For the ancient enlighteners, dramaturgy should be a mirror for establishing close relations with the common people, bringing them closer, opening the minds of the people, getting rid of religious heresies and superstitions that are rampant in the society, ignorance, extravagances, and moral and moral corruptions that are increasing due to ignorance. Jadids artistically expressed their ideas about learning knowledge, being a progressive, open-minded person through the genres of dramaturgy, and they even acted as directors, actors, staged and demonstrated to the public. Creators such as Mahmudhoja Behbudi, Munavvar Qori Abdurashidkhanov, Fitrat, Abdulla Qadiri, Sadriddin Ainiy, Abdulla Badriy, Haji Mu'in, Hamza Hakimzada Niyozi, A Avloni played a major role in laying the foundations of national Uzbek dramaturgy and national theater in Turkestan. The Jadids looked at the art of "Theatre" as "the way of salvation". In this sense, Mahmudhoja Behbudi, the spiritual founder of Uzbek dramaturgy, created his national tragedy "Padarkush" (1911). This article analyzes the drama "Padarkush" and the dramas "Toy" by Haji Mu'in Shukrullo and Nusratilla Qudratilla. In both dramas, the dramatists tried to open the minds of the people by showing the murders, extravagance, and extravagant wedding expenses that followed ignorance. In Jadid's dramaturgy, it is shown that immorality, ignorance, ignorance, laziness, extravagance, youthism, polygamy, and gluttony are the negative vices of Turkestan national life.
Modern Uzbek Dramaturgy, The First National Tragedy, Behbudi, Shukrullo, Theater.