Evgeny Voevodkin as Kuyruchuk The ballet was first staged in 1960 by N. Tugelov. The second production was carried out by N. Avaliani. Comparing both performances, it should be noted that the libretto did not undergo any significant changes. The director N. Avaliani deepened some social characteristics of the characters, particularly that of Saribai. In the first version, he was portrayed as a foolish, spoiled son of a rich man, but now we see a cunning, malicious, and far from foolish wealthy
“KUYRUCHUK” From the very beginning, talented Kyrgyz composers have actively participated in the development of Kyrgyz opera art. The names of Abdylas Maldybaev, Akhmat Amanbaev, Mukash Abdrayev — authors of operatic music — are widely known. However, Kyrgyz composers did not work in the field of ballet until recently. It was only in 1960 that the ballet “Kuyruchuk” was created, written by K. Moldobasanov in collaboration with Leningrad composer G. Okunev.
Obvious shortcomings in the performance "Spring in Ala-Too" After the fairy-tale plots encountered in "Cholpon," "Swan Lake," and other ballets, the work on the performance "Spring in Ala-Too" attracted attention with its modern theme. The team enthusiastically took on the task. However, although the work under the guidance of V. Litvinenko and N. Tugelov was carried out with sufficient enthusiasm, a clear schematic nature, some contrived elements, and
Ballet "SPRING IN ALA-TOO" The continuous growth of the young professional ballet and its quite successful search for an organic fusion of national and classical forms raised the question of creating an original national repertoire. And it must be said that the first steps in this direction were marked by significant successes: in a relatively short time, three ballets appeared — "Anar," "Selkinchek," and "Cholpon," two of which became outstanding events
Release of the film 'Cholpon' The success of the ballet performance 'Cholpon' during the decade of Kyrgyz art in Moscow (1958) was so great that the idea of its screen adaptation arose. Prominent artists of Soviet cinema took on the task. The director was the honored artist of the RSFSR and the Kyrgyz SSR Roman Tikhomirov (known to audiences for the film 'Eugene Onegin'), and the chief cameraman was Apollinary Dudko. "Using the experience gained from working
Artistic Design by A. V. Arefyev The role of the artistic design created by the People's Artist of the USSR A. V. Arefyev is significant. It is inseparable from the music and dance. Moreover, in the production of the ballet "Cholpon," dance and design are organically fused. An example can be seen at the beginning of the act, which has an allegorical meaning. A picturesque, gnarled tree occupies a large part of the stage. However, it turns out that it has long lost its strength.
Frame from the movie "Cholpon - the Morning Star". Starring: Nurdin—U. Sarbagishev, jinn — S. Abdujalilov. Brilliant Performance of Solo Parts in the Ballet "Cholpon" The role of Nurdin in the latest stage version of the ballet is performed by Uran Sarbagishev. Nurdin-Sarbagishev is an unusual character. The son of a khan who falls in love with a simple girl, thereby breaking the grim custom of olden times. The artist creates a poetic image of a young man who is alien to
The embodiment of Beishenalieva and Chokoeva in the role of Aydai Despite the many years since the first performance of "Cholpon," the same performers have continued to appear until recently — B. Beishenalieva, Ch. Dzhamanova, A. Khandranova, and the performer of the role of Nurdin, N. Tugelov, is now one of the directors of the production. Currently, new performers have emerged. Particularly noteworthy was the performance in the title role by Reina Chokoeva — a graduate of the
Plot of the Third Version of the Ballet "Cholpon" The third version of the ballet "Cholpon," prepared for the decade of Kyrgyz art in Moscow in 1958, differed fundamentally from the previous ones (productions by N. Kholfin and N. Tugelov). Here is a brief summary of this version's plot.
The Ballet 'Cholpon' Ten Years Later Almost ten years later, in 1953, 'Cholpon' was revived in a new edition. The plot changed this time as follows. The poor man Nurdin kills a wild goat in the khan's domain and falls into the hands of his servants. Along with him, his beloved Cholpon and her brother Sapar are captured. As punishment, the khan decides to exile them. But Nurdin attracts the attention of the sorceress Aydai, whom the khan intends to marry to his son.
Drawbacks of the First Version of "Cholpon" In the first version of the legend, we encounter the same main characters of the poetic fairy tale. This is the young man Nurdin, seduced by the ghostly love of the sorceress Aydai, and Cholpon, who tenderly loves Nurdin. In pursuit of the sorceress Aydai, Nurdin forgets Cholpon, whom he was in love with. He searches for the one who captivated him, overcoming many difficulties in his quest until he reaches the palace of the sorceress.
The Birth of the Ballet 'Cholpon' ...The people's imagination has given birth to many wonderful tales of love, against which any barriers are powerless. One such Kyrgyz tale is staged in the ballet 'Cholpon'. It was recorded by Otunchu Sarbagishev from the words of an old collective farmer in Talas. The name 'Cholpon' refers to the morning star, shining in the dawn sky. We mention this because we find the title of the ballet 'Cholpon' symbolic, as
Ballet "Selkinchek" The production of "Anar" marked the beginning of the creation of the national ballet. However, the first national performance revealed the need for further professionalization and mastery of the sophisticated forms of ballet art. To this end, a number of productions of classical and Soviet ballets were carried out: "Coppélia" by A. Delibes (1940), "Laurencia" by A. Krein (1941), "The Magic Flute" by R. Drigo (1943). At the
Update of the performers in the 1950 production Ten years after the first production of "Anar," a second version was realized in 1950. What explains the fact that many performances of the Kyrgyz theater were staged in new editions? Variants of the same performance exist in many national theaters. However, there are known cases where subsequent stage versions do not improve but rather worsen the performance. For example, this was the case with the ballet "Kambar and Nazym"
Scene from the ballet "Anar" 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
The Ballet 'Anar' The ballet 'Anar' marked a new page in the history of Kyrgyz theatrical art. The theater already had musical dramas, a national opera, and classical ballet in its repertoire. All of this led to the birth of a new form of theatrical art, which is national ballet. On the anniversary of October, November 7, 1940, the premiere of the ballet 'Anar' took place, created by composers V. Vlasov and V. Fere based on the libretto by K. Eshmambetov and N. S.
The First Steps Towards Professional Kyrgyz Ballet Folk dances, based on elements of rituals and games, determined the direction in which the initial development of national choreography took place, which found its expression in the musical-dramatic performances of the Kyrgyz theater. However, the further success of Kyrgyz choreography is linked to the mastery of classical dance. Therefore, the ballet group of the Kyrgyz Musical Theater, alongside their work on national dance, began to learn
Ballet Scenes in the Opera "Ai-Churek" The dance "Kiyiz" was first performed in the Kyrgyz musical drama "Altyn-Kyz" in 1937. Its significance lies in the fact that it paved the way for the people into professional ballet. As soon as "Kiyiz" was shown on stage, it became a part of the people's heritage. It was performed throughout the republic at concerts and artistic performances, and soon it became part of the everyday life of the ails. Thus, the
N.S. Kholfin is one of the first enthusiasts of creating Kyrgyz professional ballet One of the first enthusiasts of creating Kyrgyz professional ballet was the talented master of choreographic art Nikolai Sergeyevich Kholfin. He arrived in Kyrgyzstan as a young man in 1938. However, he already had experience working in one of the best theaters in the country — the musical theater named after K. S. Stanislavsky and V. I. Nemirovich-Danchenko. N. S. Kholfin brought to the Kyrgyz theater,
The first three graduating classes of national ballet dancers in Kyrgyzstan The youth's passion for ballet was so strong that during the harsh years of war (in 1943), a choreographic school was opened in Frunze, which became the foundation for training national ballet personnel. A significant role in organizing the school was played by former teacher of the Leningrad Choreographic School, Kirill Anatolyevich Afanasyev. The first graduating class of the school took place in 1948. In a
Pre-war Graduates from Kyrgyzstan of the Leningrad Choreographic School The most significant achievements of Kyrgyz ballet during its early development are associated with the activities of the graduate of the Leningrad Choreographic School, Jumakalyy Arsygulova, who can rightly be called the first Kyrgyz ballerina. It is also worth noting Gulbara Daniyarova, who, after graduating from the school, returned to Frunze in 1941 and began working at the opera theater. She performed in all ballet
ON THE PATHS OF CREATING A NATIONAL BALLET After October, the peoples of the former tsarist outskirts made a swift leap in creating their national culture and, in a short time, managed to master the achievements of advanced professional art. What had been forcibly suppressed for centuries burst forth in a powerful stream, contributing to an unprecedented rapid flourishing of artistic culture. Every nation has concepts of duty, humanity, nobility, and inner beauty. It is human nature to strive
How the art of folk storytellers helped Kyrgyz artists create ballet As is known, the Kyrgyz did not have visual arts due to the fact that the religion of Islam prohibited the depiction of living beings. However, visual art existed in specific forms, such as in the art of ornamentation — decorating household items, clothing, especially in the creation of amateur carpets (tushkiiz, shirdaks, etc.). The ornamentation of carpets is characterized by exceptional simplicity and consists of various
The Birth of Kyrgyz Ballet For a century, the land of the Kyrgyz has repeatedly become the arena of brutal battles. The Kyrgyz people experienced the dominance of Turkic, Mongolian, Dzungar, and Kokand khans. The conquerors changed, but nothing changed in the fate of the people. Cut off from cultural centers and ruthlessly exploited by both conquerors and their own bay and manap, the Kyrgyz people were in a state of extreme backwardness. Literacy, written literature, and science were
Retreat Two. “The HPP was built by the whole country...” ...While browsing through some remnants of film material about the beginning of the construction of the Toktogul HPP in one of the halls of “Kyrgyzfilm,” someone noticed a “freak” crossing the bubbling Naryn on a cable. Then they spotted a camera and a battery tied to the “adrenaline junkie.” Indeed, Vidugiris was in his element, “capturing” yet another “stunning” shot... A characteristic feature of all Vidugiris's films, including
Reflection on the Screen of the Process of Designing New Hydroelectric Power Stations Through the films shot by Vidugiris at the Toktogul Hydroelectric Power Station: “Three Answers to the Mountains” (1963), “The Overlap” (1966), “Naryn Diary” (1971), one can trace the progress of the construction of a bold and uniquely conceived hydroelectric station in the mountains. However, “production events” never concerned him for their own sake. Even such spectacular, rare, and dearly cherished by
The film is dedicated to all the builders of the Toktogul HPP. Artistic analysis of reality becomes an imaginative comprehension of the world, an authorial, lyrical discovery of it. From the plan of a misty street in the summer heat of an old village (title “+20”) to the sprawling, wide-screen view of a new multi-story city (title “+90”), everything shown and narrated acquires new depth and a new perspective. The inclusion of the "time counter" — a reminder of the depth of the future
Meetings by the Kyrgyz Mountains ...I again refer to the films of Vidugiris as a lesson for young graduates of VGIK. Take example from such people, seek and find your path not in artificial constructs of fictional plots, but in the understanding of real life, in the documentary drafts of time. Chingiz Aitmatov
IX Moscow Festival - A Special Festival At the final press conference, the creators of the films presented at the festival, both in competition and out of competition, answered numerous questions from Soviet and foreign correspondents: R. Viktorov ("Moscow — Cassiopeia"), S. Solovyov ("One Hundred Days After Childhood"), G. Piesis ("Blow, Wind!"), operators Yu. Gantman ("Dersu Uzala") and K. Orozaliev ("Red Apple"), the screenwriter of
The film by Tolomush Okeeva "lit up" the festival screen of the Moscow International in 1975... Above the Moscow River, a multitude of languages can be heard. Filmmakers from five continents—guests and participants of the IX International Film Festival, journalists took a stroll this Sunday along the Moscow Canal on the three-decked riverboat "Valery Chkalov." The IX International, held in Moscow from July 10 to 23, 1975, became the most representative of all previous ones:
Spring of '74 at the Tashkent Festival On a sunny May morning, the festival participants were guests of Uzbek filmmakers and took a trip to "Uzbekfilm." Back in 1924, a small studio was opened in the building of the Sheikhantaur Madrasah. Today, "Uzbekfilm" is one of the largest studios in Soviet Central Asia, a contemporary of Soviet Uzbekistan. In 1984, it, like other Soviet Central Asian republics: Kyrgyzstan, Turkmenistan, and Tajikistan, will celebrate its 60th
Reviews of Kyrgyz Cinema The official screening of documentary films at the Tashkent International Festival opened with "The Bridges of Duyshen" at the House of Knowledge. Kyrgyz cinematography was more fully represented a few days later when "Post" was shown there, and in the evening, at the Palace of Arts, the feature film from Frunze "Waterfall" (script by L. Dyadyuchenko, director Y. Boretzky, cinematographers A. Kim, N. Borbiyev, starring Ch. Duvanaev, I.
City of Peace, City of Friendship. It was significant and symbolic that the leading filmmakers from Asia, Africa, and Latin America gathered around the "round table" in those days. It was here, in this conference hall, that the Soviet government made peaceful proposals to representatives of friendly countries. Here, in a building from whose windows one could see the majestic panorama of modern Tashkent, restored by the hands of thousands of Soviet people after a devastating disaster
Representative Film Forum "Tashkent-74" In ancient times, the paths from Russia and India, from the Middle East and the African continent converged in the ancient Uzbek city of Tashkent. Today, in the ancient yet surprisingly young and modern Tashkent—the capital of Soviet Uzbekistan—progressive filmmakers from Asia, Africa, Latin America, and many European countries gather every two years. A representative film forum! — The International Film Festival of Asian, African, and Latin
DOCUMENT OF OUR TIME A documentary film is the conscience of cinema. Joris Ivens. In the autumn of 1972, at the Small Hall of the Funzen Cinema "Ala-Too" — "Chronicle," the film "Post" was screened, which won the Silver Dove award at the XV International Documentary and Short Film Festival in Leipzig.
The World Through Play. Category of Fact Report The report (as the main defining genre characteristic of "Autoparade"), becoming the primary method of organizing facts of reality, emphasized the film's closeness to "live" broadcasts, lending it the credibility of documentary broadcasting. Uncommented Report This is primarily a "broadcast of what is happening" in episodes at the mobile shop, a film screening organized for children in one of the yurts, the
At the Intersection of Theater and Cinematography Television, whose audience is practically limitless, has its own peculiarities. It subtly yet persistently changes our perception of the surrounding world and the very fabric of our thinking. Thanks to its daily and nightly documentary and informational programs, we have begun to perceive facts as an independent artistic category... ...As if paying homage to his first profession — before graduating from the Institute of Theater, Music, and
TV Director. A New Profession of the 20th Century... Brushstrokes to the Portrait Dooronbek did not finish his third year at the medical institute. His "wanderings" through theaters and cinemas ended with a new assistant director appearing at the Frunze television studio — Dooronbek Sadyrbaev. The first broadcast with the call signs of Kyrgyz television aired on December 5, 1958. The television of the republic was taking its first steps: the first broadcasts, the birth of first
Visiting... Boris Godunov In the 1970s, Kyrgyz television cinema actively experimented with various genres — documentary, popular science, and feature films (there was a clear inclination towards creating feature films for children). The film about people of artistic creativity, a documentary story about a specific person, was made at "Kyrgyztelefilm" not for the first time, but the film "Sings Bulat Minzhilkiyev" deserves a separate discussion as an example of the search
Plots of Kyrgyz documentary filmmakers and their embodiment The context of a unified television program sometimes unexpectedly makes the familiar and known perceived in a new way, immensely increasing the responsibility of journalists from local TV studios. One August evening in 1977, Central Television aired the documentary "If Not Me, Then Who?" by the "Kyrgyztelefilm" studio. The next day, in a report from the information program "Time" about the solemn opening
What is television information? The formation of the communist consciousness of Soviet people requires a steady expansion and deepening of the party's ideological influence on the masses, as well as continuous improvement of party propaganda and agitation. The solution to these tasks today largely depends on the quality of the work of mass media and propaganda, including television. The party constantly improves the work of all links of mass media and propaganda. Great attention is also
BALLROOM DANCE The ballroom dance was created by the People's Artist of the USSR Bibisara Beishenaliev based on the folk Kyrgyz movement style to the music of S. Germanov. The dance consists of two figures, performed over sixteen measures. The musical meter is 2/4.
KYRGYZ BALL DANCES. “ZHASHTYK” (YOUTH) The dance is based on Kyrgyz folk movements and is designed for a wide range of youth. The content of the dance and the music correspond to the character of the dance composition. The dance should be performed lively and energetically, with enthusiasm and temperament. The music consists of two parts — 12 measures, with the repetition of the second part making a total of 16 measures. The dance has four figures, each figure occupies four measures of musical
DANCE OF THE COTTON-PICKING GIRL (BIYI OF THE COTTON GIRL) The dance of Kyrgyz cotton-picking girls is based on a combination of individual elements of the labor process of cotton harvesting and the movements of cheerful girls. It is designed for three performers and should be performed energetically and with a hint of playfulness. The elaborate dance composition consists of three parts: the first is lively and cheerful, the second is prolonged and lyrical, and the third is a spirited finale.
IN THE MOUNTAINS OF ALA-TOO (ALA-TOODO) The proposed stage version of the dance was created by choreographer U. Sarbagishev to the music of composers A. Maldybaev and M. Abdrayev. It consists of three parts: a temperamental fast section performed by young men, a lyrical moderate section performed by young women, and a general dance of girls and boys. The musical meter of the first and third parts is 2/2, and the second part is 4/4.
“Komuzchu” The Kyrgyz youth dance “Komuzchu” is usually performed at musical evenings for young people. Young men come out to perform the komuzchu. Attracted by the familiar melody of the komuz, the girls appear as well. Everyone gets involved in the dance. There is always a couple among the dancers that dances better than the rest. And so, among their friends, who form a circle, this couple showcases their skills.
Besh - Yrgai A youth dance accompanied by a song. It tells about the life of young people, about a new life where women are not bound by the laws of antiquity. It is performed to a song and an orchestra of komuz players in even pairs. It can also be performed to a recording or accompanied by a piano. The dance was choreographed by N. Tugelov, with musical arrangement by P. Shubin. Costumes of the Performers
THE FLIRTATIOUS GIRL (KYIALDUU KYZ) The Kyrgyz youth dance "The Flirtatious Girl" is performed by a girl and a young man. In creating this dance, the choreographer used elements from the national game "Achakei-jumakei," which is widely popular among Kyrgyz youth. Two players take turns throwing the "alchik." If the alchik lands correctly, the player bends two fingers of their left hand; otherwise, they bend one finger. The count goes up to ten throws. The loser
