{"id":134,"date":"2019-04-24T18:30:11","date_gmt":"2019-04-24T18:30:11","guid":{"rendered":"https:\/\/www.critical-stages.org\/19\/?p=134"},"modified":"2023-03-19T09:52:02","modified_gmt":"2023-03-19T09:52:02","slug":"azerbaijan-%cf%84heatre-from-performances-without-stage-to-theatres-without-spectacle","status":"publish","type":"post","link":"https:\/\/www.critical-stages.org\/19\/azerbaijan-%cf%84heatre-from-performances-without-stage-to-theatres-without-spectacle\/","title":{"rendered":"Azerbaijan \u03a4heatre: from Performances Without Stage to Theatres Without Spectacle"},"content":{"rendered":"\n

Daglar Yusif<\/strong>*<\/a><\/p>\n\n\n\n

\n

Abstract<\/strong>: Over time, the culture of play in Azerbaijan has been built on a ritual basis. Many religious-mystical ceremonies, plays related to nature events, and comic folk performances, were performed outdoors; and despite the fact that this phenomenon did not turn into a professional theatre tradition nor was it formed into an identifiable aesthetics, it is still a source of inspiration for many local artists. Following a brief historical survey of Azerbaijani theatre, this paper places its emphasis  on the current situation, its repertoire, its  artists, venues and funding system in order to provide a more inclusive picture of the forces that shape its contemporary character.<\/p>\n\n\n\n

Keywords<\/strong>: Adil Isgenderov, Tofig Kazimov, Young Spectators Theatre, Academic National Drama Theatre, Azerbaijan State Academic Opera<\/p>\n<\/blockquote>\n\n\n\n

The history of acting in Azerbaijan has its roots in primitive society. Johan Huizinga identifies the game phenomenon as a core of culture. Gobustan rock paintings belonging to the Azerbaijani culture of the Mesolithic period reflect various game verses. Still, these rites were the carrier of a very powerful \u201ctheatrical energy\u201d. Over time, the culture of play in Azerbaijan has been built on a ritual basis. Many religious-mystical ceremonies, plays related to nature events, and comic folk performances were the basis of this culture. As examples we can consider \u201cgodu-godu\u201d, \u201ckavsaj\u201d, \u201cyel baba\u201d, \u201cgudul\u201d, \u201cyugh\u201d, \u201clal oyunu\u201d (mute play), \u201cgaravelli\u201d, \u201claghlaghi\u201d, \u201cshabih\u201d religious-mystical plays, etc. Most of these plays were street performances with narrative structures and performed in open spaces. <\/p>\n\n\n\n

The phenomenon of \u201cperformances without a stage\u201d in Azerbaijan\ncontinued until the second half of the 19th<\/sup> century. But the poetics\nof this phenomenon did not turn into a professional theatre tradition, and did\nnot create its own theory, nor was it formed into an identifiable aesthetics. Rather,\nit transformed very easily into a European aesthetics and turned itself into an\narchetype. Nevertheless, even today, the Azerbaijani theatre takes inspiration\nfrom this archetype and perceives it as its \u201csubconscious\u201d.<\/p>\n\n\n\n

\"\"
The National Theatre<\/figcaption><\/figure>\n\n\n\n

In the second half of 19th<\/sup> century, some amateur\ntheatres and theatre troupes were created and, most importantly, the six\ncomedies of Mirza Fatali Akhundzadeh were laid as a basis for professional\ndrama in the Turkic and Muslim world. As a result of all this activity, in\nMarch 1873, the professional Azerbaijani theatre began its history with the play\nVizier of Lenkaran khan<\/em> by M.\nAkhundzadeh. The theatre began to breathe within the aesthetic of the classical\ntheatre stage.<\/p>\n\n\n\n

\"\"
Adil Isgenderov, as a director in the National Drama Theatre marked the beginning of both aesthetic principles and philosophical concepts within the performing arts<\/figcaption><\/figure>\n\n\n\n

Since the 1920s there were signs of the emergence of professional\ndirectors in  Azerbaijani theatre.  The activity of Adil Isgenderov as a director\nin the National Drama Theatre marked the beginning of  both aesthetic principles  and philosophical concepts within the\nperforming arts. Isgenderov\u2019s directing combined several aesthetic concepts. His\ndirecting, which was based upon Russian theatre traditions, reconciled both the\nmonumentality of Greek theatre and the Eastern theatre tradition, which is\ncharacterized by both narrative and conventionality. This synthesis initiated a\nvery interesting theatre aesthetics, tradition and process. <\/p>\n\n\n\n

With the philosophical monumentalism of director Mehdi\nMammadov, the tone of psychology and romance in the theatre grew stronger. The\ntheoretical provisions of the Russian theatre, particularly the Stanislavsky\n\u201csystem\u201d, were approved and consolidated as theoretical-aesthetic principles.\nTofig Kazimov\u2019s \u201clyrical-psychological\u201d directing breathed new life into both\ntheatre and playwriting. Kazimov single-handedly broke the materialism of the performing\narts in Azerbaijan; the subjects of theatre came from the pathos and\nmonumentalism of Soviet ideology and of real human experience. In particular, Kazimov\u2019s\nnew ideas for theatre gave a powerful impetus to the theatre process itself and\nbecame a cornerstone of modern Azerbaijani theatre. In addition, we can name\noutstanding theatre directors of the twentieth century, such as Shamsy\nBadalbeyli, Zafar Nematov, Ashraf Guliyev, Alasgar Sharifov, Ismail\nHidayatzadeh, among others.<\/p>\n\n\n\n

\"\"
Tofig Kazimov\u2019s \u201clyrical-psychological\u201d directing breathed new life into both theatre and playwriting<\/figcaption><\/figure>\n\n\n\n
\u201cThe\nadventures of independence\u201d of the Azerbaijan theatre <\/strong><\/h5>\n\n\n\n

At the end of the 20th<\/sup> century,\nrevolutionary changes took place in both political and cultural life in\nAzerbaijan. With the liberation of the Azerbaijan Republic from the USSR,\nAzerbaijani theatre passed from a closed system to an open one. With that came\na new, more open approach to both subject matter and ideas. The emerging new\ntheatre thought has already sought to engage in dialogue with world\ncivilization and to locate itself within the avant-garde. Vagif Ibrahimoglu,\nHuseynaga Atakishiyev, Jannat Salimova, Azer Pasha Nematov, Bahram Osmanov and\nothers became the pioneers of this new period. <\/p>\n\n\n\n

\"\"
Scene from Medeya<\/em>. Sequence 001<\/em>, directed by Mikayil Mikayilov<\/figcaption><\/figure>\n\n\n\n

Ibrahimoglu\u2019s YU\u011e theatre, created in 1989, could be\nregarded as a striking example of post-dramatic theatre thinking. The YU\u011e State\nTheatre, which still operates today, was able to join the world theatre process\nwith its \u201cpsychosophic<\/em>\u201d theatrical\npoetry.[1]<\/sup><\/a> Ibrahimoglu\u2019s work\npromoted such ideas as: the deconstruction of the text; a psychoanalytical approach\nto acting; the denial of Aristotelian drama and formal logic; Eastern\nphilosophy; and an aesthetics which draws upon the philosophy of Sufism. By so\ndoing it opened new doors for the performing arts, not only in Azerbaijan, but all\nover the world. At the same time, in YU\u011e Theatre all philosophical-aesthetic\nprinciples of poetics created by the late director Ibrahimoglu are protected\nand developed by his students, and YU\u011e plays an important role in the theatre\nlife of Azerbaijan. Today’s repertoire of the YU\u011e Theatre includes: Anton\nChekhov\u2019s Proposal<\/em> (directed by Gunay\nSattar); A.B.Kasares\u2019s Graving Method<\/em>\n(directed by Gumrah Omar); Medeya:\nSequence 001<\/em>, based on Vladimir Klimenko\u2019s Medeya Theatre<\/em> (directed by Mikayil Mikayilov); and Three Versions of a Mysterious Murder<\/em>\nbased on R. Akutagawa\u2019s story (directed by Mehriban Alakbarzadeh).<\/p>\n\n\n\n

\"\"
Richard III<\/em>, directed by Jannat Salimova<\/figcaption><\/figure>\n\n\n\n

Huseynaga Atakishiyev\u2019s Youth Theatre and Jannat\nSalimova\u2019s Baku Chamber Theatre began their activities in 1989 and 1991\nrespectively. Atakishiyev, who based his own theatrical attitude upon the concepts\nof Brecht\u2019s Epic Theatre, has, arguably, built the most spectacular productions\n(such as The Resistible Rise of Arturo Ui<\/em>)\nof the modern Azerbaijani theatre. <\/p>\n\n\n\n

Salimova\u2019s Chamber Theatre also staged very successful\nproductions, including such classics of world drama as Othello<\/em>, Aesop, and Hamlet<\/em>.\nSalimova also staged work by such Azerbaijani national playwrights as Sabit\nRahman, Elchin, Anar, Ali Amirli and Rovshan Aghayev. In 2009, the Baku Chamber\nTheatre and the Youth Theatre joined the Azerbaijan State Theatre of Young\nSpectators.<\/p>\n\n\n\n

\"\"
Lars Nor\u00e9n\u2019s War<\/em>, directed by Bahram Osmanov<\/figcaption><\/figure>\n\n\n\n

Today, the Young Spectators Theatre, which has an\nensemble of actors which is 96 \u2013 strong, tries to respond to the demands of\nyoung and teenage spectators. This theatre dramatizes the most serious and\ndifficult works of world drama within the frame of its own aesthetics. The\nrepertoire of the theatre includes: Lars Nor\u00e9n\u2019s War<\/em>\n(directed by Bahram Osmanov); The Leenane\nTrilogy<\/em> by Martin McDonagh (directed by British director Jan Willem Van Den Bosch); Don Quixote<\/em> by Cervantes (directed by\nBahram Osmanov); Fuzuli\u2019s Leyli and Majnu<\/em>n\n(directed by Nijat Kazimov); and Shakespeare\u2019s Romeo and Juliet<\/em> and  Richard III<\/em> (directed by Jannat\nSalimova).<\/p>\n\n\n\n

\"\"
Scene from Fuzuli\u2019s Leyli and Majnun<\/em>, directed by Nijat Kazimov<\/figcaption><\/figure>\n\n\n\n

A few years ago there were a number of failed experimental\nproductions at the Academic National Drama Theatre. Consequently, following the\nappointment of a new artistic director, Azer Pasha Nematov, the theatre returned\nto the classical path. Today, the repertoire includes: Dead People<\/em> by Jalil Mammadguluzadeh; J. Jabbarli\u2019s Almaz<\/em> (directed by A. Nematov); Gogol\u2019s The Government Inspector<\/em> (directed by\nMikayil Mikayilov); Ali Amirli\u2019s Shah\nGajar<\/em> (directed by A. Nematov); and Yuri Polyakov\u2019s Classmates<\/em> (directed by A. Nematov).<\/p>\n\n\n\n

\"\"
Jabbarli\u2019s Almaz<\/em>, directed by A. Nematov<\/figcaption><\/figure>\n\n\n\n

At the Azerbaijan State Musical Theatre there are new\ntrends. In the repertoire of the theatre, along with light comedies, you can see\nsuch works as: 999th<\/sup> Night<\/em>\n(directed by Irada Sayya) based on the stories of The 1001 Nights;<\/em> Samuel Beckett\u2019s Waiting for Godot<\/em> (directed by Yunis Valipur); and Ali Amirli\u2019s Nuri-Didem Jeyhun<\/em> (directed by Mehriban\nAlakbarzadeh), which is written in musical style dedicated to the history of\nthe Azerbaijan Democratic Republic. <\/p>\n\n\n\n

\"\"
The State Musical Theatre<\/figcaption><\/figure>\n\n\n\n

It should be noted that, for the first time the\nproduction of Waiting for Godot<\/em> was accompanied\nby symphonic music. Written by the People\u2019s Artist of Azerbaijan, Professor\nFaraj Garayev, this work has become an important event in the history\nAzerbaijan theatre. <\/p>\n\n\n\n

In addition, musical comedies like Uzeyir Hajibeyli\u2019s Arshin mal alan<\/em> (directed by Elvin\nMirzoyev) and Not This, Then That<\/em>(directed\nby Jannat Salimova), in the repertoire of the Azerbaijan State Musical Theatre,\nadd colour to the life of Azerbaijanis.<\/p>\n\n\n\n

\"\"
The Azerbaijan State Academic Opera and Ballet Theatre<\/figcaption><\/figure>\n\n\n\n

The Azerbaijan State Academic Opera and Ballet Theatre is one of the major art centres for the Azerbaijani theatre elite. The audience can enjoy such operas as: Love Potion<\/em> by G. Donizetti; Asli and Karam<\/em> by U. Hajibeyli; The Year Tabarro<\/em> by G. Puccini, among others.
<\/p>\n\n\n\n

\"\"
Not This, Then That<\/em>, directed by Jannat Salimova<\/figcaption><\/figure>\n\n\n\n

At present, there are 27 state theatres in the country,\nand 11 of them are drama theatres. The theatres for national minorities, (like the\nGakh State Georgian Drama Theatre, the Gusar State Lezghin Drama Theatre and the\nState Russian Drama Theatre) are in line with Azerbaijan\u2019s tolerant and\nmulticultural principles. The theatrical life of Baku also includes such\ncompanies as the State Puppet Theatre, the State Pantomime Theatre and the\nMarionette Theatre.<\/p>\n\n\n\n

Towards a \u201ctheatre without\nspectacle\u201d<\/strong><\/h5>\n\n\n\n

The idea of the \u201cstage without spectacle\u201d was  inspired by Derrida\u2019s theoretical work Grammatology<\/em>. This expression connects\nto the idea of post-dramatic theatre. In the modern period, the theatre has stopped\npretending that it is a tribune. It demolishes the asymmetry, inherent in\nclassical theatre, between “I” and “you”, as well as the\nteacher-pupil, father-son, priest-congregation hierarchy of author and\nspectator relationships. Communication between the actor and the viewer moves\nfrom the vertical plane to the horizontal space and the spectator becomes a\nco-author of performances. The theatrical performance is restored to its original,\noften celebratory and humorous, nature as carnival.<\/p>\n\n\n\n

Derrida expresses this process as \u201ctheatre without spectacle.\u201d  Recently the Azerbaijani theatre has turned away from magnificent theatre buildings to cellars and smaller rooms. This has resulted, in the last few years, in the formation of the private theatre sector in Azerbaijan, with very important results. The independent ESA Theatre, founded in 2015, was the first inclusive theatre in Azerbaijan. During their first two years of activity they successfully performed Midsummer Night\u2019s Dream<\/em> by Shakespeare, John Steinbeck\u2019s Of Mice and Men<\/em> and M. F. Akhundzadeh\u2019s The Story of Monsieur Jordan and Dervish Mastali Sha<\/em>h. The group of actors with disabilities is currently working on new projects. <\/p>\n\n\n\n

Another theatre engaged in independent activity is the \u201cHuman Theatre\u201d\nof People\u2019s Artist Parviz Mammadrzayev. The theatre started with the\nperformance of The Third<\/em> (directed by\nParviz Mammadrzayev), based on the work of S\u0142awomir Mro\u017cek\u2019s Karol<\/em>. <\/p>\n\n\n\n

The private theatre industry is not financed by the government, but\nrather tries to form its own production system. It is continually seeking new\nmeans of expanding, implements projecting and operating on the principle of self-financing.\nIndependent theatres in Azerbaijan include: \u201cAdo\u201d, \u201cRebus\u201d, \u201cdOM\u201d, \u201cChikish\u201d\nand\u201cOl\u201d puppet theatre.<\/p>\n\n\n\n

\"\"
The Theatre for Young Audiences<\/figcaption><\/figure>\n\n\n\n

The series of events (international festivals, conferences, etc.)\ncarried out within the framework of the State Program \u201cAzerbaijan Theatre in\n2009-2019\u201d, approved by the President of the Republic of Azerbaijan on 18th<\/sup>\nof May, 2009, included the integration of state theatres into the world theatre\ncircuit and had a positive impact on communication with the world theatre culture.<\/p>\n\n\n\n

In the middle of the last century in Azerbaijan, professional theatre\nscience, which was founded by the theatrical writer Jafar Jafarov,  achieved a new stage of development. The\ndiscipline of theatrical studies in our country, which attempts to perceive\nitself as part of the contemporary arts and humanities culture, have been able\nto \u201cdiagnose\u201d precisely the current theatre process. There are a number of\nexcellent works, such as: The Tragedy: Genre\nMutations<\/em> (by Aydin Talibzadeh); Eastern\nTheatre History<\/em> (textbook, by Aydin Talibzade ); Theatre Criticism Workshops<\/em> (by Maryam Alizade, Aydin Talibzadeh);\nand Theatre: Watching and Magic<\/em>\u201d(by\nMaryam Alizade).<\/p>\n\n\n\n

Today, leading figures in Azerbaijani theatre studies include: Israfil Israfilov, Ilham Rahimli,  Vidadi Gafarov, Elchin Jafarov, Aliya Dadashova, and Konul Jafarova. <\/p>\n\n\n\n

Dear reader, we have made together a virtual trip around the theatre of\nAzerbaijan. The idea of theatre is a universal notion, and one which unites us.\nIn this idea, we are always together. Borders are a product of politics; arts\ndo not recognize any boundaries. So, see you in theatre!<\/p>\n\n\n\n

\n\n\n\n

Endnote<\/strong><\/p>\n\n\n\n

[1]<\/sup><\/a> \u201cPsychosophic\u201d (\u201cpsycho\u201d \u2013 soul, spirit, sophic, from the word \u2018sophia\u2019= knowledge, wisdom) \u2013 that\u2019s how the late master named his thought system which he had followed in his works<\/p>\n\n\n\n

\n\n\n\n\"\"\n\n\n\n

*<\/a>Daglar Yusif<\/b> was born in Ismailly, Azerbaijan in 1996. He graduated from the Azerbaijan State Culture and Arts University in 2018 where he now pursues his Master of Arts. He is currently working as a specialist at the Arts Department of the Azerbaijan Union of Theatre Workers.<\/p>\n\n\n\n

Copyright \u00a9<\/strong> 2019 Daglar Yusif
Critical Stages\/Sc\u00e8nes critiques<\/em> e-ISSN: 2409-7411<\/p>\n\n\n\n

\"Creative<\/a><\/figure>\n\n\n\n

This work is licensed under the
Creative Commons Attribution International License CC BY-NC-ND 4.0.<\/p>\n\n\n\n

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Daglar Yusif* Abstract: Over time, the culture of play in Azerbaijan has been built on a ritual basis. Many religious-mystical ceremonies, plays related to nature events, and comic folk performances, were performed outdoors; and despite the fact that this phenomenon<\/p>\n","protected":false},"author":1,"featured_media":141,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[6],"tags":[17],"class_list":["post-134","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-national-reports","tag-by-daglar-yusif","","tg-column-two"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"https:\/\/i0.wp.com\/www.critical-stages.org\/19\/wp-content\/uploads\/sites\/20\/2019\/04\/7.Kazimov.jpg?fit=600%2C398&ssl=1","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/paUXOT-2a","_links":{"self":[{"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/posts\/134","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/comments?post=134"}],"version-history":[{"count":6,"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/posts\/134\/revisions"}],"predecessor-version":[{"id":1395,"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/posts\/134\/revisions\/1395"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/media\/141"}],"wp:attachment":[{"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/media?parent=134"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/categories?post=134"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.critical-stages.org\/19\/wp-json\/wp\/v2\/tags?post=134"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}