EXTERNAL DIRECTOR

The ongoing collaboration between the Azerbaijan State Youth Theatre and the Basangov Kalmyk National Drama Theater has stood for several years now. A decision reached between the both teams during one of the festivals has soon been followed by an exchange of tour performances: the director of the Kalmyk Theatre, the Honored Artist of the Russian Federation Boris Manjiyev staged a play at the Youth Theatre in Baku while the director of the Azerbaijani theater, the Honored Artist of Azerbaijan Bahram Osmanov, staged the other one in Elista. The final premiere for adults run at the Youth Theatre was also staged by Boris Manjiyev. The “Neighbours” written by the classic of the Kalmyk literature Baatr Basangov was performed by Vera Shugrayeva and Ali Amirli. During the rehearsals, R+ had a chance to interview the acknowledged friend of Azerbaijan Boris Manjiyev.

- It all started at the festival “Belaya Vezha” in Belarus where the directors of both theatres – Mubariz Hamidov and Galina Shurayeva – have come to know each other. They agreed on collaboration, which provided for reciprocal tours, exchange of directors, and productions that employ troupes from both theatres, as well as other equally attractive joint projects. Currently, I am here to adapt for the Azerbaijani stage the novel “Our Kinsfolk” written by the founding father of the Kalmyk drama Baatr Basangov. It’s quite a pleasing experience... I am infinitely happy to have a second chance to work with the crew of the Youth Theatre. I really wonder if your actors and the audience will like the Kalmyk play. Our friendship has gained quite a new artistic meaning. It was by happy coincidence that two different theatres have become acquainted in Belarus and this accident sort of felt sparks. This mutual attraction now allows us to bask in the warmth of the fire originated from that spark of friendship and cooperation. “Letters from Hell” of the Azerbaijani classic playwright A. Hagverdiyev was my very first experience thanks to this collaboration.

- The play seems quite familiar but one needs to watch the show until the end to get the notion of it since the whole idea reveals in the last three minutes.

- Thank you for your appraisal. I have known Hagverdiyev as a playwright and, nevertheless, decided to stage his prose. “Letters from Hell” consists of two parts - a journey to hell and a return to the real life. But I just could not adapt both parts. It took me almost half a year until I risked combining them on stage. Actually, I was very afraid of Hagverdiyev because you have to do either one of the two: stage his work well, or not touch it at all. Then I suddenly found a solution, wrote the adaption for the stage in a few days and the team accepted my version of the play.

- Was it difficult to work with a new team speaking a different language?

- It is always difficult to adjust to a new team. In addition, there is quite a different rehearsal system, a completely different approach here. Initially, I noticed that the troupe was reluctant to accept my version and felt cautious about my “tricks”. But I already had the play in its entirety in my mind. I had a clear vision of the finale and was guiding my team towards it. We finally understood each other and delivered “Letters from Hell” in time. It was great to see that the audience has warmly accepted the performance. Let me tell you a secret: for the last ten or twelve years, I am afraid of tackling new plays. As soon as I start working on a new play, I feel that fear in the back of my mind. I wonder if I can jump over the success of the previous play. You know, the audience has no excuse for your mistakes if it is aware of you artistic record of accomplishments. Only understanding this responsibility allows me to start working on a new show.

- Is that good or bad?

- Actually, I like this feeling of fear. It simply means I am not getting too conceited. It feels like the first marriage. And I feel the same thing now as well. As if I have put this play before but with a new team on the new stage.

- The cast of “Our Kinsfolk” is almost the same as in your first play. Do you have favorite actors that you are comfortable to work with?

- You know, in both cases, I was not involved in casting process since I have not been familiar with the troupe well. I completely trusted the administration of the theater. They know better the potential of individual actors. If I am able to put the third performance here as well, I will do casting myself. After all, working with actors chosen by other people is not difficult at all. We still have some work to do. When the actor knows what the director wants and believes in his vision, then he has full confidence in him and will follow him eventually. The problem arises when the director acts blindly, like in that famous fable about a swan, a pike and a crawfish. When the director and actors understand each other well, then the talented actors can even suggest the director a few tips which makes the performance a good and a memorable one.

- I was glad to know that you often attend performances in our theaters. It would otherwise seem unnatural for a theatrical director. What is your overall impression about the modern Azerbaijani theater?

- First of all, I would say that all of the theaters in Baku are being maintained quite well and technically equipped. The only thing that is left to do is to work and create. Except the opera house, of course, which needs a serious renovation. This is a tremendous accomplishment for the country and its leader. I like visiting them and seeing what people is doing inside. The Musical Comedy Theatre has a wonderful orchestra and soloists with a strong voice but their performance is almost repetitive...

- What about a Broadway show?

- That is the point! All of a sudden, you came across a completely different theater with different dimension, different requirements and even a different language... But two weeks later your guys shaken up, took a detached view at own performance and realized their abilities! I am very happy for them. Now they can sing, play and dance; they believe in themselves. And while they are under the impression of the Broadway show and keep feeling inspired, it is necessary to run a yet another show. I would love to see the performance of young directors. Unfortunately, I keep missing my chance to attend their performances either because they are not available when I am able to, or they are staged seldom. The performance of young directors is always interesting since they can feel current trends. I regard any theater by young directors since they are landmarks that define time and novelties for me living in their own time dimension while we live based on our experiences. The younger generation is unexperienced but the imperatives our time define their styles. So, I really love watching them but I try not to disturb them. When I feel a need to share with them a few professional tips, I try not to be hard on them. There is a new wave of young directors in Russia. Sometimes they put such interesting and even strange performances that I keep asking myself if I am able to understand what I have just seen. Probably, I miss out something... I sincerely wish young Azerbaijani directors more courageous performances that would show us something new, something that we have not heard of before. I really enjoyed the Pantomime Theatre. Bakhtiyar is a constant seeker. He showed me the building of the theater, and was very enthusiastic about it after the restoration! I could see the deep love for the theater in his eyes. There is only a few such people out there. I do respect this! I would like to see your national classics in Azdrama and the national opera but I cannot due to a lack of time... I am really impressed. And I am pleased to know that the theater workers are not deprived of attention. I have learned recently that your president signed a decree on the allocation of pensions and grants to theatrical artists. Unfortunately, we miss this kind of attention in our country. Maybe we will see this someday. Your directors even have their intellectual rights protected. It is difficult to imagine this kind of generosity in a country, which currently suffers from war.

- By the way, during the Second World War, Churchill was submitted the state budget for the next year. He studied the document and asked: “What about allocations to arts?” He was explained that the country was at war. Churchill said: “After all, that’s what we are fighting for.” And he returned the budget back for revision.

- We have been fighting for this right since the times of Stalin. Only recently, the State Duma discussed this issue in the first reading. As a member of the Directors Guild of Russia, I can assure you that it will remain unsolved in Russia for some long time. I praise all of the statesmen like Churchill who do not forget about the culture and arts even in the most difficult times.

- Is there anything else that is interesting for you in Azerbaijan besides the theatre?

- I keep reading a lot about your country and the great sons of Azerbaijan. Currently, I am reading about Heydar Aliyev, Behbudov, and Haji Zeynalabdin Taghiyev. They are very different and great people, and I am keen to understand them. Once I visited the house-museum of Taghiyev and I was struck by a refined taste of the owner, his creativity. Taghiyev had a straight and far-reaching vision about the future of his nation. His famous statement about women's education is beyond any praise! Even in civilized countries of his time, the women were, basically, illiterate and had no rights. Your country has no other way but to go forward. It is developing dynamically. You have been able to cure the everlasting Russian disease: the roads! Unfortunately, we are reluctant to do the same in Russia.

- Your impression about the Azerbaijani theater arts and your interest in Azerbaijan through the theater is very remarkable and revealing...

- Well, I read a lot and I think I have discovered the eternal truth: in essence, the human beings or individual nationalities have not lived separately. Yes, there were times when different nations had clashes but this had a universal effect, hadn’t it? But at the end of the day, the cultures were able to find ways to converge and enrich mutually. The Azerbaijani theater will be developing further since it has the required potential for this. It is necessary to take steps towards the international arena, to show your abilities to the world and to look at what others are capable of doing. If you do not travel and work with other people, you instantly start considering yourself a genius or a monument since you think nobody can come near to you. Our friendship and cooperation help progressing and not becoming voiceless monuments.