REFLECTION OF THE SEMIPALATINSK TRAGEDY IN DRAMATIC WORKS

Abstract

The purpose of the research work is to identify, through the scientific study of genre and poetic trends, the artistic identity, the ideological and thematic atmosphere of modern Kazakh drama, to show the features of poetics and the problems of stylistic affiliation, to differentiate the novelty and continuity of traditions, to identify the author's point of view, signs of his individual stylistic differences and common thematic features in dramatic works reflecting Semipalatinsk tragedy.

The genre of drama in Kazakh literature in the period after the country's entry into the mainstream of independence is characterized by a peculiar direction of development, artistic research, genre patterns and style field. In the works of playwrights of this period, the changes in the life of the country under the auspices of independence, historical continuity in our spiritual world, vivid responses caused by free consciousness, tense character are clearly expressed, the author's position in the transfer of the drama of the social environment is clearly marked, and a breakthrough in the image of the primordial essence of things is also noticeable. The article examines the trends in the development of Kazakh dramaturgy of the period of independence, the specifics of the reflection of the Semipalatinsk tragedy  in dramatic works, the novelty of plays and the continuity of traditions, ideological and meaningful searches, language, style, problems, shows the modern directions of development and artistic integrity of dramaturgy.

It is obvious that the cardinal changes taking place in the Kazakh society, which acquired sovereignty and moved to a market economy accompanied by globalization, brought social spiritual life to a new level and significantly influenced the formation of an open human consciousness. In the first years of independence, dramatic works were born in the Kazakh artistic word, freed from the political restrictions of the era of totalitarian system and man-made «socialist realism», which quickly took root, laid new themes and plots in accordance with the requirements of the post-perestroika time. This trend is also a natural consequence of the spirit of the times, because Kazakh drama is the most important component of fiction and urban national spirituality, which is developing in the conditions of continuity of world artistic thought and has reached significant heights.