NO OTHER THEATRE

For over 15 years, Adalet Hajiyev, an Honoured Artist of Azerbaijan, has been at the helm of the Azerbaijan State Academic Russian Drama Theatre. Those who envision leading a creative team as a perpetual celebration are sorely mistaken. The glamour, performances, and enchantment are confined to the stage. Behind the curtain, a different world unfolds: gruelling rehearsals, set design challenges, actors grappling with personal and professional hurdles, demanding tours, and the constant need for discipline. The aspects beyond pure creativity require no less attention. As Hajiyev notes, success in this role demands responsibility, a firm grasp of marketing and advertising principles, and the ability to steer a large, diverse team.

"Adalet-muallim, you've steered one of Azerbaijan's cultural landmarks, the Russian Academic Drama Theatre, since 2008. This significant tenure must have yielded valuable managerial insights. What wisdom would you impart to your 2008 self as you stepped into this role? What pitfalls would you warn against, and what would you encourage embracing without hesitation?"

- Life is in constant flux, always propelling us forward. The concept of "yesterday - today - tomorrow" isn't merely a temporal construct but a reflection of our rapidly evolving existence. This applies not just to individuals but to theatre as an art form. Thus, my advice to Adalet Hajiyev of 2008 would be straightforward yet crucial: embrace experimentation! Be it creative, theatrical, or managerial! As a character in Ali and Nino astutely observes, "excessive caution is the breeding ground for cowardice!"

"Your academic background is in economics. Would you consider yourself a theatre manager, or do you lean towards the traditional title of "director"? How do you differentiate between management and directorship in your field?"

"As I said, the passage of time reshapes our realities. What does being a "director" entail in the 21st century? Fundamentally, it's not dissimilar from the 20th century. A theatre director orchestrates all facets of theatre operations, from staging productions to compensating artists, directors, and staff, while overseeing various departments and workshops. A manager, conversely, specialises in a specific domain, such as ticket sales. The theatre's charter mandates that the director oversees managers' work, comprehends their operational structure, and applies modern advertising techniques and audience engagement strategies. My Soviet-era education in "industrial planning" at Azerbaijan State Economic University has proven remarkably relevant. The cornerstone subject, Scientific Organisation of Labour, emphasised that all work should yield tangible results. These principles frequently surface in our ZOOM discussions with fellow directors of Russian-language theatres during management masterclasses organised by the Baltic House Festival Theatre for the Association of Russian Theatres Abroad. We recently completed another such session, each earning a certificate of completion."

"Managing a factory, school, or theatre - where lies the greatest challenge? Which demands more responsibility? What unique considerations come with leading a creative ensemble?"

"If I may, I'd prefer to substitute "manage" with "lead." Guiding a factory, school, or theatre carries immense responsibility. However, I'd argue that theatre presents the most formidable challenge. Theatre professionals are emotionally dynamic, inhabiting a unique mental space. To effectively work with actors, one must stand beside them, not above them."

"Theatre is simultaneously a creative organism and a cultural institution requiring structured planning. As the director of the Russian Drama Theatre, what areas fall under your direct influence? Which aspects run smoothly thanks to your leadership, and what issues can only you resolve?"

"Theatre is both a synthetic and collective art form. It would be disingenuous to claim I single-handedly resolve all issues, production-related or otherwise. Every member of our team contributes significantly to the overall creative process."

"Your extensive experience in theatre, from rehearsals and premieres to collaborations with actors and guest directors, tours and special events, gives you an insider's perspective. Is there inherent tension between the director and chief director, or between administrative and artistic departments? Or has your tenure been marked by harmony and consensus? Do you subscribe to the notion that "truth emerges from debate"?"

"We're all individuals with unique perspectives on life, creativity, music, and literature. Disagreements naturally arise, and that's healthy. However, when it comes to productions and collective creativity, we rarely encounter serious conflicts. We've mastered the art of compromise. Interestingly, the Russian language serves as a unifying force in our dramatic theatre. It's as essential to our stage as Italian is to opera or French to romance!"

"Is it feasible to run a theatre without a genuine passion for it? What draws you to theatre as an art form, and the Russian Drama Theatre in particular?"

"How can one excel professionally without loving their work? The Russian Drama Theatre has long been my sanctuary, a place I consider my second home. I cherish our theatre for the moments of joy and fulfilment it provides, especially on premiere nights when a palpable sense of excitement permeates both our staff and the audience."

"Your position demands gravitas, but I can't help but admire your impeccable style. Forgive my candour, but your thoughtfully curated image and tasteful choice of attire and accessories are noteworthy. Has the theatre influenced your aesthetic sensibilities, or have you always been particular about your appearance?"

"In my youth, I was shown 19th-century photographs of our ancestors. Their attire exuded a timeless elegance that resonated with me even then. Our mathematics teacher, Zeynab-khanim, often discussed life beyond numbers, including the importance of presenting oneself respectfully. As we stage 5-6 premieres each season, and given my public role as director, constantly engaging with our patrons, my appearance must reflect both my position and my respect for our audience."

"This may be a delicate question, but has Rusdrama become an extension of your family during your tenure, or do you maintain a clear delineation between work and personal life?"

"Inevitably, theatre consumes a significant portion of one's life. It's woven into the fabric of our existence. My family understands that a performance night means my absence at home. I'm fortunate that my wife, being a creative professional herself and having grown up in theatrical circles, comprehends the demands of this life."

"How would you characterise yourself as a theatregoer: appreciative or cynical, accepting or critical? Can you name your top three favourite productions?"

"That's a challenging question, as my list of favourites is extensive. Among them are Kin IV, Pride and Prejudice, Eight Loving Women, The Second Shot, Ah, How Would We Sew Up an Old Lady?!, Love Ain't a Joke, Seven Beauties, Monsieur Jordan, and The Fate of the Artist, to name just a few. As for my role as a spectator, perhaps no single definition can encompass the range of emotions I experience alongside our actors."

"If offered the opportunity to change your career path or lead another theatre, how would you respond? Would your answer be instantaneous?"

"I'd echo the sentiment expressed by Yevgeniya Nevmerzhitskaya's character in Athens' Evenings: if given the chance to be reborn, I'd choose this same family and country. No other option would suffice!"