THEATRE, ACTRESS, LOVE

The Honoured Artist of Azerbaijan, Hajar Aghayeva, is a versatile actress with a striking and attractive appearance, many goals, a resolute and strong character. She can successfully create characters of different genres from comedy (He, She, It… Lover) to drama (Snowball in Summer) to tragedy (Sorry for Love) and so on. But perhaps her strongest professional side is the characters she creates in tragedies. She could easily play Electra in Sophocles' eponymous play, and Cassandra in Aeschylus' Agamemnon, and Medea by Euripides. She is now rehearsing the character of a village doctor Sughra, who finds herself in a situation when she’s compelled to make a tragic choice, in Alexander Sharovsky's production of Visit of A Woman in Black by Maqsud Ibrahimbeyov. However, we are not going to focus on professional secrets and mysteries but on life. Hajar joined the drama studio of the Russian Drama Theatre in 2004. She later graduated from the State University of Culture and Arts. Currently, she works at the State Academic Russian Drama Theatre. But she finds the limits of her performance on the stage too small to express and materialise her creative energy. That’s why Hajar Aghayeva opened a new page in her life—television—which runs in parallel with her work in theatre. She is a host of programs on television channels AzTV and Mədəniyyət. It is like an extension of her profession as an actress, but in a different capacity: as an author and host.

Theatre

As a child, she did not dream of being an actress. It all happened haphazardly: when she heard the Russian Drama Theatre’s announcement on admission, Hajar decided to try her luck.

“Why?”

“I don't know. It was an ad hoc decision... all by itself...”

By that time, she had graduated from the Folk Dances Department of the State Arts Gymnasium, and had shown herself as an amateur singer and reciter of poetry thanks to her excellent voice. And the admission committee of the theatre happily accepted Hajar to the troupe. At that moment, she could not even guess that it was a decision of her future professional life.

"What was the reaction of your parents?"

"They have always supported me. Only dad said to quit my job the instant I realised that I was not in the right place."

"Is your dad an actor either?"

"No. He’s a television director."

"So..."

"No, no! Dad did not encourage me to choose a public profession. He wished I would follow in his footsteps."

Creative family

If we look back and take a short trip to the pre- and post-revolutionary times that Hajar’s family from both sides had many men of art, including opera singers (Alibala Aghayev), dramatic actors (Kubra Dadashova, Mammadagha Dadashov), cartoonists (Rauf Dadashov), professional dancers (Ramiz and Tahir Eynullayev), and poets (Nabi Khazri). Incidentally, she never mentions her last name, which underwent a change during the Bolshevik reforms. This page of family history still remains closed. Although native residents of Baku from the last century remember that the Aghabeyov family not only had a profitable business of running guest houses, but also a solid investment in Swiss banks.

On manners

"I can see a gradual erosion of qualities that identify us as Azerbaijanis; they slowly become a thing of the past. Moral taboos we received from our ancestors are now called 'old' and out of fashion... I cannot describe this as something good."

"Indeed, true ideals are being replaced with false ones..."

"That is why my husband and I attach great importance to preserving the moral values that we received from our parents and relatives. Our country has been known for its multicultural values for centuries, but never has the sacred commandments of the Qur’an been so devalued as they are today. In Ali and Nino Ali’s father utters a very wise statement. He says that Azerbaijan is going to enter a new period of its history and nothing can interfere with this historical course of events. But we, he says, without opposing this course of events, can preserve ourselves as a nation, as a people with a certain culture, which has always developed because we had never abandoned those good old things while accepting the new ones..."

"So true. That is why it was so easy for people of other nationalities and cultures to settle in Azerbaijan. Like Nino Kipiani from Kurban Said’s famous story. She refuses to go to Europe when Ali offers her to do so, thinking that it will be hard to her get used to foreign traditions and rituals.”

“Yes. And she rejects his idea categorically. Being a Christian does not prevent her from understanding, accepting and loving all things related to cultural traditions of Azerbaijan.”

"Why?"

"Because Nino grew up in Baku. She went to the same school I did. But in Nino's time it was a  gymnasium for girls. She walked through the same streets of Icheri Sheher that I walk through and where I spent my childhood. Even now, as I walk the streets of Icheri Sheher, I often think of Nino. She and I have a lot in common."

"What is that?"

"I think it’s love that we both share. Love for family and traditions. Love for moral elements found in both our cultures: Christian and Muslim. Love of city and country. But you know, a city is more about its people than architecture. And this is where I respect and feel proud of my character. So much so that at one point I insisted that we went to Tbilisi with my family to visit the grave of Nino Chavchavadze, who was a perfect example of loyalty and devotion to Nino Kipiani. You do remember the tragic love story of Nino Chavchavadze and Griboyedov, don’t you? As a tribute to my character, I wanted to see her tombstone personally..."

"Nino and Ali lived in Icheri Sheher. The alleged author of the novel, Yusif Chemenzeminli, is nearby. I mean the street where he lived, which is now called the Bunyad Sardarov Street. But I think we are talking about two different buildings..."

"Yes. Alikhan Shirvanshir’s (Ali) house is located near the Qosha Qapi, as suggested by Fuad Akhundov, a prominent connoisseur of Baku. It is the Khanlarovs’ house. Unfortunately, there is a bakery now and you cannot enter it. The second house, I think, is located near the fortress wall, just opposite the Governor's Garden. Remember when Ali looks out the window of his house and sees that garden? I think the house described in the novel is where the Italian embassy is now located. But that's just a guess."

"When the author describes the houses of his characters gives a description of a ball held at Taghiyev's house, the oil tycoon, one of the sons of whom is Ali Shirvanshir's friend."

“I remember the scene. I often visit the History Museum. And I love the building as much as I love walking in Icheri Sheher. When I need to recharge, I visit these places: to Taghiyevs and Kurban Said's characters.”

"By the way, there has been a controversy on social media about the monument to Taghiyev recently installed in front of the entrance to Icherisheher metro station. People say it is odd to see the monument right on the ground instead of being placed on a pedestal..."

"I think it is all about the stereotypes many of us have, our perceptions. If we look back at historical examples, we can see that monuments to almost all famous persons were put on a pedestal to exalt them, raise them above the people. But Taghiyev himself was a man from among the people. He was a man with his feet firmly and confidently on the native soil. It was his soil. Both then, when he was alive, and now, when his memory lives on. And he still stands on the ground as firmly and confidently as he did then. I think that's the way it should be. He would hardly have enjoyed standing on a high pedestal looking at us from the above..."

About role functions

"We play different roles in our daily lives. Wife, mother, actress, TV host on channels, artist. Which one is the closest to you?"

"All of them! Because all of the above plus being a daughter, driver, friend, sister, niece make what I am, Hajar Aghayeva."

"When do you enjoy picking up your brush?"

"At the most unpredictable moment. For instance, when I saw a refraction of sunlight near the minarets of a mosque, I painted a story that I called Novruz. But I cannot say that I am a painter, let alone a professional. I have not studied painting. I paint as my heart commands me. I paint for myself. It gives me a sense of harmony with the moments of delight, joy and enlightenment."

"What if someone wanted to buy one of your works?"

"Well, perhaps I would say no. It feels... as if you’re selling yourself. It's impossible."

"But when you step onto the stage as Nino or Gultekin or Aynur, don’t you sell herself as wel, so to speak?"

"No! It is not the same. It helps my audience understand why one cannot compromise or what encourages or discourages one from making concessions. No! These cannot be compared at all."

"What does theatre, as a form of art, give you as an actress?"

"Professional pleasure, joy and happiness when working on my role becomes a process of creative exploration and discovery. When I can create a psychologically convincing character, when both the director and audience accept my character, understand and love her. It is the moment I feel and get convinced that I made a right choice."

"You did indeed, and confirmed this when you received the title of Honoured Artist of Azerbaijan awarded to you on the 100th anniversary of your theatre where you have been working for eighteen years. It happened amid the lockdown, by the way. What was your reaction when you first heard about having been awarded?"

"I couldn't believe it at first. But then the first person I thought of was my dad. He is no longer with us, but he would have been pleased to hear this news as a confirmation of my accomplishments at the Samed Vurghun Academic Russian Drama Theatre. Then I thought about the administration of our theatre, which confirmed that I had chosen the right profession this way. Seizing the opportunity, I would like to say that I would not be who I am had my directors, People's Artists Irana Taghizade, Alexander Sharovsky, Fuad Poladov, Lyudmila Dukhovnaya and Alexandra Nikushina not contributed to my professional life. And many others with whom I performed on the stage and learned from. I am also deeply grateful to the administrative director of our theatre Adalet Hajiyev.

“Everything I achieved and learned in my professional life would be impossible without the participation and professional support of these people. I am grateful to all of them without exception!”