The National Theatre as Reflected in the "Oyina" Magazine

This article is devoted to the analysis of articles on the national theatre published in the pages of the journal "Oyina", which was issued in Samarkand between 1913 and 1915 by Mahmudhoja Behbudi, the founder of the Turkestan Jadid national movement. The article also discusses the emergence of the Jadid national theatre. The modern form of the national theatre in Turkestan emerged on the basis of long-established traditions such as folk oral dramas, public street performances, and puppet theatre. It was also a result of the Jadids' educational background in madrasas and the experience they gained abroad. In this context, Mahmudhoja Behbudi's play "Padarkush, or the Fate of an Uneducated Boy" was staged and became one of the first manifestations of the modern national theatre. The article examines these processes on the basis of press publications and reports, analyzing the main objectives that the Jadids pursued through theatre, the stages of formation and development of the national theatre, the key issues reflected in the plays, and the problems encountered in organizing performances. It also investigates the activities of Tatar and Azerbaijani theatre troupes in Turkestan. The article also reveals the formation and activities of amateur theatre groups. In particular, it is shown—based on information from the national press—that the first performance of Ibratnoma by amateur youth actors was staged not in Tashkent, as often assumed, but in Samarkand, later in Kokand, and in subsequent stages in Tashkent at the Coliseum building. The course and organization of these theatrical performances are examined through contemporary press reports. Furthermore, the article highlights Mahmudhoja Behbudi's views that, alongside writing stage plays, it was necessary to conduct educational work explaining stage culture, providing guidance for performers, and offering instructions for audiences. The article discusses the challenges surrounding the writing and performance of stage works. Initially, these efforts faced resistance from the colonial government, and at later stages, debates arose due to prevailing religious ignorance and fanaticism. Specifically, it was required that a play be submitted in Russian to the authorities before its performance, and only after obtaining governmental approval could a theatre be organized. At that time, informants were even present among the audience. On some occasions, organizers were held accountable, and performances were sometimes interrupted before completion. After the performance, the public was divided into approximately seventy factions, holding various opinions, as reflected in contemporary press reports. For instance, some criticized the play with remarks such as, "Are you teaching us to kill people? Is this how you teach killing?" while others considered theatre to be "contrary to Sharia." The article notes that, in response to this situation, the nation's intellectuals provided society with the necessary guidance.