Theatre critic, researcher, writer and professor of Azerbaijan State Culture and Art University. Member of international institutions and organizations such as IFTR, UNIMA, ASSITEJ. Author of books “The Master and the Mirror”, “Mehdi’s mystery or the concept of hamletizm in art”, “Thousand masks and I”, “The theatrical frescos”, “The history of the East theatre”, “The theatre and theatrics in the culture of Islam” and more than 500 articles published worldwide. As well as author of several novels like “The model of the butterfly 102”, “Abuhyub”, and the plays like “Tubinot”, “Pokémon” and “The aunt”. Phone: +994 50 442 14 36 Address: Baku-1009, Vidadi str., korner 9, house 4
There is no end to the mysteries of the Koran, 2023
This article examines the etymological aspects of the word Koran, which give completely new philo... more This article examines the etymological aspects of the word Koran, which give completely new philosophical shades to the birth of the Muslim holy book
Рецензия на спектакль А.Я.Шаровского "Вишнёвый сад" в Азербайджанском Государственном Русском Дра... more Рецензия на спектакль А.Я.Шаровского "Вишнёвый сад" в Азербайджанском Государственном Русском Драматическом Театре им. Самеда Вургуна
METAVERSE AS A METATHEATER: OXYMORON TYPE OF ENTERTAINMENT Qodo has died: won't appear. Bekket kn... more METAVERSE AS A METATHEATER: OXYMORON TYPE OF ENTERTAINMENT Qodo has died: won't appear. Bekket knew this: just "cheated" on his characters, giving hope, and inspiring them to endure and wait. Qodo has been the last manifestation of God, ultimate symbol of hope in XX century. XXI century, however, has deprived people of this phantom. The God "killed" by Nietzsche was murdered once again with Godot in Beckett's play. Thus, hope in God was lost completely. Once hope is lost, mimesis is sent to the periphery of art: once prayer and ritual is lost, the theater vanishes as an art, as a practice. Having this established and understood, XXI century wrote a socio-philosophical " epicrisis" for the God:
The toponym Shusha is considered by the author through the optics of the Persian and Turkic langu... more The toponym Shusha is considered by the author through the optics of the Persian and Turkic languages in the historical and psychological context
"Khamsa" by Nizami as a literary and artistic and philosophical and illustrative model of the five pillars of Islam", 2021
In this article, titled "Khamsa" by Nizami as a literary and artistic and philosophical and illus... more In this article, titled "Khamsa" by Nizami as a literary and artistic and philosophical and illustrative model of the five pillars of Islam", the author tries to prove that Nizami quite consciously, planned to create his five works. For each work, both in theory and according to the concept, it is based in turn on one of the five pillars of Islam and reveals its sacramental essence, the essence and splendor of Allah. The article consists of five parts: its first part, titled "Effect оf Rose", reveals the secret code of Nizami's first dastan "Treasury of Mysteries" (Mahzan al-asrar); the second, called "Effect of the Pearls", reveals the secret code of Nizami's second dastan "Khosrov and Shirin"; the third, called " Effect of Desert ", reveals the secret code of Nizami's third dastan "Layli and Majnun"; the fourth, called "Castle Effect", reveals the secret code of Nizami's fourth dastan "Seven Beauties" ("Haft Peykar"); the fifth titled "Pilgrim's Effect" reveals the secret code of Nizami's fifth dastan "Iskandername".
"Philosophical manifesto for the city and theatre: cognitive-semiological and psychological aspects" , 2016
The article is named "Philosophical manifesto for the city and theatre: cognitive-semiological an... more The article is named "Philosophical manifesto for the city and theatre: cognitive-semiological and psychological aspects" considers the mosaic of relations between the city and the theater
Theatre. The cult of ancestors. Surrealism. , 2022
Theatre. The cult of ancestors. Surrealism. An article under this title examines the relationship... more Theatre. The cult of ancestors. Surrealism. An article under this title examines the relationship between theatre and ancestor worship, as well as with funeral rites. At the same time, the author is trying to prove that surrealism as such has always been an integral part of reality and the roots of surrealism as an artistic and aesthetic trend are based in ancient times.
Taking a holistic approach and applying varying research methods to the analysis of Nizami Ganjav... more Taking a holistic approach and applying varying research methods to the analysis of Nizami Ganjavi's heritage, this study aims to demonstrate that the beauties in The Seven Beauties epic poem(dastan) by Nizami Ganjavi are not real women, but in fact divine houris belonging to an infernal world, and their mission is to transport Bahram Gur into the realm of death as a pure, clean and perfect soul. The author's secondary aim is to interpret the main concept of The Seven Beauties as a process of transformation of body into spirit, evolution of black into white, while presenting it as Nizami's higher idea of Sufism. The seven beauties who until now have been interpreted in an erotic context as Bahram's mistresses are in fact houris, whom Bahram encounters while he is alive and who take him to the world of death in successive stages. Through conversations with these houris, Bahram breaks free from his seven bodies, conquers his seven temptations, and escapes the world of Khavarnaq Castle. Therefore, in my opinion, Bahramnameh (Haft Paykar) 1 is not a story about Bahram per se, but is a magnificent palace epic about the king's soul, seven bodies, seven clime houris, seven planets and seven temptations.
The puppet or doll is the traditional toy of the humankind. It is an old toy and more over an anc... more The puppet or doll is the traditional toy of the humankind. It is an old toy and more over an ancient toy. However, despite of the fact that puppet always can be read or interpreted as vanguard text, the hermeneutic studies always refer to it as a philosophical material.
Theater can be perceived "via connection with the main category in ontology which is the category... more Theater can be perceived "via connection with the main category in ontology which is the category of existence. The issue with the essence of theater in its ontological and wider philosophical context, is the philosophy of theater by itself, which interprets theater as a specific method of thinking, representing special types of non-verbal playing characters. Performance that takes place "here" and "now" is a creation representing the existence" 1. Is this really true? Of course not. This statement is neither true nor untrue. It is just wrong. Because what is perceived by us in the theater "here" and "now" is not a representation of existence. The play does not aim to become a representation of existence, but to produce, reflect, shape the artistic version of existence designed by our perception, conscious, and imagination which totally contradicts to reality. Existence on stage is the existence designed by the layers of our consciousness. Theater is something like lab flask or collider that is used to make experiments with life. Life in theater, or say inside of a lab flask, is not a real life, but life that was modeled and selectively connected by our consciousness and imagination. That is why theater does not investigate the existence in its pure manifestation, but only deals with shade in consciousness and with imaginary human relations that do not exists in day to day life. Isn't it the reason why in the theater we look first of all for the vibration of idea, since we are confident that nothing is real on stage, except the idea that suddenly flashed across the mind of sender and recipient in course of stage act. In theater everything is guesswork, assumption, interpretation, and reflection of the reflection. If an act is being constructed then it is not a real one. Literature and art always deal particularly with the modified version of existence available in imagination.
Everyone knows what the collider is. There is no need to explain it.
Everyone knows what the th... more Everyone knows what the collider is. There is no need to explain it. Everyone knows what the theatre is, but there is always a need to explain it. Because every past day in a certain way re-creates the theater. Because every past day tunes the theater into absolutely new way and new wave of emotions. Every past day shapes the performance in line with its priorities and in accordance with emotional background and psychological spirit.
Проблема гендера и художественно-эстетическая матрица традиционны, 2011
В статье делается попытка изучить баланс ролей мужчины и женщины в истории становления и развития... more В статье делается попытка изучить баланс ролей мужчины и женщины в истории становления и развития мировой театральной культуры
В статье делается попытка с помощью герменевтического и философского подхода по-новому семантизир... more В статье делается попытка с помощью герменевтического и философского подхода по-новому семантизировать топоним Алтай, исходя из исторического культурологического контекста в блиц формате.
ВОЛШЕБНЫЙ СПЕКТАКЛЬ СТИВЫ ОБЛОНСКОГО ИЛИ ФИЛЬМ, БЛАГОУХАЮЩИЙ КАК ФРАНЦУЗСКИЙ ПАРФЮМ, 2014
Статья посвящена освещению интерпретации романа Л. Толстого "Анна Каренина" в одноимённой картине... more Статья посвящена освещению интерпретации романа Л. Толстого "Анна Каренина" в одноимённой картине кинорежиссёром Дж. Райтом и сценаристом Т. Стоппардом.
Родился он в посёлке Мардакяны. Стал главой театрального братства Вагифиййа.Умер в Баку, но отпра... more Родился он в посёлке Мардакяны. Стал главой театрального братства Вагифиййа.Умер в Баку, но отправили тело усопшего опять в Мардакяны, завершив маршрут переселений. Дух же и поныне витает в театральном мире Азербайджана. Слава Аллаху, милостивому и милосердному!
"Mahdi's mystery or conceptual hamletism in art" , 2009
The book by name "Mahdi's mystery or conceptual hamletism in art" is a study of the biography and... more The book by name "Mahdi's mystery or conceptual hamletism in art" is a study of the biography and work of Mehdi Mammadov, a very popular theater director and actor in Azerbaijan in the 60s and 80s.
There is no end to the mysteries of the Koran, 2023
This article examines the etymological aspects of the word Koran, which give completely new philo... more This article examines the etymological aspects of the word Koran, which give completely new philosophical shades to the birth of the Muslim holy book
Рецензия на спектакль А.Я.Шаровского "Вишнёвый сад" в Азербайджанском Государственном Русском Дра... more Рецензия на спектакль А.Я.Шаровского "Вишнёвый сад" в Азербайджанском Государственном Русском Драматическом Театре им. Самеда Вургуна
METAVERSE AS A METATHEATER: OXYMORON TYPE OF ENTERTAINMENT Qodo has died: won't appear. Bekket kn... more METAVERSE AS A METATHEATER: OXYMORON TYPE OF ENTERTAINMENT Qodo has died: won't appear. Bekket knew this: just "cheated" on his characters, giving hope, and inspiring them to endure and wait. Qodo has been the last manifestation of God, ultimate symbol of hope in XX century. XXI century, however, has deprived people of this phantom. The God "killed" by Nietzsche was murdered once again with Godot in Beckett's play. Thus, hope in God was lost completely. Once hope is lost, mimesis is sent to the periphery of art: once prayer and ritual is lost, the theater vanishes as an art, as a practice. Having this established and understood, XXI century wrote a socio-philosophical " epicrisis" for the God:
The toponym Shusha is considered by the author through the optics of the Persian and Turkic langu... more The toponym Shusha is considered by the author through the optics of the Persian and Turkic languages in the historical and psychological context
"Khamsa" by Nizami as a literary and artistic and philosophical and illustrative model of the five pillars of Islam", 2021
In this article, titled "Khamsa" by Nizami as a literary and artistic and philosophical and illus... more In this article, titled "Khamsa" by Nizami as a literary and artistic and philosophical and illustrative model of the five pillars of Islam", the author tries to prove that Nizami quite consciously, planned to create his five works. For each work, both in theory and according to the concept, it is based in turn on one of the five pillars of Islam and reveals its sacramental essence, the essence and splendor of Allah. The article consists of five parts: its first part, titled "Effect оf Rose", reveals the secret code of Nizami's first dastan "Treasury of Mysteries" (Mahzan al-asrar); the second, called "Effect of the Pearls", reveals the secret code of Nizami's second dastan "Khosrov and Shirin"; the third, called " Effect of Desert ", reveals the secret code of Nizami's third dastan "Layli and Majnun"; the fourth, called "Castle Effect", reveals the secret code of Nizami's fourth dastan "Seven Beauties" ("Haft Peykar"); the fifth titled "Pilgrim's Effect" reveals the secret code of Nizami's fifth dastan "Iskandername".
"Philosophical manifesto for the city and theatre: cognitive-semiological and psychological aspects" , 2016
The article is named "Philosophical manifesto for the city and theatre: cognitive-semiological an... more The article is named "Philosophical manifesto for the city and theatre: cognitive-semiological and psychological aspects" considers the mosaic of relations between the city and the theater
Theatre. The cult of ancestors. Surrealism. , 2022
Theatre. The cult of ancestors. Surrealism. An article under this title examines the relationship... more Theatre. The cult of ancestors. Surrealism. An article under this title examines the relationship between theatre and ancestor worship, as well as with funeral rites. At the same time, the author is trying to prove that surrealism as such has always been an integral part of reality and the roots of surrealism as an artistic and aesthetic trend are based in ancient times.
Taking a holistic approach and applying varying research methods to the analysis of Nizami Ganjav... more Taking a holistic approach and applying varying research methods to the analysis of Nizami Ganjavi's heritage, this study aims to demonstrate that the beauties in The Seven Beauties epic poem(dastan) by Nizami Ganjavi are not real women, but in fact divine houris belonging to an infernal world, and their mission is to transport Bahram Gur into the realm of death as a pure, clean and perfect soul. The author's secondary aim is to interpret the main concept of The Seven Beauties as a process of transformation of body into spirit, evolution of black into white, while presenting it as Nizami's higher idea of Sufism. The seven beauties who until now have been interpreted in an erotic context as Bahram's mistresses are in fact houris, whom Bahram encounters while he is alive and who take him to the world of death in successive stages. Through conversations with these houris, Bahram breaks free from his seven bodies, conquers his seven temptations, and escapes the world of Khavarnaq Castle. Therefore, in my opinion, Bahramnameh (Haft Paykar) 1 is not a story about Bahram per se, but is a magnificent palace epic about the king's soul, seven bodies, seven clime houris, seven planets and seven temptations.
The puppet or doll is the traditional toy of the humankind. It is an old toy and more over an anc... more The puppet or doll is the traditional toy of the humankind. It is an old toy and more over an ancient toy. However, despite of the fact that puppet always can be read or interpreted as vanguard text, the hermeneutic studies always refer to it as a philosophical material.
Theater can be perceived "via connection with the main category in ontology which is the category... more Theater can be perceived "via connection with the main category in ontology which is the category of existence. The issue with the essence of theater in its ontological and wider philosophical context, is the philosophy of theater by itself, which interprets theater as a specific method of thinking, representing special types of non-verbal playing characters. Performance that takes place "here" and "now" is a creation representing the existence" 1. Is this really true? Of course not. This statement is neither true nor untrue. It is just wrong. Because what is perceived by us in the theater "here" and "now" is not a representation of existence. The play does not aim to become a representation of existence, but to produce, reflect, shape the artistic version of existence designed by our perception, conscious, and imagination which totally contradicts to reality. Existence on stage is the existence designed by the layers of our consciousness. Theater is something like lab flask or collider that is used to make experiments with life. Life in theater, or say inside of a lab flask, is not a real life, but life that was modeled and selectively connected by our consciousness and imagination. That is why theater does not investigate the existence in its pure manifestation, but only deals with shade in consciousness and with imaginary human relations that do not exists in day to day life. Isn't it the reason why in the theater we look first of all for the vibration of idea, since we are confident that nothing is real on stage, except the idea that suddenly flashed across the mind of sender and recipient in course of stage act. In theater everything is guesswork, assumption, interpretation, and reflection of the reflection. If an act is being constructed then it is not a real one. Literature and art always deal particularly with the modified version of existence available in imagination.
Everyone knows what the collider is. There is no need to explain it.
Everyone knows what the th... more Everyone knows what the collider is. There is no need to explain it. Everyone knows what the theatre is, but there is always a need to explain it. Because every past day in a certain way re-creates the theater. Because every past day tunes the theater into absolutely new way and new wave of emotions. Every past day shapes the performance in line with its priorities and in accordance with emotional background and psychological spirit.
Проблема гендера и художественно-эстетическая матрица традиционны, 2011
В статье делается попытка изучить баланс ролей мужчины и женщины в истории становления и развития... more В статье делается попытка изучить баланс ролей мужчины и женщины в истории становления и развития мировой театральной культуры
В статье делается попытка с помощью герменевтического и философского подхода по-новому семантизир... more В статье делается попытка с помощью герменевтического и философского подхода по-новому семантизировать топоним Алтай, исходя из исторического культурологического контекста в блиц формате.
ВОЛШЕБНЫЙ СПЕКТАКЛЬ СТИВЫ ОБЛОНСКОГО ИЛИ ФИЛЬМ, БЛАГОУХАЮЩИЙ КАК ФРАНЦУЗСКИЙ ПАРФЮМ, 2014
Статья посвящена освещению интерпретации романа Л. Толстого "Анна Каренина" в одноимённой картине... more Статья посвящена освещению интерпретации романа Л. Толстого "Анна Каренина" в одноимённой картине кинорежиссёром Дж. Райтом и сценаристом Т. Стоппардом.
Родился он в посёлке Мардакяны. Стал главой театрального братства Вагифиййа.Умер в Баку, но отпра... more Родился он в посёлке Мардакяны. Стал главой театрального братства Вагифиййа.Умер в Баку, но отправили тело усопшего опять в Мардакяны, завершив маршрут переселений. Дух же и поныне витает в театральном мире Азербайджана. Слава Аллаху, милостивому и милосердному!
"Mahdi's mystery or conceptual hamletism in art" , 2009
The book by name "Mahdi's mystery or conceptual hamletism in art" is a study of the biography and... more The book by name "Mahdi's mystery or conceptual hamletism in art" is a study of the biography and work of Mehdi Mammadov, a very popular theater director and actor in Azerbaijan in the 60s and 80s.
The book of the outstanding Russian scientist Yakov Emmanuilovich Golosovker was translated by me... more The book of the outstanding Russian scientist Yakov Emmanuilovich Golosovker was translated by me into Azerbaijani as an example of a highly intellectual philosophical study of ancient Greek mythology.
A thousand masks and only me or the semiology of Islamic culture:, 2015
This book contains many articles by the author, where an attempt is made to study the semiologica... more This book contains many articles by the author, where an attempt is made to study the semiological aspects of the Muslim city, mosque, bazaar, mahalla and palace gardens
Театр в культуре ислама как бы слит воедино с жизнью мусульманина. Средневековый театр стран Ближ... more Театр в культуре ислама как бы слит воедино с жизнью мусульманина. Средневековый театр стран Ближнего и Среднего Востока жил благодаря исламу, а не вопреки его морально-нравственному кодексу и эстетической концепции. Но несмотря на это формы проявления театра не смогли провоцировать появление вечного «храма искусств», имеющего собственную крышу; а если выразиться иначе, то они просто «не добрались», «не доползли», «не доросли» до активного функционирующего стационара в культуре ислама. Объяснение этому лежит на поверхности: для мусульманина жизнь земная – это лишь приятная иллюзия, красивый мираж, где не стоит привязываться слишком серьёзно к чему-либо и долго задерживаться. Исламская архитектура, тип построек, оформление городов, наконец, сам быт мусульман, их приверженность к кочевому образу жизни свидетельствуют о том, что для правоверного в исламском мире не существует ничего долговечного, конечно же, кроме Аллаха. В этом плане формы проявления театра в культуре ислама подобны самому мусульманскому городу, который «плавно возносится над поверхностью земли, максимально использует необходимые ему природные ресурсы, а будучи оставленным жителями, мягко возвращается в земное лоно» (см. 154, с.305).
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Papers by Aydin Talibzade
The article consists of five parts: its first part, titled "Effect оf Rose", reveals the secret code of Nizami's first dastan "Treasury of Mysteries" (Mahzan al-asrar); the second, called "Effect of the Pearls", reveals the secret code of Nizami's second dastan "Khosrov and Shirin"; the third, called " Effect of Desert ", reveals the secret code of Nizami's third dastan "Layli and Majnun"; the fourth, called "Castle Effect", reveals the secret code of Nizami's fourth dastan "Seven Beauties" ("Haft Peykar"); the fifth titled "Pilgrim's Effect" reveals the secret code of Nizami's fifth dastan "Iskandername".
Everyone knows what the theatre is, but there is always a need to explain it. Because every past day in a certain way re-creates the theater. Because every past day tunes the theater into absolutely new way and new wave of emotions. Every past day shapes the performance in line with its priorities and in accordance with emotional background and psychological spirit.
The article consists of five parts: its first part, titled "Effect оf Rose", reveals the secret code of Nizami's first dastan "Treasury of Mysteries" (Mahzan al-asrar); the second, called "Effect of the Pearls", reveals the secret code of Nizami's second dastan "Khosrov and Shirin"; the third, called " Effect of Desert ", reveals the secret code of Nizami's third dastan "Layli and Majnun"; the fourth, called "Castle Effect", reveals the secret code of Nizami's fourth dastan "Seven Beauties" ("Haft Peykar"); the fifth titled "Pilgrim's Effect" reveals the secret code of Nizami's fifth dastan "Iskandername".
Everyone knows what the theatre is, but there is always a need to explain it. Because every past day in a certain way re-creates the theater. Because every past day tunes the theater into absolutely new way and new wave of emotions. Every past day shapes the performance in line with its priorities and in accordance with emotional background and psychological spirit.