"In 1905" ( Azerb. 1905-ci ildə ) - a play by Azerbaijani playwright Jafar Jabbarli , written in 1931 , narrating the love of Azerbaijani Bakhshi and Armenian Sona against the background of interethnic clashes between Armenians and Azerbaijanis of 1905 in Transcaucasia .
| In 1905 | |
|---|---|
| Azerb. 1905-ci ildə | |
 Playbill. Turkic artistic theater named Buniatzade . Season 1931/32 | |
| Genre | epic drama [1] |
| Author | Jafar Jabbarly |
| Original language | Azerbaijani |
| Date of writing | 1931 |
| Previous | " Almas " |
| Following | Yashar |
| Electronic version | |
It was first put on the scene in 1931 in Baku . It begins with the performance of the folk song “ Sary Gyalin ” accompanied by tara [2] [3] . Translated into Russian by Igor Pechenev [4] .
Content
Creation History
The decisive factor that inspired Jafar Jabbarly to take on the artistic coverage of the politically very acute and complex topic of the Armenian-Tatar (Azerbaijani) massacre of 1905 was a meeting with Maxim Gorky , as well as an in-depth reading by Gorky [5] of the Azerbaijani playwright.
Jafar Jabbarly admitted that while working on the play “In 1905,” he did not set himself the task of “covering all the revolutionary events that took place in Baku in 1905”. According to him, “this topic is still waiting for its artistic resolution” [6] .
In 1929 , Jabbarly, during the month of cultural unity of the peoples of the Transcaucasus, visited Georgia and Armenia . After this trip, he wrote the play "In 1905" [7] . About how the play’s conception originated in Jabbarli, he, as published in the newspaper Adebiyat Gazeti (Literary Gazette) dated May 30, 1934 , said:
| While in Georgia, Armenia and Nagorno-Karabakh , I met people of different nationalities. They were engaged in peaceful socialist construction. I met once a nomad. Next to the herd, a single Azerbaijani woman walked. She was without a veil. Later I met another woman. It was an Armenian, dressed exactly as the first. At first glance it was difficult to distinguish them from each other. The home scrub, agricultural implements, customs, songs and dances of these nations were the same. In essence, these two nations are one people. And if so, then what once pushed these nations into bloody clashes? I thought deeply about this issue, began to study life and, thus, began to work on a play in which the colonial policy of the Russian autocracy is shown, having pitted their heads in order to divert the attention of the masses from the revolution to two fraternal peoples. Having elected 1905 as the background of the national massacre, I wrote the play “In 1905”. [7] |
Production history
For the first time the play was staged on the Azerbaijani stage in October 1931 [7] , in the season 1931-1932. The first director of this play was the director V. V. Lyutsse invited from Leningrad , the artist P. P. Ryabchikov gave the artistic design of the play. This production was carried out with the close participation of the author as a director. The music for the play was written by the composer Afrasiyab Badalbeyli [8] . In the decoration of the play there was a lot of constructivism and formalism : the main platforms were located along the vertical of a three-story village house, in which certain parts were covered [8] . The image of the Bolshevik Eyvaz in this performance was created by the Honored Artist of the Republic Abbas-Mirza Sharifzade [9] .
At the same time, the play "In 1905" was shown in the same production by Luzz - Jabarli - Ryabchikov and in the Armenian theater , moreover, the season of 1931-1932. both theaters opened this play with Jabbarli [8] . The success of the performance was immense. Soon the play was staged by the Russian theater in Baku and the Sundukyan theater in Yerevan [10] . Theater expert Jafar Jafarov writes that 1931, thanks to the play “In 1905,” “brought a major victory to Azerbaijani performing arts” [9] .
In 1937, a modified production of the play “In 1905,” directed by Ismail Idayatzade , took place. Theater expert Jafar Jafarov notes that the 1937 production, in which director Ismail Idayatzadeh greatly enhanced the sound of Bolshevik images of Volodin and Eyvaz, expanded the image of the revolutionary struggle in 1905, thereby trying to overcome the shortcomings of the play, for the better [11] . The role of Eyvaz in the new production of Idayatzadeh was once again played by the people's artist of the Republic Abbas-Mirza Sharifzade [12] .
Product Analysis
Orientalist Lucian Klimovich noted that the play "In 1905," along with the play "Almas" by Jabbarli, is distinguished by "high stage qualities and vivid language characteristics of the actors" [13] . According to the critic and literary critic Kasum Kasum-zade successful in the play "In 1905" is that the heroes of the play are Azerbaijani and Armenian. Thus, according to Kasum-zadeh, Jafar Jabbarly solves both social issues and the fate of two families. In the prologue and epilogue of the play, it is shown how the great love of Bakhshi and Sona lives, how their children continue to eradicate old traditions already in the Soviet era [14] .
Nevertheless, Kasum-zade notes that the relationship between young Sona and young Bakhshi is not completely clear in the play. According to Kasumzade, Jabbarly in the play “In 1905” from the standpoint of proletarian internationalism “interprets the national question, the unity of peoples in the struggle against the autocratic system, the great importance of the historical friendship of peoples” [14] . Kasum-zade believes that the play “In 1905” exposes the machinations of bourgeois nationalists who “tried to cause national discord among the nations and showed the unbreakable traditions of friendship between these peoples” [14] . To the forefront, according to Kasumzade, Jafar Jabbarly put forward the unity of the Armenian and Azerbaijani peoples [14] .
According to the literary critic Mamed Arif, the play “In 1905” is a multi-faceted work in which popular folk scenes are interspersed with emotional and lyrical ones [6] . Mamed Arif notes that in his endeavor to reflect the characteristic features of the revolutionary movement in the multinational, industrial city of Baku, Jabbarly focused his attention on the relations between workers of various nationalities [6] .
The playwright Vsevolod Vishnevsky , who arrived in Baku , looked in 1934 on the stage of the Russian Baku theater play “In 1905”, wrote:
| Well knowing life, the author brought to the scene a gallery of human images. In my opinion, the national types in this gallery - two old men, Karapet and several others turned out to be more successful. Exceptionally good scene of the meeting of two old men. [6] |
M. Huseynova wrote that, both in its content and in its scenic construction, this play was new to the Azerbaijani theater [5] . According to Huseynova and Mamed Arif, Jabbarli in the play showed the clash of four main social groups. According to Huseynova, the first group included “defenders of the tsarist autocracy”, including the governor-general of Baku, his wife, the chief of police, the mayor, the prosecutor, the chairman of the court and the Cossacks. The second group consisted of active fighters against tsarism, who, according to Huseynova, personified the “revolutionary forces of Azerbaijan”. These included workers Volodin, Eyvaz Asriyan, underground fighters Isak and Aram, old Bakshi and oil field workers. The third social group consisted of representatives of the Azerbaijani and Armenian bourgeoisie, as well as the owners of the richest oil fields: Salamov, Agamyan, Bagadur-bek, etc. The poorest peasantry, consisting of Azeris and Armenians (Allahverdi, Imamverdi), was the fourth group. In the image of the Governor-General, according to Huseynova and Mamed Arif, one of the “spies of the tsarist government” is shown [5] [6] .
The authors of The History of Soviet Dramatic Theater wrote that the performance resurrected the bloody events of the Armenian-Azerbaijani massacre in 1905, “provoked by the Azerbaijani and Armenian nationalist bourgeoisie with the active support of tsarism, which sought to weaken and prevent the further development of the revolutionary struggle in one of the southern suburbs Russian Empire " [10] .
Vartan Ajdemyan , speaking of the play, notes that “for all the scope of coverage of events, the author seeks the true depth of artistic insight into their essence.” As an example, Adzhemyan cites the scene of the barricades, when two friends, Allahverdi and Imamverdi, by coincidence turned out to be in opposite camps, initially fighting as enemies, but, recognizing each other, curse the forces that started this bloody massacre [10] :
| Dzhabarly managed to bring his thought to every ordinary reader and viewer. Only a person of creative thinking, a great master could have conceived such a scene. At the heart of Jabarly’s imaginative thinking lies genuine citizenship. [ten] |
Similar topic in literature
- Asli and Kerem - an anonymous dastan about the love of Azerbaijani Kerem and Armenian Asli.
- The red coverlet is the story of A. Bestuzhev about the love of Azerbaijan to the Russian officer.
- Bahadur and Sona - the story of Nariman Narimanov about the love of Azerbaijani-student Bahadur and Armenian Sona.
- Romantic story - the story of Stefan Zoryan about the love of Azerbaijani Ali and Armenian Katharine.
- Ali and Nino - Kurban Said's novel about the love of Azerbaijani Ali and Georgian Nino.
Notes
- М. Ibragimov M.A. Heralds of the New. On the 80th anniversary of the birth of Jafar Jabarly // Friendship of Peoples . - Fiction , 1979. - p . 263 .
- ↑ Asif Rüstəmli . Qarabağ “1905-ci ildə”: tarixi gerçəklik və bədii həqiqət ( az .) // anl.az.
- ↑ Jafar Jabarly. Plays / Ed. N. Sultanova. - B .: Azerbaijan State Publishing House, 1958. - p. 171. - 360 p.
- ↑ Gezalova, EJ. Pechenev — Jafar Jabarly’s translator // Scientific Notes. - B .: Publishing House of the Azerbaijan State Pedagogical Institute, 1974. - P. 215 .
- ↑ 1 2 3 M. Guseinov, Image of New Baku in M. Gorky's journalism and Azerbaijani drama of the early 1930s // Gorky Readings 1974. - Gorky : Publishing House of the Academy of Sciences of the USSR, 1975. - P. 65-66 .
- ↑ 1 2 3 4 5 Mamed Arif. Selected in two volumes. - B .: Azerbaijan State Publishing House, 1973. - T. II. - p. 150.
- ↑ 1 2 3 Essay on the history of Azerbaijani Soviet literature. - M .: Publishing House of the Academy of Sciences of the USSR, 1963. - p. 154. - 570 p.
- ↑ 1 2 3 Art of Azerbaijan. - B. , 1949. - T. I. - P. 90-92.
- ↑ 1 2 Jafarov J. A. Works. - B .: Azerneshr, 1970. - p. 74.
- ↑ 1 2 3 4 History of the Soviet Drama Theater. - M .: Science, 1967. - p. 338.
- ↑ Jafarov J. A. Azerbaijan Drama Theater. - Azerbaijan State Publishing House, 1962. - P. 347. - 1962 p.
- ↑ Jafarov J. A. Works. - B .: Azerneshr, 1970. - p. 74.
- ↑ Klimovich L.I. Chrestomathy on the literature of the peoples of the USSR / Ed. K. M. Nartova. - State educational and pedagogical publishing house of the Ministry of Education, 1959. - p. 171. - 974 p.
- ↑ 1 2 3 4 Kasumzade K. Friendship of Peoples in Azerbaijani Soviet Literature. - B .: Azerbaijan State Publishing House, 1963. - P. 40-52. - 163 s.