More Scenog­ra­pher Than Just an Artist

Uzbekistan Today (English) - - OUR GUEST -

It only seems that any child can eas­ily be en­ter­tained, sur­prised, forced to view the the­atri­cal per­for­mance, hold­ing its breath, from the be­gin­ning to the end. Pe­cu­liar­i­ties of the per­cep­tion of child­hood are well known to the staff of the State Theater of the Young Spec­ta­tor of Uzbek­istan and its chief pro­duc­tion de­signer Eu­ge­nia BISEROVA.

Let’s say a few words about our guest. She was born on Septem­ber 2, 1985, grad­u­ated from the Repub­li­can Art Col­lege with a de­gree in theater props, and the Na­tional In­sti­tute of Arts and De­sign, spe­cial­iz­ing in the­atri­cal and dec­o­ra­tive paint­ing. Her scenog­ra­phy in­cludes more than 40 dif­fer­ent pro­duc­tions. Eu­ge­nia also co­op­er­ated with the State In­sti­tute of Arts and Cul­ture, the theater of the Lik (Face) move­ment, the the­ater­stu­dio Il­hom, the film stu­dios Uzbek­film and Uztele­film. And Biserova is sure that the pro­duc­tion de­signer is more than just an artist. Here the pro­fes­sional should be able to do ev­ery­thing by one­self - paint, glue, and sew cos­tumes...

It is also im­por­tant to ‘in­fect’ the work­ers of the the­atri­cal work­shops with one’s artis­tic thrust.

- With what mood are you meet­ing the time of re­newal and our beau­ti­ful spring hol­i­days March 8 and the com­ing Navruz?

- This year we have pre­pared the­matic ex­hi­bi­tions in the foyer of the theater and a fes­tive show pro­gram, which, I think, feels like a part of me, so much ef­fort and ex­pe­ri­ence is in­vested in it. In gen­eral, spring, we al­ways are pre­sented with a fes­tive show on March 8, which is tra­di­tion­ally ar­ranged by the men of the theater, and in­vari­ably cook sumalyak all day and night, and then eat it to­gether. This is the time of ral­ly­ing the col­lec­tive, our great the­atri­cal fam­ily.

And the spring it­self is strongly as­so­ci­ated with bright­ness and light. At the dawn of stu­dentship, I helped my men­tor Shuhrat Ab­du­ma­likov in the team of artists per­form­ing the dec­o­ra­tion of the Navruz hol­i­day in the Navoi Na­tional Park. Hav­ing pre­pared ev­ery­thing on the square, we stayed un­til the end of the show it was very in­ter­est­ing to see such a grandiose event. In the end, over the stage, fire­works were re­leased ... from se­quins. And when the guests were al­ready dis­persed, we, stu­dents, ran around, frol­icked in these se­quins (and on the stage they were on an an­kle), rushed them, pro­long­ing our hol­i­day... Re­turn­ing home, look­ing at blos­som­ing aprons on the back­ground of a clear blue sky, and in the dis­tance there could be seen snow-cov­ered moun­tains... That was one of the first spring hol­i­days, de­signed with my par­tic­i­pa­tion, and it, like the fol­low­ing, left a feel­ing of in­fi­nite joy. Spring, the be­gin­ning of

which is marked by such two won­der­ful dates - In­ter­na­tional Women’s Day and Navruz – is the time of cre­ativ­ity and fam­ily, unity and warmth.

- What else does the theater live now with? Is there any re­newal go­ing on at the venue?

- The 89th the­atri­cal sea­son of the State Theater of the Young Spec­ta­tor of Uzbek­istan is in many re­spects very re­mark­able, in­clud­ing for our team. Thanks to the at­ten­tion of the state, to­gether with the Min­istry for the De­vel­op­ment of In­for­ma­tion Tech­nolo­gies and Com­mu­ni­ca­tions, the club “Friends of the Theater” has been cre­ated that in­cludes rep­re­sen­ta­tives of that body and the theater. And since the be­gin­ning of the the­atri­cal sea­son, much has been done: in front of the en­trance there is a big screen, on which an­nounce­ments and pho­tos from per­for­mances are broad­cast. Also, the theater was out­fit­ted with in­for­ma­tion equip­ment, launched its up­dated site. Such in­no­va­tions, I think, ef­fec­tively serve to pop­u­lar­ize the theater, at­tract­ing to it more and more gen­er­a­tions of Tashkent res­i­dents and vis­i­tors. And more im­por­tantly, the re­con­struc­tion of our build­ing will be car­ried out for the com­ing an­niver­sary sea­son.

This sea­son is also notable for the fact that the State Theater of the Young Spec­ta­tor of Uzbek­istan has be­come a full-fledged mem­ber of ASSITEJ (In­ter­na­tional As­so­ci­a­tion of Theater and Chil­dren Work­ers). This or­ga­ni­za­tion unites, method­olog­i­cally as­sists and sup­ports its par­tic­i­pants through train­ings, sem­i­nars, fes­ti­vals and meet­ings in or­der to de­velop them. Hav­ing re­cently be­come its full mem­ber, the theater has al­ready re­ceived many pro­pos­als from dif­fer­ent coun­tries - to par­tic­i­pate in the theater fair in Beijing in Au­gust this year, in the cel­e­bra­tion of the an­niver­sary of the No­dar Dum­badze Theater of Ge­or­gia in April, in the fes­ti­vals in Den­mark and In­dia. Sev­eral op­por­tu­ni­ties for joint ac­tiv­i­ties are al­ready un­der con­sid­er­a­tion and project pro­pos­als for co­op­er­a­tion have been drawn up. In ad­di­tion, at the meet­ing in ASSITEJ, the ques­tion was raised about hold­ing the same meet­ing next year in Tashkent, which demon­strates the high in­ter­est of the world com­mu­nity in our the­atri­cal art and in the coun­try it­self.

- The big premiere of the sea­son was the fairy tale “The Magic Lamp of Aladdin”. The play, di­rected by Sher­zod Ahme­dov, comes with the use of pro­jec­tion ca­pa­bil­i­ties, be­cause the mod­ern world of­fers new ways and so­lu­tions. This ap­plies to ma­te­ri­als and tech­niques, and ways to in­flu­ence the viewer, and to find top­ics for con­ver­sa­tion with them in the the­atri­cal lan­guage. This per­for­mance we did to­gether with the club “Friends of the Theater”. It turned out bright and dy­namic. But even such in­no­va­tions as the pro­jec­tor do not re­voke the im­por­tance of the scenery, light, props... Every de­tail is im­por­tant, which some­times is in­vis­i­ble from the au­di­to­rium. Take, for ex­am­ple, cos­tumes. Al­most all our per­for­mances are very dy­namic; they have a lot of mu­sic, dances. Ac­tors who move a lot need to feel com­fort­able. And this must also be re­mem­bered while cre­at­ing a stage cos­tume. I be­lieve that the cos­tume de­signer must feel for him­self and ac­tor’s work, and the nu­ances of the stage move­ment.

- Fab­u­lous sto­ries and char­ac­ters, it is prob­a­bly eas­ier to em­body on stage, isn’t it?

- I love this world, in which chil­dren’s fan­tasy is so eas­ily felt. In my soul I’m a child, and I like to in­vent new worlds. How­ever, it is not easy to per­suade lit­tle spec­ta­tors in a fairy-tale im­age to­day, be­cause chil­dren are ‘shod’ with a huge amount of in­for­ma­tion – mo­tion pic­tures and an­i­ma­tion films on all fa­mil­iar sub­jects, and an ex­am­ple is “The Magic Lamp of Aladdin”.

Let me re­mind you that the per­for­mances are held in Uzbek and Rus­sian. This is a re­quire­ment of time and the viewer. And some­times, as in field per­for­mances (for ex­am­ple, the play “Baby and Mada­gas­car”) - in two lan­guages at the same time.

- As far as I know, you are one of those young pro­fes­sion­als who are ac­tively look­ing for a va­ri­ety of ways for pro­fes­sional de­vel­op­ment...

- I have rep­re­sented Uzbek­istan at var­i­ous in­ter­na­tional events. For ex­am­ple, took part in the In­ter­na­tional Cos­tume De­sign Ex­hi­bi­tion in Moscow, Cos­tume De­sign on the Turn of the Cen­tury, ded­i­cated to the de­vel­op­ment of the­atri­cal cos­tume at the turn of the mil­len­nium. And also in the Youth Theater Fo­rum of the coun­tries of Asia and the Baltics, and in a sim­i­lar fo­rum in Baku. Every such event is a big step for me. Af­ter all, we not only demon­strate our per­sonal ca­pa­bil­i­ties on them, but, above all, we are rep­re­sen­ta­tives of the cul­ture of our coun­try.

What does par­tic­i­pa­tion in such events pro­vide? Real, lively im­pres­sions and ex­pe­ri­ence con­tribute to the growth of the theater pro­fes­sional. What is im­por­tant, par­tic­i­pat­ing in these fo­rums, I al­ways make sure: in Uzbek­istan there is a strong school of scenog­ra­phy, and work­ing on your­self and the the­atri­cal ex­pe­ri­ence of pro­duc­tions make the di­rec­tor only bet­ter and stronger. We have some­thing to be proud of, and what to show on the world stage. The main thing is to work with­out stop­ping and learn­ing ev­ery­thing new.

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