The Search for Artistic Expression in Uzbek Theatre

The ia tries to shed light on the process of artistic expression within the context of the emergence of the Uzbek theatre of the European type. A delicate balance between traditional and modern attributes of artistic forms emerged during the first few decades of the twentieth century. Being unrecognized and since gaining independence of national art, it faced the challenge of absorbing maskharaboz and kizikchi renditions into the creators’ European dramaturgical experience and directing directorial experience, and recognizing the national as an object and forming its specific theme. At the same time, a very significant part of the next book allows to draw an unambiguous conclusion about the main gap in the circle of credenza, which should be reduced in this work, which is about how the early experience of artistic experiments affected the development of the Uzbek theatre as a whole. This research aims to analyze the comparative method of this phenomenon by using historical-analytical research, among the most widely known and studied in the field of the local dramaturge; this approach involves paying special attention to the ways in which the prospectuses were carried out and their receptions is rather rare. The source-based book analyzes archives of theatres, debuts, and critical attitudes to the performances of beloved fairy tales, The Princess Turandot, and Khujum. Based on similar sources, the characteristic of the impact of both the authors’ and professional schools of the creative positions in the article, the definition of the meaning these approaches had at the time is formulated. The main argument is that the prospectuses allowed the local audience to undeceive their specific interest as Uzbekians. In the following study, I would like to analyze the early experience of the process of creative reading and application that might have promoted further work on ways of forming a specific habit of the Uzbek theatre.