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 in a duet with Bagysh. From despair to the expression of tumultuous happiness, when tragedy is replaced by joyful sensations — such is the complex range of feelings that the artist portrayed.
The role of Anar was later performed by Galina Khudaybergenova, who also created a memorable stage image.
Another student of the theater, Anarbek Mamakeev, showed himself to be a capable dancer in the role of Kadyir. In his performance, Kadyir is a poetic, yet impetuous young man, possessing determination in the struggle for his happiness.
In the roles of Kadyir and Anar's friends performed the theater students K. Niyazaliev, Sh. Gafarov, P. Lozovoy, Z. Shakhvorostova, B. Beishenbaeva, N. Konurbayeva, Yu. Kuldarova, O. Terentyeva, and other artists who demonstrated extraordinary abilities as dancers. However, it cannot be said that everything was resolved regarding ballet art during that period. This is far from the case. The young artists still did not have sufficient professional training, and often dance was replaced by pantomime (for example, the part of Bagysh was resolved this way; the performer was artist G. Avtandilov). There were many such pantomime moments, which testified to the imperfection of the young ensemble. The performance involved actors who had no choreographic training at all. For instance, the role of Kudake — the servant of the manap Bagysh, was performed by dramatic actor Muratbek Ryskulov. However, performing in the ballet, he displayed lightness and an enviable sense of rhythm. An impressive scene was when Kudake-Ryskulov brings the chapan of the supposedly deceased Kadyir, and for this, Bagysh gifts him a rich tebetey.
Submissively taking such a generous gift from the hands of the manap, Kudake breaks into such a dance that even Bagysh, watching him, cannot hold back — he also starts dancing.
In accordance with the level of the young Kyrgyz ballet dancers' skills, composers V. Vlasov and V. Fere created the music for "Anar." Since the basis of the ballet consisted of everyday character dances, the music reproduced well-known Kyrgyz folk melodies, in particular, "Kara kyoz," "Leilihan," and "Erkin too." Each of them, as an independent theme, passed through the entire action, participating in the development of images and events.
The energetic, romantic theme of "Kara kyoz" corresponded to the temperament of the hot, courageous Kadyir. As the action developed and the conflict intensified, this theme expanded, acquiring a new, masculine sound, revealing the depth of Kadyir's feelings and at the same time his fearlessness before a formidable opponent. The musical development of these motifs grew into an image of the strength and unity of the people, ready to stand up for their honor and take revenge on the enemy.
The second musical theme accompanied the first. The elegant melody of "Leilihan" was born in the south of Kyrgyzstan and expressed the charm of youth, beauty, and love, embodied in the image of the young Anar. The authors expanded its content, filling it with masculine intonations. A moment came when the tender Anar demonstrated such strength of character that she was able to endure any difficulties in the struggle for happiness. In the duet of Anar and Bagysh (the last act), new, major sounds emerge in the music. In Anar's appearance and behavior, there is a determination and firmness with which she pushes away the person she despises.
As for the melody of the song "Erkin too," its smoothness and breadth served as a backdrop against which the theme of liberated love unfolded. This melody was repeated and each time gained new strength.
Thus, the motifs of folk songs served as a basis for the composers for multifaceted melodic constructions. At the same time, in the overall conception and development of musical themes, the principles of symphonic music manifested themselves. In this combination of folk melody and symphonism, a characteristic feature of national music was reflected. It defined the national color of the Kyrgyz ballet performance.
A strong visual impression was created by the artistic design of Ya. Z. Shtoffer. The depiction in the first scene of the awakening day against the backdrop of a majestic mountain panorama, combined with the thoughtfully lyrical melody of the choora, contributed to the emergence of that atmosphere of romantic uplift, in which the action of the entire ballet unfolds.
The scene depicting a folk festival on the jailoo had great significance in the ideological sound of the performance.
The majestic picture of the mountain landscape, the expansiveness and openness, the freshness of the green masses, and the abundance of light — all this awakened thoughts of the strength of the people, its immortality, and happy future.
The lyrical-romantic nature of the action was interspersed with a deeply dramatic line — the clash of good and evil. In this regard, the design of the last scene did not possess the lightness that characterized the previous scenes.
However, the artist managed to enhance the impression of the victory of true love through visual means.
The waterfall breaking through the cliffs symbolized the flow of pure human feelings.
A serious concern was the design of the ballet costume. As is known, the Kyrgyz never wore clothes made of light, transparent fabrics. The artist, taking the national costume as a basis, proceeded from the main features of modern clothing. At that time, this work could not be completed. But a start was made, and subsequently, the ballet costume was improved, simplified, and boldly incorporated light fabrics and forms that did not deprive the artist of freedom of movement.
Interest in the first Kyrgyz ballet did not diminish over the years; its popularity among the people was great. Moreover, new performers of the leading roles appeared. Thus, in the role of Kadyir performed the student of the Leningrad Choreographic School Rafkhat Urazbaev.
The performers of the first version of "Anar," like a relay, passed their roles to the next generation of artists, but the problem of professionalization remained a top priority and the most important for the theater.
The ballet "Anar" - a new page in the history of Kyrgyz theatrical art