Modern Interpretation of Turkic Epics on The Kazakh Stage

Abstract

Folklore, according to the definition of more than one generation of scientists, is an inexhaustible source of the nation's spiritual culture, ethical principles and norms. Folklore incorporates genre varieties of both poetic and musical embodiment of reality. Among these varieties, particular attention is drawn to the synthetic genre of the epic common for many peoples. The folk epic, which has absorbed the complex of worldviews of human society, expresses the eternal thoughts and aspirations of people, their struggle against the forces of nature, grief and suffering under the yoke of foreign invaders, conveys to us the command of mothers and the valor of warrior[1]heroes, saviors of the fatherland, the triumph of good over evil and the outbursts of loving hearts after a long separation. Framing all this with figurative and poetic conjectures, epic legends grow into a classical form of syncretic creation, in which elements of all beginnings of verbal, musical, and choreographic art are involved. After all, "The epic gives us special pleasure, because its events and heroes strengthen our faith in the value of human achievements and in the dignity and nobility of man." [Bowra 1945: 1]. Therefore, the "Epic of Gilgamesh", "Iliad", "Odyssey", "Mahabharata", as well as the medieval "Song of the Nibelungs", "Song of Rolland", "Shahnama" and many other epic monuments connect modernity with the legacies of past centuries