The Artistic Interpretation of the Hero of Our Time on Stage
Keywords:
Actor, tradition, tone, director, creator, performance, school, hero of our timeAbstract
This paper examines the modern-day production of the “hero of our time” on the stages of modern-day Uzbek theatre, highlighting the deeper moral, social, and ideological contexts which reflect the contemporary artistic interpretation of this concept. While there has been considerable improvement since the country gained independence, the paper finds a lack of well-rounded, relatable and relevant characters based on the values and issues of today. The qualitative descriptive-analytic method, using data from theatre archives, performances (2020–2025) and critical reviews were used. Through interviews with directors, actors, and scholars the research engaged with issues of dramaturgical structure, directorial interpretation, and acting technique. Results show that although Uzbex theatres and productions engage decisively with social issues involving patriotism, independence and moral awareness, dramaturgical depth, as well as contemporary characters, remain largely absent. Mix in the fact that there is a lack of collaboration between playwrights, directors and actors that translates to a lack of preparation by the time new actors reach the professional level and you have a recipe for disaster. These findings call for an integrated approach to artistic education, the infusion of new dramaturgical voices, and the establishment of institutions that will help bridge the gap between social reality and stage representation. The study ultimately argues that making a more well-rounded vision of the contemporary hero will take cultivation of the next gen, and a deeper relationship between creative interests. These insights have valuable implications for reaching a higher level of cultural, artistic and educational status of the theatre art of Uzbekistan.
References
U. Normatov, The World of Beauty. Tashkent, 1974, p. 45.
S. Qodirova, “The Problem of Contemporary Themes and Genres,” Journal of Theater, no. 2, pp. 11–13, 2004.
I. A. Karimov, High Morality – Invincible Strength. Tashkent: Ma’naviyat, 2008, p. 144.
G. Umarova, “The Image of the Contemporary Character on Stage,” Uzbekistan Literature and Art, no. 40, pp. 1–5, 2010.
H. Ikromov, Era and Theater. Tashkent: State Scientific Publishing House of the National Encyclopedia of Uzbekistan, 2009, p. 239.
M. R. Rahmonov, Hamza Theater, vol. 1 (1914–1960). Tashkent: G‘. G‘ulom Literature and Art Publishing House, 2001, p. 325.
M. Pirmatov, “The Historical Theme of the Years of Independence in Musical Theatre,” International Journal on Integrated Education, vol. 5, no. 3, pp. 83–86, 2022.
S. T. Pirmatov, “The Continuity of Musical Education in the Creation of Vocal Schools,” Journal of Intellectual Property and Human Rights, vol. 3, no. 11, pp. 206–209, 2024.
G. A. Muftizade, “Interpretation of World Dramatic Art in Uzbek Theatre,” Theoretical & Applied Science, no. 11, pp. 555–559, 2020.
A. Saidov, “Modern Trends in Uzbek Dramaturgy and Their Reflection on Stage,” Central Asian Journal of Art Studies, vol. 2, no. 1, pp. 45–52, 2021.
B. T. Ismoilova, “Formation of the National Hero Image in the Context of Contemporary Theatre,” Art and Culture Studies Journal, vol. 4, no. 2, pp. 67–73, 2023.
L. T. Rahimova, “Transformation of Character Archetypes in Post-Independence Uzbek Drama,” Journal of Modern Humanities Research, vol. 6, no. 4, pp. 110–117, 2022.
T. Abdullaeva, “Director’s Role in Interpreting Modern Dramatic Heroes,” Asian Journal of Performance Arts, vol. 3, no. 2, pp. 98–104, 2023.
K. Yuldashev, “The Influence of Social Change on Uzbek Theatre Performance,” Cultural Heritage and Art Review, vol. 7, no. 1, pp. 120–128, 2021.
R. H. Nazarov, “Innovative Approaches to Actor Training in Contemporary Theatre Education,” Journal of Performing Arts and Pedagogy, vol. 5, no. 3, pp. 59–66, 2024.
