Cultural contacts with the countries of people's democracy and the West have become increasingly stable and diverse in recent years. Acquaintance with progressive foreign art has expanded and enriched the repertoire. The role of theater in strengthening these cultural ties is significant. It is the stage that best introduces audiences to all that is advanced in the creative work of artists from all over the world.
A prominent place in the repertoire of the Russian Drama Theater was occupied by the works of A. N. Ostrovsky. The plays "Wolves and Sheep," "The Guilty Without Guilt," "The Forest," and "The Storm" were performed with great success on its stage. The talented portrayal of the role of Katerina in "The Storm" by the Honored Artist of the Kyrgyz SSR K. A. Guriyeva left a deep impression on the audience.
The choice of the "Kremlin Chimes" for the repertoire is quite understandable, although the theater took a creative risk by entering into competition with the best theatrical companies in the country. The situation was more complicated with the selection of other Soviet plays. The theater constantly had dozens of new works in its portfolio. Which ones should be selected? Which play has the right to stage adaptation first?
By including "Kremlin Chimes" by N. Pogodin in its repertoire, the theater took on a very responsible commitment. The image of Lenin, captured through the means of art and theater, is a powerful ideological weapon in the hands of the party. Its impact and influence on the people are limitless. To learn from Lenin, to follow his precepts in everything—this is the aspiration of every communist, every Soviet person. There is no higher, no more honorable task for a writer, artist, or
Honored Artist E. V. Zhenin — Kazanok. "Kremlin Chimes" The repertoire is a mirror of the theater. It is the repertoire that defines the very character of the creative team's work. The choice of dramatic works depends on the creative aspirations of the directors and actors, on that elusive concept that constitutes the face of the theater troupe. One can judge by the repertoire how bold the collective is, whether it aims for well-played and long-known plays or takes on untested
O.V. Popova, K.Ya. Ivanov, I.K. Tkachuk Regular classes were organized for all young, mostly talented actors. Directors M. Malamud and V. Molchanov, as well as leading actors, helped the youth master Stanislavsky's system, conducted classes on theater history, expressive reading, acting skills, etc. We are not even mentioning some special classes that were mandatory for the entire troupe. For instance, before the productions of "Hamlet" and "The Comedy of Errors," the
Actors of the Russian Drama Theater of the Kirghiz SSR: L. V. Nelskaya, V. N. Dostovalov, I. A. Ivarfэ L. V. Nelskaya, V. N. Dostovalov, I. A. Ivarfэ The Russian Drama Theater named after Ch. T. Aitmatov is one of the leading theaters in the Kirghiz Republic. It has a well-equipped foyer, rehearsal halls, dressing rooms, and facilities for hairdressing and other workshops.
After the war, the theater troupe was joined by new actors. By this time (1945—1956), the core of the ensemble had fully formed, which largely defined the creative face of the theater. This includes the chief director M. M. Malamud, and the actors V. F. Kazakov, K. A. Guryeva, A. F. Kuleshov, O. D. Dussan, E. V. Zhenin, G. G. Karkotsky, T. P. Artamonova, V. P. Sobolev.
In the evening, the capital of Kyrgyzstan is especially beautiful. Bright rays of streetlights break through the dense green veil formed by the branches of trees, flowerbeds glow with colorful reflections, and the black southern sky fades at the edges from the electric glow. However, perhaps the most beautiful place in the city of Bishkek is Oak Park. Almost century-old oaks, planted by the founders of the city, grow here freely and broadly. In the shade of the oaks stands a large building.
In the photo: A.S. Arefyev, sketches of the decorations for the opera "Aychurek". V. Vlasov, A. Maldybaev, V. Fere, 1959
Before the Great October Revolution, the Kyrgyz did not have a national professional theater. However, throughout their centuries-old history, the people created their rich, unique art, filled with theatrical elements. Performances by manaschis (epic storytellers) and akyns-improvisers resembled a one-man theater.