THEATER AND FOLKLORE
THEATER AND FOLKLORE. Initial forms of theatre were observed in the 6–8 c. in Bashkortostan as a part of rituals, ethnic games, holidays, round dances. The origin and development of theatre is connected with oral ethnic art. Magical actions of Bashkirs and other people of Bashkortostan included theatrical elements (see Magic). These actions were done by bakses, shamans (see Shamanism), during military ceremonies, different rituals, holidays (sabantuy, raven's porridge, cuckoo's tea, Nardugan, Nauruz) and ethnic dances. Theatre was distinguished from the syncretic ethnic art as the amateur theatres started to appear as well as the drama and musical societies, clubs, Russian peasant theatres and studios. In the 1st third of the 19th c. different art unions appeared in Ufa, Sterlitamak, Birsk, Belebey cities. In the late 19th c. amateur theatres, such as “Galiya”, “Rasuliya”, etc. appeared in Muslim education institutions, in 1919–21 there were theatres, studios of workers in cities, large settlements. V. Murtazin‑Imanskiy and “Shirket” troupe apply from Bashkir ethnical culture traditions and acquire the forms of ethnic performance in the 1910’s. Epic and legend plots as well as other forms of ethnical culture bring methodological principles and poetics of ethnic theatre. In 1919–24 the system of Murtazin‑Imanskiy was formed. The system is based on the doctrine that an art ensemble is a theatre-stage expression of an ethnic ceremony and should be grounded on ethnic musical poetic art, traditions of Bashkir folklore. Ethnographic melodramas were popular in the 1920’s, they used ethnic traditions to meet the needs of drama action (“Ashkadar” and “Bashkir wedding” by M.A. Burangulov, “Galiyabanu” by M. Fayzi, “Ynyikay and Yuldykay” by K.G. Gabitov, etc.]; historical-ethnographical plays were also popular, as their main characters were real personalities and historical persons [“Salavat-batyr” (remade in 1924 by S. Mirasom) by F.M. Suleymanov, “Salavat and Pugachyev” play about Salavat Yulayev by Murtazin-Imanskiy and D. Yultiy, “Heroes of Motherland” play about the Patriotic war of 1812 by A. Tuyclan], etc. Ethnographic melodramas were based on folklore clichés, in which the characters acted only in a particular situation. The emotional condition of the characters was expressed by musical performances (ethnic songs, ethnic dances, ceremonial folklore). The repertoire of Bashkir drama theatre mostly had plays based on the plots of Bashkir ethnic songs and legends or ceremonies in 1920–40: “Ashkadar” and “Shaura the bride” by Burangulov, “Ynyikay and Yuldykay” by Gabitov (all music – by K.K. Ibragimov). Traditions, ceremonies and beliefs of Bashkirs were reflected in ethnographic traditions (see Folklore world picture), the music of plays based on ethnic folklore, songs and naigryshes used before the beginning of the play or during the intermission. Ethnic theatre traditions of ethnic household comedies are represented by musical dramas “Galiyabanu” by M. Fayzi, “Arshim mal alan” by U. Gadzhibekov, etc. First musical comedies were created by Ibragimov: “Shoes”, “Piano problem”, “Zulkhabira”, etc., the action was accompanied by the songs and melodies based on ethnic music and composed by the author. Ethnic songs are used as a way to create an image of a character in “Shoes” comedy. During the Great Patriotic war, the motifs of epic, heroical folklore images, historical personalities, etc. were especially relevant: historical drama “Salavat”, “Kakhym-turya” by Bikbay, “Idukay and Muradym” Burangulov, etc. In the 1940’s F.N. Vukolov‑Erlik staged “Narspi” musical drama in Bizhbulyakskiy Chuvash theatre from the poem by K.V. Ivanov with the same title. It reflects the life of Bashkortostan Chuvashes; amateur, independent talent ethnic theatres of RB also staged it. The new stage of Bashkir theatre development starts in the 1950’s, conservative tendencies in folklore theatre become obsolete. “Kidnapping of a girl” comedy by M. Karim is based on the custom of a bride's abduction. It shows the historical destiny, concepts and spiritual world of the Bashkir people. Dramatic episodes of the play inter-twine with ethnic songs, ethnic dances, staged rituals. The mid 1950–60’s is the beginning of a new stage of theatre development caused by changes in social spheres and emancipation of art, creative abilities of a person. “At Moon Eclipse night”, “Salavat. Seven dreams of waking hours” plays based on the books by M. Karim Reflect Bashkir ethnic customs and traditions. Divana's image in “At Moon Eclipse night” tragedy is similar to the characters of ethnic folklore – jesters and fools in ethnic fairytales. Folklore resources are naturally used in the works (allegory, symbols, metaphors), etc. Ethnic art, folklore poetics has become a part of theatre interest since the late 1990’s: musicals, such as “Maktymkhylu, Ablyay and Kara yurga”, “Shaurakay” were staged based on Bashkir folklore.
Tuymazinskiy Tatar theatre adopted “A goat and a ram” by G. Rakhim based on G. Tukay's fairytale in its repertoire as well as “Morozko” by I.P. Tikmakova, which is based on the motifs of Russian ethnic fairytales, Ufa state Tatar theatre staged “Nur” – “Arshin mal altyn” by U.A. Gadzhibekov, “Zuleykha” by G. Iskhaki.
Russian drama theatre staged “Salavat” based on B. Bikbay's play, “Kidnapping a girl” based on M. Karim's book plays, “Akbuzat” rock-opera.
Ethnical theatres, which include the elements of calendar poetry, family‑household ceremonial poetry in their repertoires played a significant role in promotion and revival of RB folklore.
S.S. Saitov, I.G. Petrov, L.S. Farzutdinova
