Beishenaliev in the role of Juliet

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 understand the eternal youth of love, before which even human malice retreats." For Beyshenalieva, the image of Juliet embodied not only the depth and purity of feeling. A careful observer could not help but notice the meaning the actress infused into her role. For her, the heroine's behavior was primarily associated with the freedom of feeling that she displayed. From the traditions of her people, passed down from generation to generation, Bibisara was aware of examples of pure love that knew no barriers or fears. In her people, love was as fervent as described in the poems and legends of all nations.

That is why Bibisara could not remain calm from the moment she conceived the idea of playing Juliet.

She became a symbol for the ballerina of all the unfulfilled hopes of Kyrgyz women in the past. This is the ideological foundation of the image created by Bibisara.

In contemplating the role of Juliet, Beyshenalieva drew not only from life experiences.

Listening to the music of S. S. Prokofiev, she sought and found traits of psychological characterization that filled the role with unique individuality. At the very beginning of Juliet's musical characterization, she caught rhythms reminiscent of lively fluttering. And she conveyed the feeling of the heroine's early youth, who, like a bird, rejoices in warmth and sunlight, the expanse of fields (so familiar to the ballerina herself!), and the first sensations of love.

In the farewell scene between Romeo and Juliet, the climax is marked by a distinctly expressed adagio. New, courageous rhythms accompany the final part of the ballet. The audience sees a matured, strong-willed Juliet, who does not submit but is ready to boldly face her difficult fate.

This is how Bibisara perceived the psychological characterization of the heroine and embodied the image of Juliet in the performance.

Love for a young man from a hostile clan was not a theatrical convention for her (as it was for other performers of Juliet's role). In the history of the Kyrgyz people, who lived in the past as separate tribes and clans and often in enmity with each other, the elevated feelings of young people from different clans were by no means exceptional.

Beyshenalieva seemed to physically immerse herself in the sense of tragedy that arose between the young people — so naturally and truthfully did the ballerina convey the girlish impulse, full of inner charm, tender modesty, and at the same time the greatest selflessness.

Upon meeting Romeo, Juliet-Beyshenalieva suddenly herself is struck by the unusualness of the feelings she experiences and ignites a fire that is still unclear to her.

Her hands seem to push Romeo away, although in reality, they reach out to him. With the palms of her outstretched hands, Juliet-Beyshenalieva seems to protect herself from Romeo, and the turn of her head enhances the impression of shyness, which is characteristic of a girl who finds herself face to face with a young man for the first time. This purely national gesture is introduced by the ballerina into the ballet, based on classical dance techniques, but it does not fall out of the style of the entire performance; perhaps it even becomes one of those features that distinguish the staging of a Russian or foreign work on the Kyrgyz stage.

Those who have encountered Bibisara Beyshenalieva in everyday settings know her extraordinary softness in communication. She does not know how to raise her voice and even laughs in a somehow quiet, remarkably gentle manner. This innate softness is also reflected in Bibisara's artistry. Her inner charm, warmth, and femininity are akin to Juliet. It seems that the strength of Romeo's reciprocal feelings grows as he becomes imbued with the sense of tenderness radiated by Juliet-Beyshenalieva. A little time passes since their first meeting with Romeo. And now Juliet finds herself in a whirlpool of feelings, already rushing down a turbulent stream towards the unknown. She completely surrenders to the swift current, confident that it will carry her to shore. Perhaps this is why Juliet's feelings strengthen, as they are not serene. The obstacles on the path to happiness have tempered her, made her stronger. Now, when the separation from her beloved becomes inevitable, we see that Juliet acquires a new quality — strength. She does not remain indifferent to everything happening, does not hope for a fatal outcome, and enters into a struggle. One of the central episodes of the ballet — Juliet's appeal to Lorenzo for salvation — becomes a logical reflection of the struggle for happiness. She shows herself to be a strong, determined person. Here she runs across the entire stage — swiftly, impulsively, then bursts into Lorenzo's cell and, although her strength fails her, gathers all her will to ask, plead, and finally demand from Lorenzo the salvation of Romeo.

Tenderness and passion, fidelity and devotion, inspiration and selflessness found an organic unity in the image of Juliet as performed by Beyshenalieva. Her Juliet has gone through hardships and human malice, but she has fully experienced the joy of love and remains faithful to it until the end.

Juliet is one of the last significant works of B. Beyshenalieva in the theater, and in this image, not only her talent but also her vast stage experience is fully expressed.

In addition to her large and diverse repertoire in ballet performances, B. Beyshenalieva participates in the important work of creating Kyrgyz national dances, their development, staging, and performance. For example, her dances "Komuzchu" and "Kyz-dzhigit" have gained the greatest popularity. Both dances are substantial and convey the typically national characteristics of the labor and life of the Kyrgyz people. In the dance "Komuzchu," on stage, depicting a glade, boys sit in a semicircle; they hold komuz (a traditional string instrument) in their hands. Then a girl in a national costume appears and asks the boys to play. There is no need to ask for long. The boys play the well-known folk melody "Komuzchu." The girl enters the circle and begins to dance. She depicts the process of making felt, rolls it up, throws it over her shoulder, nimbly jumps into the saddle of an imaginary horse, and, waving goodbye to the musicians, disappears into the distance.

The heroine of the second dance is also a girl. It is called "Girl-Jigit" ("Kyz-dzhigit"). This is a playful, humorous dance depicting the skill of horseback riding. The girl performs mischievous exercises on horseback.

Sometimes the horse refuses to obey her. But she overcomes its stubbornness.

If the first dance is performed in serious tones, the second is based on playful antics and evokes a cheerful reaction from the audience.

The popularity of these dances is so great that they are now danced throughout the republic.

Beyshenalieva has not ceased her work on creating Kyrgyz national dances.

For many years, B. Beyshenalieva taught at the Frunze Choreographic School. Now she has her own students, many of whom perform on the stage of the Kyrgyz Opera and Ballet Theater. In nurturing a new generation, the outstanding Kyrgyz ballerina sees her duty to her native art.

To fully understand the image of the actress, one cannot overlook her active concert activities. In rural clubs and cultural houses of the republic, she is a frequent guest, and her popularity among the people is great. It should also be added that B. Beyshenalieva has engaged in significant public work as a deputy of the Supreme Soviet of the USSR.

Kyrgyz filmmakers made a film about B. Beyshenalieva. And although it is a short film, the viewer can vividly imagine the artistry of the Kyrgyz dancer.

Back in 1947, the famous Soviet cameraman M. Slutsky captured the young ballerina in several frames.

She is in a traditional ballet tutu. Next to her is her mother, who has come to see her daughter. And the narrator's text: "An old Kyrgyz mother... Did you dream that your daughter would grow up to be a white swan?"

After this lyrical exposition, the action shifts 15 years later. A woman walks down the autumn Frunze Boulevard, outwardly no different from others. But then the shot changes, and instead of the autumn foggy boulevard — a brightly lit stage. The soft melodies of "Swan Lake" flow, and Odette comes to life before us.

The softness and precision of the lines, the plasticity of the movements are striking. But perhaps what attracts the most attention are the hands. The dancer waves them, and suddenly it seems there are no hands, but wings — fluttering, remarkably flexible and graceful.

A new shot. The actress is at a large mirror just before going on stage. A moment passes, and she is already spinning in the frenzied dance of the sorceress Aydai.

We see the celebrated actress in training. Together with her partners, she performs at the barre those exercises that allow her to constantly stay in shape.

The short, impressive film ends symbolically. Beyshenalieva in a ballet costume crosses the auditorium. Next to her is a girl whom she hugs by the shoulders. Who knows, perhaps it is Bibisara introducing a future ballet star into the wonderful world of art in which she herself lives...

Bibisara Beyshenalieva - People's Artist of the Kyrgyz SSR