The experience of creating national ballet spectacles in Kyrgyzstan and Kazakhstan

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The experience of creating national ballet spectacles in Kyrgyzstan and Kazakhstan

Îïûò ñîçäàíèÿ íàöèîíàëüíûõ áàëåòíûõ ñïåêòàêëåé â Êûðãûçñòàíå è Êàçàõñòàíå

Sadykova A. A.

Master of Art, senior lecturer of Choreography Pedagogics department, The Kazakh national academy of choreography

Ñàäûêîâà Àíâàðà Àðèïîâíà

Ìàãèñòð èñêóññòâ, ñòàðøèé ïðåïîäàâàòåëü êàôåäðû Ïåäàãîãèêè Êàçàõñêîé íàöèîíàëüíîé àêàäåìèè õîðåîãðàôèè

Summary

The wealth of experience in the national ballet performances in Kyrgyzstan and Kazakhstan is considered in the article. A comparative analysis of creating the national ballet staging in the plays of outstanding choreographers of the both republics is conducted.

Key words: Kazakh ballet, Kirghiz ballet, national ballet.

ballet spectacle national

Àííîòàöèÿ

 ñòàòüå ðàññìàòðèâàåòñÿ îïûò ñîçäàíèÿ íàöèîíàëüíûõ áàëåòíûõ ñïåêòàêëåé â Êûðãûçñòàíå è Êàçàõñòàíå. Ïðîâîäèòñÿ ñðàâíèòåëüíûé àíàëèç ïóòåé ñîçäàíèÿ ýòàïíûõ íàöèîíàëüíûõ áàëåòîâ â ïîñòàíîâêå âûäàþùèõñÿ áàëåòìåéñòåðîâ äâóõ ðåñïóáëèê.

Êëþ÷åâûå ñëîâà: êàçàõñêèé áàëåò, êèðãèçñêèé áàëåò, íàöèîíàëüíûé áàëåò.

The destinies of Kazakh and Kirghiz professional choreography, overstepped 80-years frontier of their existence, are similar in a great deal. Both have a century-old syncretic traditional culture of nomadsas their basis, in which instrumental, song- poetic, dancing and spectacle-gaming origins are inseparably fused. The distinctive feature of traditional music of Kirghiz and Kazakhstan steppes was the lack of writing - folk musicians transferred it by word of mouth, carefully saving from generation to generation. Performance styles of instrumentalists, singers, dancers, storytellers were distinguished by solo performing, bright individuality, improvisation, contentionness. The traditional culture of nomads was regionally closed, but its importance was not worse than European culture, which obtained the status of universum in the line of Eurocentric concept. For many centuries, it particularly gave to the world outstanding samples of symphonies, operas, ballets - genres unknown for nomads' culture.

When Kirghizia and Kazakhstan became union republics of the USSR, they were to master these genres, becameon a level with the European culture, not losing national originality at that. The task was of grandiose complexity, so far as the principal of collectivity of the Soviet System, reflected on the culture, was diametrically opposite to the traditional individual solo art. Therefore, in the 30-ies of the last century thehuge program of two cultures' synthesis was being carried out, giving to the broad sections of population access to mass art genres. It was the program in the spirit of general extraordinary enthusiasm of people, when re- ally,“for years the matters of centuries were done”. Both Kirghizia and Kazakhstan before creating their own choreography were to create a school of classic dance, where the personnel of ballet dancers would be formed; to revive the national dancing folklore, synthesizing it with the classic dance; to imparta taste to previously unseen genres of musical-theatrical artto the audience.

In the 30-s at one and the same time musical-dramatic theaters were created in Almaty and Frunze (Bishkek) and cultural workersarrived from Moscow and Leningradhad linked their destiny with the southern republics. Composers I. Kotsyk, V. Velikanov, E. Brusilovskiy, choreographers A. Alexandrov, A. Seleznyev, L. Zhukov, A. Chekryghinin Almaty, composers V. Vlasov, V. Fere, ballet-master N. Khol- phin workedin Frunze.Both choreographers Alexandrov in Kazakhstan and Kholphin in Kirghizia were to master national dancing cultures unknown for themand tried to fit into them to fulfill organic synthesis of the Western-European forms and the traditional art of nomads. Both began from studying the national history, mode of life, tempers, the psychological constitution of nomads to grasp from “the inside” the peculiarities of their dancing plastics.

So, A. Alexandrov drove outin Kazakh auls, where he visited festive to is, noticing all specific features of life, customs and ceremonies.

Steppe saly and sery, paluans, kuishy and singers-im- provisators were frequent guests at such to is and brought the atmosphere of artistry and contentionness in a festival. The syncretic culture of Kazakh people appeared in the full blaze before his look. Alexandrov could estimate the degree of general theatrical gifts of the steppe people on reviews of folk talents and at the competitions of amateur talent activities where he was a juryman. He grasp the female and male dancing plastic peculiarities by observing the performing style of pantomimic-gaming folk dances. A personal contact with such nuggets of folk choreography art as Ali Ar- dobus (Ibragimov) and Aubakir Ismailov - the first performer of male Kazakh dance, later Kazakhstan People's artist, didn't pass without living a trace for A. Alexandrov. In the 30-s the collections of Kazakh folk songs and kuis gathered by A.V. Zatayevich were published, and Aleksandrov searched them as the balletmaster from the point of view of dancanting, image characteristicness and dramatic saturation.

Working at the styles of the Kirghiz folk dance, N. Cholphin wrote: «Search for the folk dance styles and forms were of great difficulty. To catch it, it was necessary to be acquainted with the Kirghiz ornament, typical for the life of Kirghiz people and their working processes, with natural peculiarities of the country, clothes, house decoratingetc. Precisely here was the material for renewalof dances and ballet compositions” [1].

The first dance created by N. Kholphin was the “Kiyiz” dance. In this dance, the ballet-master “could mark the most essential movements, poses, head and hands' position applied to the processing of large felt mat and gave them organic dance form... A pattern of a dance, the character of performing, all dancing compositions were suggested by the talent of folk handyman tushkiyiz - creators, where ornamental artistic images were concretely close to the nature. The melody of this dance is in the spirit of Kirghiz folk music. The composers Vlasov and V. Fere tenderly caught intonation peculiarity of Kirgiz folk music and originally implemented it in a dancing form. The “Kiyiz” dance - one of the first works of national choreography - widely spread and became really folk dance” [2, p. 31].

As in the Kazakh and the Kirghiz theatre, the first spectacles were musical dramas with the active inclusion of song - dancing beginning. In Alma-Ata theatre

the play of M. Auezov “Aiman-Sholpan” and the musical-domestic drama of B. Mailin “Shuga”; in Frunze theatre - the musical dramas of V. Vlasov and V. Fere “Altyn Kyz” (“Golden girl”) and “Adjal Orduna” (Not death, but life”).

We will notice that the first Kazakhstan and Kirghiz musical dramas were the approaches for the first national operas and ballets, denoting the stepwise path development of new genres in republics: musical drama opera - ballet.

It is necessary to underline that the both theatres worked out such repertoire policy, in which the primary role was assigned to the creation of the national operas and ballets at the permanent replenishment of repertoire by classic opera and ballet spectacles. In compliance with such setting, the first opera - “Kyz Zhibek” of E. Brusilovskiy in Kazakhstan and the “Aichurek” of V. Vlasov, A. Maldybayev, V. Fere in Kirghizia- were national and the typology ofspectacles was immediately identified in the ratio of vocal and dance beginnings. In both operas, theballet masters A. Alexandrov in “Kyz Zhibek” and N. Kholphin in “Aichurek” entered the forms of classical dance associated with folk games and dances. In this synthesis, the national specificoozes not so much in the dance pattern, as in the plastic gesture of each movement. The forms of classic ballet enrich the vocabulary of folk dance: parterre supports appear in pair dance, mass dances contain a solo pair of a man and a woman, and the ensemble of soloists and the corps-de-ballet ensemble are differentiated in this connection.

It is important for us to focus attention on the role of dancing beginning in the first opera spectacles at Kazakhstan and Kirghiz stages. So, the “Kyz Zhibek” opera staged by A. Alexandrov was full of dancing routines: Aizhan-kyz, Tattimbet, Shashu, Kazakh march, dances, depicting felt mat rolling, horseshoe forging, goose dances, Turkmen dance, Iran dance, Akbalakyz, dance of evil spirit, dance of black moors. They were not simply dances, and dancing scenes, developing an action. That is they were the important component of the integral dramaturgy of spectacles, that gave an occasion to the outstanding soviet critic I. I. Solertinskiy to write that dances in “Kyz Zhibek” were “the nerve ofspectacle, its pulse. beginning in the tensest moment, saturated by maintenance, they never fell out from dramatic action” [3, p.44]. That's why it is considered by right that the “Kyz Zhibek” became the foundation not only for the national opera, but also for the national ballet, its “golden fund” [3, p.43].

In the first Kirghiz national opera “Aichurek”, as in the first Kazakh opera “Kyz Zhibek” there are many dancing scenes and folk dances, built on thereason of folk games: mass dance “Zhash kerbez”, girls' round dance “Zhomokbiy”, men's warlike dance “Alaman”, a woman dance “Elecheki”. As in Kazakhstan opera “Kyz Zhibek”, dancing scenes in Kirghiz opera “Ai- churek” fulfill a shape generating function that is fundamentally important for the integral spectacle.

The creation of the first ballets was the next step in the development of musical-dramatic art in Kazakhstan and Kirghizia.Method of deep “getting” in the traditional national culture, applied by A. Alexandrov in Kazakhstan and N. Kholphin in Kirghizia, was fruitful, though labor intensive.It stipulatedthe organic confluence of dancing cultures of the West and the East. At less thorough external perception of national features, the principle of “resistance of material” is given about itself what happened in 1938 at the creation of the first Kazakh ballet spectacle “Kalkaman and Mamyr” (scenario of M.Auezov, music of V. Velikanov, direction of L. Zhukov, scenography of U. Tansykbayev). The spectacle was not running any longer at dramaturgically lined up scenario, expressive music and Shara Zhienkulova's brilliant acting. The lack of knowledge of specifics of national art in ballet direction of L. Zhukov influenced it and as a result, “the conceived synthesis of national dance and classic dance didn't ensure” [3, p. 61]. Analogical fate befell the second Kazakh national ballet “Koktem” (Spring), staged in 1940 (libretto of A. Tazhibayev, music of I. Nadirov, choreography of A. Chekryghin). The ballet-master A. Che- kryghin came from Moscow, did not have enough time to study and master folklore. (Two months passed from his arrival to Almaty till the premier of the “Spring”). He tried to display the dancing game in every scene.But no mostintentive folk dancing game could not replace the main thing that is required in the national ballet-creating a character in the dance, the character national in style, movement, plastic and psychological content...Hadn't created the national scenic characters” A. Chekryghin could not create the national ballet” [3, p. 68-69]. The ballet “Spring” as well as the “Kalkaman and Mamyr”, lived a short stage life - after eight spectacles it was got off from the repertoire. Not understandingproperlythe causes stipulating failures of the spectacles “Kalkaman and Mamyr” and “Spring”, the Kazakh ballet figures for a long time lost interest to the creation of new national spectacles and gave all their forces to master the classical repertoire.Only 10 years later, the work of creating national choreographic spectacle was renewed again” [3, p. 71].

Quite another situation arose at the Kirghiz theatre. Premier of the first national ballet “Anar” took place in 1940.The scriptwriters K. Eshmambetov and N. Kholphin, the composers V. Vlasov and V. Fere, the producers N. Kholphin and N. Kozlov, the artist Y. Shtoffer, the soloists and the corps-de-ballet of the Kirghiz theatre created the spectacle that firmly established in a repertoire for long years. By recreating the scenes from the past of the Kirghiz people, he narrated about the love of the shepherd Kadyr and the beauty Anar, overcoming all barriers on the way to their happiness. The producer N. Kholphin and the ballet-master V. Kozlov organically synthesized the forms of folkstage and classical dance (monologues, duets, dances of the soloist with the ensemble, mass compositions). N. Kholphin wrote that “along with pure folk dance motives widely used in the ballet “Anar”, the forms of classic dance were entered into the ballet, which attained peculiar coloring by the influence of national peculiarities and stylistically bounded with the whole spectacle” [4].

The spectacle “Anar” outlined the ways of formation and growth of the new choreographic art in the Republic. Kalyi Moldobasanov, the famous composer and conductor nowadays, the USSR People's Artist remembered that his way as a conductor began exactly from this spectacle. The ballet “Anar”, - told Moldo- basanov, - made me appeal seriously to the ballet art and fell to thinking of the grand expressive possibilities of choreography” [2, p. 39].

The first Kirghiz ballet unlike the first two Kazakhstan ballets, firmly established in the repertoire for a long time and became, by R. Urazgildiyev words, the “spectacle-school for the whole generation of workers of the native choreographic culture” [2, p. 39]. In this regard, the Russian proverb involuntarily comes to mind: “A good beginning is half the work done”.

Beginning from the first cast of the main parts in the ballet “Anar” by A. Moldobayeva and A. Mamake- yev, the scenic images of Anar and Kadyr were polished by the following them cast of soloist - G. Khudai- berghenova and R. Urazbayev to appear in all brilliance of perfection at the performing manner of legends of the Kirghiz ballet stage - B. Beishenaliyeva and U. Sarbaghishev. Then in 1958, the spectacle “Anar” in new scenic edition was shown on the stage of the “Bol- shoi Theatre” in Moscow within the frames of the Second Decade of the Kirghiz literature and art, receiving a high mark of the audience and the press.

In 1943 the premier of the second Kirghiz ballet “Selkinchek” of V. Vlasov and V. Fere in the choreography of V. Kozlov and K. Kramarevskiy took place in the Frunze theatre. The heroes of ballet were the Kirghiz youths and girls gathered for gaiety and games at the swings, symbolizing a peaceful and happy life. It was interrupted by the news of the Great Patriotic War. In the finale of the ballet the heroes went up the front. So, from the first steps of the Kirghiz theatrical-scenic choreography, the theme of contemporaneity particularly cultivated in the Soviet art, entered into it. It was also staged in the Kazakhstan ballet “Spring” in 1940. But, if Alma-Ata citizens left the theme of contemporaneity for 10 years after the failure of the first staging of the spectacle “Spring” on the ballet stage, the repertoire line of national ballets on the theme “contemporaneity” at the Kirghiz theatre was never interrupted. It went interlacing with the line of the national Kirghiz ballets on fairy-tale themes, raising the serious problems of goodness and evil, justice and dishonor. The ballet “Cholpon” by Raukhvergher was undoubted success on this way and staged in the Kirghiz Opera Ballet Theatre repertoire for a long time. As well as the ballet “Anar”, it was also shown in the frames of the Second Decade of the Kirghiz literature and art. Bibisara Beishenaliyeva, Reina Chokoyeva, Uran

Sarbaghishev's acting attached the attention of audience so much, that soon the film-ballet “Cholpon” in the performance of the Kirghiz actors was produced in the “Lenfilm” studio. The film was passed triumphantly in 104 countries of the world, denoting the beginning of world fame of the Kirghiz ballet. B. Beishenali- yeva's acting in the role of Cholpon influenced on Chinghiz Aitmatov's perception of the ballet genre. In the article “Great ballerina sent by fate”, he wrote: “I must say that my attitude to the ballet was if not wary, then a few indulgently. Some break happened in my attitude to the ballet art, namely due to Bibisara Beishenaliyeva's the brilliant playing in that fragment of the ballet “Cholpon”. My motion to the ballet, attaching to it went precisely through this character and together with Bibisara” [5, p. 13-14]. Such confession is of expensive cost, bearing in mind Chinghiz Aitmatov's role in the world literature and in the fates of ballet genre not only in Kirghizia, but in many other countries. The ballet “Cholpon” was staged at the State Academic Opera and Ballet Theatre named after Abai in 1973 in the direction of the Kirghiz ballet-master U. Sarbaghishev. The ballet had been staged a number of seasons and was a success for an audience.

As for the development of the Kirghiz musical- scenic art in the 20th century, “the accumulating of creative forces, functions, developmentofmethodology, one style development took place in such national Kirghiz ballet spectacles as “Anar”, “Cholpon”, “Kuiru- chuk”. These spectacles like the classic inheritance, served as peculiar catalysts, the accelerators of creating process” [2, p. 42].

It cannot be said that the creation of Kirghiz national ballet spectacles in the 40-50-s of the last century went smoothly and increasingly. The Soviet ideology gaveexpenses of tendentiousness when the offered plots from the collective farmers' life about introduction of the advanced methods of economic management or nature modification etc., apriori doomed the ballet spectacles to the external techniques of story line. For example, in the ballet “Spring in Ala-Too” by V. Vlasov and V. Fere. The plot of it was about modern life, which always had green light in the Soviet epoch, butthe abundance of everyday life scenes deprived the ballet of its main quality - poetry, supported by the expressiveness of dramaturgic development, expressed by plastic facilities.

In 1950, the troupe of the State Academic Opera and Ballet Theatre again appealed to the idea of creating of the national ballet. It should be said that this problem was on the agenda in all Soviet Republics and being solved with different results - some ballets were fated immediately to become the national classic as in Kirghizia, some ones had to leave the stage quietly when the aim of creating national ballet remained unachieved. Such situation was in Kazakhstan when in 1950 the theatre attempted again to create the national Kazakh ballet spectacle “Kambar and Nazym”. The scriptwriters M. Baimukhambetov, G. Gradov, the composer V. Velikanov, the ballet-master M. Moiseyev took the national legend about the hero Kambar as a plot, making the spectacle in the lyrical-dramatic key and in the stylistics of people's everyday life description. The ballet was well accepted by people, but the next season it was taken off the repertoire by ideological reasons: for idealizing the feudal past, for the artistic incompleteness of folk scenes portrayal, for incomplete treatment of Kambar's character. As consequently the ballet expert L. Sarynova wrote “criticism did not give any grounds for recognizing the spectacle as vicious and taking it off the repertoire” [3, p. 91]. However, in post-Stalin's time, by different reasons the ballet “Kambar and Nazym” did not gain a scenic fate at the State Academic Opera and Ballet Theatre named after Abai.

In the 50-s the Kazakhs again turned to the theme of contemporaneity. They staged the ballet “Youth” by M. Chulaki (1952), the “Coast of happiness” of A. Spa- davekkia (1952), (Junghar gates) (in the second edition of “friendship way” the music of L. Stepanov, N. Tlendiyev, E. Manayev 1957,1958). They were those spectacles, that quietly went down from the stage.

In the 60-s some positive tendencies took shape in solving the theme of contemporaneity at the Kazakh ballet scene with appearing of Gaziza Zhubanova's dil- ogia “Ak-kanat” and “Khirosima”. Breakthrough achievements in the theatrical-scenic choreography are connected with the names of the composer Gaziza Zhu- banova and the ballet-master Zaurbek Raibayev when the Kazakhstan ballet “at first time groped its own way to rich in content dancing, to that maintenance opened up not only in scenic situation, but also in a dancing structure” [6, p. 16].

The actuality of social subject, couched in polysemic symbolism; the innovation of music language, supposing also the innovation of choreographic vocabulary, symphonic thinking - qualities, indigenous to diptych the ballets “Ak-kanat” and “Khirosima”, were incarnated by the outstanding Kazakhstan ballet-master Z. Raibayev and raised the ballet theatre to a new qualitative height. Still the ballets of Gaziza Zhubanova did not have such big resonance as the Kirghiz ballet “Asel” by V. Vlasov, staged on February 7, 1967 at the Bolshoi Theatre in Moscow. In our opinion, the reason was that in the plot of the ballet “Asel” the novel of Chinghiz Aitmatov “Topolek moi v krasnoi kosynke” (My poplar in red kerchief) was fixed. The novel was read by the whole country and the idea of its choreographic paraphrasing aroused by the cast of the Bolshoi theatre. The composer V. Vlasov in his interview to the correspondent of the “Vechernyaya Moskva” said: “The ballet artists N. Kharitonov and B. Khaliulov wrote libretto. Three acts of the ballet - three remembrances, telling abouthappiness and faithfulness, joyful and tragic days over lived by the heroes. I was glad that get this offer from the theatre to write music to the ballet “Asel”. We repeatedly met with the novel's author, agreed on changes in the subject lines, caused by the specifics of theatre presentation, the peculiarities of choreographic spectacle. Dramaturgy and music creating was in close contact and with participation of the young ballet-master Oleg Vinogradov” [2, p. 112]. At the premier at the Bolshoi Theatre the main parts were performed by N. Timofeyeva, N. Fadeyechev, E. Rya- binkina, Z. Cekh. Chinghiz Aitmatov wrote in the playbill of premier spectacle: “I can't help expressing my deep satisfaction I that my heroes fell out happiness to get on the stage of the Bolshoi Theatre. If only they justified themselves. Ifthat happens, I will always be grateful to the theatre, which I loved without that and the art of which I always worshiped [2, p. 116]. The spectacle “Asel” was a great success in Moscow and was the sample of connection of modern theme and timeless moral and ethical values.

At home in Kirghizia directing of the ballet “Asel” was fulfilled by debuting in art direction famous premier Uran Sarbaghishev. The main parts were acted by B. Beishenaliyeva, R. Chokoyeva, A. Tokombayeva (Asel), B. Arunov, B. Alimbayev, U. Sarbaghishev (Ilyas), S. Moldobasanova, A. Bayetova, Ch. Ta- lasbayeva (Kadicha), B. Suslov, A. Karasev, R. Uraz- gildiyev (Baitemir). The theme of contemporaneity in Kirghiz theatre was shined efficiently in new aspects due to this spectacle. The contemporaneity appeared not by the portrayal of productive processes in labour of Kirghiz villages, but denoted by the psychological dramatic effect of becoming of main heroes' characters in hard contexture of their fates. In the spectacle of Sarbaghishev, - wrote N. Elyash, - faithfulness to the national traditions is connected with the vital and direct reflection of problems and the conflicts of contemporaneity” [7, p. 140]. The ballet-master's attention was directed to the essential marks of national originality of choreographic vocabulary. The national coloring was assigned by U. Sarbagishev “not by the direct quoting of folk dance elements and not by reproducing of those or other ethnographic customs, but by the character of plastics itself, the manner, which artists use in those or other movements, in their pure plastic coloring” [7, p.140].

Bibisara Beishenaliyeva was the soul of the spectacle “Asel” under the direction of U. Sarbagishev. This role became, alas, her “swan song”, but Asel's character created by glorified ballerina, remained in the thankful memory of contemporaries as the model of artistic merit, but even more - as a spiritual tuning fork. “When I have difficulties, - wrote Ch. Aitmatov, - I remember about what person was Bibisara Beishenaliyeva as an actress, an artist of her art, as a person and in that I find the spiritual support, faith in myself' [5, p. 14].

The spectacle “Asel” - the classics of the national Kirghiz ballet. It was the beginning of the fruitful longterm address of choreographers to Chinghiz Aitmatov's works, whose writings brought modern life of his Motherland tightly interlaced with the traditions and customs of ancestors into the world literature. It is interesting to denote that in 1992, a quarter of a century later, the Kirghiz theatre returned again to the ballet “Asel”. The ballet-master U. Sarbaghishev, the scene designer M. Sydykbayev and the conductor-producer Zh. Kanimetov created one-act ballet “Quartet”. Contracting a format of the spectacle, they concentrated on the contexture of the main heroes' fates - Asel's, Ilyas's, Kadicha's and Baitemir's. This fact shows multidimensionality of the original source - the novel “Topolek moi v krasnoi kosynke” (My poplar in red kerchief), which allowed U. Sarbaghishev at his mature age to create another ballet spectacle on the same plot.

From 1975 Mintai Tleubayev (1947-2009) - the graduator from Almaty Choreographic college named after A. Seleznyev, getting a higher ballet-master education in Leningrad Conservatory, began his creative wayat the State Academic Opera and Ballet Theatre. The merit of him was his immediate declaration ofhim- self as an artist wishing to contribute in the creating of national ballet at the time when problem of national got up especially sharply. In the 60-s-70-s with the falling of the “iron curtain” the powerful stream of other national influences gushed from other countries, carrying the danger of leveling the national. Only those genres and forms of the art in which the specific and essential qualities of national were expressed with the most plen- titude could resist to them. The National was due to appear as a thinking system. As the example of systemic solution of the national problem was the ballet spectacle “Aksak-kulan”. (Libretto of T. Ibrayev, music of A. Serkebayev, choreography of M. Tleubayev), its premiere took place on December 14, 1975 on the stage of the State Academic Opera and Ballet Theatre named after Abai. It is significant, that M. Tleubayev took a kuy- legend about the tragic events of the Kazakh steppes in the XIII centuryas the plot of a full-sized ballet. Because kuy - the highest genre of traditional Kazakh musical culture, able to incarnate the integral model of the World of the Kazakhs' vital sensation. Kui about Aksak-kulan set by the ballet-master the aim to incarnate by the language of the plastic the eternal themes in art: life and death, love and cruelty, power of art and tyranny. It demanded from the choreographer the metaphoric thinking and poetic figurativeness, capacity for realization of the main ethical-moral theme - all-conquering power of art. M.Tleubayev coped with the most difficult task of choreographic conversion of the kuy “Aksak-kulan”, marked a philosophical depth andfig- urative multi-layeredness, and declaring about a significant direction in solving the problem of the Kazakh national ballet spectacle.

On March 15, 1975 on the stage of the Kirghiz theatre the premiere of the ballet spectacle “Materinskoye pole” took place by the same name novel of Chinghiz Aitmatov (libretto of M. Akhunbayev, M. Bayalinov, music of K. Moldobasanov, choreography of U. Sarbaghishev, Scenography of N. Zolotarev). The spectacle architectonicwas defined by multi-layered Chinghiz Aitmatov's prose, in which the present is displayed by the past. The spectacle is based on the memories of the Kirghiz woman Tolgonai, who lost a husband and three sons in the war. However, there are no battle scenes in it the spectacle does not lose its antimilitarist essence of that, close to people's hearts.

The spectacle “Materinskoye pole” - ballet-oratorio by its genre. It lays in the tideway of synthetic genres, mastering by the Soviet ballet esthetics in the 60-s of the last century. The synthesis of choreography, choir, vocalizes, arias, dramatic monologues, answered the spirit of Aitmatov's works and promoted the embodiment of his epic philosophy. It is expressed by the deep scope of living phenomena and heroes' characters treatment, with full unfolding in the moments of severe trials.

Architectonic wholeness of the spectacle “Mate- rinskoye pole” is given by the dialogues between old Tolganai and Mother - Land, opening each of three actions. Aitmatov's prosaic text sounded with the escort of symphonic orchestra, pronouncing by a singer and answering her choir - a voice of the Land. “These three conversations of the Mother with the Land - lyric, tragic and pathetic, - wrote R. Urazgildeyev, - entered the spectators and listeners into the atmosphere of happening action. And after that choreographic scenes unfolded, in which pictures of the past are revived” [2, p. 56]. In them, according to the critics of N. Elyash, the ballet master U. Sarbaghishev could give a modern sounding to the language of classical dance: “Monologues, duets, trio, small ensembles get new internal sense, their power is in the clearness and in the depth of psychological subtext” [7, p. 143].

In May 1975, the Kirghiz theatre presented the ballet-oratorio “Materinskoye pole” on tours in Moscow in a number of other opera and ballet spectacles on the stage of the Music Theatre named after K.S. Stani- slavskiy and V. I. Nemirovich-Danchenko. The spectacle “Materinskoye pole” went 4 times and attracted the special attention of Moscow public. The critic V. Yankovskiy expressed a general rapturous point of view about the spectacle, by writing about the movement of the Kirghiz theatre to the tops of mastery: “Ma- terinskoye pole” put on the stage of the Kirgiz Academic Theatre of Opera and Ballet, testifies the maturity of troupe, its creative courage, because in order to assume such responsibility - before a reader of the novel, before spectators, before itself - that it is not like civil courage, clear and hard confidence that can fulfill all plans” [2, p. 131].

Actually, in fact: advance-guard daring supported by the mastery, always distinguished the Kirghiz theatre. Not in vain, the composers of the USSR trusted it the right to be the first performer of their operas and

ballets. Such were the ballet “Optimistic tragedy” by A. Kholminov, and the operas “Unknown soldier” and the “Dawn is quiet around here” by K. Molchanov, and his ballet “Makbet”. After the Kirghiz stage, they became the property of other stages of the allied theatres. The spectacle “Materinskoye pole” destined to walk over the boundaries of Kirghizia and the USSR, when it will be put on the European stages.

The scenic fate of the spectacle “Materinskoye pole” is worth considering in details, in order to understand the reasons of its special meaningfulness. It was not an accident that the spectacle's creators - the composer K. Moldobasanov, the ballet-master U. Sarbaghishev, R. Chokoyeva and A. Tokombayeva playing Tolgonai's role were the laureates of the USSR State premium in the field of theatrical art for 1976 year. Undoubtedly, the main nerve of the spectacle - Tolganai's image, whose character expresses the destiny of the people: “The sources of this character are in its deep, historical roots, the organic oneness of modern world outlook with the centuries-old aspirations of working people, with the best, highest traditions of native land” [2, p. 62].

In 1977, the spectacle “Materinskoye pole” was put on the stage of the Saratov Opera and Ballet Theatre named after N. G. Chernyshevskiy. A. Dementyev, the graduator from the Kirghiz musical-choreographic college named after M. Kurenkeyev got a ballet-mastering education in Leningrad conservatory, carried out its performance. The spectacle went successfully in Saratov, in 1984 it was shown on the all-union TV and became the adorning of theatre tours in Moscow. The ballet master A. Dementyev said then: “We stage the ballet about people of Kirghizia. However, behind their characters, their fates the panorama of the whole country's life during the War years peripeteias was seen. That is why, without forgetting the national peculiarities, we tried to give our spectacle scaling international sounding. Probably, one of the reasons of the spectacle's viability is concludedin that. Another reason I see in the big exciting idea of composition - the idea, which is expressed so well but again in Tolganai's words: “There is only one justice for War - to fight, to struggle, to win. Otherwise is the death!” [8].

The stage of Chelyabinsk Opera and Ballet Theatre named after M.I.Glinka, the Dnepropetrovsk theatre saw the spectacle “Materinskoye pole” in the direction ofU. Sarbaghishev. Success of the ballet-oratorio “Ma- terinskoye pole” with the audience testified the productivity of national culture's mutual influence and enrichment processes. Its general humanistic idea of rejection of War stroke deep chord in the hearts of citizens of Bulgarian city Plovdiv and Czech cities Ostravo and Brno, where the ballet-oratorio “Materinskoye pole” was staged in 1977 and 1978. It could not be said that the spectacle is still actual nowadays and how desirable its performance on the stages of Almaty and Astana. Because for the Kazakh theatrical-scenic choreography the national ballet on contemporary theme on a large scale still remained an outstanding issue, despite the attempts” (“Dorogoi druzhby” N. Tlendiyeva, L. Stepanova, E. Manayeva - D. Abirova, Yu. Kovaleva, R. Zakharova, “Aliya” M. Sagatova - Zh. Baidaralina, “Vechnyiogon” (“Eternal flame”) S. Erkimbekova - M. Tleubayeva). These spectacles did not become repertoire on Kazakhstan stages, even did not become the property of international community. That is why the Kirghiz spectacle “Materinskoye pole”, staged in Kazakhstan, could become a starting point in attaining cri- terias for creating the national Kazakh ballet on contemporary subjects.

The spectacle “Materinskoye pole” is the sample of longevity. Beginning from the premier in Frunze in 1975, it still lives full scenic life. The IV International theatrical festival “ART-ORDO” devoted to the 85th anniversary of Chinghiz Aitmatov took place in Bishkek in autumn 2013, on which the audience could see legendary ballet-oratorio “Materinskoye pole” - the emblem and pride of the Kirghiz Academic Opera and Ballet Theatre named after A. Maldybayev.

The year 1981 was marked by the creating of the ballet spectacle “Frescoes” to music of T. Mynbayev. The ballet-master Zaurbek Raibayev (1932-2011) presented his own solution of the national Kazakh ballet problem in it. He followed the way of artistic mastering the choreography of the ancient layers of his people's historical past. In libretto of Z. Raibayev there were reliable supporting constituents: music by Timur Mynba- yev, “Glinyanaya kniga” (Clay book) of Olzhas Sulei- menov and the graphic creativity of Evgeniy Sidorkin, who became the artist-director of the spectacle. E. Si- dorkin defined as the subject of scenic action his frescoes and sounded the keynote for ballet plastics. The choreographic vocabulary of the ballet, based on the synthesis of the Kazakh folk, classic and modern dances repeated and developed pictures on frescos and panels. Choosing the method of nine frescoes “revival”, Raibayev built up the plot from the ancient skifs' life, inhabiting the territory of Kazakhstan in the IV-VI centuries ÂÑ.

“Frescoes” is the tragic ballet. It is filled with boiling passion of the heroes the significance of tragic events is expressed through their dramatically broken characters. The antinomy of life and death, love - passion and duty, adherence totraditions and following living sense ooze in the spectacle. These antinomies are enduring. They are glorified in the art of the past and will be glorified in the art of the future. They fill the spectacle “Frescoes” with modern sounding. Because artistically truthful recreation of emotional state of that distant epoch is the main condition of its resonating in contemporaneity.

The premiere spectacle “Frescoes” took place on July 9, 1981 on the stage of the Leningrad Opera and Ballet Malyi Theatre. Among eight spectacle tours of the State Academic Opera and Ballet Theatre named after Abai, the folk artist of the USSR K. Sergheyev especially marked the “Frescoes”: “Authors and performers created the spectacle of great breath, deep content and poetic imagery, becoming the central event of tours” [9].

The spectacle “Frescoes” became a long-liver on the stage of the State Academic Opera and Ballet Theatre named after Abai and its first performers the Folk artist R. Bapov, the Honoured artists of the Kazakh SSR M. Kadyrov, L. Li, A. Medvedev, K. Mazhikeyev, D. Nakipov now make the pride of the Kazakhstan choreography. The organic union of music, script, scenogra- phy, choreography, performing mastery of the ballet and orchestra of the State Academic Opera and Ballet Theatre named after Abai allowed the spectacle “Frescoes” be actual for the audience and gain, in our view, the status of the national ballet.

In the same row the ballet “Karagoz” of G. Zhu- banova must stand. But its scenic destiny was not as happy as the spectacle “Frescoes” was. Put on the stage of the State Academic Opera and Ballet Theatre named after Abai in 1990 by the choreographer G. Alexidze and the scenofrapher G. Ghegheshidze, the spectacle “Karagoz” quickly got off the repertoire for due to many objective and subjective reasons. Only in 2014, Vakil Usmanov staged the ballet “Karagoz” on the stage of the State Opera and Ballet Theatre “Astana Opera”. But yet he will become firmly established in the repertoire and pass the test of time. We think that the spectacle of Vakil Usmanov will conquer the audience's sympathy. The guarantee of it - music of Gaziza Zhubanova the classic of the Kazakh music of the XX century. Among her four ballets the “Karagoz” is the most nationally-painted ballet, operating deep folklore, which is expressed by the sequence of traditional matchmaking ceremony, shamanic invocation, separation from a family, incarnated by means of modern musical language. And at the same time, the “Karagoz” is the most open outside by its contiguity with the masterpieces of other national cultures - the English (Shakespeare's tragedy “Romeo and Juliet”, indirect in drama the “Karagoz” of M. Auezov) and the Russian (“Romeo and Juliet” ballet of Prokofyev). Gaziza Zhubanova saw her decision of the problem of the national ballet in different cultures convergence, on the background of which the Kazakh national culture does not fade. She was convinced that if the art had an edaphic national coloring, so other national influence does not level it, but enrich.

In contrast to the Kirghiz theatre, the Kazakh theatre went to its standard national ballet spectacles for many years. Certainly, the key role that in a fast finding the main line in the development of the Kirghiz ballet theatres belongs to Chinghiz Aitmatov - the artist of worldwide fame. Beginning from the 60-s of the last century his creative work became the artistic orientation in the choreographic art of Kirghizia. For almost of half a century practically all the top achievements of Aitmatov's prose gained the choreographic embodiment in the work of Kirghiz ballet-masters. The embodiment of great compatriot's novels on the ballet stage expanded the horizons of understanding philosophical- tragic theme to the Kirghiz theatre and assisted the growth of talented masters of the stage. So, Melisbek Asylbashev became the laureate of the second premium at the all-union competition of ballet masters for the choreographic reading of the novel “Pervyi uchitel” (The first teacher) of Aitmatov in Moscow in 1980.

The success of the Kirghiz choreography would be impossible without wonderful basic school - the Kirghiz musical-choreographic college named after M. Kurenkeyev (Bishkek choreographic college named after Ch. Bazarbayevis called now), established and developing in parallel with Almaty choreographic college named after A. Seleznyev. Some graduators from the Kirghiz ballet school, as Kubanychbek Sydykov and Uran Sarbaghishev became famous producers - balletmasters after successful artistic career. For example, U. Sarbaghishev created more than 40 original choreographic performances, full-length and one-act ballets, was the producer of opera spectacles and concert programs.

Almaty choreographic college named after A. Seleznyev is also famous for its school. There were such outstanding masters as A. Alexandrov, A. Seleznyev, Sh. Zhienkulova, S. Kusherbayev, B. Au- khanov, E. Usin, A. Jalilov, M. Muntin, K. Zhakipova,

S. Nauryzbayeva, F. Koigeldinova, B. Jantayev, R. Un- garova, E. Malbekov, U. Mirseidov and others among its pedagogues. There was created the system of education that allowed tobring up the whole pleiad of prominent soloists, who got prize places at the prestigious international competitions and nowadays decorating the ballet stages of many countries of the world. The alumnus of the Kazakhstan choreographic school were the prominent ballet-masters D. Abirov, Z. Raibayev, B. Aukhanov, M. Tleubayev, Zh. Baidaralin, G. Adamova, V. Goncharov. They got higher choreographic education in Leningrad and in Moscow as the Kirghiz masters of ballet producing, and then created the home ballet scenic art by ten years. The figures of Kirghiz and Kazakhstan choreography were linked and are being linked longtime creative connections.

Returning to the theme of embodiment of Ch. Aitmatov's prose on the ballet stage, we can say that it has not been stopped since the 60's, vying with cinematographic, theatrical and television embodiments. In 1981 M. Asylbashev put the ballet “Posle skazki” (After a fairytale) (composer E. Jumabayev, an adaptation of Aitmatov's novel “Belyi porokhod” (White steamship) on the Kirghiz stage. The creators of libretto S. Abdujalilov, T. Abygulov with the participation of M. Asylbashev managed harmoniously bind the fairy tale and realistic-domestic spheres of actions, conducting the idea of evil conviction through the whole spectacle.

From multiple-layer structure of the novel “I dol- she veka dlitsya den” (The day lasts more than a hundred years) by Aitmatov, the composer K. Moldobasa- nov, the librettist M. Bayalinov, the ballet-master U. Sarbaghishev, the artist S. Benediktov for their ballet spectacle “Skaz o Mankute” (a story of Mankurt) distinguished the legend of a man deprived of living memory. Aitmatov's inner-most thoughts about that the man who is deprived the memory of the past loses the future is expressed in the legend.

The ballet spectacle “Skaz o Mankurte”, consisting of 39 dancing-active scenes, is performed and saturated by musical and choreographic symphony. Its dramaturgy built on the conflict collision of two worlds: the goodness forces, personalized in the character of loving woman and tragic mother Naiman-Ane, and the evil forces - the Zhuanzhuan tribe converting the son Zholoman of Naiman-Ane into Mankurt who forgot his kin.

The Kazakhstan ballet-master Bulat Aukhanov - the director of the State Academic Dance Theatre of the Republic of Kazakhstan - created his own version of “The legend about Mankurt” on music of N. Zakirov. The main roles were performed by S. Nursultanova (Mother), R. Musin (Mankurt), A. Niyazbekov (the leader of Zhuanzhuan tribe). “The tragedy-ballet is turned out volumetrical, - wrote B. Aukhanov, - where human passions are extremely barred... In the final of ballet, my hero - Mankurt, begins to see clearly understanding that he killed his mother. Musin Rinat _16 brought out the role of Mankurt to the tragic top possibilities of acting mastery” [2, p. 117-118].

The storyline about the husband of Naiman-Ane, killed in the fighting with Zhuanzhuan and becoming a white bird - the symbol of goodness and love for the humankind - inspired the ballet master L. Lebedev and the composer Yu. Simakin to create the ballet of the same name “The legend of bird Donenbai” in 1983. It is interesting that the creative methods, applied by L. Lebedev and B. Aukhanov in the choreographic reading of Aitmatov's legend about Mankurt, are similarin a great deal. Both bet on the not big lineup of soloists (Aukhnov has 3, Lebedev has 5), where each role, each choreographic party is created addressing to the concrete performer. In the spectacle “The legend of bird Donenbai” by Lebedev, created on the stage of the Leningrad Opera and Ballet Maly Theatre, the cast of participators is limited with parties of Mankurt (V. Adzhe- mov), the Master (G. Abaidulov), the servants of Zhuanzhuan (V. Matfeyev and R. Mamin) and the Mother (I. Kirsanova). They embodied the posed conflict characters in individual, intended for their artistic possibilities, choreographic vocabulary. Both Aukha- nov and Lebedev focus the emotional-psychological dominant of the spectacle on the duet of Mankurt and Mother, when she tries to return the memory to her son.

In 2003 B. Aukhanov addressed to Aitmatov's novel “Beloe oblako” (White cloud) creating its motives the ballet “Agonia strasti Chinghizkhana” (Agony of Chinghizkhan's passions) to music of M. Erzhanova and A. Isakova. “The main role, wrote B. Aukanov, - I took on myself, when I was 65, and almost the same age as Chinghizkhan was (63)”. According to the ballet-master's words, because of the music by M. Er- zanova, the idea “to create the character of the man tired of the fights who understands that destructions would lead him to soul shambles” was failed [2, p. 118].

The maitre does not abandon any intensions to return to his ballet. Aukhanov considers that at the spectacles put on Ch. Aitmatov's works, “not illustrating prose but are presented by the language of classical dance, the performance mastering of our artists have grew up... that these ballets have already entered into the golden repertoire fond” [2, p. 119-120].

At the current stage, interesting works marked the searches of artistic embodiment of the national theme in the Kazakh ballet. Such is the one-act ballet “Zhu- san” (sagebrush), narrating about the secret of Great Steppeby the language of plastics, embodied in the legends and myths about steppe people. Mukaryam Avakhry put it on the stage of the State Theatre “Astana Ballet” on music of K. Shildebayev, S. Rakhmaninov, A. Pyart, K. Jenkins. Such is the ballet spectacle “Alem” on music of B. Gafarov and A. Amar, put in 2014 by the ballet-master Nikolai Dmitrievskyi on the stage of “Astana Ballet”. The spectacle is spectacular, agreed in the vocabulary of modern dance with the use of 3D effects and scenography transformations. The spectacle “Alem” was shown on the stages of St. Petersburg, Moscow, Vena, Paris, Seul.

In 2015 the premier of ballet spectacle “The Legend of Great steppe” was carried out on the stage of the State Academic Opera and Ballet Theatre named after Abai. It was put by the Folk artist of the RK Gulzhan Tutkibayeva on music of Kazkah composers A. Zhu- banov, N. Tlendiyev, M. Manghitayev, M. Sagatov, T. Kazhgaliyev, A. Serkebayev. The spectacle is timed to the 550 years of the Kazakh Khanate, meaning the beginning of the Kazakh State System.

In 2016, the premiere of ethno-ballet in the NeoKazakh choreography “Turan Dala - Kyran Dala” (“Kazakh Land”) took place on the State Academic Opera and Ballet Theatre named after Abai, to the music of Dauletkerey, Mukey, Nurgisa Tlendiev, Aktoty Raiymkulova, ethno-folklore ensemble “Turan”. It was performed by the Theater of Y oung Actors of the Ballet “Orleu” of the Almaty choreographic Schoolnamed after A. Seleznyev. The libretto was written by Damir Urazymbetov, the costumes were designed by Assel Lukpanova, the ballet was staged by Anvara Sadykova.

In conclusion of a comparative analysis of the creative experience of Kazakhstan and Kirghiz opera and ballet theatres, we can state that in the creation of the national ballet spectacles, the potential of theatres on this path is far from exhausted and their collaboration - mutually efficient.

Literature

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BibisaraBeishenaliyeva. Memories of contemporaries. F.: “Kirgyzstan” 1987.-123 p.

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