{"id":129930,"date":"2024-06-09T10:59:31","date_gmt":"2024-06-09T07:59:31","guid":{"rendered":"https:\/\/milliycha.uz\/?p=129930"},"modified":"2024-06-09T10:59:41","modified_gmt":"2024-06-09T07:59:41","slug":"izmaylova-galiya-bayazitovna","status":"publish","type":"post","link":"https:\/\/milliycha.uz\/ru\/izmaylova-galiya-bayazitovna\/","title":{"rendered":"Izmaylova Galiya Bayazitovna"},"content":{"rendered":"\n<p>Izmaylova Galiya Bayazitovna (1923.12.2, Tomsk) \u2014 balet artisti, ba- letmeyster. O&#8217;zbekiston xalq artisti (1951). Toshkent balet maktabini (1941), Toshkent teatr va rassomlik san&#8217;ati in-ti (1961)ni tugatgan. 1941 y.dan na- voiy teatrining etakchi balet yakkaxo- ni, 1977-85 y.lar bosh baletmeyster, 1985 y.dan baletmeyster. Semurg&#8217; (&#171;Oq bilak&#187;), Mariya, Zarema (&#171;Bokchasa- Roy favvorasi&#187;) kabi ilk rollaridayoq qahramonlar ichki du-nyosini ifodali harakatlar orqali ochib berishga intil- gan. Eng yaxshi rollari: Kitri (&#171;don Kixot&#187;), gulo-YIM (&#171;qirq qiz&#187;), Tao- Xoa (&#171;Lola-qizg&#8217;aldoq&#187;), Odetta-odi- liya (&#171;Oqqush kuli&#187;), Xuanita (&#171;don Juan&#187;), Gulnora (&#171;Raqqosa&#187;), Karmen (&#171;Karmensyuita&#187;), Layli (&#171;Layli va Majnun&#187;), Chundari (&#171;Sevgi tumori&#187;), Egina (&#171;Spartak&#187;) kabi obrazlari ba- diiy yuksakligi, ijro texnikasining mukam-malligi, Evropa mumtoz raqsini an&#8217;-anaviy o&#8217;zbek raqs harakatlarida uyg&#8217;unlashtirilishi b-n ajralib turadi. &#171;Oqqush kuli&#187;, &#171;Navruz&#187;, &#171;Shahrizoda&#187;, &#171;Sevgi tumori&#187;, &#171;Kashmir afsonasi&#187;, &#171;Sevgi afsonasi&#187;, &#171;Boqchasaroy Favvo- rasi&#187;, &#171;Esmeralda&#187;, &#171;orzu&#187;, &#171;Knyaz Igor&#187;, &#171;Buron&#187;, &#171;Faust&#187;, &#171;Zebunniso&#187;, &#171;Umar Xayyom&#187;, &#171;Al Farg&#8217;oniy&#187; kabi ope- ralarning raqslarini sahnalashtirgan. I. yangi turdagi o&#8217;zbek mumtoz raqs maktabi asoschilaridan. U Farg&#8217;ona, Bu- xoro, Xorazm xalq raqslari va Evropa raqsining ijobiy ta&#8217;sirida zamon mum- toz rake miniatyuralarining yaratuvchisi va mohir ijrochisi sifatida tanildi. M. Ravelning &#171;Bolero&#187; baleti, shuning- dek, M. Ashrafiyning &#171;Dilorom&#187; opera- si uchun &#171;So&#8217;g&#8217;diyona&#187;, &#171;Xindi&#187;, &#171;Arab&#187; va &#171;Farg&#8217;ona&#187; kabi mustaqil xoreografik miniatyuralar yaratdi. Qardosh xalqlar, Sharq va b. xalqlarning milliy xore- ografik san&#8217;atini o&#8217;rganib, &#171;Jahon xalqlari raqslari&#187; kontsert dasturini tuzdi. Uning repertuarida Hindiston, in- doneziya, Myanma, Suriya, Misr, Meksi- ka, Argentina, Kuba kabi turli mamlakat xalqlarining milliy raqslari mavjud. I. &#171;Bahor&#187;, &#171;Lazgi&#187; va b. ansambllarda ko&#8217;pgina raqslar sahnalashtirgan. Bir qancha mamlakatlarda gastrolda bo&#8217;lib, tomoshabinlarni o&#8217;zbek xalq raqslari b-n tanishtirgan. I.ga bag&#8217;ishlangan &#171;umr- ga teng raqs&#187; filmi suratga olingan (1984). Hamza nomidagi O&#8217;zbekiston dav- lat mukofoti laureati (1970). &#171;Shuhrat&#187; medali (1997), &#171;Do&#8217;stlik&#187; ordeni (1998) b-n mukofotlangan. Ad.: Avdeeva L., Galiya Izmaylova, T., 1975. Mohina Ashirova.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Izmaylova Galiya Bayazitovna (1923.12.2, Tomsk) \u2014 balet artisti, ba- letmeyster. O&#8217;zbekiston xalq artisti (1951). Toshkent balet maktabini (1941), Toshkent teatr va rassomlik san&#8217;ati in-ti (1961)ni tugatgan. 1941 y.dan na- voiy &hellip; <a href=\"https:\/\/milliycha.uz\/ru\/izmaylova-galiya-bayazitovna\/\" class=\"more-link\">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":[199],"tags":[],"class_list":["post-129930","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-i-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\/129930","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=129930"}],"version-history":[{"count":1,"href":"https:\/\/milliycha.uz\/ru\/wp-json\/wp\/v2\/posts\/129930\/revisions"}],"predecessor-version":[{"id":129942,"href":"https:\/\/milliycha.uz\/ru\/wp-json\/wp\/v2\/posts\/129930\/revisions\/129942"}],"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=129930"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/milliycha.uz\/ru\/wp-json\/wp\/v2\/categories?post=129930"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/milliycha.uz\/ru\/wp-json\/wp\/v2\/tags?post=129930"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}