IN SEARCH OF ETERNAL VALUES

Perhaps the question of what constitutes a love for theatre has long since become rhetorical. Why? Because there are essentially two possible answers. The first lies in inheriting the profession for dynastic reasons. The second comes from being influenced by theatrical art — which we categorise as Art with a capital ‘A’. In the case of Anar Ramiz oghlu Mammadov, Chief Director of the Abdulla Shaig State Puppet Theatre, these two factors converged to form a trajectory that could rightfully be described as fateful.

After graduating from the Directing Faculty of the Azerbaijan State University of Culture and Arts in 2010, he served in the Armed Forces of Azerbaijan. Upon demobilisation, Anar returned to his native Baku and was employed by the Abdulla Shaig Puppet Theatre as a regular stage director.

Engaging young theatre professionals in discussions about their craft and the challenges of contemporary theatre is both fascinating and enriching. How do they perceive their responsibility — to the audience, to their home theatre, and to themselves?

Many mainstream directors, let us be honest, tend to pander to the audience, producing plays devoid of substance, cloaked in a veneer of vulgarity and superficial imitation of so-called European values, which they believe will appeal to a post-dramatic generation of theatregoers. But what does this bring to the theatre? Nothing — aside from half-empty auditoriums and a diminished reputation. It is disheartening to witness the drawn-out restructuring of the theatrical sector in the country, and to see directors who, unable to chart their own path, resort to mimicry, stripping national theatre art of its identity and reducing it to mediocrity.

Fortunately, a new generation has quietly, without fanfare, stepped into the history of theatre development. And they are not few. Their aim is not to glorify themselves through art, but to honour the art within themselves. Anar MAMMADOV is one of them.

"What, in your view, is the theatre of the 21st century?"

"I believe that theatre, as a great art form, should always be — and remain — as the Italian theatre director and actor Giorgio Strehler put it, a theatre 'of the people and for the people'."

"So what are its roles and responsibilities today?"

"And how are the people of the 21st century different from those of ancient Greece? The answer is — they’re not. Today’s humanity is merely equipped with technologies that weren’t available in the second century, and that’s it. But the essence of humanity, its inner core — that remains unchanged."

"Why ancient Greece, specifically?"

"Because every type and genre of theatrical art originated there, in ancient Greece."

"Fair enough. So what can you say about the theatre scene in Baku?"

"Every theatre has its own unique 'face' and its own audience. Each director has a distinct production vision and style — a personal aesthetic, if you will. These are shaped by the art form they serve, which sets specific rules for professional engagement with the audience."

"Could you elaborate?"

"Drama theatre, musical theatre, pantomime, marionette puppet theatre, and puppet theatre — all are different branches of theatrical art. Each demands a unique approach from the director. Each requires specific knowledge, experience, and technical skills."

"Which of these do you find the most challenging, for both actor and director?"

"...puppet theatre, without a doubt."

"Because?"

"No, no! Not simply because I work in it!"

"Whom or what do you serve, then?"

"It’s not just me. Everyone whose professional life is connected with our theatre doesn’t merely clock in an eight-hour shift—they serve. They do so faithfully, wholeheartedly, and with true devotion to their chosen path."

"All of them?"

"Yes! From the janitors at the reception to the director. We’re all fingers on the same hand. That’s the source of our creative and professional strength."

"And who sets the tone for this kind of unity?"

"What a curious question! The director, naturally."

"Really? Does he also determine the Puppet Theatre’s repertoire policy?"

"Only in his role as chair of the theatre’s artistic council."

"So the Puppet Theatre has a functioning artistic council?"

"Of course! It operates consistently. All members, under the leadership of Director Rashad Ahmedzade, read the plays before approving them for production. Everyone contributes their thoughts. If a majority agrees, the play is added to the season’s programme. Every Tuesday, the council convenes to review and thoroughly analyse the performances from the past week."

"All of them, or just the premieres?"

"All repertoire pieces — everything performed in the past week. This ensures we maintain the quality of our productions. Our responsibility is immense. It extends beyond children and their parents to our colleagues in theatres catering to audiences aged 18 and over. The Puppet Theatre is intended for the youngest audiences. Our repertoire begins from age 3. If we fail to ignite a love for theatre in children, it’s unlikely they’ll grow into adults who attend the theatre."

"So your repertoire is exclusively for young children?"

"Not at all. We cater to audiences aged 12+, 18+, and even 30+. We’re expanding our creative dialogue with the public, and we find this not only professionally stimulating but also creatively fulfilling."

"What results have you seen so far?"

"It’s still too early to say. We’re only at the beginning of this journey. Let’s revisit this question in a year!"

"Fair enough. Your theatre appears to be thriving. Are there any staffing issues?"

"Yes. Our main challenge is training professional actors for the Puppet Theatre. We’ve appealed numerous times to both the Ministry of Culture and the University of Culture and Arts, asking them to open a dedicated faculty for puppet theatre acting. Sadly, our requests have gone unanswered."

"But you do have actors in your theatre?"

"Yes, but they are all graduates in drama or film acting — a very different discipline. They come to us, and it takes at least eight months to train them to handle puppets effectively. We do train them, of course. But the time spent on training could otherwise be used to produce new performances!"

"Have you considered reaching out to the Ministry of Education?"

"We’ve sent a letter there as well. We are awaiting a response. We trust that our accomplishments will be recognised, that our contributions will be appreciated, and that the theatre will be awarded the long-overdue status of 'academic'."

"What sort of productions are you aiming to stage as Chief Director?"

"Both in the past and today, my goal is the same: to stage plays that resonate with the hearts and minds of every member of our audience."

"So, should theatre still fulfil its traditional roles of moral education, enlightenment, and nurturing values?"

"Not only that. Theatre must also continue to explore the truths of modern life, truths that are essential for today’s audience. Most importantly, theatre must preserve, enhance, and evolve its connection with the public through a modern dialogue — one in which everything matters: literary language, ethical principles, and the pursuit of values that help people remain truly human in this century."

"Good luck in your search!"

"Thank you!"