WAR 4.4

The 1st Theatre Festival initiated by theatre experts was held in Baku. In fact, the idea was there for a long time. Pandemic thwarted the intentions of the organisers to hold the festival in May 2021. However, thanks to the support of the Ministry of Culture, Teatro.az announced on August 6 a theatre festival of short performances named 4.4. What does that dot between the numbers stand for? This is a tribute of the initiators both to the anniversary of Azerbaijan's victory in the 44-day war of liberation, and to the preceding historical event—the four-day battles in April 2016. The festival was supported by the Ministry of Culture, State Academic Musical Theatre, and the International Union of Theatre Critics. It was attended by representatives of state-run, entreprise, and independent theatres. The repertoire includes 22 performances demonstrated in video format. The maximum duration of performances is 15 minutes of screen time.

War 4.4 as seen by young directors

The theme of the festival was not accidental. The occasion—the victory of Azerbaijan in the liberation war for Garabagh—was organically combined with the director's view of experimental creativity. Participants were required to express their attitude and understanding of the significance of the historical fact in 15 minutes of stage time through the theatrical language of mise-en-scenes, symbols, and metaphors. During the four days of the festival, a competent jury of professionals assessed the artistic and staging qualities of each performance. The jury consisted of the Honoured Artist, art critic, professor Israfil Israfilov (chairman), Honoured Artist, theatre expert Aydin Talibzade, Honoured Artist, director Mehriban Alakbarzade, Honoured Artist, writer and playwright Ali Amirli, as well as the People's Artist Parviz Mammadrzayev.

Confidential conversation between the jury members and the participants of the festival was not a panel discussion. It was not a conversation between mentors and students, but professional and creative partners. A conversation between parties equally interested in a highly professional outcome. A confidential, open, humane, and professionally honest conversation. The analysis of each performance was not biased, but detailed, and objective. Thanks to a fair assessment of each performance—from its conception to implementation—the jury gave the ‘newbie’ authors of short performances a master-class in professional trust, and criticism to strengthen the positions of the national theatre director. Unfortunately, the authors of short performances were tempted to work behind a video camera, hence their works looked like something made for television or cinema. Perhaps they forgot that the Theatre has its own laws with their ‘proposed circumstances’ and the action taking place ‘here and now’.

22 director's versions, 22 attempts

The festival was a phenomenon not only because the artists and their fans have become thirsty for such events during the pandemic. Certainly, 22 director's versions, 22 attempts to reflect on the essence of a war as a problem were not perfect neither in content nor in form, but demonstrated a willingness to create, invent, and try. Not always intelligible, not always accurate, not always professional in terms of drama development and directorial accents, but emotional and passionate. Sometimes the feelings and expressiveness of action were more than the staged view of the director. Sometimes the attempts of directors to express their feelings and thoughts resembled literary dialogues, turning the action into a simple illustration. That’s why we need festivals so that the authors, which according to the applicable copyright laws of Azerbaijan are directors, could know the measure and degree of moral, ideological, artistic, and professional responsibility for the performances they present to the audience. Of course, there were works with a pronounced directorial potential, but they did not deserve awards. One of them was Konul Shahbazova-Gasimova’s Until the Last Breath of the Baku Theatre for Children and Youth. It was an attempt to express the idea of popular heroism through the contemporary style (here and now) could be a success had the director enough experience to implement the idea in practice. Abdulla Elshadly’s Shot by Shot (independent theatre Insan) was provocative and challenging, but incomplete as the director's production. We could not see the director’s view of the story; in fact, it was buried under a heap of acting passions and emotions, as a product of the talented director’s hot temper. The animation performance The Legend of Xarıbülbül (Ganja Puppet Theatre), presented by Zulfiyya Aliyeva could also be fascinating and interesting if the author avoided going too deep into the pool of animation possibilities, and used the theatrical action thanks to the aesthetics and possibilities of the puppet theatre.

"In general, how would you assess the projects that did not get awards at the festival?"

Prof. Aydin Talibzade, Honoured Artist, Theatre Critic:

"There were very few purely directorial, conceptually structured works. Many of them were weak, unsuccessful, outdated in form and artistic conception. In most cases, these short works were more like school matinees, zealously trying to contribute to the theme of the festival using the poetic language of the 1940-1950s. One of such works was a stage miniature by Emil Bakuvi based on Svetlana Alexeevich’s War Does Not Have a Woman's Face (National Academic Drama Theatre), which looked quite appealing. There was a front view of a dining table covered with wet sand. Behind the table sat a woman looking in the sand for her plate, which suddenly turned into a military platform with a group of soldiers marching. Obviously, the director hinted at the war literally destroying everything on its path, the entire material and spiritual culture of humankind, including its mental development. I believe that this was an interesting attempt to symbolise the essence of Alexeevich's documentary story in visual artistic images. Thus, Emil Bakuvi proved that he was well familiar with modern conceptual direction and that he owned the categorical tools needed for a modern director. I was also pleased to watch the work of the ESA Inclusive Theatre, which gradually develops into a professional team. With each new performance, director Nihad Gulamzade presents a more confident and accurate work with his actors. That’s all I can tell you about my positive observations. We can expect outstanding works and directors capable of leading a theatrical collective only when our entire theatrical environment is able to mobilise and advance."

"What were your professional expectations about this festival?"

Israfil Israfilov, Chairman of Jury:

"Any festival, regardless of the level and number of participants, is a phenomenon in itself. To be honest, there was a long pause in the cultural life of our country due to the pandemic. Then suddenly, there was an idea to hold a festival of short performances. Thanks to the support of the Ministry of Culture and Teatro.az, it was possible to make this stage miracle true. It was a miracle indeed, because it was an unexpected and bold move. It was like breathing a second life to the theatrical life of Azerbaijan.

“The festival showed that it was a timely and necessary experience. Festivals are known to be a place where expectations and enthusiasm meet. There was more than enough enthusiasm, but only a few of the presented performances deserved attention.

“Secondly, no reasonable person is able to predict the future achievements of the attendees. For there are many objective and subjective factors that affect our destiny both in our life and professional career. It is extremely difficult to judge the level of talent of these young directors by their works presented at the festival. These works are not purely theatrical performances. Therefore, it is difficult to assess them in this quality. Many of them are worth attention as films-performances though. There are many gifted people among the authors, but we must admit that it is difficult, almost impossible to make an artistically rewarding performance on a specific topic in 15 minutes of stage time. I am happy that some authors could do this.

“As for the problem of the young generation of directors, I did not notice bright creators among the participants, unfortunately.

“From what I have discovered in these years researching the art of directorship, I can tell you that, unlike acting, the director's talent shows itself after many years. It’s like a diamond, which needs many years of grinding.”

Closing of the festival

The closing ceremony of the festival was held at the State Academic Musical Theatre. First Deputy Minister of Culture Elnur Aliyev said that the festival was very important and necessary to develop theatrical art, to contribute to the education of new professionals, and to identify new theatrical forms. The head and one of the initiators of the project, Vidadi Gafarov, thanked the Ministry of Culture for the support: “The festival will become traditional and encourage young directors for creative development, the search of new forms and ideas. It’s the start of a professional dialogue, which we must continue."

Director of the event, Elchin Jafarov, congratulated the participants and announced an award ceremony for the performances. The awardees were Tarlan Abdullayev for The Last Meeting by the Lankaran Drama Theatre (3rd place and ₼750), Zaur Aliyev for 44 by the State Academic Musical Theatre, Baku (2nd place and ₼1,000), and Nihad Gulamzade for Neighbour by the ESA Theatre (1st place, ₼1,500, and the Laurel Cup).

"What will the festival look like next year? Are you going to invite professional and amateur groups. Will you change the format of the event?"

Director of the festival, theatre expert, art historian, head of the literature and drama section of the Yugh Theatre, Elchin Jafarov:

"Yes, that's what we planned. This is our first festival, we did not have much time for preparation. This year we did not apply strict rules during the selection process; hence we accepted 22 of almost 30 performances submitted for review. Next year, the applicants will have more time to prepare, while the selection process will be more demanding. In addition, the festival program will include both competitive and non-competitive works. But it can still be revised after discussing this issue with the Ministry of Culture."

"What about the performance period – 15 minutes as in this year?"

"No. We decided to extend the period to 30 minutes."

"Are you going to change the theme of the festival? What about its name, will it be the same 4.4 as now?"

"The name of the festival will remain the same, but the themes will change regularly."

"Will the video format of performances remain the same as well?"

"No. Everything will be in real time."

"We wish all the initiators and organisers of the festival good luck! And long and happy creative life to the festival itself."

"Thank you. And so it will be!"