Performance Issues on the Variety Stage: A Case Study of Mirzabek Kholmedov’s Creative Work
Keywords:
Variety Art, Actor, Stage, Speech, Performance, MasteryAbstract
This article examines the distinctive features of variety performers’ stage performance, focusing on their artistic skills, expressive speech, and the overall communicative and aesthetic impact of live performance. The study explores how stage expression, voice modulation, body language, and emotional delivery contribute to the effectiveness of variety art as a form of popular entertainment and cultural expression. Particular attention is given to the creative work of the Honored Artist of Uzbekistan Mirzabek Kholmedov and the “Mirzo Theatre” troupe, whose performances represent a significant example of contemporary Uzbek variety art. The analysis highlights the performer’s ability to combine humor, satire, and social commentary through refined stage technique and expressive storytelling. Furthermore, the article investigates the role of performance style, improvisation, and audience interaction in shaping the artistic identity of variety theatre. It argues that the success of a stage performance depends not only on technical mastery but also on the performer’s ability to establish a strong emotional connection with the audience. Overall, the study emphasizes that Mirzabek Kholmedov’s creative work demonstrates a unique synthesis of traditional theatrical elements and modern stage practices, contributing to the development of Uzbek variety performance culture.
References
[1] Abdurakhmonov and O. Sultonov, Mirza Qiziq Theatre. Tashkent: Mutarjim, 2005, pp. 10–11.
[2] T. Azizov, “It is easy to laugh…,” Uzbekistan Literature and Art, Tashkent, no. 38, p. 6, 1984.
[3] I. Abdurakhmonov, “Laughter is the flower of the face,” Theatre, Tashkent, no. 2, p. 44, 2000.
[4] Interview with Mirzabek Kholmedov, Director of the Satire Theatre, Honored Artist of Uzbekistan, Tashkent, Sep. 16, 2025.
[5] G. A. Muftizade, “Interpretation of world dramatic art in Uzbek theatre,” Theoretical & Applied Science, no. 11, pp. 555–559, 2020.
[6] G. A. Mufti-zade, “The peculiarity of symbols and symbolism in theatrical art,” Journal of Intellectual Property and Human Rights, vol. 3, no. 11, pp. 202–205, 2024.
[7] G. A. Muftizade, “Characteristics of symbols and artistic images,” European Journal of Humanities and Educational Advancements, vol. 3, no. 4, pp. 175–177, 2023.
[8] G. Muftizade, “National symbols are the main source of power that preserves national and age-old values,” International Journal of Artificial Intelligence, vol. 1, no. 3, pp. 319–322, 2025.
[9] R. Smith, “Performance theory and contemporary theatre,” Theatre Studies Journal, vol. 12, no. 2, pp. 45–58, 2021.
[10] L. Brown, “Satire and humor in modern performance art,” Journal of Performing Arts, vol. 9, no. 1, pp. 22–34, 2020.
[11] A. Johnson, “Stage communication and audience engagement,” International Journal of Theatre Research, vol. 15, no. 3, pp. 101–115, 2022.
[12] M. Karimov, “Development of Uzbek variety theatre,” Central Asian Arts Review, vol. 7, no. 2, pp. 60–72, 2019.
[13] S. Yuldashev, “Tradition and modernity in Uzbek stage performance,” Art and Culture Journal, vol. 5, no. 4, pp. 88–97, 2021.
[14] N. Thomas, “Symbolism in theatrical performance,” Performance Research, vol. 18, no. 2, pp. 130–142, 2022.
[15] UNESCO, Theatre and Cultural Heritage: Performance Studies Report. Paris: UNESCO Publishing, 2023.
