Theme of the Day On­stage Diy­dor

Uzbekistan Today (English) - - CULTURE AND ARTS -

Uzbek direc­tor Yolkin Tuy­chiev brought one of the most press­ing prob­lems of our time to the rank of mass cul­ture.

Mi­gra­tion is a com­plex phenomenon that does not have state bor­ders. Mi­gra­tion has played a huge role in the de­vel­op­ment of mankind, be­ing a form of its adap­ta­tion to the chang­ing con­di­tions of ex­is­tence.

The rel­e­vance of this topic is de­ter­mined by the fact that mi­gra­tion in­flu­ences in­ter­state re­la­tions, the de­mo­graphic sit­u­a­tion, the for­ma­tion of la­bor mar­kets and their seg­men­ta­tion, and the rigid­ity of com­pe­ti­tion.

The in­flow and out­flow of mi­grants is chang­ing the sit­u­a­tion in the la­bor mar­ket, the bur­den on in­fra­struc­ture, on the san­i­tary and epi­demic and en­vi­ron­men­tal sit­u­a­tion, on the level of crime, on in­tereth­nic re­la­tions.

Put on the stage of the Diy­dor the­ater­stu­dio the per­for­mance “Mono-Lock” in the mod­ernist style makes an in­deli­ble im­pres­sion on the viewer and re­quires from him a thought­ful­ness and deep aware­ness. The direc­tor raises the ques­tion of leav­ing peo­ple and ex­am­ines it from dif­fer­ent an­gles - why they leave, how the new coun­try re­flects on their fate.

The ac­tion takes place in a small re­mote vil­lage, whose res­i­dent mar­ries a Ger­man and is about to leave her coun­try. In the dif­fi­cult sit­u­a­tion is the pro­tag­o­nist of the play, her fa­ther, the for­mer direc­tor of the school. Hav­ing lost his wife, sold ev­ery­thing and left with­out any­thing but a beloved goat, he must de­cide whether he is trav­el­ing with his daugh­ter to Ger­many or not. But just be­fore de­par­ture, the tension reaches its limit and the pro­tag­o­nist re­al­izes that the world is dearer than any­thing in the world, and he re­mains, and the daugh­ter with tears in her eyes leaves alone.

In the play there are a lot of artis­tic sym­bols, on which the direc­tor's at­ten­tion is fo­cused. For ex­am­ple, one of the high­lights of the per­for­mance is the hero's at­tach­ment to the im­pro­vised goat by the rope for the belt. And when he tries to leave for a for­eign coun­try, he is not al­lowed into the car with her. It seems that the im­age of the goat as­so­ci­ated with his home­land does not al­low him to leave.

De­spite the se­ri­ous­ness and com­plex­ity of the sit­u­a­tion, there are a lot of comic scenes in the play. And all this is done, as crit­ics have es­ti­mated, in a com­pletely new style for the Uzbek the­ater. Us­ing very mean means of ex­pres­sion, but at the same time very im­pres­sive, the artist achieves much.

Ac­cord­ing to Ba­hodir Yul­da­shev, the Peo­ple's Artist of Uzbek­istan, artis­tic direc­tor of the Diy­dor the­ater-stu­dio, «this is the sec­ond ex­pe­ri­ence of the the­atri­cal pro­duc­tion of Yolkin Tuy­chiev. The first was a long time ago. He staged one of the best per­for­mances of the Il­hom The­ater «White, White, Black Stork» by the work of Ab­dulla Kadyri. The head of the pro­duc­tion was Mark Vail him­self then. So much time has passed, and I can say that now Yolkin is one of the most ta­lented film­mak­ers. The per­for­mance turned out to be top­i­cal, where the des­tinies of Uzbeks are con­sid­ered. The main thing is there is some­thing to think about ».

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