Haydar Muhammad 1936 yili Toshkentda tavallud topgan. Nizomiy nomidagi Toshkent davlat pedagogika institutining kechki filologiya bo\u2018limini tugatgan (1966). O\u2018zbekiston teleradiosida muharrir (1965\u20141976), Madaniyat ishlari vazirligida mas\u2019ul vazifalarni (1976\u20141980) bajargan. Ko\u2018p yillar Hamza nomli Akademik drama teatrida adabiy emakdosh vazifasida xizmat qilgan.<\/p>\n\n\n\n
Uning birinchi she\u2019riy to\u2018plami \u00abKo\u2018nglim mening\u00bb nomi bilan 1975 yilda nashr bo\u2018lgan. Shundan so\u2018ng \u00abOlchamning tug\u2018ilgan kuni\u00bb (1978), \u00abYo\u2018llaringga mushtoqman\u00bb (1979), \u00abIpak gilamlar\u00bb (1990), \u00abHazilkash shoh\u00bb (Saylanma, 1994) kabi she\u2019riy va dramatik asarlari, to\u2018plamlari chop etilgan.<\/p>\n\n\n\n
Haydar Muhammad musiqa janrining juda ko\u2018p turlari uchun she\u2019rlar yozgan, \u00abShoir ovozi\u00bb dostoni (Sayfi Jalil musiqasi), \u00abYoshligim\u00bb syuitasi (D. Zokirov), \u00abMening oppoq qo\u2018shig\u2018im\u00bb kabi turkumlari (Bahrillo Lutfullayev musiqasi) shular jumlasidandir. Uning \u00abToshkentning nozanin malikasi\u00bb (Manas Leviyev musiqasi), \u00abKo\u2018ngil\u2014 chinni piyola\u00bb (1987, Komil Kenjayev musiqasi), \u00abKuyovlar konkursi\u00bb (1991, R. Azizxo\u2018jayev bilan T. Hasanov musiqasi), \u00abHar kimki vafo qilsa\u2026\u00bb (1994, Bobur haqida. A. Ismoilov, S. Hayitboyev musiqasi) kabi musiqali drama va komediyalari tomoshabinlarga manzur bo\u2018lgan.<\/p>\n\n\n\n
Haydar Muhammadning \u00abXotinlar \u00abgap\u00bbidan chiqqan hangoma\u00bb (1990), \u00abSab\u2019ai sayyor\u00bb (1991, Navoiy dostoni asosida), \u00abHazilkash shoh\u00bb (1994), \u00abSehrgar va ayyor\u00bb (1994), \u00abJinoyat ustida ushlansin\u00bb (1996), \u00abElyor botir\u00bb (1985) kabi drama va komediyalari Hamza nomidagi O\u2018zbek Davlat akademik drama teatri, Muqimiy nomli respublika musiqali teatri, viloyat teatrlarida sahnalashtirilgan. \u00abToshkentning nozanin malikasi\u00bb, \u00abKo\u2018ngil \u2014 chinni piyola\u00bb, \u00abKuyovlar konkursi\u00bb asarlari esa Tojikiston, Qirg\u2018iziston teatrlarida ham sahna yuzini ko\u2018rgan.<\/p>\n\n\n\n
\u00abXotinlar \u00abgap\u00bbidan chiqqan hangoma\u00bb komediyasi asosida suratga olingan \u00abTemir erkak\u00bb filmi respublikamizda eng ko\u2018p tomoshabin ko\u2018rgan asarlardan biridir.<\/p>\n\n\n\n
Haydar Muhammadning qator latifa, intermediya, hajviy hikoyalari \u00abMushtum\u00bb jurnali va gazetalarida chop etilib, \u00abTabassum\u00bb radiostudiyasi hamda televizion miniatyuralar teatrida foydalanib kelinadi.<\/p>\n\n\n\n
Respublikamiz xalq teatrlari adibning \u00abIpak gilamlar\u00bb, \u00abNavoiy bir kuni\u00bb, \u00abUlug\u2018bek sharofati\u00bb, \u00abBeruniyning baxt eshigi\u00bb, \u00abSevgi jazavasi\u00bb, \u00abSobir Rahimov va xoin\u00bb, \u00abChiroyli ayolning iltimosi\u00bb kabi asarlarini ham sahnalashtirgan.<\/p>\n\n\n\n
Haydar Muhammad tarjimasida ozarboyjon dramaturgi Anorning \u00abZanjir yoki qiyofalar\u00bb (Muqimiy teatri), turkman dramaturgi H. Muxtorning \u00abNevarali kelin\u00bb (Samarqandagi H. Olimjon nomli teatr), boshqird dramaturgi Farid Bogdanovning \u00abTungi mehmon\u00bb (Hamza nomli o\u2018zbek Davlat akademik drama teatri) kabi asarlari o\u2018zbek sahnasiga chiqqan.<\/p>\n","protected":false},"excerpt":{"rendered":"
Haydar Muhammad 1936 yili Toshkentda tavallud topgan. Nizomiy nomidagi Toshkent davlat pedagogika institutining kechki filologiya bo\u2018limini tugatgan (1966). O\u2018zbekiston teleradiosida muharrir (1965\u20141976), Madaniyat ishlari vazirligida mas\u2019ul vazifalarni (1976\u20141980) bajargan. Ko\u2018p … Read More<\/a><\/p>\n","protected":false},"author":1,"featured_media":9186,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[100],"tags":[],"class_list":["post-9183","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-adabiyot","entry"],"translation":{"provider":"WPGlobus","version":"3.0.0","language":"kr","enabled_languages":["uz","kr","ru"],"languages":{"uz":{"title":true,"content":true,"excerpt":false},"kr":{"title":false,"content":false,"excerpt":false},"ru":{"title":false,"content":false,"excerpt":false}}},"_links":{"self":[{"href":"https:\/\/milliycha.uz\/kr\/wp-json\/wp\/v2\/posts\/9183","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/milliycha.uz\/kr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/milliycha.uz\/kr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/milliycha.uz\/kr\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/milliycha.uz\/kr\/wp-json\/wp\/v2\/comments?post=9183"}],"version-history":[{"count":2,"href":"https:\/\/milliycha.uz\/kr\/wp-json\/wp\/v2\/posts\/9183\/revisions"}],"predecessor-version":[{"id":163248,"href":"https:\/\/milliycha.uz\/kr\/wp-json\/wp\/v2\/posts\/9183\/revisions\/163248"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/milliycha.uz\/kr\/wp-json\/wp\/v2\/media\/9186"}],"wp:attachment":[{"href":"https:\/\/milliycha.uz\/kr\/wp-json\/wp\/v2\/media?parent=9183"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/milliycha.uz\/kr\/wp-json\/wp\/v2\/categories?post=9183"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/milliycha.uz\/kr\/wp-json\/wp\/v2\/tags?post=9183"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}