Американский Научный Журнал NEW DIRECTOR’S READING OF THE PLAY “REVIZOR”

Annotation. In this article, the author provided a comprehensive analysis of the “Revizor” performance in a stock of plays at S. Mukanov Kazakh Music and Drama Theater in North Kazakhstan Region. During the research, the genre specificity of the new work is analyzed using specific evidence. The reader will be acquainted with the artistic methods and features of translating M. Auezov’s plays into the Kazakh language. Likewise, the research was focused on the research by the director B. Abdurazzakov, who conveyed the author’s idea through plastic gestures, and the author and the director evaluated the game’s role as actors who played the game. The research analyzed the artistic level of the performance as a whole and determined the role of this performance in today’s repertoire. Скачать в формате PDF
4 American Scientific Journal № ( 33 ) / 20 20
ИСКУССТВОВЕДЧЕСКИЕ И ГУМАНИТАРНЫЕ НАУКИ

NEW DIRECTOR ’S READING OF THE PLAY “REVIZOR ”

Guldana Abdysadyk
T. Zhurgenov Kazakh National Academy of Arts
1st year master student
Almaty, Kazakhstan
Anar Ye rkeba y
associate d Professor , candidate of art history
T. Zhurgenov Kazakh national Academy of Arts
Almaty, Kazakhstan

Annotation . In this article, the author provided a comprehensive analysis of the “Revizor” performance in a
stock of plays at S. Mukanov Kazakh Music and Drama Theater in North Kazakhstan Region. During the research,
the genre specificity of the new work is analyzed using specific evidenc e. The reader will be acquainted with the
artistic methods and features of translating M. Auezov’s plays into the Kazakh language. Likewise, the research
was focused on the research by the director B. Abdurazzakov, who conveyed the author’s idea through pl astic
gestures, and the author and the director evaluated the game’s role as actors who played the game. The research
analyzed the artistic level of the performance as a whole and determined the role of this performance in today’s
repertoire.
Keywords: theater, repertoire, drama, translation, Gogol, direction, actor, B.Abdurazzakov

Introduction: Russian classical literature is an
integral part of world culture, which has left mankind
an invaluable cultural heritage. Tran slation of works of
the poet -writer, playwright, such as : A.S.Pushkin,
L.N.Tolstoy, M.Y.Lermontov, A. P.Chekhov,
N.V.Gogol used their native language and bec ame a
great historical phenomenon in the cultural life of the
Kazakh people.
Translation activity be gan to develop in the second
half of the XIX century in the Kazakh culture, as an
inter -religious artistic translation. It was a time to
translate the most advanced works of Russian literature.
At this time, the works of the great Kazakh enlighteners
were translated: A.N.Tolstoy, A.S.Pushkin,
A.I.Krylov, K.D.Ushinsky, I .M.Paulson, A.P.Chekhov,
N.V.Gogol. Examples of this are found in Kazakh
poetry first in Abai. The poetic works of the great poet
Pushkin, Lermontov and Krylov, translated by the great
poet, are as powerful as the original works, and the
power of translation art in their memory. Abay made a
great contribution to the development of the Kazakh
translation art, precisely capturing the heart of the work
he was trying to speak in Kazakh, list ening to his
doctor's breath and translating. Examples of this are
found in Kazakh poetry first in Abai. The poetic works
of the great poet Pushkin, Lermontov and Krylov,
translated by the great poet, are as powerful as the
original works, and the power of translation art in their
memory. Abay made a great contribution to the
development of the Kazakh translation art, precisely
capturing the heart of the work he was trying to speak
in Kazakh, listening to his doctor's breath and
translating.
The great Greek scholar Aristotle, in his treatise
“Poetics”, defined the genres of drama as “the life that
has been woven through” [1.1066 р]. Artistic oratorical
language, beautiful song and sweet music, a
combination of human psychology and even politics,
all come tog ether on the stage.
Each work of art is valuable, along with
educational meaning, the ability to give spiritual food.
Not to mention the fact that this stage will be performed
by the soloists of the playwright, Director and actor.
Therefore, the purpose o f this article is to identify the
pearl of the Russian classic “Revizor” in 2015, as
mastered by the Kazakh theater scene, whether the
author ’s idea is relevant today, whether there are
shortcomings in the acting and directing new reading.
Research method s: methods of historical -
comparative, historical, structural definition,
evaluation, analysis, review were used in the research
of the topic.
Analysis: 1836 is one of the periods in the history
of world drama, written in gold letters. The fact is that
this year a comedy by N .V.Gogol called “Revizor” was
written and was premiered in Moscow and Petersburg.
The comedy characters are big, dangerous people.
Their danger lies in ideological, philosophical
principles, not in anti -firing rifles, pointing guns.
They are laughing people, laughing at others,
bu siness people in the public eye, and even lazy, but
dissatisfied with their accomplishments, higher
position, higher status, and less respectable or
contentious people. There is no limit to their
selfishness, their ambition, their ambition. These are
endle ss munchies who do not eat and drink, money that
they bring when they die, and moneylords who buy
property. Although the work was written in the second
half of the nineteenth century, the Kazakh people have
known such heroes since ancient times. In the feu dal -
patriarchal age, there was a form of governing large and
small officials, such as the duanbah, the dance, the
volis, the aulai, and the fifties. There were poems that
say, “The fifty -first, the ten is the comrade of the devil ”.
There was not one who di d not bribe or did not eat the
land. It is easy to understand a narrow concept in your
own country, and there is a problem of translation after
you understand it. When it came to translating ideas and

American Scientific Journal № ( 33) / 20 20 5

giving ideas, the translators were skeptical and
frustr ated. However, according to O. Olidor, “the most
successful translation was M. Auezov ” [2. 187 p]. The
beginning of the translator's head with the folk article
“Do not confuse the mirror if your face is skewed ”
shows that the author could bring the game to the
Kazakh soil without any artificiality. The complete
equation of the play with one article. A wise decision,
a wise thought.
“Lord, I urge you to hear one grandiose
inconvenient message. The auditor comes to us.. ”
“There is a hidden auditor and an unde rground
decree coming from St. Petersburg ”.
“God forbid that I got two bad rats tonight! Even
such a mouse has been seen in life. Double bag - see!”.
They came and sniffed. Artem Filipovich, I would like
to read a letter from A.I.Chmikhov, who is already
known. Here's what he wrote: "My beloved friend,
contemporary, and supportive ... an important message
that I would like to convey to you: a judge came from
above. The whole province, especially our district, is to
be taken over. Although he claims to be o rdinary,
I heard from people who were very confident. I
know, you are not the most sinful person in the world,
because you are a wise man, and who shies away from
the divine loan?” “This is it!” [3. 203 p.] The meaning
of N.V. Gogol's speech in Russian is similar to Kazakh.
From the words of Duanba, we understand in Kazakh
the same way as in Russian, when he understands that
he is a corrupt person and that he is aware of his crime,
that he is "double -frightened" - that he believes in his
understanding, that he has little education and that he is
just a slave to his slave. It is natural and logical to divide
a sentence into a combination by dividing it into two
simple sentences. The translator did not lose here. M.
Auezov is at a high level in giving the imag e of Gogol,
his humor and keeping the whole style.
One of the features of the comedy is the lingo.
N.V.Gogol spoke the characters in a special, rational,
meaningful and parable language. The development of
the story and the rise of dramatic conflicts is also quite
logical. The “Rev izor” is a novelty that denounces
“political shifts ” that are taking place no t only in
Russia, but throughout the world. It is a mirror of any
age, of any society.
The stage performance of the play was presented
in 2015 by the Kazakh Music and Drama Theater
Company of North -Kazakhstan area named after S.
Kukanov. The production was staged by Tajik director
B. Abdurazzakov, who was a graduate of the Russian
Academy of Theater Arts (GITIS), who tapped with
such great masters as M .O.Knebel, A .V. Efros.
B. Abdurazzakov is a Director who pays great
attention to the search for actors in t he process of roles.
He wants actors to consciously approach the process
when they play a role. After a complete analysis and
interpretation of the meaning of the work and the
image, the Director gives the actors maximum freedom.
And this is happiness, whi ch is not for a creative
person, for actors. The Director realized that this is
freedom, the freedom that the artist needs. In which
productions, in all, the inner connection, strong
dynamics, tenderness inherent in the genre is
manifested. The theatrical game develops
continuously, it is obvious that the actors are clearly
aware of their actions, goals and ideals, find stage
integrity, realize the main Director's ideas. He attaches
great importance to the fact that the mise -en-scenes
were more imaginative and clear, a kind of staging,
sharpness of drawing methods, as well as the
expressiveness of small details and strokes. A powerful
B. Abdurazzakov’s instument in this direction is his
quickness and resourcefulness of the Director's
imagination, characteris tic of the artist -observation,
sensitivity.
As you know, directing - is a profession that
appeared with the theater. However, he did not remain
ready for the theatrical stage. Directing is a difficult
profession, born from the life of the stage, deep
research. In the history of what theater, first of all, the
teachers -organizers of the stage art, came from among
the writers themselves, and then from among the master
actors. For example, Shakespeare, Gogol, Ostrovsky,
which contribute to the development of directing the
world. If the task of the playwright to write a play, the
task of the actors is to perform a given role, and the duty
of the Director to supply good facilities. Therefore, the
ability to put on a performance with a versatile
erudition is the main task of the Director.
The work of a Director begins with directing the
work of an important actor. And for this, the Director
must be fully aware of artistic creativity. The Director
must be in such a way that he can understand the image,
the char acter in the play of the playwright, the type and
behavior of the literary hero, his place and purpose in
his life. In this play, staged by Director B.
Abdura zzakov , we were able to see the whole
idea,peculiar to the artist.
Theater for B. Abdurazzakov - is movement, the
movement. Each character's behavior, behavior, and
motives in the word, require the audience to be clear
before their glittering eyes. He realized that adding on
stage, lighting, scenery and music all played a part in
fulfilling the directo r's ultimate goal, as the live body
members would have expected, with the chamber
orchestra opening behind the theater. In a three -hour
staging, the chamber orchestra has helped to capture the
nature of the tense moments in the performance. Live
music cont inued from one thought to another, leading
from one scene to another.
Special attention was paid to the scenography and
costumes of the play. Set designer S.Niyazakunov
equipped the stage with full amphibian -style items.
Ampere in translation from French m eans “empire”.
This style fully participates in revealing not only the
architecture of the performance, but also the nature of

6 American Scientific Journal № ( 33 ) / 20 20
the characters. The style that is a continuation of
classicism, the direction that reflects the result of the
degree, aesthetic p references of the bourgeois society
of that time, emphasizes the beauty and richness, and
the Revisitor reflects the human values behind that
beauty. The scenography of the play emphasizes the
notion of the empire of fraudsters and the masters. It is
worth noting that the portrait of N .V.Gogol, standing in
the middle of the stage, is a joint decision of the director
and artist. The portrait shows that director N.V. Gogol
wanted to prove himself as a “Revizor” . This is N. V.
Gogol's observation of the modern society in which we
live. This led to the fact that the costumes of the actors.
The costume designer of the play K. kozhakhmetova
showed that the idea of the composition and the
Director is able to understand the game. In the play we
saw green uniforms and Kazakh national costumes,
which were the form of the Russian army of the
eighteenth century, as well as the clothes of
representatives of subcultures that appeared in America
in the eighties of the twenty -first century, and all of
them are combined with e ach other. The work is worth
particularly bragging about, K. Kozhakhmetova
managed to successfully synchronize the past and
present.
The author is an actor who presents to the audience
the game, the idea of the work, the flight -the great
fantasy of the Dire ctor. In this regard, the actors of the
S.Mukanov Kazakh musical and drama theater of the
North Kazakhstan region could clearly and
convincingly show the idea of the author and the work
of the Director. More than twenty actors of the theater
took part in t he performance, presenting the entire
picture of the innovative work to the audience. The cast
was B. Mamytbekov, A. Raziev, B. Shambetov, S.
Tashimova, G. Ayazova, V. Aitibayeva, M. Akzholov,
M. Ispanov, D. Tashkent, etc.
B. Shambetov in the role of Duanb an who made a
special appearance in the performance, was awarded in
the category “Best Male Image ” for this role at the
“Art -Ordo” Theater Festival in Bishkek in 2015. It was
a very rewarding award. It is true that officials are
generally portrayed as gour mets, but only in such
performances do they violate the stereotype. Here, the
boomerang has a tall, slim figure and is the real man.
The director was able to give her the right direction to
understand who her character was without tying her
pseudonyms. Bei ng able to show that not only the
ghosts, but also the gorgeous and beautiful people can
be the bottomless masters, B. Shambetov was able to
convey to Khlestakov the character's character at the
time of his appeal. It was a good decision for the
director t o play Khlestakov as a young actor A. Raziev.
However, in 2008, the premiere of the play,
directed by director N. Zakipbai, took place at the
Youth Theater in Astana. Khlestakov Then starred in
the image of the talented theater actor D. Sergazin. His
acro batic movements on the stage, the play of his eyes,
the timbre of his voice, all added to the role he was
playing. In 2014, at the V Central Asian theater festival
in Aktau, he was awarded for this role in the category
“Best image of a man ” and received gr eat pleasure from
theater critics and spectators. But, nevertheless,
Khlestakov and A. Ruzieva were not weak. In the game
of the actor we began to see a different mood. He easily
penetrated from one state to another, very convincingly
satisfied with the fe elings of fear, the cunning of the
character. “The role is like a digital, full of emotions.
The performer must be able to choose what he wants ”
[4. 96p ]. According to the Russian theatrical director
B.E. Zakhav and the actor A.Raziev was not mistaken
in fi nding the ch aracters , even though he did not cause
the “acrobat ” like Khlestakov of D. Sergazin.
In the play, the image of Lyapkin -Tyapkin was
particularly distinguished. The actor, dressed in a
Mullah, B. Mamytbekov, called the people to the best
in the eyes of the country,and alone -to himself the
devil. It is worth noting that the decision of the chapel
when it is exposed is a very logical decision on the part
of the Director. As you know, from this point of view,
the Director wanted to show the bitter t ruth in modern
society and politics. This decision suggests that outside
the smoke generally rolls down, and the chest is blind.
The play grows, changes with time, like a living
organism. Only his thought and the question raised
remain unchanged. This perf ormance will once again
dispense with bitter satirical satire, although it is rich in
funny moments described by a sharp paradox. As you
know, the goal of the author and Director is to cry, cry,
cry with a smile. There is reason to believe that this
missio n is fully realized. This play without a single
pleasant character is understandable in any language
without any translation. Because the nature of humanity
never changes. This wonderful performance, which
raised these topical issues, showed the fruits of
immortal drama and strong Director's reading.
As a rule, B. Abdurazzakov, during the
preparation of the performance, illustrates the logical
plot of the play as a general background, solving
previously unknown mysteries of the work, and
explaining to the actors. Out of the things unseen and
unperturbed, the whole world is created, pleasing and
amazed by the people. In this performance we also
noticed the fresh decisions of the director and reflected
the modern Kazakh society. If N.Gogol's play
“Revizor” , had a single hill, it would be B.
Abdurazzakov ’s one which brought him to the Kazakh
society today. That is, a work that originally belonged
to the author is considered a Director, starting with the
staging in the theater. One of the main problems of
today is that the Directors who are engaged in the
illustration of the play can not show the characteristic
features. Director B. Abdurazzakov, who created a
memorable mise -en-scene, worked hard in creating an
actor ’s ensemble, and most importa ntly, a modern play,
showed a very high level for theaters throughout
Kazakhstan. We believe that in art and theater there will
be a long life of joint works of two artists, and they will
return with a victory with numerous festivals.
Discussion: In this monograph, the authors
consider the latest scientific and philosophical concepts
of the problem of consciousness. As you know, a new
process of development began in the XI century with
the translation of the works of scientists and thinkers of
Central Asia and the Middle East. In addition, this
process continued with the introduction to Western

American Scientific Journal № ( 33) / 20 20 7

Europe and Russian literature. Kazakh educators -
democrats Abay, Shok han, Ybyrai called for friendship
with the Russian people, encouraged to learn their best
and bes t culture, and gave a new look to the
development of Kazakh literature. “Culture and
literature that do not embrace the best practices of other
fraternal nations and do not share their own experiences
will fade in instead of growth. Undoubtedly, the
streng thening of new genres and artistic forms in the
Kazakh literature and culture has contributed to the
development of Russian classical literature ” said
M.Bazarbayev, saying that culture and literature should
always be the result of a time ahead and a time o f
renewal [5.107 p]. Thanks to these cultural and literary
processes, Kazakh theatrical art is also developing
today, enriching the stock of the plays of contemporary
works of world classics such as W.Shakespeare, A .P.
Chekhov, N .V.Gogol.
Conclusion: Excess ively used jargon in a number
of plays in recent years leads to events and illogical
repetitions that are not directly related to the main plot
of the drama. There are drawbacks to the heroes’
uncontrollable listening to what they have seen and
experienced , to the obscure details of the artistry, to the
inadmissibility of the logical development of events. It
is well known that unsuccessful love, childhood abuse,
problems in life, ill -mannered girls, drug addicts,
elderly people living outside the country, and bribery
are a few of them. It is hard to blame them for having
no real life experience, they can happen in life.
However, our playwrights do not take into account the
fact that the “closed” life, which is indifferent and
devoid of the leading tendencie s of society, does not
show much to the reader and viewer. Because of the
lack of thinking on a global scale, there are no more
serious charlatans, such as Hamlet and Khlestokov.

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2. “M. Auezov work collections ”. Collection
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3. “N.V.Gogol work collections”, Almaty. :
“Zhazushy” , 1998. − 328 p.
4. B.E. Zakhava. “The actor and director skill s”.
М.: “Prosveshenyie” , 1973. − 233 p.
5. “Russian Classical Drama ”. Astana .:
Audarma . 2004. − 520 p.