LIFE AS A PLAY

Today we talk with the Honoured Artist of Azerbaijan, the winner of the first prize of the International Performers Competition held in Kazakhstan back in 2012, and actress of the Azerbaijani Musical Theatre, Nargiz Kerimova (Silva in I. Kalman's 'Silva', Lala in Rauf Hajiyev's 'The Daughter of Caucasian Chieftain', and Larisa Ogudalova-Martins  in Lara Martins' 'Jazz club' based on Ostrovsky's play 'The Dowryless Girl'). We talk about the profession of a theatrical actress. An actress of the musical theatre.

Nargiz's childhood, like that of many girls born in Baku, was carefree and happy. She studied with joy and pleasure: first piano at the Bulbul music school, then vocal art at the Uzeyir Hajibeyov Conservatoire. For her, singing was as essential as breathing. She could not live without singing. Indeed, this state of soul has not left her to this day. Therefore, the actress says that all her heroines are, to some extent, resemble herself: penetrating, comprehending, and finally, appropriating the traits, behaviour, and communication style of those heroines she impersonates on the stage of her beloved musical theatre.

"What does it mean for you, a person with practical experience in the profession today, to be an actress?"

"It means to be constantly in eternal search of that very truth of life, which helps me create my character and build her image so that she is interesting not only to me but also to the viewer..."

"But isn't this monotony of research—studying the characteristics of your characters—boring?"

"Just as much as life can be boring in all its diverse manifestations! Each role and truthfully played character is always new dramatic and vocal material. And behind each heroine is a new fate and new proposed circumstances. That's where the period of exhilarating research, discoveries, and appropriation of others' fates and characters really begins. For me, my profession is the most fascinating and unique because it allows me to live many human lives, not just one."

"Do you assert that repetitions in the acting performance of diverse heroines are impossible?"

"It hinges on the interpretation of ‘repetitions.’ If it refers to a refined technical method for crafting what’s termed ‘form,’ then professionally, it’s recognised as a developed cliché. Regarding the psychological structure of the character’s image, or rather, the essence of that form, I am sure that clichés are a pitfall for only those indolent individuals who stumbled into the acting profession by chance."

"Because for you, it is…"

"…an enthralling journey of self-discovery through the character’s structure, worldview, and perception of another woman! Identical to me, yet distinct!"

"Is there any professional difference between a dramatic theatre actress and a musical theatre actress?"

"I don't think so. The methodology for delving into the character's inner world in musical theatres mirrors the process in dramatic theatres."

"Yes, but the vocal parts are also significant in the musical theatre. What is the experience of melding spoken word and song?"

"Oh, for me, it represents not merely a realm of boundless potential for professional growth but also a source of professional joy. It affords the chance to sculpt my heroine's character into a complex, vibrant, and recognisable figure."

"Don’t you ever feel that the profession, where you find such comfort, is also akin to toying with the ethereal?"

"I believe that any discerning individual understands this notion. Historically, there was an extended epoch when actors were interred beyond the cemetery bounds, deemed by society to have a sinful vocation. God granted us a singular life here and now. Yet, actors experience dozens, if not hundreds, of disparate lives."

"If they truly live them! This term suggests, if not absolute transformation, then a state nearing it. However, contemporary theatre seldom ventures into the profound psychological veracity that ought to astonish and captivate the audience with insights into the human condition. More frequently, we witness a superficial skimming over the narrative and characters, rather than a deep exploration…"

"That's true. Nonetheless, in our theatre—referring to both the ensemble and the leadership—we always aspire to the zenith of professional excellence. After all, a disenchanted spectator signifies a lost patron for the theatre! Owing to our repertoire, performed in both Azerbaijani and Russian, we foster reciprocal interest and comprehension with our audience. The art of musical theatre is coveted by the denizens of modern Baku and its visitors."

"However trivial my question might sound, do you dream of a particular role from the classical operetta or contemporary musical?"

"I have a dream. Not about a specific role. My dream is about the process of work. In the artistic endeavour an actress garners from a synergistic collaboration with a director, composer, libretto, and the rehearsal process. I wish such experiences would recur frequently…"

Our dialogue extended over the intricacies of theatre and the nuances of various theatrical vocations. The actress, with the acumen of a seasoned analyst, grounded the theory and praxis of the acting craft, which she believes to be a process of enlightenment. An enlightenment of what? The life that envelops us and the life that stirs within. Essentially, it concerned the subtleties of psychologically grasping one's identity. All attributable to the acting profession.

Listening to Nargiz Kerimova, I could not help the impression that I see Lara Martin from the academic musical theatre’s production of Lara Martins. Jazz club. The zeal to innovate and share her artistry with others permeates every facet of this dynamic actress, brimming with an unyielding eagerness to labour and remain demanded in her field. In contemplation, I extended my wishes for her multifaceted and erudite journey, for success in her craft, and for the fulfilment of her aspiration. Her sole ambition revolves around a singular concept: to work, work, and work.