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, most developed countries of the West. Therefore, it is entirely natural that in the field of artistic culture, there has been a leap from the old amateur forms, which existed in a nascent state, to professional art, particularly ballet.
We have already mentioned that socialist realism has become the main road of the Kyrgyz ballet theater and that it has defined the fruitfulness of its activities and searches from the very first steps. It should be added that the rapid growth of Kyrgyz ballet is largely due to the talent of a people awakened to a new life by October.
In the context of Soviet reality, we observe a natural process of organic unity between national and international elements in all spheres of cultural life.
A vivid manifestation of this unity is theatrical art. The modern Kyrgyz performance is national in the sense that it expresses the hopes and dreams of its people, conveys the atmosphere of everyday life, and reflects the characteristics of human nature. At the same time, "that performance is international, as it is a testament to the unprecedented cultural growth of people, their broad understanding of the life experiences of other nations, and an expression of the common goals and objectives of the joint struggle in building a communist society.
During the years of Soviet power, choreography developed as a multinational art. Works such as "Red Poppy" by R. Glière, "The Flame of Paris" by B. Asafiev, "Romeo and Juliet" and "The Stone Flower" by S. Prokofiev, "Gayane" by A. Khachaturian, "Heart of the Mountains" by A. Balanchivadze, "Othello" by A. Machavariani, "Seven Beauties" and "The Path of Thunder" by Kara Karayev, "Shurale" by F. Yarullin, and many others stand side by side.
With full justification, "Anar" by V. Vlasov and V. Fere, "Cholpon" by M. Raukhverger, and "Kuyruchuk" by K. Moldobasanov and G. Okunev can also be included here. Transfer Kyrgyz ballet to any stage — Russian, French, Japanese — it will remain Kyrgyz ballet everywhere, because it expresses the destinies of the people, the peculiarities and nature of their existence. At the same time, Kyrgyz ballet is international, as it always carries a humanistic idea — close to all the peoples of the world.
Kyrgyz ballet, as a perfect form of professional art, is a real and significant result of the cultural revolution in our country. We can rightly say: "We have our own national Kyrgyz ballet theater!"
What has been achieved by modern Kyrgyz ballet is not the limit. It is only the beginning. A beautiful and promising beginning. And there is no doubt that many new wonderful pages will be written in the history of the young and captivating art of the growing Kyrgyz ballet theater in the future.
People's Artist of the Republic Reina Chokoeva