The Issue of Creative Collaboration in Uzbek Musical Dramas
Abstract
This study examines the problem of creative cooperation in Uzbek musical dramas, focusing on the tie between playwright, composer, and director in achieving artistic wholeness. The paper raises an issue that requires further exploration, considering the imbalance of relations between theme and genre in the modern practice of national musical theatre as one of the main drivers of performance fragmentation. Employing analytical and comparative methods, the research investigates the works of Xoliq Khursandov in collaboration with Farhod Olimov and Bahodir Nazarov at the Muqimi Theatre: O‘lding, Aziz Bo‘lding, Toptalgan Tuygu, and Mehr Nuri. The results show that the majority of works lack cooperation at the creation stage as they do not observe the wholeness of dramatic and music structures. It is found that when the music, dramatic text, and inscenation are developed separately, the performance loses the integrity that is the main determining factor of its artistic quality. Due to extreme autonomy of the elements and, thereby, weak emotional and theme-related connection, musical dramas created in this manner do not correspond to the general purpose of an artistic work. The research implies that the groundbreaking success of a musical performance is possible only with continuous and concerted effort of all creators involved. Overall, the realization of cooperative models is key to the recreating the integrity of Uzbek national musical theatre and increasing its potential in addressing contemporary social and cultural issues.
References
E. Khushvaqtov, “Contemporary Scenography as an Expression of the Domestic Genre,” Interpretation and Researches, vol. 2, no. 21, pp. 93-97, 2024.
S. Muhammadiyev, “Comprehensive Staging of Theatrical Works,” Oriental Art and Culture, vol. 5, no. 5, pp. 264-267, 2024.
R. Usnatov, “Understanding Internal Cuts in Fine Arts,” Platform of Local and International Conferences, no. 2, pp. 195-201, 2025.
E. Yorbekov, “Issues in Ghazal Performance,” Oriental Art and Culture, vol. 4, no. 1, pp. 698-703, 2023.
F. Farmonov, “Stages of Formation of Classical Indian Music in Eastern Countries,” Oriental Art and Culture, vol. 5, no. 5, pp. 216-218, 2024.
B. Khusanov, “The Issue of Artistic Integrity in Musical Theatre Art,” Platform of Local and International Conferences, no. 2, pp. 539-544, 2025.
F. Turgunboyev, “Forms of Movement in Acting Skills,” Oriental Art and Culture, vol. 5, no. 5, pp. 420-425, 2024.
G. A. Mufti-zade, “The Peculiarities of Symbols and Symbolism in Theatrical Art,” Journal of Intellectual Property and Human Rights, vol. 3, no. 11, pp. 202-205, 2024.
G. A. Muftizade, “Characteristics of Symbols and Artistic Images,” European Journal of Humanities and Educational Advancements, vol. 3, no. 4, pp. 175-177, 2024.
G. Muftizade, “National Symbols are the Main Source of Power that Preserves National and Age-Old Values,” International Journal of Artificial Intelligence, vol. 1, no. 3, pp. 319-322, 2025.
I. Nusurov, “Modern Technologies in National Classic Performances,” Platform of Local and International Conferences, no. 2, pp. 503-511, 2025.
U. Rasulov, “Creative Collaboration of the Playwright, Composer, and Director in Musical Drama: The Issue of Thematic and Genre Compatibility in Their Work,” Oriental Art and Culture, vol. 5, no. 5, pp. 572-577, 2024.
A. Sh. Dadayev, “Problems of modern Uzbek musical drama,” European Journal of Arts, no. 3, pp. 17-20, 2024.
U. Rasulov, “Genre characteristics of the Muqimiy State Academic Musical Theater of Uzbekistan,” International Journal of Artificial Intelligence, vol. 5, no. 05, pp. 232-237, 2025.
I. Rakhmanova and R. Rakhmatov, “Music and drama theatre (on the example of the Bukhara Music and Drama Theatre),” American Journal of Education and Learning, vol. 3, no. 7, pp. 587-588 (note: pp. range approximate), Jul. 2025.
N. A. Akhmedova, “The place of theatrical art in children’s musical groups of Uzbekistan,” Cyber-Leninka, 2021.
