Jalilov Obid (1896.10.11 – Toshkent \u2014 1963.27.9) \u2014 O’zbekiston xalq artisti (1939). Savodsizlikni tugatish maktabida o’qigan (1918-20). 1919 yildan o’zbek drama gruppasi (1929 yildan Hamza teatri)ning yetakchi aktyori. Aktyorlik mahorati intellektual psixologik yo’sinda shakllangan. Jalilov qahramonlari kuchli, o’z hissiyotlarini boshqara oladigan kishilar obrazi bo’lib, aktyor ularning ichki dunyosini lo’nda va ifodali talqin etdi. Har qanday katta-kichik obrazning g’oyaviy-falsafiy yo’nalishining ijtimoiy mohiyatini ochishga, qarama-qarshiliklarni hal qilishdagi o’rnini aniq belgilab olishga, butun diqqat-e’tiborini, harakatlarini qahramonning maqsadini mantiqan isbotlashga, obrazni psixologik jihatdan chuqurlashtirishga intilgan, uni voqealar jarayonida muttasil, sahnamasahna rivojlantirib borgan. Bemor (“Turkiston tabibi”), Podkolyosin (“uylanish”) va boshqalar aktyorning sahnadagi ilk yirik obrazlaridir. 30-yillar Tolipov (“niqob yirtildi”), Arslon, Po’latov (“tor-mor”, “Nomus va muhabbat”) kabi rollari bilan tanildi. Eng yaxshi rollari: Komilov (“Navbahor”), Mavlon (“shohi so’zana”), Solihboy (“boy ila xizmatchi”), Majdiddin (“Alisher Navoiy”), Klavdiy (“Hamlet”), Dikoy (“Momaqaldiroq”) va boshqa obrazlarida aktyor ijodining yangi qirralari namoyon bo’lib, salbiy obrazlar ustasi sifatida Shuhrat qozondi. Jalilov milliy kino ravnaqiga ham ulkan hissa qo’shdi. Vazir (“Tohir va Zuhra”), Majdiddin (“Alisher Navoiy”), Solihboy (“Boy ila xizmatchi”), qodir (“gular ochilganda”), mahkam ota (“Sen yetim emassan”) va boshqalar kinodagi eng yaxshi rollaridir. Bu obrazlar Jalilov ijrosida o’zining badiiy ifodasini to’lig’icha topgan va ular o’zbek kinosi tarixining zarvaraqlaridan urin olgan. Davlat mukofoti laureati (1949).<\/p>\n","protected":false},"excerpt":{"rendered":"
Jalilov Obid (1896.10.11 – Toshkent \u2014 1963.27.9) \u2014 O’zbekiston xalq artisti (1939). Savodsizlikni tugatish maktabida o’qigan (1918-20). 1919 yildan o’zbek drama gruppasi (1929 yildan Hamza teatri)ning yetakchi aktyori. Aktyorlik mahorati … Read More<\/a><\/p>\n","protected":false},"author":1,"featured_media":56191,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[208],"tags":[],"class_list":["post-93852","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-j-harfi","entry"],"translation":{"provider":"WPGlobus","version":"3.0.2","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\/93852","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=93852"}],"version-history":[{"count":2,"href":"https:\/\/milliycha.uz\/kr\/wp-json\/wp\/v2\/posts\/93852\/revisions"}],"predecessor-version":[{"id":93854,"href":"https:\/\/milliycha.uz\/kr\/wp-json\/wp\/v2\/posts\/93852\/revisions\/93854"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/milliycha.uz\/kr\/wp-json\/wp\/v2\/media\/56191"}],"wp:attachment":[{"href":"https:\/\/milliycha.uz\/kr\/wp-json\/wp\/v2\/media?parent=93852"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/milliycha.uz\/kr\/wp-json\/wp\/v2\/categories?post=93852"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/milliycha.uz\/kr\/wp-json\/wp\/v2\/tags?post=93852"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}