THE JULIET OF THE AZERBAIJANI THEATRE

"The fairest grant is the necessity"

(William Shakespeare, 

"Much Ado About Nothing")

We know the story of two second cousins very well: the ruler of the Karabakh Khanate, Ibrahim Xalil Khan, and Shah of Persia Agha Mohammad Qajar. Trying to reliably protect himself from the threats of the Persian shah, Ibrahim Khan negotiated the incorporation of the Karabakh Khanate into Russia. To strengthen this alliance, Princess Abashidze of Ajaria became the khan's wife, taking possession of vast lands, including the village of Saki and changed her name to Sakinskaya. It was this name that was glorified by her great-great-granddaughter, the legendary actress of the Azerbaijani theatre and cinema, Barat Sakinskaya.

Desperate after three stillborn babies, Barat's mother Govhar, a niece of the classic of Azerbaijani literature Abdulrahim-bay Haqverdiyev, long prayed to God to grant her a child. A special person was sent to Batumi in order to throw the prayer to Hazrat Abbas, written by Karabakh Sheikh Abdulrahimaga, into the Black Sea, which was considered holy.

Her prayers were heard, and soon a girl named "Gift of God" - that is what the name Barat means - was born. In gratitude, before the birth of her daughter, Govhar vowed to dress the girl only in clothes donated by people. And for four years little Barat dressed in the most expensive and elegant dresses donated by representatives of the then aristocracy. The girl was able to sing and dance well from childhood and was a welcome guest in all homes and weddings of friends and family. Like a precious gift, she pleased the eyes and hearts of her parents and people around her. Subsequently, Barat became a gift of God not only for the family but also for her people and country.

"Oh, sweet Juliet, your beauty has made me weak like a woman..."

(William Shakespeare)

Barat received her first education in Susa, but later she and her mother moved to Ganca where fate tied her to the theater in childhood. Then 10-year-old Barat picked mulberry leaves for silkworm at the Ganca breeding station. Someone suggested that her mother play in an amateur theatre, but she refused and suggested giving a chance to her little daughter. From that day the fate of the future people's artist was determined. However, it so happened that the young actress played her first role in life on the day of the death of Vladimir Lenin in a ten-minute one-act play. Barat herself said that it was in this play that she could be seen for the first time performing at factories and plants in Baku, as well as in the Ali Bayramov women's club where the performance was watched by Bolshevik women Ayna Sultanova, Gulara Qadirbayova (Koylu qizi) and Ceyran Bayramova.

In 1935, Barat Sakinskaya aged 21 first appeared on the stage of the Azerbaijan Drama Theatre where fame came to her immediately from the first leading role. And this role was Juliet - Shakespeare's young heroine, who is ready to do anything for her happiness with her beloved. Barat was rightfully considered the best Azerbaijani Juliet. Her portrait in this role is kept at Shakespeare's Museum in London. The actress also played Shakespearean Cordelia and Desdemona. However, the role of Viola from the play "Twelfth Night" was more appealing to Barat. The well-known Shakespeare expert M. Morozov, who happened to see the play performed by Azerbaijani actors, wrote: "You have a wonderful Viola. I have seen lots and lots of Violas, but the Viola of your theatre is one of the best."

In 1952, Barat Sakinskaya became "the first Azerbaijani Mirandolina", who played the role of the eponymous character. It was in that year that Carlo Goldoni's play "The Mistress of the Inn" was first produced on the stage of the Azerbaijan Drama Theatre.

Besides brilliantly played female roles, Barat Sakinskaya became the first Azerbaijani travesty actress. She played men's and children's roles, and was flawless in each of them. In the role of Kostya in the Ganja theatre, the actress impressed the audience with her naturalness and ability to properly set accents. Having played Napoleon in 1934, Barat showed the versatility of her acting talent. And if we talk about the children's roles of Barat Sakinskaya, the actress brilliantly coped with them. Her last children's role was seventh grade pupil Nazli from Rza Tahmasib's play "Blossoming Dreams". She played this role at 37!

In 1935, on the initiative of People's Artist of Azerbaijan Mustafa Mardanov, Barat began participating in radio broadcasts. Later he started to star in movies. Her repertoire includes many excellently played roles. The viewer immediately fell in love with the actress in the role of Sanam in the musical film "O Olmasin, Bu Olsun" shot on basis of the eponymous musical comedy by Uzeyir Hacibayov. Barat also played in such famous Azerbaijani films as "Meeting" and "The Telephone Operator". The craftsmanship of the actress has been praised by such famous artists as Aleksandr Tuganov, Adil Isgandarov, and Mehdi Mammadov, who was also Barat's husband. The famous director often compared her talent and ability to transform with Mirza Aga Aliyev's talent of transformation. In 1949, Barat Sakinskaya received the title of People's Artist of the Azerbaijan SSR.

"You can fall in love with beauty, but you can only love the soul!"

(William Shakespeare)

Many books and articles have been written on the career of this bright, outstanding actress." Barat Sakinskaya is an actress, whose talents could manage a variety of roles. Performances with her participation always became an event in cultural life and a grand occasion for theatregoers - so enthusiastically and sincerely she acted," theatre expert, doctor of arts and author of the book "Barat Sakinskaya", Ilham Rahimli, said about her in an interview with R+.

Her colleagues spoke highly of the willpower and character of this unique and talented woman. "Barat Sakinskaya - this name is like gold bullion in the history of the Azerbaijani theatre and cinema. Barat Sakinskaya is a woman whose contribution to theatre and cinema is invaluable. The history of theatre and cinema has seen times when women were forbidden to go on stage. … Barat appeared on stage despite all prohibitions," Elsad Ahmadov, an actor of the Ganja State Theatre, shared his memories with R+.

Her soft and gentle character was also well-known. Barat's daughter Solmaz Hamzayeva, who has worked in the Ganjlik department of Azerbaijani State Television for many years, says: "In the theatre, there is always a place for gossip and intrigue, and it is very hard to get away from this. But my mother was the kind of person who did it. She never participated in such unpleasant matters and always avoided even talking about them."

Barat passed away at age 85 in 1999, leaving behind an invaluable contribution to the art of her country and unfading memory in the heart of her people. And memory of himself and his talent is the most important and valuable thing a great artist can leave behind. As long as we keep this memory, the best Azerbaijani Juliet will be with us.

"Your part in her 

you could not keep from death;

But heaven keeps 

his part in eternal life"

(William Shakespeare)