller Kalyk Akiev, famous folk comedian Kudaybergen Omurzakov (Kuyruchuk), and poet Midin Alybaev. And Cholpon Dzhamanova takes pride in her famous fellow countrymen.
Juliet-Beyshenalieva Beyshenalieva continued to work diligently in new performances on the stage of the Kyrgyz ballet theater, particularly in the ballet "Romeo and Juliet." Immediately after the premiere, the republican newspaper "Soviet Kyrgyzstan" published a small note under the heading "Fresh Impressions." It mentioned Beyshenalieva: "Her Juliet is so light, so charming, and expresses such a passionate impulse and inspired feeling that it makes one
Bestowal of the Honorary Title of People's Artist of the Kirghiz SSR to Beyshenalieva The talent of the actress, her work, and public activities were recognized with the awarding of the honorary title of People's Artist of the Kirghiz SSR in 1954. When watching Bibisara Beyshenalieva's performances in various ballet productions—from Anar to the pinnacle of Russian classical ballet, such as the role of Odette in "Swan Lake"—one cannot help but reflect on the breadth of
B. Beishenalieva as Tao Hoa For a long time, B. Beishenalieva had to perform in ballet productions that had a fairy-tale character. The heroines in these performances mostly expressed a conventional nature. This was the case in "Raymonda," "Swan Lake," and "Cholpon." This cannot be said about "The Fountain of Bakhchisarai" or the ballet "Anar," where the ballerina faced not an abstract plot, but a specific life situation. However, even here,
Beyshenalieva-Odette The role of Zarema was a significant milestone for B. Beyshenalieva on her path of artistic growth. The next step forward for her was the role of Odette in "Swan Lake"—a role that has long been considered a touchstone of a ballerina's talent and technical mastery. While studying in Leningrad, Beyshenalieva watched this ballet literally dozens of times on stage. However, to say that she merely watched would not be entirely accurate. She contemplated the logic
The Roles of Raimonda and Zarema as Performed by Beyshenalieva The role of Raimonda established B. Beyshenalieva's leading position in the Kyrgyz ballet theater. She had already performed a number of excellently played parts and held the title of Honored Artist of the Republic. However, the actress decided to continue her education, which had been interrupted by the war. In 1948, B. Beyshenalieva returned to the Leningrad Choreographic School. This time, her direct teacher was Agrippina
The Girl from the Kyrgyz Village of Tash-Tyube The drawing of the dance shines with novelty, an airy light trace is elusive, she glorified her native people with her astonishing art. Suyunbay Eraliyev.
A Short but Bright Path in Ballet of Jumakalyy Arsygulova The role of Laurensia is one of those that shines with a bright flame from within. It is foreign to the cold, firework-like glow. There is a palpable inner intensity of feelings—boiling passion and tender modesty, the nobility of soulful impulses and ordinary humanity. The image of Laurensia resonated with D. Arsygulova. She fell in love with her heroine, who reveals heartfelt attachment and loyalty, determination and will. At first,
DZHUMAKALYY ARSYGULOVA This name of the first Kyrgyz professional ballerina stands at the origins of Kyrgyz ballet art. Her life and creative path were short. She debuted on the stage of the Kyrgyz Theater in Frunze in August 1941, and died in April 1947. At that time, the actress was 25 years old, and her talent was just beginning to blossom. However, the significance of D. Arsygulova in the history of Kyrgyz theater is not measured solely by the few years she dedicated to art. Her activity
The Heritage of Kyrgyz Theater The success of the performance "Romeo and Juliet" is quite justified: it was the result of many years of searching. For the contemporary level of our theater, both a deep penetration into the dramaturgy of ballet and technical perfection of dance are characteristic. In recent years, performances have been staged on its stage that seem to consolidate the mastery of technique and the diversity of classical dance in Kyrgyz theater. This is exemplified by
Bibisara Beishenaliev and her partner Uran Sarbagishev as Juliet and Romeo In 1961, the Kyrgyz Theater once again turned to contemporary performance, staging the ballet "On the Path of Thunder" by Kara Karayev (based on the novel by Peter Abrahams), but the true celebration of theater came with the next landmark production — the ballet "Romeo and Juliet" by S. Prokofiev — a deeply innovative work by the remarkable Soviet composer (staged by L. Lavrovsky). Staging
Difficulties in the Growth of a Young Theater In 1948, the theater thoughtfully prepared for the staging of B. Asafiev's ballet "The Fountain of Bakhchisarai," and although it cannot be called a landmark work, the theater demonstrated a desire to improve the technique of classical dance. A moment came in the life of the Kyrgyz Ballet Theater when the accumulated experience allowed them to approach the work on such outstanding masterpieces of ballet classics as the ballets of P.
Prerequisites for the Further Development of a New Type of Theatrical Art - Ballet. When the Kyrgyz professional theater was born, there was no question for it — to accept or not to accept realism. From the very beginning of the formation of the Kyrgyz theater, a fruitful line of realism developed within it. Its main features— the depiction of life in its constant movement, folk character and partisanship, patriotism and humanism, national specificity — became fundamental both for the birth of
The Dance in Kyrgyz Opera is a Convincing Addition. An example of the organic integration of dance into the action is represented by the opera "Toktogul" by A. Maldybaev and M. Abdrayev (1956). ... People are working to construct a canal and bring water to the fields. But the horsemen of Kerimbai are vigilantly watching to ensure that the water does not reach the people. At this moment, Toktogul appears. The people greet him with enthusiasm, and the dance (accompanied by a choir)
National Operas National opera performances occupy a significant place in the repertoire of the Kyrgyz State Opera and Ballet Theater. Each of them includes both mass and solo dances. Thus, in the development of Kyrgyz ballet art, it is important to consider the contribution made by opera performances, especially since in most cases the overwhelming majority of the ballet troupe participates in them. Even a brief study of this issue is warranted, as the success of any opera performance depends
Disagreements Between the Artist and Choreographer in the Ballet "Kuyruchuk" In evaluating the music of the ballet "Kuyruchuk" as a whole, it should be emphasized that it is quite distinctive. K. Moldobasanov and G. Okunev use well-known motifs from Kyrgyz folk songs (for example, the romantic song by D. Sheraliyev "Tushumdo" ("In a Dream")). At the same time, the composers boldly tackle the problem of creating original melodies that reflect national
Evgeny Voevodkin as Kuyruchuk The ballet was first staged in 1960 by N. Tugelov. The second production was carried out by N. Avaliani. Comparing both performances, it should be noted that the libretto did not undergo any significant changes. The director N. Avaliani deepened some social characteristics of the characters, particularly that of Saribai. In the first version, he was portrayed as a foolish, spoiled son of a rich man, but now we see a cunning, malicious, and far from foolish wealthy
“KUYRUCHUK” From the very beginning, talented Kyrgyz composers have actively participated in the development of Kyrgyz opera art. The names of Abdylas Maldybaev, Akhmat Amanbaev, Mukash Abdrayev — authors of operatic music — are widely known. However, Kyrgyz composers did not work in the field of ballet until recently. It was only in 1960 that the ballet “Kuyruchuk” was created, written by K. Moldobasanov in collaboration with Leningrad composer G. Okunev.
Obvious shortcomings in the performance "Spring in Ala-Too" After the fairy-tale plots encountered in "Cholpon," "Swan Lake," and other ballets, the work on the performance "Spring in Ala-Too" attracted attention with its modern theme. The team enthusiastically took on the task. However, although the work under the guidance of V. Litvinenko and N. Tugelov was carried out with sufficient enthusiasm, a clear schematic nature, some contrived elements, and
Ballet "SPRING IN ALA-TOO" The continuous growth of the young professional ballet and its quite successful search for an organic fusion of national and classical forms raised the question of creating an original national repertoire. And it must be said that the first steps in this direction were marked by significant successes: in a relatively short time, three ballets appeared — "Anar," "Selkinchek," and "Cholpon," two of which became outstanding events
Release of the film 'Cholpon' The success of the ballet performance 'Cholpon' during the decade of Kyrgyz art in Moscow (1958) was so great that the idea of its screen adaptation arose. Prominent artists of Soviet cinema took on the task. The director was the honored artist of the RSFSR and the Kyrgyz SSR Roman Tikhomirov (known to audiences for the film 'Eugene Onegin'), and the chief cameraman was Apollinary Dudko. "Using the experience gained from working
Artistic Design by A. V. Arefyev The role of the artistic design created by the People's Artist of the USSR A. V. Arefyev is significant. It is inseparable from the music and dance. Moreover, in the production of the ballet "Cholpon," dance and design are organically fused. An example can be seen at the beginning of the act, which has an allegorical meaning. A picturesque, gnarled tree occupies a large part of the stage. However, it turns out that it has long lost its strength.
Frame from the movie "Cholpon - the Morning Star". Starring: Nurdin—U. Sarbagishev, jinn — S. Abdujalilov. Brilliant Performance of Solo Parts in the Ballet "Cholpon" The role of Nurdin in the latest stage version of the ballet is performed by Uran Sarbagishev. Nurdin-Sarbagishev is an unusual character. The son of a khan who falls in love with a simple girl, thereby breaking the grim custom of olden times. The artist creates a poetic image of a young man who is alien to
The embodiment of Beishenalieva and Chokoeva in the role of Aydai Despite the many years since the first performance of "Cholpon," the same performers have continued to appear until recently — B. Beishenalieva, Ch. Dzhamanova, A. Khandranova, and the performer of the role of Nurdin, N. Tugelov, is now one of the directors of the production. Currently, new performers have emerged. Particularly noteworthy was the performance in the title role by Reina Chokoeva — a graduate of the
Plot of the Third Version of the Ballet "Cholpon" The third version of the ballet "Cholpon," prepared for the decade of Kyrgyz art in Moscow in 1958, differed fundamentally from the previous ones (productions by N. Kholfin and N. Tugelov). Here is a brief summary of this version's plot.
The Ballet 'Cholpon' Ten Years Later Almost ten years later, in 1953, 'Cholpon' was revived in a new edition. The plot changed this time as follows. The poor man Nurdin kills a wild goat in the khan's domain and falls into the hands of his servants. Along with him, his beloved Cholpon and her brother Sapar are captured. As punishment, the khan decides to exile them. But Nurdin attracts the attention of the sorceress Aydai, whom the khan intends to marry to his son.
Drawbacks of the First Version of "Cholpon" In the first version of the legend, we encounter the same main characters of the poetic fairy tale. This is the young man Nurdin, seduced by the ghostly love of the sorceress Aydai, and Cholpon, who tenderly loves Nurdin. In pursuit of the sorceress Aydai, Nurdin forgets Cholpon, whom he was in love with. He searches for the one who captivated him, overcoming many difficulties in his quest until he reaches the palace of the sorceress.
The Birth of the Ballet 'Cholpon' ...The people's imagination has given birth to many wonderful tales of love, against which any barriers are powerless. One such Kyrgyz tale is staged in the ballet 'Cholpon'. It was recorded by Otunchu Sarbagishev from the words of an old collective farmer in Talas. The name 'Cholpon' refers to the morning star, shining in the dawn sky. We mention this because we find the title of the ballet 'Cholpon' symbolic, as
Ballet "Selkinchek" The production of "Anar" marked the beginning of the creation of the national ballet. However, the first national performance revealed the need for further professionalization and mastery of the sophisticated forms of ballet art. To this end, a number of productions of classical and Soviet ballets were carried out: "Coppélia" by A. Delibes (1940), "Laurencia" by A. Krein (1941), "The Magic Flute" by R. Drigo (1943). At the
Update of the performers in the 1950 production Ten years after the first production of "Anar," a second version was realized in 1950. What explains the fact that many performances of the Kyrgyz theater were staged in new editions? Variants of the same performance exist in many national theaters. However, there are known cases where subsequent stage versions do not improve but rather worsen the performance. For example, this was the case with the ballet "Kambar and Nazym"
Scene from the ballet "Anar" The Popularity of the First Kyrgyz Ballet The first performer of Anar was Artai Moldobaeva — a student of the theater. Despite her stage youth, she "successfully coped with creating the image of a loving and proud girl." A. Moldobaeva managed to express with great sincerity and psychological justification the deep and charming image of a Kyrgyz girl fighting for her happiness. Especially expressive was A. Moldobaeva's dance in the last act
The Ballet 'Anar' The ballet 'Anar' marked a new page in the history of Kyrgyz theatrical art. The theater already had musical dramas, a national opera, and classical ballet in its repertoire. All of this led to the birth of a new form of theatrical art, which is national ballet. On the anniversary of October, November 7, 1940, the premiere of the ballet 'Anar' took place, created by composers V. Vlasov and V. Fere based on the libretto by K. Eshmambetov and N. S.
The First Steps Towards Professional Kyrgyz Ballet Folk dances, based on elements of rituals and games, determined the direction in which the initial development of national choreography took place, which found its expression in the musical-dramatic performances of the Kyrgyz theater. However, the further success of Kyrgyz choreography is linked to the mastery of classical dance. Therefore, the ballet group of the Kyrgyz Musical Theater, alongside their work on national dance, began to learn
Ballet Scenes in the Opera "Ai-Churek" The dance "Kiyiz" was first performed in the Kyrgyz musical drama "Altyn-Kyz" in 1937. Its significance lies in the fact that it paved the way for the people into professional ballet. As soon as "Kiyiz" was shown on stage, it became a part of the people's heritage. It was performed throughout the republic at concerts and artistic performances, and soon it became part of the everyday life of the ails. Thus, the
N.S. Kholfin is one of the first enthusiasts of creating Kyrgyz professional ballet One of the first enthusiasts of creating Kyrgyz professional ballet was the talented master of choreographic art Nikolai Sergeyevich Kholfin. He arrived in Kyrgyzstan as a young man in 1938. However, he already had experience working in one of the best theaters in the country — the musical theater named after K. S. Stanislavsky and V. I. Nemirovich-Danchenko. N. S. Kholfin brought to the Kyrgyz theater,
