ࡱ> #& !"[p5bjbj4<ΐΐԗ ;;dHdHhIhIhI|I|I|I8ILK|I6L(EhIPOOCPPPdHdH rsatkichlarBall qituv chiga q> yilgan ball 1.Fanni ilmiy-nazariy jihatdan egallaganligi222.Mashg ulotda talabalar ning faolligini ta minlashi223.Mavzuni amaliyot bilan bog lashi21,54.Mavzu mazmunini talabalarga yetkazib bera olishi22Jami ball:7,5 Otilganmashgulothaqidakuzatuvchiningxulosasi: Maruza mavzusi buguninng eng dolzarb masalalariga bagishlangan. Mavzuning dolzarbligi, undan kozlangan maqsad-vazifalar yortib berildi. Talabalar faoliligi taminlandi. Yoshlarda turli mazmundagi tafakkur ozgarishlar haqida malumot berildi Mashgulotni kuzatuvchi: f.f.n.dotsent (ilmiydarajasi, unvoni) O.Sirojov (familiyasi, ismi, sharifi) TKTI (ish joyi) 7-mavzu: MADANIY TARAQQIYOTDA XALQ TEATRI VA MILLIY RAQSLARNING ORNI REJA: 1. Insoniyatning madaniy taraqqiyoti tarixida teatrning orni. Qadimgi Yunonistonda teatr rivoji. 2. Ozbek teatri tarixiga bir nazar. 3. Raqs sanati madaniyatning oziga xos, eng gozal turi sifatida. 4. Xalq madaniyatining takomillashib borishida teatr va raqs sanatining orni. 1-masalaning bayoni: Xalq ogzaki ijodining yana bir serqirra sanat turi xalq teatridir. Bu folklor turining paydo bulishi ovchilik, dehqonchilik, xalq bayram va boshqa ommaviy marosimlar bilan bogliqdir. Bu janrlar hozirgi kunimizgacha taraqqiy etib kelib, ozining mavqei bilan xalq sanati darajasiga kotarilgan. Agarda biz teatrning paydo bulishi tarixiga bir nazar solsak, u dastlabki davrlarda suz bilan bir katorda kushik, raqs, musika, akrobatika, masxarabozlik va nayrangbozlik, kogirchoq uyini va boshka kurinishlar xususida aralash bulgan. Keyinchalik jamiyat tarakkiyoti davomida ijrochi aktyorlar malum sohalar buyicha mutaxassislasha borib, teatr mustakil sanat sifatida ajralib chikkan. Insoniyatning madaniy taraqqiyoti tarixini antik teatrsiz tasavvur qilib bolmaydi. Malumki, antik teatr mazmunan xalq hayoti, uning taqdiri bilan bogliq ulugvor goyalar teatri sifatida dunyoga kelgan edi. Qadimgi Yunonistonda esxil, Sofokl Evripid, Aristofan, Rimda Plavt va Senekalar yangi sahnaviy shakllar, umumlashgan falsafiy, teran badiiy obrazlar orqali el-yurtni joshqin sevish, qadrlash etiqodlarini tarannum etdilar. Antik dunyodan bizga badiiy ijodning tragediya, komediya janrlariga oid benihoya gozal, badiiy yuksak adabiy namunalar etib keldi. Qadimgi Yunon madaniyatidagi teatr sohasida tragediya, komediya janrlari paydo bolishi muhim voqea hisoblanadi. Yunon teatri qishloq xojaligi homiysi bolgan Dionis sharafiga otkaziladigan bayramlar vaqtida ijro etiladigan xalq qoshiqlari va oyinlari asosida vujudga kelgan. Dionis bayramlari toklar, daraxtlar barg chiqargan bahorda va kuzda otkazilgan. Tragediyalar otasi Esxil (525-458 y.) 90 dan ortiq tragediya yozgan. Esxil oz tragediyalarida afsonaviy voqealardan foydalangan bqlsa, ularda oz davrining muhim masalalari keng orin tutgan. Masalan, halok bolib borayotgan matriarxat bilan patriarxat ortasidagi ziddiyatlar masalasiga bagishlangan Oresteya trilogiyasi: Agamemnon, Xoeforlar va Avmenida asarlaridan iborat. Uning eng mashhur tragediyalari bolsa Zanjirband Prometey va Forslar dir. Zanjirband Prometey asari insonning kuch-qudrati, irodasi buyukligi timsolidir. Yana bir buyuk tragediya shoirlaridan biri Sofokl (469-406) bolib, u 120 dan ortiq tragediyalar yozgan. Ulardan bizgacha ettitasi etib kelgan, xalos. Afina teatrida dastlab qoyilgan Antigona, Shoh Edip asarlari unga shon-shuhrat keltirgan. Tragediya janri bilan birgalikda komediya janri ham vujudga kelib, rivojlanadi. Komediya janrining otasi Aristofan (450-388) bolib, uning asarlarida sodda, tushunarli, xalq tilida yozilgan va hayotning muhim masalalari, jumladan, tinchlik muammosi aks ettirilgan. Jumladan, uning Tinchlik, Ayollar xalq yiginida, Suvoriylar asarlari oz davrida mashhur bolgan. Manaviy madaniyat sohasida rimliklar yunon madaniyatining vorislari hisoblanardilar. Koplab yunon xudolari nomlari ozgartirilgan. Chunonchi, Zevs-Yupiterga, Kronos-Saturnga, Poseydon-Neptunga, Afrodita-Venera, Artemida-Dianaga, Afina-Minervaga aylangan. manbalardir. Yunon adabiyoti tasirida bir qator shoirlar va dramaturglar paydo boladi. Ular ichida Plavt va Terentsiylarning komediyalari hozirga qadar etib kelgan. Liviy Andronik Gomerning Odisseyasini lotin tiliga tarjima qilgan. Bu davr shoirlaridan Lutsiliy turmush mavzulari boyicha sherlar yozib, ota boylik orqasidan quvuvchi xasislar ustidan kulgan. Bugungi Evropa tasviriy sanat va memorligi, teatri va adabiyoti , falsafasi va estetikasi antik dunyoga suyanadi. Orta Osiyo xalqlari, jumladan, Ozbekiston xalqlari ham ellinlar madaniyati va sanatidan baxramand bolganlar. Buni Ozbekiston tuproqidan topilgan va topilayotgan grek madaniyati va sanatiga oid yoki ular tasirida yaratilgan madaniyat yodgorliklarida korish mumkin. 2-masalaning bayoni: XX asr ozbek teatri madaniyatimiz tarixida roy bergan noyob hodisadir. 1914-yili Mahmudxoja Behbudiyning Padarkush pesasi bilan oz pardasini ochgan ozbek teatri ikki-uch on yillik ichida har bir xalq gururlansa arzigulik teatr sifatida maydonga chiqdi. Ozbek teatri jadidchilik harakatining mevasi marifiy teatr sifatida tugilgan edi. Birinchi ozbek ijodiy jamoasi bolmish Turon gruppasining Nizomida teatrning bosh maqsadi a) aholi ortasida sahna ishlari va hayriyaga jiddiy munosabatni rivojlantirish, b) xalq uchun spektakl korsatish, unga soglom tomosha berish... deb uqtirilgan edi. Sahna ishini tashkil etgan va uni xalq orasida keng yoygan Munavvarqori Abdurashidxonov, Abdulla Avloniy, Mahmudxoja Behbudiy singari atoqli marifatparvarning say-harakati bilan bu teatr tez orada xalq madaniy hayotining tarkibiy qismiga aylandi. Sanoqli bir necha yil davomida ottizga yaqin pesa yaratildi, aktyorlik va rejissorlik sanatining tub tamoyillariga asos solindi. Jadid teatri va dramaturgiyasining muhim xususiyati uning oila hayotini tasvirlash bilan inson qalbiga kirib borish, uni marifiy tarbiyalash va shu orqali jamiyat hayotida avj olib borayotgan milliy uygonish goyalarini tarannum etishda koringan edi. Jadid marifatparvarlari yoqqan marifat mashali qariyb 1930-yillarga qadar yangi goya va intilishlar bilan teatr hamda dramaturgiyaga kirib kelgan ahli sanat yollarini yoritib turdi. Shuni takidlash joizki, ozbek teatri milliy mahdudlik qobigida oralashib qolmay, balki oz taraqqiyoti yolida jahon teatri tajribasini ozlashtirib bordi. Turon gruppasida boshlangan ozga xalqlar dramaturgiyasini sahnalashtirish tajribasi keyinroq, ozbek sahnasiga Shiller, Gogol, Shekspir singari dramaturglar asarlarining kirib kelishi bilan davom ettirildi. Ozbek aktyorlarini 1924-1927-yillari Boku teatr texnikumi va M.Uygur, Cholpon rahbarligida Moskva teatr studiyasida tahsil korganliklari ularning kasbiy darajasini oshirishda muhim ahamiyat kasb etdi. Moskvadagi talim davri rus teatrida turlicha uslubiy yonalishlar, izlanishlar avj olgan davrga togri kelgan edi. Ozbek aktyorlari bu shov-shuvli teatr hayotini astoydil kuzatadilar, organadilar. Lekin shunisi etiborliki, ularga taqlid qilish, uslublarini kor-korona qabul qilish yolidan bormaydilar. Cholpon Meerxold teatri degan maqolasida, masalan, 1920-yillarda Moskva teatri hayotining yalovbardoriga aylangan bu rejissorning shon-shuhrati haqida ilhom bilan qalam tebratgan bolsa-da, lekin biron joyda unga ergashish, undan andoza olish fikrini olga surmaydi. Bu teatrning soddaligi biz uchun kerak. Kopchilikka yaqin kelishi biz uchun lozim. Bizning xalq teatri unsurlaridan bazilari bu teatrda bor. Yani ulug shoir chet tasirlarga nisbatan sezgir, hushyor turishga davat etib, faqat ozbek xalq teatriga xos bazi unsurlar, soddalik, kopchilikka yaqinlik jihatlarini olish mumkinligi goyasini olga surgan. Bu ozbek teatrining dastlabki davrdanoq oz milliyligini asrash yolida qatiy turganligidan guvohlik beradi. Bir jihatdan, bu ajablanarli emas. Sababi, taqdirlarini teatr va dramaturgiya bilan boglashga ahd qilgan kishilar eski maktab, madrasa korgan, mumtoz adabiyot, musiqa, xalq teatri tasirida bu nafosat olamiga chinakam milliy teatr sanatini barpo etish ezgu istagi bilan kirib kelgan zotlar edi. Ozbek teatrining asoschilari, xususan, atoqli rejissor va teatr arbobi Mannon Uygur oz atrofiga eng istedodli dramaturg va sanatkorlarni uyushtirib, ular bilan ilhombaxsh izlanishlar olib borar ekan, xalqimizning boy manaviyatiga mushtarak keladigan zamonaviy teatr barpo etish yolidan borgan edi. Ozbek teatrining tugilganiga on yil bolmayoq Abdurauf Fitratning Chin sevish, Abulfayzxon, Cholponning Yorqinoy, Hamza Hakimzodaning komediya va dramalarining yaratilishi, eng qimmatlisi, bu asarlarni ovrupacha drama estetikasi talablari darajasida bolishi shu izlanishlarning mantiqiy natijalari edi. Musiqali dramadek murakkab sintetik sanat janrining paydo bolishi ham ozbek xalqining benihoya boy badiiy merosga egaligi va shu merosni zamonaviy teatr tiliga kochira oluvchi sohibi talantlar borligi bilan bogliq edi. Dastlab kichik musiqali sahnalar tarzida koringan bu janr Gulom Zafariyning Halima, Xurshidning Farhod va Shirin, Layli va Majnun asarlarining yaratilishi bilan ozbek teatrida alohida sanat yonalishi tarzida taraqqiy topdi. Takidlash lozimki, otmishda bu folklor janr, otkinchi, opera sanatiga otishda koprik vositasi xolos degan fikr-mulohazalar musiqali drama yoliga qanchalik tosiq bolmasin, u rivojlanishda davom etaverdi. Ham sof drama, ham musiqali drama asarlarini sahnalashtirishga qaratilgan Musiqali drama va komediya teatri deb atalgan viloyat teatrlari drama borasida hozirgi Milliy akademik drama teatridan, musiqali drama sohasida 1930-yillarda Respublika musiqa teatri, keyin Muqimiy nomidagi musiqa teatri tajribalariga suyandi va har biri sanatimiz xazinasiga ulush bolib qoshilgan badiiy-estetik qadriyatlarni yaratdi. Chet elliklar Shekspirning Hamlet, Otello kabi asarlarining ozbek aktyorlari tomonidan yuqori darajada mujassam etilishidan hayratga tushib soz ochar ekanlar, buning asosiy sabablaridan biri, bu spektakllarning bilan bir boshqa teatrlar postanovkasiga oxshamasligi, yani ularda Shekspir ttoyalariga mushtarak tarzda ozbekona dunyoqarash va badiiy qadriyatlarning ifoda etilishida deb bilish mumkin. Keng kolamda avj olgan shunday ijodiy jarayonlardan song Abror Hidoyatov, Shukur Burhonov, Olim Xojaev. Sora eshontoraeva kabi onlab yuqori iqtidorli drama ustalari va Lutfixonim Sarimsoqova, Razzoq Hamroev, Mahmudjon Gofurov singari koplab musiqali drama ustalarining etishib chiqishi ozbek teatrining boshdanoq mustahkam zaminga evrilib, song jahon teatri tajribalirini ijodiy ozlashtirgan holda jadal taraqqiy topishining tabiiy mahsuli ekani oz-ozidan ayon boladi. Mustaqil Ozbekistonning birinchi PrezidentiIslom Karimov Ozbek Daviat akademik drama teatrining ochilishi marosimida (2002-yilning 30-avgustida) sozlagan nutqida: Necha yillar davomida ozining beqiyos sanati va mahorati, klassik asarlarning betakror ijrosi bilan bu teatr nafaqat milliy sanatimiz muxlislarini, balki dunyodagi manaman degan teatrlarning mashhur rejissor va aktyorlarini, ularning eng noziktab teatrshunos va mutaxassislarini ham hayratda qoldirgani malum, der ekan, mutlaqo haq edi. Prezidentimizning bu nutqi ozbek teatri tarixni anglash va uning keyingi rivojida katta ahamiyatga egadir. Bugun, Vatanimiz, yurtimiz XXI asrga qadam qoyib, ozining buyuk kelajagi sari intilayotgan, bu yodagi barcha harakatlarimiz imon-etiqod tuygusi bilan yogrilib, kuchayib borayotgan bir paytda, deb uqtirdi Prezident, oz tarixiy ildizlarimizni, shu jumladan, sanatimiz, milliy teatrimiz tarixini chuqur anglash, undan saboq olish haqida gapirishimiz har jihatdan orinli boladi, deb oylayman. Bu davatkorona sozlar teatr haqidagi ilm-fanni rivojlantirishda ham alohida qimmatga ega. Ozbek teatrining rivojlanishi davomida uni organish, tadqiq etishga qaratilgan alohida ilm sohasi teatr tanqidchiligi va teatrshunoslik fani tarkib topdi. M.Uygur nomidagi Sanat institutidan oliy malakali teatrshunos kadrlarning etishib chiqishi bilan, 1950-yillardan etiboran ozbek tcatrining otmishi va zamonaviy jarayonini ilmiy organishda yangi davr boshlandi. Ozbek teatrining alohida davrlari, aktyorlik, rejissorlik sanati muammolari, aktyor va rejissorlarning ijodiy yollari haqida onlab monografiyalar, kitoblar chop etildi. Akademik M. Rahmonovning ikki jilddan iborat Hamza nomli Ozbek Davlat akademik drama teatri tarixi (2001-y.), Istiqlol va milliy teatr (2001-y.) maqolalar toplami, M. Qodirovning Tomosha sanati otmishidan lavhalar (1993-y.), Sh. Rizaevning Jadid dramasi (1997-y.), T. Islornovning Tarix va sahna (1998-y.), T. Tursunovning Ozbek teatri tarixi (2002-y.) dasturiy qollanmasi teatrshunoslik ilmining keyingi yillar mahsuli hisoblanadi. Milliy teatrimiz tarixini chuqur anglash haqida soz borayotgan ekan, teatrshunoslik fani oldida uning ayrim muammolari boyicha ilmiy monografiyalar qatori darslik va oquv qollanmalari yaratish dolzarb vazifa bolib qolmoqda. Taassufki, hozirga qadar oliy oquv yurtlari, litsey va kollejlar talabalari uchun moljallangan qollanmalar yaratilganicha yoq. Qolingizdagi qollanma shu yonalishdagi ilk izlanish hisoblanadi. Ozbek milliy teatr sanatining yaratilishi va rivojlanishi uzoq asrlarga kelib taqaladi. Akademik Mamajon Rahmonov ozining ilmiy izlanishlarida Orta Osiyoda aynan, yurtimizda teatr elementlari eramizdan oldin III-I asrlarda dunyoga kelganligini isbotlab bergan. Topilgan arxeologik ashyolar, xususan, sopol parchalari, ayollarning turli bezaklariga chizib qoldirilgan suratlarda hatto, Evripid tragediyalarining qahramonlari va voqealari ham tasvirlanganligi isbotlangan. Lekin bu dramaturgning tragik asarlari qaerda oynalgan va sahnalashtirilgan? Respublikamizda Yunon amfiteatriga oxshagan binolar mavjud edimi? Surxondaryo vohasida, Termiz shahri yonida (avvalgi Oy-xonim shahri) eramizdan avvalgi III-I asrlarda bunyod etilgan amfiteatr qoldiqlari topilgach, bu savollar oydinlashdi. Shu bilan birga, qiziqchi masxaraboz aktyorlarining niqoblari va ularning kichkina-kichkina haykalchalari (statuetka)ning Samarqandning Afrosiyob tumanida topilganligi mamlakatimiz xududida ananaviy xalq tomosha sanatiga asoslangan maydon tomoshalari ham mavjud bolganligini korsatadi. Bu sanat turi tobora rivojlana borib, asrlar davomida asta sekin ozbek xalqining urf-odatlari, rasm-rusumlari bilan boglanib ketdi. Xalqimiz tarixida kogirchoqbozlik teatri keng rivojlanib kelganligi haqida teatrshunos olimlarimiz (M. Raxmonov, M. Qodirov va boshkalar) asoslashib, xalq kogirchoq teatri, kogirchoqlarning korinishi, ularni oynatish sistemasiga kora xilma xil, shu bilan birga ularda koproq ertak, afsona va boshqalar saxnalashtirilganligi haqida malumot beradilar (Raxmonov M. "Ozbek teatri tarixi" T. 1968 yil. Kodirov M. "Ozbek teatri ananalari" T. 1976 yil). Xalq teatri keng manoda professional bolmasa-da, aktyorlari malakali, istedodli kishilar bolgan. Xalq aktyorlari yolgiz yoki guruhlarga, todalarga birlashib, uyushgan holda shaharma-shahar, qishloqma-qishloq yurib, toy, sayl va boshka korinishdagi xalq ommaviy tadbirlarda biror sahnasiz ochiq maydonlarda oz sanatlarini namoyish etganlar. Ularning repertuaridan folklorga asoslangan pesalar keyinchalik turli adabiy asarlarning xalq teatriga moslashtirilgan turli variantlari orin olgan. Shunday kilib, xalq teatr sanati folklor janrining tarkibiy qismi ekanligini korib chiqish bilan otmishdagi ajdodlarimiz, xalqimizning rivojlangan etnomadaniyati asosiy orinlarni egallab kelganligini koramiz. Teatr sanatining masxarabozlik va qiziqchilik hamda qogirchoq oyinlaridan iborat turlari Evropa uslubidagi teatr rivojlanishiga ham katta turtki bergan. XIX asrning oxiri - XX asrning boshlarida Turkiston hududiga Evropa shaklidagi teatr kirib kela boshlagan. Marifatchilar Zokirjon Furqat, Ahmad Donish, Mahmudxoja Behbudiy, Abdulla Avloniy, Mannon Uygur, Abdurauf Fitrat, Cholpon va Hamza Hakimzoda Niyoziylar yangi shakldagi teatrning asoschilaridan boldilar. 1911 yili Mahmudxoja Behbudiyning (1875-1919) "Padarkush" nomli dramasi dunyoga keldi. 1914 yilning 15 yanvarida Samarqand shahrining Xalq uyida sahna yozini kordi, songra fevral oyida Toshkentda Abdulla Avloniyning "Turon" truppasida sahnalashtiriladi. Hozirgi Ozbek Milliy akademik drama teatri aynan shu kuni dunyoga keladi. Ushbu teatr faoliyatini rivojlantirishda va mustahkamlashda Mannon Uygur bilan bir qatorda taniqli aktyorlar Abror Hidoyatov, Masuma Qorieva, Sora eshontoraeva, Zamira Hidoyatova, Mariya Kuznetsova, Sadixon Tabibullaev, Sharif Qayumov, Olim Xojaev, Shukur Burhonov, Nabi Rahimov va boshqa zabardast sanatkorlarning xizmatlari katta. Ular zamonaviy ozbek teatr sanatining poydevorini yaratdilar. Bugungi kunda Toshkent shahri, qoraqalpogiston Respublikasi va barcha viloyatlarda jami 37 ta davlat teatri mavjud bolib, ularda har yili 120-150 tagacha yangi original sahna asarlari yaratiladi. Shu jumladan, Toshkent shahrida 10 ta teatr va 1 ta "Diydor" teatr-studiyasi mavjud. Shuningdek, Respublikamizda "Ilhom", "Aladin", "Turon", "Muloqot", "Eski machit" singari koplab nodavlat teatr-studiyalari hamda havaskorlik jamoalari mavjud bolib, ularda teatr sanatining barcha janr va yonalishlarida qizgin ijodiy jarayon davom etmoqda. 3-masalaning bayoni: Sanat tizimida raqs sanati ham muhim orin tutadi. Xalqimizning qadimgi sanat turlaridan hisoblangan xalq raqsi ozining tarixida folklor ijodiyotining erkin namunasi bulib xizmat qilib kelmoqda. Raqs qadim zamonlarda vujudga kelgan bolib, dastavval u maishiy turmush bilan boglangan ov, jang, etiqod timsollari edi. Raqs qadimgi odamlarni birlashtirishga, uyushtirishga hissa qoshgan bolib, uning bu xususiyatlari hozirgi kunda ham xalq raqslarida saqlanib qolgan. Agarda biz raqs sanatining tarixiga bir nazar tashlasak, dastlabki raqslar kishilarni hayvonot va tabiat kuzatilishini aks ettirgan. Ovchilik, chorvachilik bilan shugullanuvchi xalqlarning raqslari yovvoyi va uy hayvonlari, qushlarni hatti harakati, qiliqlariga taqlidan yaratilgan. Masalan, Indoneziyada Penchak (yulbars), Yokutlarda Ayik, Pomirlarda Burgut, Xitoy va Xindlarda Tovus, Ruslarda Turna, gozcha raqslarni korsatish mumkin. Qishloq xojalik mehnati bilan bogliq bolgan raqslar ichida latishlarda terimchilar, guchullarda otin yoruvchilar, beloruslarda esa, zigirkorlik va hokazo. Raqs ixtisoslashgan badiiy faoliyatning nozik va murakkab korinishiga, kasb-koriga aylangan bugungi kunda u sanat turlari bilan hakorlikda amal qiladi. Raqs musiqasiz namoyon bola olmaydi. Musiqa raqs toqimasidan joy olib, uning his-tuyguga tasir etish tizimini belgilab beradi. Raqs sanati teatr bilan ham chambarchas bogliq, u tomoshali teatr sanatining muhim belgilarini ozida mujassamlashtirgan holda badiiy qiyofalar yaratadi. Raqs uchun inson tanasining mayin-egiluvchanligi asosiy omildir. Raqsni inson tanasining musiqaviy ifodali harakatlari sanati, deyish mumkin. Zero, inson tanasining raqs vositasida nafis-mayin harakatini ifodalash imkoniyati uning badiiy qiyofasi, tili asosidir. Musiqa-tovushlar ohangdorligi bolsa, raqs-ohangdor va qoidalashgan harakatdir. U ohangli va qoidali harakatlar vositasi orqali inson ichki dunyosini, uning eng nozik va chuqur kechinmalarini aks ettiradi. Raqsda ifoda ustun darajada namoyon boladi. Tasviriy tomon unga boysunadi. Tasvir raqsda imo-ishora (pantomima) korinishida aks etadi. Imo-ishora sanati mustaqil maqomga ham ega bolib, raqs toqimasiga uzviy boglanadi. Raqsda imo-ishoraning ortiqcha orin olishi raqsning estetik imkoniyatlarini, bazan raqs qiyofaliligini pasaytiradi. Hunarmandchilik sohasi bilan ham yuzaga kelgan raqslar mavjud, ular ukraincha bondarg, nemischa shishapuvlovchilar, kareyslarda esa toquvchilar va nihoyat bizning xalqimizda esa chevarlar, kashtachilar, doppiduzlar va boshqalar mehnat turlariga mansub bulgan raqslar mavjuddir. Xalqimizda marosim raqslari ham bulgan. Kishilar raqsning sehr kuchiga kelishgan, natijada Tangriga siginish, yomon jinlarni haydash va hokazolar. Har bir xalqda oz raqs ananalari mavjud bolganligi kabi ozbek raqslarida qahramonlikni, bahodirlarning jang maydonlaridagi kurashini, qilich va kamon, nayza bilan harakatdagi holatini korsatuvchi yigitlar ijrosidagi raqsimiz mavjuddir. Bunday raqslar hozirgi kunimizda ham sahna-ekstradalarida namoyish etib kelmokda. Raqslar oz mazmuni va korinishi bilan harakatlar bilan bogliqdir. Masalan, bu harakatlar Garbiy Evropada oyoq harakatlariga asoslansa, Sharkda va Orta Osiyo raqslarida esa diqqat qol va tana harakatlariga beriladi. Uzbekistonda raqs sanatining ravnak topishi bilan birga yangicha sahnaviy shakl xalq ansambllari paydo bola boshladi. Uzbekiston zaminida yashagan xalqlarning taqlidiy va ommaviy raqslari qadimdan mavjud bolganligi haqida ham sanatshunos olimlarimizning tadqiqotlarida oz aksini topgan (L.Avdeeva Tansevalnoe iskusstva Uzbekistana.T. 1960g. ,R. Karimova Xorazmcha raqs T. 1975 y. , Buxorocha raqs. T. 1977 y.) Birok xotin kizlar orasida koprok yakka raqs asosiy orin egallagan. Milliy raqs sanatimizning rivojiga katta hissa kushgan ustoz sanatkorlarimiz Usta Olim Komilov, Yusufjon qiziq Shakarjonov, Tamaraxonim, Mukarama Turgunboeva hamda zamonamizning buyuk artisti Muhiddin Kori Yokubov boshchiligida va raxnamoligida tashkil topgan Uzbek davlat kontsert etnografik truppasi (1926 yil), birinchi ozbek ashula va raqs ansambli (1937 yil), hozirda Shodlik nomidagi jamoa Baxor raqs ansambli (1957 yil), Lazgi (1968 yil) ansambli va boshqalar bugungi kunda erkin va betakror raqslari bilan ozbek raqs sanatini butun jaxonga namoyish etib kelmokdalar. Hozirgi zamon raqsi bir necha korinishlarga ega; xalq va bazm raqslari, sahna raqslari, akrobatik, vaznli, imo-ishorali raqslar va boshqalar. Xalq raqslari bir vaqtning ozida ham sanat turi, ham faoliyat turi tarzida namoyon boladilar. Sahna raqslarida bazan tasviriy tomon ham alohida ahamiyat kasb etadi. Ovrupo raqs sanatining oliy korinishi balet raqsi hisoblanadi. Baletda raqs teatr va dramaturgiya (libretto) bilan tarkibiy birlikni tashkil qiladi. Balet bir vaqtda ham raqs turi, ham sahna asaridir. Balet badiiy qorishmaning eng murakkab xili hisoblanadi va unda musiqa hamda raqs kuchi mujassamlashgan boladi. Ifodali sanat tizimida raqs sanati ham muhim orin tutadi. Raqs qadim zamonlarda vujudga kelgan bolib, dastavval u maishiy turmush bilan boglangan ov, jang, etiqod timsollari edi. Raqs qadimgi odamlarni birlashtirishga, uyushtirishga hissa qoshgan bolib, uning bu xususiyatlari hozirgi kunda ham xalq raqslarida saqlanib qolgan. Raqs ixtisoslashgan badiiy faoliyatning nozik va murakkab korinishiga, kasb-koriga aylangan bugungi kunda u sanat turlari bilan hakorlikda amal qiladi. Raqs musiqasiz namoyon bola olmaydi. Musiqa raqs toqimasidan joy olib, uning his-tuyguga tasir etish tizimini belgilab beradi. Raqs sanati teatr bilan ham chambarchas bogliq, u tomoshali teatr sanatining muhim belgilarini ozida mujassamlashtirgan holda badiiy qiyofalar yaratadi. Raqs uchun inson tanasining mayin-egiluvchanligi asosiy omildir. Raqsni inson tanasining musiqaviy ifodali harakatlari sanati, deyish mumkin. Zero, inson tanasining raqs vositasida nafis-mayin harakatini ifodalash imkoniyati uning badiiy qiyofasi, tili asosidir. Musiqa-tovushlar ohangdorligi bolsa, raqs-ohangdor va qoidalashgan harakatdir. U ohangli va qoidali harakatlar vositasi orqali inson ichki dunyosini, uning eng nozik va chuqur kechinmalarini aks ettiradi. Raqsda ifoda ustun darajada namoyon boladi. Tasviriy tomon unga boysunadi. Tasvir raqsda imo-ishora (pantomima) korinishida aks etadi. Imo-ishora sanati mustaqil maqomga ham ega bolib, raqs toqimasiga uzviy boglanadi. Raqsda imo-ishoraning ortiqcha orin olishi raqsning estetik imkoniyatlarini, bazan raqs qiyofaliligini pasaytiradi. Hozirgi zamon raqsi bir necha korinishlarga ega; xalq va bazm raqslari, sahna raqslari, akrobatik, vaznli, imo-ishorali raqslar va boshqalar. Xalq raqslari bir vaqtning ozida ham sanat turi, ham faoliyat turi tarzida namoyon boladilar. Sahna raqslarida bazan tasviriy tomon ham alohida ahamiyat kasb etadi. Evropa raqs sanatining oliy korinishi balet raqsi hisoblanadi. Baletda raqs teatr va dramaturgiya (libretto) bilan tarkibiy birlikni tashkil qiladi. Balet bir vaqtda ham raqs turi, ham sahna asaridir. Balet badiiy qorishmaning eng murakkab xili hisoblanadi va unda musiqa hamda raqs kuchi mujassamlashgan boladi. 4-masalaning bayoni: Xalq madaniyatining takomillashib borishida, yosh avlodni ezgu goyalar asosida tarbiyalash, ularni ona Vatan va el manfaati yolida fidoyilik va insoniylik fazilatlari ruhida kamol toptirishda, tabiiyki, sanatning tasirchan vositalari teatr va raqs sanatining ahamiyati beqiyos. Xususan, raqs sanati ozbek milliy etnomadaniyatining tarkibiy qismi bulib otmishdan hozirgi kunimizgacha ananaviy milliy xususiyatlarini saqlagan xolda, malum bir sifatlarda bu sanat qirralarini yanada yangicha uslub va korinishlarda namoyish etib, yanada boyitib xalqimizning manaviy hamda madaniy merosini kelajak avlod uchun etkazishga xizmat qilmoqda. Bizningcha, bu sanatdan bahramand bolmagan, umrida biror bir marotaba raqsga qol chozmagan, qomatini gozal bir sifatga keltirishga intilmagan ixlosmand, yosh istedod bolmasa kerak. Albatta bu niyat barchamizga mansubdir. Chunki xalqimizning biror ommaviy tadbiri, bayrami, kechasi raqs nafosatisiz otkazilmagan. Shuningdek, teatr ham azal-azaldan insonlarga manaviy ozuqa berib kelayotgan manaviyat maskanidir. Chunki, dramadagi kotarilgan goya, hayotdan olingan turfa xil fel-atvorlar, davrning yutuq va kamchiliklari, haqiqat va ezgulik uchun kurash, sevgi va sadoqat Bularning hamma-hammasi, yani dramaturg, rejissyor, aktyorlar mehnati bir erga jam bolib, odamga malum bir manoda manaviy ozuqa beradi. Teatr hech qachon olmaydigan soha. Togri, hozir texnika va rivojlanish asri deymiz. Hohlagan odam xohlagan kinosini istagan vaqtida korish imkoniga ega. Bugungi kunda, internet orqali dunyoning xohlagan burchagi bilan boglanib, malumot olishi, vaqtini mazmunli otkazishi mumkin. Ammo har narsaning oz orni bor. Televizorning ham, videoning ham, internetning ham. Hech biri teatr, yani aktyorlar ijrosida namoyish etiladigan sahna asarining ornini bosa olmaydi. Mustaqil Ozbekistonning birinchi Prezidenti Islom Karimovning 2010 yil 30 avgustda Buxoro madaniy markazi majmuida viloyat musiqali drama teatri ochilishida takidlaganidek, Yoshlarni togri yolga boshlashda pand-nasihat bilan kifoyalanib bolmaydi. Ezgulikni, yurtparvarlikni, insoniy fazilatlarni kamol toptirishga xizmat qiladigan amaliy ishlar qilish kerak. Ana shunday amaliy tarbiya omillaridan biri teatrdir. Teatr davr bilan hamnafas yashayotgan, hayot sinovlarida toblangan fidoyi insonlar haqida hikoya qiluvchi asarlarni sahnaga olib chiqishi zarur. Bunday asarlar yoshlarda nafosat tarbiyasini shakllantiradi. Shu orinda savol tugiladi: Nafosat tarbiyasi ozi nima? Nafosat tarbiyasi- borliqdagi va sanatdagi gozallikni tushunish, ulardan zavqlanish va uni yaratishga intilishni tarkib toptirish. Inson har doim gozallikka intiladi,undan manaviy ozuqa oladi. Oz hayotini, faoliyatini, turmush sharoitini ,ozini orab turgan atrof-muhitni gozalroq bolishiga harakat qiladi.Bu hol oz navbatida uning didini, nozik xis-tuygularini shakllantiradi. Nafosat tarbiyasi har bir davrda,har bir xalqda turlicha bolsada,uni amalga oshirishning asosiy vositalari,tabia gozalligi,badiy ijod namunalari hamda inson shaxsiyatidagi gozallikni sanab otadi.Bu vositalar bir-birini toldirib, boyitib beradi. Barchasidan tola bahramand bolgan kishining manaviy boy, yuksak didli bolsagina zavqli hayot kechirishi mumkin. Nafosat tarbiyasi ayrim pedagogik adabiyotlarda badiy tarbiya deb nomlanib, oz ichiga qator sanat turlari kabi qoshiq va raqs sanatini,teatr va kino sanatini ham oladi. Bu sanat turlarining yoshlarga nafosat tarbiyasi berishdagi imkoniyatlari cheksizdir. Ayrim sanat asarlarining qiymati dunyoviy boyliklarda nihoyat darajada ustun turganidek, teatr va raqs sanati ham ham odamlarning manaviy boyishlarida tengi yoq tasir kuchiga egadir. Mavzuga oid tayanch tushuncha va iboralar Teatr, raqs sanati, tragediya, komediya janrlari, yunon teatri, antik teatr, qoshiq, raqs, musiqa, akrobatika, masxarabozlik va nayrangbozlik, kogirchoq teatri, drama, marifiy teatr, jadid teatri va dramaturgiyasi, musiqali drama, nafosat tarbiyasi, xalq va bazm raqslari, sahna raqslari, vaznli, imo-ishorali raqslar. Mavzuni mustahkamlash uchun savollar: Insoniyatning madaniy taraqqiyoti tarixida teatrning qanday orni bor? Antik teatr haqida nimalarni bilasiz? Qadimgi Yunoniston va Qadimgi Rim teatrlari haqida gapirib bering... Birinchi ozbek teatri qachon paydo bolgan? Teatr janrlari haqida nimalarni bilasiz? Raqs sanatinining oziga xosligi nimada? Xalq madaniyatining takomillashib borishida teatr va raqs sanatining orni qanday? Nafosat tarbiyasi deganda nimani tushunasitz? Mavzuga oid adabiyotlar: 1. 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Karimov I. Yuksak ma naviyat engilmas kuch.  T.: Ma naviyat, 2008. 3. Karimov I. A. Tarixiy xotirasiz kelajak yo q. "Muloqot" 11. 5-son. 1998. 4. Karimov.I. A. O zbekiston XXI asr bo sag asida: xavfsizlikka tahdid:barqarorlik shartlari va taraqqiyot kafolatlari. T.: O zbekiston,1997. Aminjonova I E. Qadimiy yodgorliklar qissasi. T. 1968. Ashirov A. Atadjanov Sh. Etnologiya. T. 2007. Ashirov A. O zbek xalqining qadimiy e tiqod va marosimlari. T. 2007.  HYPERLINK "http://www.tdpu.uz" www.tdpu.uz.  HYPERLINK "http://www.ma'naviyat.uz" www.ma naviyat.uz. www.edu.uz.     3n33T44,5D5F5J5L5P5R5V5X5\5^5`5b5d5f5h5j5l5$a$gdj/$a$gdl:$a$gdl:$a$gdhW$ & F n^`a$gd n333R4T4V4444444455&5(5*5,5B5D5F5H5L5N5R5T5X5Z5`5l5n5p5˸xxmeaeaeaea]Ymhl:hj/h?jh?Uh h CJaJ)hAh 0JB*CJaJmH phsH %hAh B*CJaJmH phsH .jhAh B*CJUaJmH phsH %hAh B*CJaJmHCphsHC(hAh B*CJ\aJmHCphsHChAh CJaJmHCsHChAh CJ\aJmHCsHC l5n5p5$a$gdhW21h:p. 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