Dilorom Karimova wrote a book about tragedies in the history of Uzbek theater. Reportage from the presentation of "Rejissyor" ("The Director")

Dilorom Karimova wrote a book about the tragedies in the history of Uzbek theater. Reportage from the presentation of “Director”

On October 30, the Renaissance Cinema House in Tashkent hosted the presentation of “Director” (Rejissyor), a memoir by People's Artist of Uzbekistan Dilorom Karimova dedicated to painful events and behind-the-scenes conflicts in the history of Uzbek theater. The book describes the tragic fate of the famous director Toshkhoja Khojayev, his dismissal from the theater, as well as events such as the splitting of the Hamza Theater company into two.

The memoir "Director" tells about the life and creative career of Toshkhoja Khojayev, his contribution to the development of Uzbek theatrical art, his removal from the position of chief director due to intrigues at the Hamza Theater, and how he was forgotten by the students he once raised. The essay "Theater", included in the second part of the book, covers the split of the theater company in the late 1980s and the consequences of this process, including the fate of director Bahodir Yoldoshev.

Toshkhoja Khojayev was one of the first Uzbek professional directors, an actor, and a pedagogue. He was born on September 1, 1922, in Tashkent. In 1941, he graduated from the Tashkent Ballet School and began his career as a ballet dancer at the Muqimi Uzbek State Musical Drama Theater. Later becoming interested in directing, he studied at the directing department of the Tashkent Institute of Theater and Fine Arts named after Ostrovsky, graduating in 1951.

In 1950, at the age of 28, he began his independent directing career at the Hamza Uzbek State Academic Drama Theater. He initially staged Jean-Baptiste Molière's comedy "The Scams of Scapin". Later, he worked on plays such as "Family", "Wisdom", Abdulla Qahhor's "Silk Suzani", "Secrets of the Heart", and "True Love".

The adaptation of Oybek's novel "Sacred Blood" for the stage holds a special place in the director's oeuvre. He also staged Alexander Stein's "Personal Affair", Erkin Vahidov's "Golden Wall", Uygun's "Freedom", "Guiding Star", and Chingiz Aitmatov's "My Poplar in a Red Headscarf". He also staged plays at the Muqimi Musical Drama Theater and the Russian Academic Drama Theater in Tashkent.

Along with directing, he also pursued an acting career. He played roles in films such as "Abu Rayhan Biruni", "Oygul", and "Alone Among People". In 1957–1970, he worked as a teacher at the Tashkent Institute of Theater and Fine Arts named after Ostrovsky, and in 1965–1971, he served as the chief director of the Hamza Theater. In 1970–1975, he headed the actors' studio at the "Uzbekfilm" movie studio.

His relatives, students, and theater colleagues called him "Tola aka".

He translated the work "An Actor's Work on Himself" by Russian theater figure Konstantin Stanislavsky into the Uzbek language. For his services to the arts, he was awarded the honorary title of "People's Artist of Uzbekistan" in 1959, the State Prize named after Abdulla Tuqay in 1966, and the Republic State Prize in 1970.

However, the final years of the director's life were marked by conflicts at the Hamza Theater and his removal from the position of chief director. Toshkhoja Khojayev passed away on May 22, 1975, in Tashkent.

Erkin A’zam praised the book as one of the unique works in Uzbek cultural life. He noted that unlike many books written about theater figures, "Director" reflects not dry information, but the author's personal experiences, pain, and attitude. The writer mentioned that he had read the sections dedicated to the theater several times, comparing the creative atmosphere in them to the events described in Mikhail Bulgakov's "Theatrical Novel".

"This book contains passion, the experiences of a caring heart, and personality. That is the difference between a good writer and others. That is why I liked it very much. Reading the section dedicated to the theater, I was amazed by Dilorom opa's thoughts, I even re-read them," says Erkin A’zam.

In his opinion, Dilorom Karimova shed light on the complex relationships and behind-the-scenes conflicts in the national theater as a person who knows this environment from the inside. The writer particularly noted that the author did not take a one-sided approach to the events, acknowledging the lives and labor dedicated to the theater even by artists who were considered opponents.

"I could also write about the life of an actor. But knowing it from the inside, burning with its pain, being a participant in the main tragedies and intrigues of that theater, and writing about it is a different matter. Dilorom opa was able to relentlessly show the bitter life and tragedies of our theater in the works 'Storm' and 'Director'," he says.

Erkin A’zam assessed the events described in the book not merely as a problem related to theater life, but as a manifestation of vices in society such as envy, malice, and indifference. According to him, creative rivalry sometimes leads to an artist being deprived of a role they deserve, their work being unappreciated, and facing various intrigues. In such situations, the public often limits itself to observing events from the outside instead of standing up against injustice.

"Two directors are leaving with tears in their eyes due to injustice, being humiliated, but the public remains mere spectators. No one can say, 'No, that is not so.' This, unfortunately, is characteristic not only of theater life, but of our social life in general. Envy is one of the tragedies that torments our nation," says the People's Writer.

He recalled that he was not personally acquainted with Toshkhoja Khojayev, but during his conversations with Bahodir Yoldoshev, the latter always spoke of his master with respect and gratitude.

"I have not seen that director. But I talked with Bahodir Yoldoshev, we were friends. In every conversation, he remembered his master Toshkhoja Khojayev. That means he remembered him with gratitude and valued him. That is why I say that work done honestly in the name of justice, and the person who did that work, will not be forgotten," says Erkin A’zam.

Malika Ibrohimova stated that she considers it important that the events related to theater history in the book are covered from the perspective of a person who directly witnessed them.

"The history of many great people in our past was either written incorrectly or not written at all, and sometimes intentionally destroyed. But writing about a person you have seen, encountered, and known yourself is, in my opinion, true history. The most touching aspect of Dilorom opa's books is that the soul of this person has found peace," says Malika Ibrohimova.

The actress emphasized that there is a big difference between the external appearance of the theater and its internal environment. According to her, behind the beautiful scenery on stage hide complex relationships and various trials that artists go through.

He assessed the book "Director" as a work that can serve as an important source in studying the history of Uzbek theater. In his opinion, the author openly covered not only the creative achievements of theater life, but also its painful and tragic events.

"In Uzbek memoir writing, because respect for personal ties is often strong, events remain unwritten to the end. Dilorom opa was able to overcome this barrier. She possesses a male mind alongside a female heart. Her intellect is fearless and brave. She can openly write about the events she witnessed. This is a quality not found in everyone," says Suvon Meli.

According to him, Karimova initially wrote an article about Toshkhoja Khojayev. However, Suvon Meli suggested that she create a work covering the director's life and activity more broadly. During the work on the book, he expressed his interpretation of the reasons for Toshkhoja Khojayev's removal from the chief director position.

According to the professor, the director's dismissal from the theater was not a simple administrative decision, but the result of political pressure exerted from the center. He links this to Toshkhoja Khojayev's efforts to elevate national spirituality through his plays.

"Toshkhoja Khojayev's plays in the 1960s had elevated Uzbek spiritual life. The Kremlin was afraid of national revival. Therefore, I think an operation was devised to stop the director and remove him from the path. Ginzburg and others were merely instruments in this process," says Suvon Meli.

He stated that he considers the book an important guide for future actors and directors as well, proposing that it be taught as a textbook at the Institute of Arts and Culture. He also put forward the idea of creating a dramatic work based on the book and reflecting the events of theater life on stage.

"I hope that the Uzbek theater will reach the level of Toshkhoja Khojayevs again. A drama can also be written based on this work. Instead of playing everyone else's life, let actors show their own life in the theater as well," says the professor.

Dilorom Karimova said that the creation of the book was influenced by her memories of Toshkhoja Khojayev, her experiences related to him, and the events that took place in the theater. She emphasized that the work was born out of a desire to convey the life, labor, and tragedy experienced by one person to the next generation.

Karimova believes that the entire content of the book can be expressed through two sentences she heard about Tola Khojayev. According to a memory shared by one of the master's students, the director sighed and shed tears one day, saying: "Once upon a time there was such a director, I wonder if anyone will remember me."

"When does this person cry? Only when he feels sorry for us. It seems to me that these two sentences reveal the entire fate of Tola aka and the essence of the book," says Dilorom Karimova.

She emphasized that Toshkhoja Khojayev's directing skill was manifested, above all, in his ability to create the inner world and psychology of the actor on stage. Karimova recalled his words, "I am a director of psychology."

"Creating a person's psychology is the most difficult process. Memorizing words, making movements, walking back and forth on stage is easy. But to enter the inner world of another person, to think with their thoughts, to feel their pain, and to create their psychology required a director like Tola aka. He was such a director," says the People's Artist.

Dilorom Karimova said that she entered theater art precisely after watching Toshkhoja Khojayev's plays. She did not have the opportunity to work on the same stage with the director, but conversations about theater events, particularly her dialogues with Suvon Meli, served as an impetus for the creation of the work.

"I think I had to write this work. Unfortunately, I did not play a single role under Tola aka. But our conversations about the events in the theater, our mutual sharing of pain in a sense, and our dialogues with Suvon Meli resulted in the creation of this work," she says.

The author emphasized that the purpose of writing the book was not to gain prestige or financial gain. In her opinion, during one's life, a person wants to share the memories, experiences, and events they have gone through with the next generation.

"A book is written after you have lived a certain life. In this life, there are events, memories, people, and the traces they left behind. You want to convey them to the next generation, to speak out about them. This book is born out of the torment, memories, and pain that trouble you, and the desire to share them with readers and pass them on to others," says Karimova.

In the book "Director", alongside memories of Toshkhoja Khojayev, Dilorom Karimova also included the essay "Theater", which pertains to theater history. She said that since the events in the theater occurred after the director's tragedy, she found it appropriate to present these two topics in a single publication. The theater essay was previously included in the book "My Love, My Sorrow".

"'Director' consists of memories of Tola Khojayev and an essay about him. I also included the theater essay in this book. Because the two topics are connected: the events in the theater happened after Tola aka's tragedy. Therefore, I deemed it appropriate to combine them in one book," she says.

Karimova stated that she particularly wants young people studying in the fields of theater and culture to read the work. She emphasized that the book does not lecture anyone, but rather tells the story of what one person went through, his pain, and his tragedy.