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 company began preparing for the decade of Kyrgyz art and literature in Moscow. The theater decided to revive the ballets "Anar" and "Cholpon." Here, Ulan Sarbagishev found great opportunities for the creative explorations that characterized his work in the ballet "Spring in Ala-Too."
The image of the shepherd Kadyra in the ballet "Anar" is close to that of Asan. Both have to fight for their happiness, for their love. In both cases, the heroes' opponents are people from a different social circle. Therefore, the artist primarily seeks to emphasize the moral superiority inherent in a person from the people. This is how U. Sarbagishev portrayed Kadyra. The strength of the image of Kadyra, created by him, lies in the sincerity of feelings and the striving for freedom, without which there is no life for him. The swift, impulsive movements of the artist created a strong impression. It seemed that for a moment he was soaring upwards, like a ram jumping on the ledges of mountain peaks.
Such a comparison is also suggested because Sarbagishev once noted: "When I dance in national ballets, I constantly feel the nature of Kyrgyzstan." In this feeling of the artist lies the key to the depth that distinguishes the roles in his performance.
Sarbagishev strives for a deep revelation of the ideological essence of the image he portrays. In fighting for Anar, Kadyra-Sarbagishev simultaneously stands against the dark force that has risen in their path. And he, like a hero from an ancient legend, boldly goes into battle with the enemy and does not rest until he destroys the hated foe.
Almost simultaneously with the work on the role of Kadyra, Sarbagishev created the image of Nurdin in the ballet "Cholpon." By his social standing, Nurdin is unlike the previous heroes of the artist. He was not a poor man, but the son of a khan.
Having fallen in love with a simple girl from the people, he defends the right to true love. Earlier, in connection with the general characterization of the ballet "Cholpon," we have already discussed the peculiarities of Sarbagishev's interpretation of this image. Let us add that in this role, the artist finds quite convincing details to express the feelings of his characters towards both Cholpon and Aydai. In the first act, he dances before Cholpon with inspiration and emotion. He, like an eagle spreading its wings before her, expresses in powerful ascents strength and joy. But in the next act, dancing before the sorceress Aydai, he seems to repeat the same movements, yet each of them appears so strained and forced!
Through contrast, the artist emphasizes the emotional state of his hero. As Mikhail Gabovich aptly noted, Sarbagishev, despite his youth, skillfully masters the truth of experience.
The Return of U. Sarbagishev to Frunze after Graduating from the Leningrad Choreographic School