THE THEATRE AND HOPE

Sometimes we have to hear about how the theatre is not suited to our nation's mind-set. They say that in ancient times we had nothing like it, so it never entered our genetic memory, and therefore our interest in theatre is not that big. This offends one, since the beginnings of theatre can be seen even in the nation's distant past. Not a few books have already been written about this, however, so we will not continue this topic. We will talk about what's immediate - to the theatrical present. Baku alone has sixteen theatres (counting the open Experimental Stage of the Union of Theatre Professionals, the UNS creative stage, and the Children's Theatre.) The picture, as we see, is quite attractive. This number of theatrical bridges proves that the people of Baku are interested. But the theatre is a living organism. It lives and develops along with the times. It never ceased to be, even when there were revolutions and wars. It managed to survive even times of change. And the Chinese, as we all know, say that a time of change is the worst time that can be. Our theatres have come through this period as well. Now there is a period of searching and becoming. It is as if the theatre has gotten bewildered, wending its way between the past and future. Without going in too deeply, we decided to create a rough sketch, asking a few stray questions about the impressions given by contemporary Azerbaijani theatre. Our guest is one of the leading Azerbaijani experts on theatre, a doctor of philosophy and art history, Professor Aydin Talibzada. He is the author of the book Theatre and Theatricality in Islamic Culture, The Riddle of Mehti, or Conceptual Hamletism in Theatre, and The Master and the Mirror. In his day he brilliantly translated the book The Logic of Myth by Russian and Soviet philosopher Yakov Golosovker into Azerbaijani. The author of countless articles about contemporary theatre and an original idea about the seven beauties in the epic poetry of Nizami. He is, last but not least, simply an enthusiastic person, an enthusiastic theatre critic, and an interesting conversationalist. 

- The new law on theatre allows the creation of private theatrical collectives. How many alternative theatres are there currently in Azerbaijan?

- There is only one theatre that is not state-owned - Oda, which is Turkish for "the room." Judging by the name, we could assume, that it actually is a single-room theatre. As to how alternative it is, I cannot say. Unfortunately, or rather to my shame, circumstances have not allowed me to attend this theatre. But I plan to do so in the near future. Let it not shock you that Azerbaijan has only one private theatre. Do not compare us with Poland, Russia, or Georgia. There alternative theatres always stay afloat. These are mainly those experimental, underground theatres that try to bring something completely new into theatre, playing the part of an insurgent in relation to society's traditional culture. 

- Why, in your view, have theatres like these appeared in these countries in particular?

- In the aforementioned countries there is, as it were, a theatrically-charged atmosphere: everything is somehow electrified, focused on a new play or a new wave in theatre. We, unfortunately, do not have this. For that reason creating underground theatre on ticket proceeds is impossible.

- And what about the Yug theatre of Vaqif Ibragimoglu Hasanov?

- I clearly remember how Vaqif Ibragimoglu in the 70s and 80s told me of his desire to have his own theatre. But as soon as he was given the chance to open his Yug theatre, he did everything he could to make it a state theatre - naturally, for financial reasons. And that was Vaqif himself: the contemporary myth of Azerbaijani theatre. Just imagine: if even Vaqif wasn't able to do it, then how could young, inexperienced directors do it? I hope very much that the day never comes when the government of Azerbaijan turns its back on the country's theatres. 

- Which of this country's theatres are developing in an interesting way for viewers and the art?

- Ask me something easier. "Develop" - that's a word that sounds nice. But I will avoid a direct answer and will not be verbose. Development as a process in theatre begins at that moment when the professional baseline reaches its apogee. Without the professional baseline, in other words, without perfect discipline and theatrical schooling, the theatre is not capable of development. But it is wonderful that all the directors of Azerbaijani theatres know this and are putting much effort into overcoming this problem, breathing life into the slow-going theatrical process. 

- How are they doing this?

- The thing is that all of the main theatres of Azerbaijan are trying to overcome this creative inertia with any method or technique imaginable. At the same time they often use pilot programs, resorting to the services of guest directors, methodologists, and lecturers. The main task that faces the theatrical figures of Azerbaijan is to bring Azerbaijani theatre right up to the gates of the present day, so it can freely, candidly enter into an open, honest dialogue with the contemporary viewer. 

- Professors of theatre studies tell us that the "theatre of the actor" and the "theatre of the director" have been replaced by the "theatre of the producer." What do you think about that?

- I agree completely. Marketing experts are convinced that with efficient organization they can and must sell any stage production. The play must be concocted from any of the viewer/consumer's ingredients. But that's already not a play, but a performance, a show. Something that can hardly be called fine art. And that is not what brings me into the theatre. 

- Which of Baku's theatres do you visit most often?

- The National Theatre of Drama, the Youth Theatre, and less often, when I am invited, the Theatre of Russian Drama. From time to time the Theatre of Pantomime. 

- Are you professionally bound to the work of any particular actors or directors?

- No.

- Azerbaijani theatre has entered the 143rd season of its development. As a professional, can you name any plays from the past three years that have made a big impression on you? 

- "A big impression" - that sounds a little too strong. It's just that sometimes you're glad to see even a typical, but competent production. Beauty Queen, The Skull from Connemara, and The Orphaned West at the Youth Theatre were able to impress me with their staging. I consider the latest production of the National Theatre of Drama, Monsieur Ibrahim and the Flowers of the Koran, a professional success in terms of direction. Aga Muhammed shah Qacar from the same theatre was good in its own way. 

- Can we count on new and talented young directors and artists appearing in the theatre in the near future?

- "Hope is my earthly compass, and success a reward for boldness…" I hope you do not want to hear Pakhmutova's famous song sung by me… Instead of that, a wee little smiley face… Let's hope so.