Stsenariy (ital. scenario) \u2014 1) pesa mazmunining qisqa bayoni, Impro- vizasiya teatri, tomoshasi, balet spek- takllari, ommaviy tomosha va b. o’yinlar yaratiladigan syujet tuzilishi; 2) kino san’ati va televidenie vositalari yordamida gavdalantirib ko’rsatishga mo’ljallangan adabiy asar. Dastlabki filmlarda syujetlar o’ta sodda bo’lib, qog’ozga tushirilmagan, film ijod- korlari ularni o’z miyasida sakdagan. Keyinroq filmlar mazmuni chuqurlasha borgan sari S yozishga ehtiyoj tug’ildi. «Ovozsiz kino» davrida’S shakli rejas- Xema tarzida bo’lib, suratga olinishi kerak bo’lgan ob’ektlargina kadrmakadr belgilanib, qaerdan va qanday surat- ga olinishi ko’rsatilgan xolos. S.lar «texnik», «raqamli», «temir» nomlari bilan yuritilgan. Suratga olinayotgan voqea nimadan boshlanib nima bilan tugallanishi, aktyor o’zini qanday tuti- shi, kadr nimani anglatishi qayd etila boshlagandan so’nggina kinossenariy adabiyotning alohida janri sifatida kino asariga aylandi. Shunday qilib, 20-a. boshlarida stsenariynavis (kino- dramaturg) termini paydo bo’ldi. O’zbek kinosining dastlabki yillaridaL.Say- fulina, V. Sobberey, D. Bassaligo, N. Klado va b. stsenariychilar etakchilik qilgan. Birinchi o’zbek kinossenariy- chisi S. Xo’jaev bo’lgan. O’zbekistonda S. janrining rivojlanishida kinore- jissyor Nabi G’onievning xizmatlari alohida. E. Hamroev, A. Sharopovlar ham dastlabki o’zbek stsenariychilari- dan. Keyinchalik K. Yashin, S.Abdulla, A. Qahhor, M. Shayxzoda, T.To’la, R. Fayziy, O. Yoqubov, S. Axmad, S. Abduqahhor, U. Nazarov, F. Musajonov, Sh. Boshbekov, U. Azim, O. Agishev, R. Muhammadjonov, M. Melkumov, K. Yormatov, Sh. Abbosov, Yu. Roziqov va b. etakchi stsenariychilardan. Anvar Yoqubxo’jaev.<\/p>\n","protected":false},"excerpt":{"rendered":"
Stsenariy (ital. scenario) \u2014 1) pesa mazmunining qisqa bayoni, Impro- vizasiya teatri, tomoshasi, balet spek- takllari, ommaviy tomosha va b. o’yinlar yaratiladigan syujet tuzilishi; 2) kino san’ati va televidenie vositalari … Read More<\/a><\/p>\n","protected":false},"author":1,"featured_media":99837,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[206],"tags":[],"class_list":["post-124537","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-s-harfi","entry"],"translation":{"provider":"WPGlobus","version":"3.0.2","language":"ru","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\/ru\/wp-json\/wp\/v2\/posts\/124537","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/milliycha.uz\/ru\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/milliycha.uz\/ru\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/milliycha.uz\/ru\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/milliycha.uz\/ru\/wp-json\/wp\/v2\/comments?post=124537"}],"version-history":[{"count":1,"href":"https:\/\/milliycha.uz\/ru\/wp-json\/wp\/v2\/posts\/124537\/revisions"}],"predecessor-version":[{"id":124555,"href":"https:\/\/milliycha.uz\/ru\/wp-json\/wp\/v2\/posts\/124537\/revisions\/124555"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/milliycha.uz\/ru\/wp-json\/wp\/v2\/media\/99837"}],"wp:attachment":[{"href":"https:\/\/milliycha.uz\/ru\/wp-json\/wp\/v2\/media?parent=124537"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/milliycha.uz\/ru\/wp-json\/wp\/v2\/categories?post=124537"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/milliycha.uz\/ru\/wp-json\/wp\/v2\/tags?post=124537"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}