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.
Cholpon became an orphan at an early age, not remembering her mother, who died when the girl was not yet three years old. Her father, a participant in the Great Patriotic War, died at the front. Therefore, it was her older brother, Sydykbek, an artist of the capital's theater, who showed genuine paternal care for little Cholpon. He was the one who first took his sister to the theater, instilling in her a love for art, thus determining her fate. In 1937, Cholpon became a student at the Leningrad Choreographic School; at that time, she was not yet ten years old.
Dzhamanova studied eagerly. When she was in the 4th grade, she was chosen to participate in a small ballet performance called "The Foreigner." The action took place at the border. On the other side lived a girl with her grandfather. One day, their cow crossed the border. In search of the cow, the girl found herself on Soviet soil.
The border guards brought her to a kindergarten. Here she saw many toys, dolls, and cheerful, carefree children for the first time — as if by a miracle, she had been transported to a new world that captivated her imagination and heart. And when it was time to send the girl back, she did not want to return.
Cholpon's entire performance in this role was marked by such sincerity that it was clear to everyone: she had a talent for dance and a penchant for dramatic art.
At the same time, Cholpon was learning the Hungarian dance from "Raymonda," and a Chopin waltz (together with K. Mademilova and S. Jokobaeva). And whatever Cholpon danced, her dance, like an arabesque, intertwined dance flexibility and dramatic expressiveness. Leningrad sculptor Elena Alexandrovna Yanson-Manizer once saw Cholpon Dzhamanova on stage and sculpted her portrait, giving the sculptural figure the expression and drama characteristic of the creative individuality of the young ballerina.
Cholpon remembered for life the day of June 22, 1941, when Leningrad was first bombed.
Many of her classmates from the school went to the front — S. Senkubaev, G. Baibatyrov, S. Kabekov, and others. She returned to Frunze and took a job at the musical theater.
At that time, there was still no ballet school in Frunze. However, the demand for personnel accelerated the opening of a choreographic school. Cholpon Dzhamanova continued her education there. In 1947, she graduated from the school.
Alongside her studies, Cholpon did not leave her work at the theater: in "Raymonda," she played the role of one of the heroine's friends, and in "Swan Lake," she performed in the trio of swans. Throughout these years, she diligently studied the work of her colleagues, preparing for the performance of solo parts.
In 1950, Cholpon prepared the role of Tanya in I. Morozov's ballet "Doctor Aibolit," and in 1953, she performed the role of Maria in "The Fountain of Bakhchisarai," dancing with Zarema-Beyshenalieva, and in this role, she was warmly received by the audience.
It should be noted that the director I. K. Kovtunov focused all his attention on the technique of dance during the preparation of the performance, achieving lightness and plasticity, but cared little about the deep revelation of the characters. This was reflected in the insufficiently voluminous portrayal of the character of Maria. Dzhamanova portrayed Maria as a languid and weak nature.
The actress and the director did not reveal the subtext of Pushkin. After all, in reality, Maria is too proud to humiliate herself before anyone! Her pride does not allow her to bow her head before Girey, even though she is his captive.
Perhaps the actress herself did not feel complete satisfaction from the role she played and was pleased when soon she had the opportunity to immerse herself in a world of different feelings, in an atmosphere close to her, in the element of her native folklore.
Ballet