THE PUPPET CHARMER

When you enter the auditorium of the puppet theatre something strange and mysterious causes your heart to miss a beat. Because soon puppets will come to life, beasts will speak with human voices and fairy tales will take you back to your childhood. "Puppet shows bring much joy and happiness to children. But shows also have an educational function. After all, it is in childhood that children learn the difference between good and evil and truth and lies," Qurban Masimov, actor and chief director of the Abdulla Saiq Azerbaijani State Puppet Theatre, believes.

- What did you dream of becoming when you were a child and why did you choose to become a director?

- I was born in Saki. Since I was very young I have always liked drawing - I used to do wood carving and I would think up interesting stories and organize shows for the family. When I was alone in the house, I would look for my father's tools and carve various figures out of wood. Some of the things I made are still in my study. I also adored the cinema and often went with my parents to see shows at the Saki Drama Theatre. I remember, when I was about six, Mummy took me to a show based on the fairy tale "Malik Mammad", during which the main hero unexpectedly came up to me and, noticing my fiery look, drew his sword. As I touched the gleaming weapon, it seemed as if I was struck by thousands of flashes of lightning. It was as if something magical had happened to me… I think it was probably then that I fell in love with the stage for ever. In the senior classes I was quite certain I would become a director. My grandfather, Dadas, who was well known as a taxi driver in Seki, decided to help me and asked his friend and director Rasim Ocagov, to persuade his colleague, Tofiq Ismaylov, to prepare me for the examinations. Tofiq muallim [term of respect] agreed and a few months later I joined the first course at the faculty of stage direction and acting of the State University of Culture and Art. There was an inbred feeling in Seki that acting wasn't a very manly profession. So when the neighbours used to ask me where I had been, I would say I had been to the faculty of stage direction. "But why do you want to become a director?" they persisted. My reply - "A director directs actors" - didn't altogether satisfy them, and they turned away. At university, as well as the art of direction, I was also interested in stage movement. These are vital skills that an actor must use in working on a part. The ability to convey the thoughts and emotions of the hero through his body language depends on how an actor deports himself and his mobility. I once found out that there was a group in our college that was run by Baxtiyar Xanizada. I would spend a long time watching the students through a keyhole until Baxtiyar invited me to join them. "For goodness sake, open the door and come in!" he said. That was how I joined the studio of the pantomime "The Madmen Gathering", which later acquired the status of the State Pantomime Theatre.

- As far as I am aware, you also graduated from the vocal department of the Baku Musical Academy. Did you want to sing on stage?

- No. There are enough singers around without me. I needed training at the musical academy in order to understand the artistic peculiarities of the musical theatre and to later use my knowledge when working on productions. I also graduated from Robert Sturua's International Theatrical Master Class in Tbilisi. I love learning, finding out new things and experimenting. I believe that life has been given to us so that we learn something new every day and gain experience. I don't understand those who, when they graduate, believe they are already "academics" and that they know everything and can do anything. It is never too late to learn and develop oneself…

- How did you get into the Abdulla Saiq Puppet Theatre?

- A few years ago, I was surprised to get an invitation from Rasad Ahmadzada, the director of the puppet theatre, to become chief director. I agreed and thanked him for his regard for my work, and I was also grateful to the Ministry of Culture and Tourism, who endorsed my candidature. I love children and I had experience of working with them. Many years ago, actors of the Pantomime Theatre Parviz Mammadrzayev, Elman Rafiyev and I seriously studied the art of clowning. Every clown has his own image and character: Parviz, the surly and na?ve whimperer Zir-Zir; Elman, the carefree and inquisitive Ni-Ni; and I, the serious and thoughtful Appa. You could say that we were the first clowns on the stage and the first animators in Baku to be invited to birthdays and children's celebrations. The children were delighted with our performances, jokes and games. And do you know what the secret of the children's love was? During our shows we became children. We spoke to the children in their own language, and they saw us as big kids, who had to be taught, with whom they could play hide-and-seek, have a lark and muck about with.

- What was the most important thing about working with children?

- Love. You have to love children and know how they tick. Children are incredibly sensitive and you can't fool them, whatever mask you may hide behind. There are some children who are not given much attention at home and they withdraw into their shell or become like prickly hedgehogs. And it is our job to get them out of this dark place and back into the community. We must get children to like the theatre, and not just like it, but to discover for themselves the new and important truths that will make them better, kinder and more intelligent. And to do this we talk to them about serious things: about love and hate, about good and bad. In this sense, the puppet theatre has its own big tasks. After all, puppets cover everything: comedy, tragedy, fairy tales, drama, fables, parables, metaphors…It's just that we bring them to life.

 - I wonder what you think about the cartoon films that they "churn out" on television today?

- I am against children watching aggressive foreign cartoons. What do they teach them? How to kill, destroy and annihilate. Many of today's cartoons they put out on TV can have a bad influence on a child's development, make him inclined towards aggression and different kinds of behaviour, and there are even cases where cartoons lead to mental disorders. So it is very important that we don't allow children to watch cartoons without proper control. Many parents today don't read fairy stories to their children - they don't have the time, and there is no time for magic in today's complex world. And if you ask children today what their favourite fairy tale is, most of them will stay silent, and instead of the name of a favourite fairy tale hero they will say some character from a computer game or some cartoon about evil aliens from outer space. Consequently, children today don't know the old fairy-tale heroes, and the new fairy-tale writers haven't thought up any new ones. I think the time has come to revive the good old tradition of fairy stories and invent new characters who will teach children goodness, courage and humanity. I have a daughter and she adores coming to our shows and afterwards discussing the story with me. I learn a lot from her, and I learn a lot from children in general. Adults often forget that they, too, were children once. I always liked to bring out the child within the adult.

- Could you tell us something about your theatre's repertoire? What new things can we see there?

- "Puss in Boots" is one of the French writer Charles Perrault's most well-known fairy tales. Although it was written in the 17th century, it has been a favourite of children for centuries. Anar Mammadov is director-producer of the show. Some changes will be made to the show - there will be new heroes who will help disclose the focal points of the production. Ravana Yaqubova is the artistic director of the show and Merited Artiste Cahangir Zulfuqarov is the composer. I myself wrote the script for another show which you can see at our theatre, the fairy tale "Ag babanin nagili". This is not a traditional puppet show with marionettes, but an inter-active show with full-size puppets. A full-size puppet is a dressed puppet with a person inside it. The actors dressed in the costumes and masks have to show their emotions by moving their body and hands. The children in the show are not just spectators, but also active participants who answer the questions of the heroes, helping them and singing along with them. When I decided to put on a show with full-size puppets, many people were sceptical, because two-metre high puppets are usually seen at grand shows and at stadiums. But it all worked out very well! The theatre's art director, Iqbal Aliyev, and his team of workers made six wonderful costumes for the actors and vivid sets of plush and felt. They made a nice, cosy little house on the edge of a nice, cosy wood. The young audience loved it! I wrote the script for another show "The fairy tale of Tik-Tik and Tag-Tag" from Abdulla Saig's story "Tig-Tig xanim". I changed the sad ending so as not to upset the young audience, and I thought up another friend Tag-Tag for the happy-go-lucky Tik-Tik. He lives next door to Tik-Tik and is ready to become a true friend but she, frivolous as she is, doesn't notice. One winter, Tik-Tik sinks into a puddle, which to her is a whole lake. The brave Tag-Tag rescues her. The composer Vuqar Camalzada wrote the music for the songs. During the show the young audience empathizes with the heroes - they try to help them with advice, are angry at the injustice and pleased at the happy ending. The set is changed under subdued lighting. I try never to switch off the light altogether because most children are frightened of the dark. When he is sitting in the audience, a child shouldn't be afraid. Here he should feel comfortable and at home and want to come to the theatre again. Because love for great dramatic art starts from when a child goes to the puppet theatre.

- Which fairy-tale heroes were popular when you were a child?

- Malik Mammad and Ilya Muromets. I liked the bold and strong heroes of fairy tales who liberated their land from the bogey men and fought monsters and dragons. And I adored Baba-Yaga as played by Georgiy Millyar in the Soviet film "Morozko". I liked to copy his funny, gravel voice. I always liked to imitate actors and singers. Even when I was in the Navy I used to entertain everyone with my parodies and performances in the song-and-dance team.

- Apart from your many roles in the theatre and the cinema, audiences also remember you as the funny creature Nam-Nam in the cookery show. Was this your first encounter with cookery?

- Yes. I thought up Nam-Nam, and we were inseparable for over 10 years. I was able to create the image and personality of this strange creature with my own hands. I joined the right and left hands and the result was a jolly fairy-tale character - something between a bogey man and a goblin, who lives in the kitchen. You know, I have always tried to be across-the-board. Every time I start something new I study every aspect connected with my idea. In the end I learnt how to film and cut videos, to sketch theatrical sets, to photograph, sing and dance.

- From the outside, you seem to be a happy man… 

- I am. My problems are my own, and I don't pass them on to anyone else. Everyone should be made to smile and be happy. As for grumbling and complaining, let's leave that to Nightingale-the-Robber…Our job is to create something beautiful. I like what I do. I think that is the secret of my happiness. Because life is more rewarding for those who enjoy their work. And I don't go to the theatre to work, but for relaxation and enjoyment.