MODERNİZM DÖNEMİNDE MÜZİKAL TİYATRONUN EVRİMİ VE ÇAĞDAŞ SANAT BİÇİMLERİ ÜZERİNDEKİ ETKİSİ

Yıl 2025, Cilt: 8 Sayı: 4, 3580 - 3607, 31.12.2025

Cholpon Turumbaeva , Aleksandr Zheshcinskii

https://doi.org/10.51576/ymd.1793744

Öz

Bu çalışma, modernist eğilimlerin etkisi altında tiyatro ve müzik formlarının dönüşümünü incelemektedir. Tarihsel-kültürel, karşılaştırmalı ve analitik yöntemler kullanarak, modernizmin Kırgızistan'da tiyatro ve müzik uygulamalarının gelişimini çağdaş sanatın daha geniş bağlamında nasıl şekillendirdiğini araştırmaktadır. Bulgular, modernizmin tiyatro sanatını önemli ölçüde etkilediğini ve yenilikçi ifade biçimlerini teşvik ettiğini göstermektedir. Yirminci yüzyıl tiyatrosu, toplumsal ve psikolojik gerçeklikleri tasvir etmenin yeni yollarını aktif olarak aramıştır. Modernist uygulayıcılar, özellikle biçim ve karakter tipleştirmesi açısından estetik ve dramaturjik geleneklerden koparak, kahramanların iç dünyasını ve yeni gerçeklik anlayışlarını yansıtan sanat eserleri yaratmışlardır. Kırgızistan'da ulusal tiyatronun oluşumu, sosyo-politik dönüşümler ortasında kültürel gelişimin daha geniş yörüngesiyle doğrudan bağlantılıdır. Kırgızistan'da tiyatro sanatı uzun bir süre Sovyet ideolojisi çerçevesinde gelişmiştir; ancak zamanla, ulusal kimliği sahnede kavrama ve ifade etme arzusu ön plana çıkmıştır. Kırgız tiyatrosu, halk kültürü ve folklor unsurlarını bir araya getirerek, geleneksel motifleri modern tiyatro formlarıyla harmanlayan özgün bir üslup geliştirdi. Tiyatro, zamanla ülkenin ulusal karakteri ve tarihine derinden kök salmış bir kimlik kazanırken, aynı zamanda küresel kültürel manzaradaki değişimlere de yanıt verdi. Kırgız ulusal operasının önemli bir dönüm noktası, "Alymbek ve Kurmancan"ın sahnelenmesidir. Bu eser, tarihi olayları ve kahraman figürlerini canlandırarak, günümüz izleyicilerinin miraslarıyla bağ kurmasını sağlar. Performansı, yalnızca kültürel hafızayı korumakla kalmaz, aynı zamanda ulusal değerleri teşvik eder ve genç nesiller arasında vatanseverlik bilincini besler.

Anahtar Kelimeler

Sahne yaratıcılığı , kültürel dönüşüm , estetik , inovasyon , ulusal kimlik , yaratıcı stratejiler , tür sentezi , sanatsal arayışlar

THE EVOLUTION OF MUSICAL THEATRE IN THE ERA OF MODERNISM AND ITS INFLUENCE ON CONTEMPORARY ART FORMS

Öz

This study examines the transformation of theatrical and musical forms under the influence of modernist trends. Using historical-cultural, comparative, and analytical methods, it explores how modernism shaped the development of theatrical and musical practices in Kyrgyzstan within the broader context of contemporary art. Findings show that modernism significantly influenced theatrical art, encouraging innovative forms of expression. Twentieth-century theatre actively sought new ways to portray social and psychological realities. Modernist practitioners broke with aesthetic and dramaturgical conventions – particularly in terms of form and character typification – creating art that reflected the inner world of protagonists and new conceptions of reality. The formation of national theatre in Kyrgyzstan is directly linked to the broader trajectory of cultural development amidst socio-political transformations. For an extended period, theatrical art in Kyrgyzstan evolved within the framework of Soviet ideology; however, over time, the desire to comprehend and articulate national identity on stage gained prominence. By incorporating elements of folk culture and folklore, Kyrgyz theatre cultivated a distinctive style that fused traditional motifs with modern theatrical forms. Gradually, the theatre acquired an identity deeply rooted in the national character and history of the country, while simultaneously responding to shifts within the global cultural landscape. A key milestone in Kyrgyz national opera is the production of “Alymbek and Kurmanzhan”. This work dramatizes historical events and heroic figures, enabling contemporary audiences to engage with their heritage. Its performance not only preserves cultural memory but also promotes national values and fosters patriotic consciousness among younger generations.

Anahtar Kelimeler

Stage creativity , cultural transformation , aesthetics , innovation , national identity , creative strategies , genre synthesis , artistic explorations

Kaynakça

• Adams, L.L. (1996). Cinema and theatre. In: C. Adle, M.K. Palat, A. Tabyshalieva (Eds.), History of Civilizations of Central Asia: Towards the Contemporary Period: From the Mid-nineteenth to the End of the Twentieth Century (pp. 785-794). Paris: UNESCO Publishing.
• Aranyossy, M. (2022). Adoption of technology in the digital entertainment industry during the COVID-19 pandemic: An extended UTAUT2 model for cinema live streaming. Informatics, 9(3), 71. https://doi.org/10.3390/informatics9030071
• Arrington, L. (2021). Towards a late modernist theater. Modernism/Modernity Print Plus, 5(4), 1-20. https://doi.org/10.26597/mod.0186
• Azizi, B., EshaqZai, A. (2022). Exploring the characteristics of modernism and post-modernism: A review paper. Journal of Critical Reviews, 9(2), 57-65. http://dx.doi.org/10.31838/jcr.09.02.8
• Bartl, A. (2025). Theater. In: A. Blödorn, F. Marx (Eds.), Thomas Mann-Handbuch: Leben – Werk – Wirkung (pp. 573-574). Berlin, Heidelberg: J.B. Metzler. https://doi.org/10.1007/978-3-662-69437-4_110
• Bayramova, A. (2025). Traditional musical instruments in the light of museum interpretation. Asian European Music Research Journal, 15, 102-109. https://doi.org/10.30819/aemr.15-10
• Collins, K.S., Stockton, K. (2022). The theatre of qualitative research: The role of the researcher/performer. International Journal of Qualitative Methods, 21, 1-9. https://doi.org/10.1177/16094069221103109
• Curtin, A., Johnson, N., Paxton, N., Warden, C. (2023). The Edinburgh companion to modernism in contemporary theatre. Edinburgh: Edinburgh University Press. https://doi.org/10.1515/9781474495059
• Delaere, M. (2025). Alban Berg: Wozzeck. Leuven: Leuven University Press.
• Duman, G.B. (2023). The reasons why the Soviet government gave importance to the theatre genre and the factors affecting the formation of contemporary Kyrgyz theatre. In: D.H. Dukova, M. Mastrantonio (Eds.), International Academic Research and Reviews in Educational Sciences-I (pp. 145-166). Ankara: Global Academy Publishing House.
• Efremov, A. (2025). The Psychology of Faith and Religious Identity: How Theology Shapes Worldview and Self-Perception. Pharos Journal of Theology, 106(3), 1-15. https://doi.org/10.46222/pharosjot.106.3020
• Elebesova, J., Kaiypova, E. (2022). Using drama in English language teaching in university level. Bulletin of the Jusup Balasagyn Kyrgyz National University, 14(3), 204-211.
• Gonçalves, J.C. (2024). What Is (Not) Aesthetic Education? Bakhtiniana, 19(2), e63561e. https://doi.org/10.1590/2176-4573e63561
• Gümüş, E.O., Nasırambekova, E. (2024). “Aychurok” opera written inspired by the Kyrgyz epic saga Semetey. Online Journal of Music Sciences, 9(1), 294-315. https://doi.org/10.31811/ojomus.1423155
• Gupta, V., Rampal, T., Naaz, S. (2024). Evolution of performing arts centers: A historical and contemporary analysis. Shodhkosh: Journal of Visual and Performing Arts, 5(1), 62-75. https://doi.org/10.29121/shodhkosh.v5.i1.2024.1491
• Gürsoy, İ. (2025). Epic theatre as a form of platonic drama. British Journal of Aesthetics, 65(1), 45-60. https://doi.org/10.1093/aesthj/ayae037
• Hafstein, V.T. (2024). Folklore and cultural heritage: Reflections on change. Journal of American Folklore, 137(543), 16-22. https://doi.org/10.5406/15351882.137.543.02
• İğmen, A. (2019). Gender and national identity in memories of the late 20th-century Soviet theater in Kyrgyzstan. Kritika: Explorations in Russian and Eurasian History, 20(2), 291-314. https://doi.org/10.1353/kri.2019.0021
• İsaeva, G. (2023). Development of Kyrgyz folk dance in the impact of opera and ballet. International Journal of Volga – Ural and Turkestan Studies, 5(10), 145-157.
• Issakova, S.S., Kultanbayeva, N.K., Kushtayeva, M.T., Saduakas, N.A., Aitbenbetova, A.K., Imangazina, A.A. (2021). Fairytale discourse as a demonstration of the national mentality (On the material of Kazakh and Russian fairy tales). Astra Salvensis, 2021, 121-135.
• Issakova, S.S., Kultanbayeva, N.K., Tukhtarova, A.S., Zhetessova, Z.A., Kartzhan, N.Ye. (2023). Linguocultural Analysis of Ethnic Stereotypes in Humorous Discourse: A Comparative Analysis. Eurasian Journal of Applied Linguistics, 9(3), 33-47. https://doi.org/10.32601/ejal.903004
• Ji, L., Abdrasulov, S., Xi, C., Karabalaeva, G. (2023). Cultural, philosophical and legal aspects of volunteering in Kyrgyzstan: Current challenges. Social and Legal Studios, 6(4), 77-88. https://doi.org/10.32518/sals4.2023.77
• Kalashnyk, M. (2024). From the street to the gallery: Evolution and influence of street art on contemporary art culture. Interdisciplinary Cultural and Humanities Review, 3(2), 45-53. https://doi.org/10.59214/сultural/2.2024.45
• Kelmendi, A. (2024). Sound identity as a phenomenon. Research on the cultural significance of music in ethnic and subcultural communities. Interdisciplinary Cultural and Humanities Review, 3(2), 16-23. https://doi.org/10.59214/сultural/2.2024.16
• Küçük Özbek, D. (2024). The relationship between dramatic and musical structure in Arnold Schönberg’s Op.17 Erwartung opera. Stage and Music, 10(18), 1-25.
• Li, T., Gong, L. (2024). Cultural identity and historical narrative: An analysis of the expression of national consciousness in Chinese ethnic opera works. Readme Electronic Journal, 54, 1-14. https://doi.org/10.58262/LEEME.54.0001
• Ouazzani, Y., Calderón-García, H., Tubillejas-Andrés, B. (2022). Opera streaming: Perceived value as an explanatory factor for loyalty and intention to attend an opera in an opera house. Journal of Marketing Management, 39(5-6), 414-442. https://doi.org/10.1080/0267257X.2022.2105936
• Poriss, H. (2024). National opera in a transnational age. Cambridge Opera Journal, 36(3), 351-356. https://doi.org/10.1017/S0954586724000065
• Reimers, K. (2024). New woman – Old roles? On female characters in Toller’s Oops, We're Alive! and Brecht’s The Threepenny opera In: K. Reimers, L. Mühlbach, T. Unger (Eds.), Bertolt Brecht und Ernst Toller (pp. 207-224). Berlin, Heidelberg: J.B. Metzler. https://doi.org/10.1007/978-3-662-68966-0_13
• Saley, D.A. (2021). Theatre as data: Computer encounters in theatrical studies. Ann Arbor: University of Michigan Press. https://doi.org/10.3998/mpub.11667458
• Serikova, A., Rysaldy, K., Geybullayeva, R. (2024). Futurality as a Linguosynergetic Category in Postmodern Discourse. Bakhtiniana, 19(2), e63927e. https://doi.org/10.1590/2176-4573e63927
• Shepherd-Barr, K. (2005). Modernism and theatrical performance. Modernist Cultures, 1(1). https://doi.org/10.3366/E2041102209000057
• Shershova, T., Chaika, V. (2024). Cultural memory and memory culture. Humanities Studios: Pedagogy, Psychology, Philosophy, 12(1), 188-195. https://doi.org/10.31548/hspedagog15(1).2024.188-195
• Shmarko, N., Hrechanyk, N. (2023). Historical and cultural analysis of ideas on the formation of aesthetic culture of the individual. Humanities Studios: Pedagogy, Psychology, Philosophy, 11(3), 163-171. https://doi.org/10.31548/hspedagog14(3).2023.163-171
• Taxidou, O. (2021). Greek tragedy and modernist performance: Hellenism as theatricality. Edinburgh: Edinburgh University Press. https://doi.org/10.3366/edinburgh/9781474415569.001.0001
• Thomson, S.C. (2021). Medieval stories and storytelling: Multimedia and multitemporal perspectives. Turnhout: Brepols.
• Tinio, A. (2024). Comparing Erwartung and Die Glückliche Hand through the female gaze. Portland: Portland State University. https://doi.org/10.15760/honors.1546
• Tynalieva, G. (2021). Today’s change in Kyrgyz culture and art. News of Universities of Kyrgyzstan, 1, 212-215.
• Urmanbetova, J., Torogeldieva, B., Naimanova, C. (2021). Defining Kyrgyz national identity. Interstudia, 31, 175-187.
• Urumkulova, N. (2022). Spiritual and moral formation of young people in modern scientific and technical development of society. Bulletin of the Jusup Balasagyn Kyrgyz National University, 14(3), 226-232.
• Zhao, Y., Sornyai, P. (2024). Education and literacy in Yue opera: Historical development in Shaoxing, Zhejiang province, China. International Journal of Education & Literacy Studies, 12(1), 96-105. http://dx.doi.org/10.7575/aiac.ijels.v.12n.1p.96
• Zhetessova, Z., Issakova, S., Issakova, A., Yessenova, K., Ozgambayeva, R., Ismailova, F. (2025). Strategy and Tactics of Communication in Fairy Tale Discourse. Eurasian Journal of Applied Linguistics, 11(1), 118-128. https://doi.org/10.32601/ejal.11110
• Zhou, X., Karabalaeva, G., Wang, S., Ding, Q., Wang, C. (2024). Prospects and priorities of the cultural aspect in education. Scientific Herald of Uzhhorod University Series Physics, 55, 1943-1954. https://doi.org/10.54919/physics/55.2024.194bi3
• Aikol Studio. (2025, May 11). “Alymbek and Kurmanjan” opera [Video]. YouTube. (Access address: https://youtu.be/_G7e1VcHUe4?si=dxCVy5a8dnLV8gwU).
• DRM Entertainment Plus. (2025, March 21). Lithuanian opera performance “Sun & Sea” lands in Bogota: AM14 [Video]. YouTube. (Access address: https://youtu.be/mQ8cEb7HBZk?si=gh2-rZFK5d5GgCxt).
• Eastham, B. (2021). Climate crisis opera “Sun & Sea”: What did you do at the end of the world? (Access address: https://artreview.com/climate-crisis-opera-sun-sea-what-you-do-end-of-world/).
• Naq Media. (2025a). February repertoire of the Bishkek Opera and Ballet Theater. (Access address: https://naq.media/bishkektegi-opera-zhana-balet-teatrynyn-fevral-ajyndagy-repertuary/).
• Naq Media. (2025b). The premiere of the opera “Alymbek and Kurmanjan” took place in Bishkek. (Access address: https://naq.media/bishkekte-alymbek-zhana-kurmanzhan-operasynyn-premerasy-%d3%a9tt%d2%af/).