REJISSORNING AKTYOR BILAN ISHLASH TIZIMI.

KIRISH: ushbu maqolada rejissorning aktyor bilan ishlash tizimi nazariy va amaliy jihatdan keng qamrovli tarzda tadqiq etiladi. Rejissura san’atining shakllanish tarixi va uning aktyorlik pedagogikasi bilan o‘zaro munosabati tahlil qilinib, bu sohadagi yetakchi metodlar qiyosiy o'rganiladi. MAQSAD: ushbu maqolaning asosiy maqsadi — rejissyor munosabatning nazariy asoslarini, metodologik tizimlari va amaliy tatbiqini ilmiy tahlil qilish hamda ushbu munosabatning teatr va kino san'atidagi o'ziga xos ko'rinishlarini qiyosiy o‘rganishdan iborat. MATERIALLAR VA METODLAR: tadqiqotda bir necha nuqtadagi manba va metodlardan foydalanildi. Nazariy manba sifatida K.S.Stanislavskiyning “Aktyorning o‘z ustida ustida ishlashi” va “San’atdagi hayotim” asarlari, M.Qodirovning “O'zbek teatri an’analari”, T.Tursunov “XX asr o‘zbek teatri tarixi” va X.Abdusamatovning “Drama nazariyasi” kabi milliy teatrshunoslik manbalari asos qilib olindi. Xalqaro miqyosda esa kino pedagogikasi va rejissyorlik amaliyotiga oid ilmiy-metodik adabiyotlardan foydalanildi. MUHOKAMA VA NATIJALAR: tadqiqot sohasi ko'rinishidagi, rejissyor munosabati bir tomonga boshqaruv akti emas – bu o'zaro ta'sir va hamkorlikdagi ijodiy izlanish jarayonidir. Teatr va kino rejissurasi metodologik farqlarga doir tahlil bir qancha aniq natijaga kelindi. Kino suratga olishning diskret tuzilmasi – ya’ni bir sahnaning o‘nlab marta, turli burchakdan, xronologik ketma-ketliksiz suratga olish – aktyor uchun teatrda mavjud bo‘lmagan psixofizik yukni hosil qiladi. O‘zbek aktyori roli talqinida tarixan shakllangan mustaqillik odatiga ega bo‘lib, bu zamonaviy dialogik rejissyorlik modeli bilan uyg‘unlashganda ishlab chiqish hosil bo‘ladi. XULOSA: rejissyor-aktyor munosabati teatr va kino san’atining metodologik negizini tashkil qiladi. Stanislavskiy tizimi tomonidan tegishli bu munosabat — rejissyorning aktyor uchun “berilgan shart-sharoit”ni tasdiqlash va uni “jismoniy yetaklash usuli” orqali — bugungi kunda ham o‘z ilmiy va amaliy ahamiyatini saqlash fundamental prinsiplarini ifodalaydi. Chitka jarayonidan mizansahna qurishgacha bo'lgan bosqichlarning har biri ushbu munosabatning xos ko'rinishini namoyon qiladi.

INTRODUCTION: this article comprehensively examines the system of a director’s work with an actor from both theoretical and practical perspectives. It analyzes the history of the formation of directing as an art form and its relationship with acting pedagogy, as well as comparatively studies the leading methods in this field. AIM: the main aim of this article is to provide a scientific analysis of the theoretical foundations, methodological systems, and practical applications of director-actor relationships, as well as to comparatively study their specific manifestations in theatre and cinema. MATERIALS AND METHODS: the study is based on various sources and methods. As theoretical foundations, the works of K.S.Stanislavski — “An Actor’s Work on Himself” and “My Life in Art” — were used, along with national theatre studies sources such as M.Qodirov’s “Traditions of Uzbek Theatre”, T.Tursunov’s “History of Uzbek Theatre of the 20th Century”, and Kh.Abdusamatov’s “Theory of Drama”. Additionally, international scientific and methodological literature on film pedagogy and directing practice was utilized. DISCUSSION AND RESULTS: the research shows that the director-actor relationship is not a one-sided act of control, but rather a process of mutual influence and collaborative creative exploration. The analysis of methodological differences between theatre and film directing led to several specific conclusions. The discrete structure of film production — that is, shooting a single scene multiple times, from different angles, and without chronological sequence — creates a psychophysical burden for the actor that does not exist in theatre. The Uzbek actor has historically developed a tendency toward independence in role interpretation, which produces effective results when combined with modern dialogic directing models. CONCLUSION: the director-actor relationship forms the methodological foundation of both theatre and cinema. The principles established by the Stanislavski system — the director’s formulation of the “given circumstances” for the actor and their realization through the “method of physical actions” — continue to retain their scientific and practical significance today. Each stage, from script reading to the construction of mise-en-scène, reflects the specific nature of this relationship.