CONVERSATION WITH A PLAYWRIGHT

Knowledgeable people argue that a literary work is like a dream shared between the author and his readers. The former is a master who narrates and interprets his characters’ memories, desires, actions and deeds to the latter. When inside the narrative, the reader begins to fill the author's space with his own experience. So, to a certain extent, the work gradually reshapes into sort of a “guest's mind”. After all, good books, plays, scripts are a piece of life lived through. Therefore, everyone re-discovers them in their own way. But it is the author who sets the direction.

Ismayil Iman is a playwright, novelist, screenwriter, author of theatrical projects and a member of the Azerbaijan Theatre Union. His plays have been rated the best in major Russian drama competitions and festivals, such as Lubimovka, First Reading, Remarque. In 2018, one of the major theatrical events in Baku was an interactive performance of Iman’s play Limbo performed at the Azerbaijan Carpet Museum (the project was commissioned by the Office of the UN High Commissioner for Refugees). In 2019, his script Arablinsky became a winner of the script competition for feature, documentary and animated films organised by the Ministry of Culture of Azerbaijan.

"Is it true that as an author you live through everything you come into contact in your life?"

"’Living through’ is a very good definition. The life around us is material. I perceive it from a creative point of view: can I use it, is it useful, is it convenient, is it possible? My approach is to apply literary analysis to everything, which can later be reshaped as a screenplay, play or prose. That's why my personal experience is visible in the text and you can't say turn it off. I sometimes even prefer working with other people's stories, stories not invented by me. Or suggested by others. Or developing someone else's idea/scenario. If I find something interesting, it also goes through me. In other words, you can find me even in stories coming to me from the outside."

"You're like a designer making clothes using words..."

“Any text is a kind of construction set assembled from one’s own impressions, stories and observations. Yes, it looks like film editing, I guess. Something is invented. Something is added here and there. Something is based on a real story, while the rest has never happened. A kind of assembly...”

"Is it always successful?"

"Sometimes I have texts that cannot be scripted as intended. For various reasons, I have to put them aside till better times. Or they remain unwritten. It's very frustrating, to be honest. Because it is very hard to go back and finish it. After all, you realise that you've already changed as a person. Then I think that I would retell this story in a different way and with a different mood. That’s why it's better not to procrastinate and finish texts on time."

"Do you have failures and regrets? Or do you work against the odds?"

"Failures? Not much really. I can lose interest sometimes. I get no longer interested in what I wrote say five or six years ago. As to working against the odds, it's more a question of deadlines and priorities. Commitment and concrete certainty matter in this case. I'm constantly writing something, working on something. That's why there is a certain order of priorities. This includes deadlines set by myself."

"Perhaps there is a certain division between texts for soul and those written on order?"

"I would not relate this approach to commissioned projects. Because even such texts can be for the soul, so much so that you want to dive into them as soon as possible. I prefer to categorise them as ‘texts for the soul and not’. But there are some texts which creep forward. That’s when I have to say ‘pacify’ them. Well, I do not always succeed, and sometimes I have to put things aside and write just such texts."

"...which gives rise to a smile."

"Rather, I smile when I realise that I just finished yet another text. Because something has just happened, something has ended."

"And the ‘baby’ starts a life of its own..."

"By the way, there is an interesting paradox: over time, texts start a life of their own. This is what happened, for example, with the drama Gardens of Astara, which premiered in early September in Almaty. It was staged under the title No.37, with some directorial changes agreed with me: the place of action was rewritten for Kazakhstan and the original motif was adapted for the events of January 2022. This helped involve the audience directly into the performance thanks to a reference to an issue that is still relevant in Kazakhstan. The script continues to live its own life that is. Above all it can be heard in the Kazakh language. I can hear it from the outside. And it was written by me. I know every letter of the text, but I can't say that I understand what is said from the stage. Some moments slip away regardless of my full involvement in the writing process. I mean the script is already on its own. It is mine but already has its own record of growing up. I can't hide how pleasant a feeling it is."

"But then it is possible to losing something of the national identity. I believe the authors mainly reflect the culture of their own country..."

"Replacing the place of action does not mean the work cuts all connections with the culture of the author's homeland. I don't separate myself from my country. I am part of its cultural space. Even the titles of some my works have a direct reference to Azerbaijan. Staging my plays outside Azerbaijan is another way of presenting my country to different audiences. Through the stories of my characters, I can tell about certain traditions and express my views on the life of our people."

"These days people use short phrases. Do you approve them in your works?"

"You can, of course, describe something long and detailed, but it won't tell you anything. Or you can use succinct forms of expression to convey deep meanings. Present realities have ended up with a situation when people prefer to read on the go. But I am not an author writing for this “online” segment. Though I am not a proponent or a fan of long web posts, but the format of a script, play or prose depends only on what the author wants to say and how much space he needs for that to convey the message to viewers or readers. I have never analysed the relevance of phrase length in my works. Rather, I use chopped-up phrases."

"Which of your writings introduces you and your works to the audience best?"

"It's hard to say. I started with prose. Then I started working on scripts. Then I switched to plays. Then there was a demand for short prose. In 2019 I wrote a large number of short stories. Today, after gaining some experience, I would recommend starting from plays that I wrote two or three years ago. I've been less focused on prose lately."

"?"

"To read prose, it has to be published as a book. Only people directly connected to the film industry read the script. To make it reach the audience, one needs to make a film. Unfortunately, the domestic film industry is sometimes clumsy, needs too much time to realise the commitments, and in the end the project does not always come to fruition. With plays, however, the story is a little easier. Even if they are not staged, they can be introduced to the audience, readers through some artistic readings, or pushed through various drama competitions and festivals. Plus I'm impressed by the format of such reading events. Admittedly, there is a likely duality in the whole process. Sometimes the voiced text can add even more impact to the play, and sometimes it doesn't fit at all killing it completely."

"Your story Sevil once again revived the format of public literary readings."

"In fact, the reading of drama works in Azerbaijan was started by the YUĞ theatre about ten years ago. But "revived" seems too strong a word, because this genre needs further development. I would like to see the trend continue. It is a convenient format, because the viewer can be introduced to contemporary drama in particular. Even classics will get a fresh sound. This format is also attractive from a financial point of view: there is no cost for a complete performance. For example, we had a positive experience with the Contemporary Art Space YARAT - without the classic black room on stage. The reading introduces the text directly to the viewer, leaving him or her free to think about the mise-en-scene. I dare say it would ideally suit the theatres too. It was not only the audience that was interested in the project at YARAT. I have been approached by ordinary people wishing to participate in similar events in the future. Of course, I would like to continue the practice of reading plays. But that also takes time: unlike a theatre company, you have to select and assemble the right people. And it's not about the casting, it's because the reading project is time and energy consuming. Don't forget about the rehearsal process either."

"As an author, you have to play the heroes of your works."

"It is quite possible, as one can see the author behind every character in the story. And sometimes this happens quite unexpectedly... It is up to critics and drama professionals to judge whether I manage to avoid such literary landmines, or how I deal with them. Although nowadays you rarely find such professionals in our country. I have read some interesting critiques of my plays outside Azerbaijan. Maybe it is somehow related to the stage world in general, where it is a common practice to express only positive assessments, regardless of the finished product. The truth somehow lags behind, while the reviews take a streamlined form. After all, no one wants to offend anyone. Especially not the ‘big shots’. But I am absolutely open for criticism. But I prefer a professional one, which leaves me the right to agree or disagree with it. A constructive dialogue with the author, with me, is always welcome."

"But by criticising, one describes his own perception of the work, which has been lived through personal experience, becomes a conditional co-creator."

"This is quite normal, no problem. Every human being on this planet faces with various circumstances, events, life's twists and turns, letting them pass through themselves. Every piece of art gets evaluated through personal experience. By connecting our ‘devices’, we reproduce what surrounds us through ourselves, depending on our inner state, a particular moment. Moreover, I love it when an outside viewer or reader finds something in my work that may have slipped past my attention. In one conversation I even confessed that I love discussing my own plays and readings as an author. Because at such moments I learn something new about what my works. After all, they could be written without too much thinking, on a subconscious level. And an attentive viewer/critic can discover that something and bring it onto the surface."

"You mean the format of discussion clubs would come in handy?"

"I believe any author needs this format. A creative person needs feedback. It's always interesting to know how the audience reacts to our works, how they understand and accept the text. Plays and character dialogues may be universal, but they are different in the eyes of the audience. Everyone has their own way of understanding them, some may agree with the narrative, while some not. It's interesting and important to be aware of the perception of others."

"Do you follow the reactions to your works on the internet and comments?"

"I am not a fan of posting my writings on the web. That's what the teams of drama competitions and festivals do.  They publish their short lists (preliminary lists), etc. But I do review the publications of my works. For example, I recently got a link to a reading event in Ulan-Ude based on one of them. They are still discussing it. And I'm interested to learn more about the discussions."

"Let's not forget about the financial side of the issue..."

"Well, it’s always there. I guess you would like to know how playwrights live in Azerbaijan. Well, there is a stereotype that playwrights are poor people. But in reality one should multiply this maxim by three or four. At best by two."

"What are your interests in terms of writing?"

"I try to pay attention to all literary endeavours. As interesting as it is to work on plays and scripts, sometimes I really miss prose. However, all these formats share the same literary content, but each is different. And switching from one to the other happens quite organically."

"It is believed that creativity needs cosiness and silence?"

"It's not for me. I am a restless person. That’s why when I find myself in a quiet environment, I start teasing those around me. I don't see myself solely as a writer of texts, although I am professionally affiliated with them: by promoting something, presenting it to a live audience. Even when working on third-party texts and projects. Yet I can't say that I love getting out in front of people, but I've been increasingly doing this lately. That’s the duality of my creative activity: to promote my works and to meet the demands of the moment. I hope I can manage both. By the way, I have often heard of myself being a closed person. Not at all! Communication with other persons is very welcome."

"The great Salahov once said that modesty is a path to oblivion..."

"I agree with him, albeit partly. Even in a lot of ways. I have to promote my texts. I mean no one will come and insist on helping me. That’s why I have to rely on myself to implement some projects on all levels. Creative environment is prone to disorganisation. And you have to do a lot of things, solve the issues on your own. Alas, there are no literary agents in our society, and this factor affects author's productivity. Pure creativity is an ideal. In reality one has to pay taxes, edit some accompanying texts, communicate with designers and do many other things, which takes time and energy, becomes irritating, while a play or script is in waiting mode. I understand that no one is going to create comfortable conditions in this regard. I don't like them either. I feel comfortable when I write in a noisy environment, with some background music, which is not quite appealing to my ears. I feel quite comfortable, for example, to work with a text in a car, in a guesthouse. I mean any environment is convenient for me, even those with pronounced intrusions from outside that I just don’t pay attention to."

"Freedom..."

"This element is quite appealing. But it makes you cultivate discipline in yourself. Maybe that's why I like working in an intense mode, with several completely unrelated parallel pieces. The so-called greenhouse environment throws me off my pace, I have to re-engage, which is hard enough. Sometimes I want to take a pause. But when I do, I want to get back on track again. I think that's why I am restless. It's great that those who feel so react appropriately. I cannot deny that it’s difficult to get rolling. To be honest, there is something lazy in me too. And sometimes I have to make a real effort to go back to the text to finish it."

"As an author, do you categorise texts by their significance?"

"I love all my texts. Over time, I get used to some of them, know them better, recognise how irrelevant they are today. But each of them is dear to me..."