THE EXPRESSION OF NATIONAL IDENTITY AND ENLIGHTENMENT ON STAGE
DOI:
https://doi.org/10.55640/Keywords:
Jadid dramaturgy, national identity, national revival, theater art, stage culture, dramaturgy theory, dramatic conflict, stage speech, dramatic confrontation, artistic concept, dramatic composition, unity of idea and content, dramatic image, dramatic situation, plot and fabula, dramatic dynamics, poetic dialogue, stage expression, artistic language, theater aesthetics, Jadid theater school, Uzbek stage thinking, national theater formation, dramatic analysis, dramatic construction, system of images, understanding of national identity, artistic dramatism.Abstract
This article analyzes the artistic expression of national identity and enlightenment on stage using the example of Jadid dramaturgy. The article focuses on Abdulla Avloni's drama "Pinak" (drowsiness). The work reveals such problems as the idea of national awakening, ignorance and knowledge, old age and renewal, helplessness and freedom through dramatic conflicts. The study highlights the main principles of drama theory - conflict, character, stage speech and dramatic composition - in the context of the Jadid literary process. The drama "Pinak" (drowsiness) is also evaluated as a means of understanding national identity, spiritual renewal and awakening social consciousness in Uzbek theatrical art. The article analyzes the enlightening essence of Jadid dramaturgy and its influence on modern theatrical thinking from a scientific and theoretical perspective.
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References
1.Aristotel. Poetika. G‘afur G‘ulom nomidagi adabiyot va san’at nashriyoti. Toshkent. 1980.
2.Boboyev T. Adabiyotshunoslik asoslari . Toshkent. O‘zbekiston. 2002.
3.Behbudiy M. Teyotr nadur?. Samarqand. Oyna jurnali, 1914.
4.Avloniy A. Pinak.Tanlangan asarlar. 1-jild. Toshkent. “Ma’naviyat”. 1998.
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