{"id":59315,"date":"2025-11-19T14:17:56","date_gmt":"2025-11-19T10:17:56","guid":{"rendered":"https:\/\/azerbaycan.media\/?p=59315"},"modified":"2025-11-19T14:18:30","modified_gmt":"2025-11-19T10:18:30","slug":"zemfira-m%c9%99h%c9%99rr%c9%99mlinin-umid-isigi-pyesi-%c9%99sasinda-hazirlanmis-tamasa-haqqinda","status":"publish","type":"post","link":"https:\/\/azerbaycan.media\/?p=59315","title":{"rendered":"Zemfira M\u0259h\u0259rr\u0259mlinin \u201c\u00dcmid i\u015f\u0131\u011f\u0131\u201d pyesi \u0259sas\u0131nda haz\u0131rlanm\u0131\u015f tama\u015fa haqq\u0131nda"},"content":{"rendered":"

\u018fs\u0259d Cahangir<\/strong><\/em><\/span><\/p>\n

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O\u011flanlar, qorxaq olmay\u0131n,<\/p>\n

Sevindirin q\u0131zlar\u0131 siz…<\/p>\n

O ill\u0259rin mahn\u0131lar\u0131ndan<\/p>\n

Antik yunan dramaturgiyas\u0131 – esxill\u0259r, sofokllar, evripidl\u0259r t\u0259kc\u0259 \u015f\u0259rab\u00e7\u0131l\u0131q tanr\u0131s\u0131 Dionisin \u015f\u0259r\u0259fin\u0259 ke\u00e7iril\u0259n misteriyalardan deyil, h\u0259m d\u0259 yunanlar\u0131n iranl\u0131lar \u00fcz\u0259rind\u0259ki parlaq q\u0259l\u0259b\u0259sind\u0259n do\u011fulmu\u015fdu. Tarix \u0259d\u0259biyyat\u0131 yarad\u0131r, \u0259d\u0259biyyat tarixi ya\u015fad\u0131r. Sevindiricidir ki, Qaraba\u011f z\u0259f\u0259ri teatral h\u0259yat\u0131m\u0131z, \u00f6z\u0259llikl\u0259 d\u0259, \u015eu\u015fa D\u00f6vl\u0259t Musiqili Dram Teatr\u0131n\u0131n s\u0259hn\u0259sind\u0259 b\u00f6y\u00fck canlanma yarad\u0131b. Teatr bu g\u00fcn \u00f6z\u00fcn\u00fcn yeni \u00e7i\u00e7\u0259kl\u0259nm\u0259 d\u00f6n\u0259mini ya\u015fay\u0131r. S\u0259hn\u0259 v\u0259 zal\u0131n ki\u00e7ikliyin\u0259, m\u0259rk\u0259zd\u0259n uzaqda yerl\u0259\u015fm\u0259sin\u0259 baxmayaraq, Teatr\u0131n kollektivi sevil\u0259n s\u0259n\u0259tkar\u0131m\u0131z, \u0259m\u0259kdar artist Yadigar Muradov ba\u015fda olmaqla, bir-birinin ard\u0131nca da\u015f\u0131d\u0131\u011f\u0131 ada layiq tama\u015falar haz\u0131rlay\u0131r. Kollektivin u\u011furunu g\u00f6st\u0259rm\u0259y\u0259 t\u0259kc\u0259 el\u0259 bu fakt yet\u0259rlidir ki, Teatr\u0131n \u00f6z daimi, spesifik (\u0259n \u00f6n\u0259mlisi, k\u00f6n\u00fcll\u00fc!) tama\u015fa\u00e7\u0131 kontingenti var. Bu, h\u0259r teatra n\u0259sib olmur.<\/p>\n

2025-ci il iyulun 9-u \u015eu\u015fa Teatr\u0131n\u0131n tarixin\u0259 tan\u0131nm\u0131\u015f yaz\u0131\u00e7\u0131-publisist Zemfira M\u0259h\u0259rr\u0259mlinin “\u00dcmid i\u015f\u0131\u011f\u0131” pyesi \u0259sas\u0131nda \u0259m\u0259kdar artist Nazir R\u00fcst\u0259movun qurulu\u015f verdiyi eyniadl\u0131 tama\u015fan\u0131n premyeras\u0131 il\u0259 daxil oldu. “\u00dcmid i\u015f\u0131\u011f\u0131” \u00e7oxsayl\u0131 publisist v\u0259 n\u0259sr kitab\u0131n\u0131n m\u00fc\u0259llifi, \u0259m\u0259kdar jurnalist Z.M\u0259h\u0259rr\u0259mlinin yubileyi m\u00fcnasib\u0259til\u0259 haz\u0131rlan\u0131b v\u0259 m\u00fc\u0259yy\u0259n q\u0259d\u0259r “benefis” s\u0259ciyy\u0259si da\u015f\u0131y\u0131r. O vaxtdan tama\u015fa bir ne\u00e7\u0259 d\u0259f\u0259, iki f\u0259rqli hey\u0259td\u0259 g\u00f6st\u0259rilib v\u0259 h\u0259r d\u0259f\u0259sind\u0259 d\u0259 seyr\u00e7il\u0259rin raz\u0131l\u0131\u011f\u0131 il\u0259 qar\u015f\u0131lan\u0131b.<\/p>\n

XX y\u00fczil avanqard rejissor teatr\u0131n\u0131n atalar\u0131ndan Meyerxold vaxtil\u0259 “m\u0259n h\u0259r c\u00fcr c\u0131nd\u0131rdan tama\u015fa yarada bil\u0259r\u0259m”, dey\u0259 dram\u0131n h\u0259lledici \u00f6n\u0259min\u0259 qar\u015f\u0131 \u00e7\u0131x\u0131r, modern teatr\u0131m\u0131z\u0131n yarad\u0131c\u0131s\u0131, rejissor Tofiq Kaz\u0131mov “m\u0259n\u0259 bir taburetka verin, ondan tama\u015fa qurum”, deyirdi. Sa\u011fda\u015f\u0131m\u0131z, alman s\u0259n\u0259t\u015f\u00fcnas\u0131 Hans-Tis Lemon is\u0259 \u00f6z\u00fcn\u00fcn “Postdramatik teatr” (1999) kitab\u0131nda, h\u0259tta dramaturji m\u0259tnsiz v\u0259 h\u0259r\u0259k\u0259tsiz tama\u015falar haqq\u0131nda yaz\u0131r. Lakin b\u00fct\u00fcn bunlar s\u0259n\u0259t tarixind\u0259 daim modernl\u0259\u015fm\u0259k z\u0259rur\u0259ti duyan d\u00fc\u015f\u00fcnc\u0259nin kaprizl\u0259ri kimi qal\u0131r v\u0259 klassik bir h\u0259qiq\u0259t k\u00fcl alt\u0131ndan vaxta\u015f\u0131r\u0131 ba\u015f qald\u0131ran s\u0259m\u0259nd\u0259r kimi teatr s\u0259mas\u0131nda boy verir: tama\u015fan\u0131n u\u011furunun ilk pill\u0259sind\u0259 dramaturji m\u0259tn – s\u00f6z dayan\u0131r. Bunu C\u0259f\u0259r Cabbarl\u0131 deyirdi…<\/p>\n

…V\u0259 do\u011fru deyirdi. “\u00dcmid i\u015f\u0131\u011f\u0131” tama\u015fas\u0131n\u0131n u\u011furu, h\u0259r \u015feyd\u0259n \u00f6nc\u0259, dramaturji m\u0259tnd\u0259n – Z.M\u0259h\u0259rr\u0259mlinin dramaturgiya sah\u0259sind\u0259 ilk add\u0131m\u0131 olan eyniadl\u0131 pyesind\u0259n g\u0259lir. \u018fs\u0259r \u00f6z\u00fcn\u00fcn aktual m\u00f6vzusu, s\u0259ciyy\u0259vi xarakterl\u0259ri, g\u0259rgin konflikti, dinamik s\u00fcjeti, problemin inand\u0131r\u0131c\u0131, real \u00e7\u00f6z\u00fcm\u00fc v\u0259 \u00e7oxm\u0259nal\u0131 sonlu\u011fu il\u0259 yadda qal\u0131r. H\u0259r c\u00fcr klassik \u015fablon v\u0259 modern oyunbazl\u0131qdan uzaq bu t\u0259vaz\u00f6kar pyes janr\u0131n ba\u015fl\u0131ca g\u00f6st\u0259ricil\u0259rin\u0259 cavab verm\u0259kl\u0259 yana\u015f\u0131, m\u00fc\u0259llifin he\u00e7 bir \u015fekspirlik iddias\u0131na d\u00fc\u015fm\u0259diyini d\u0259 ayd\u0131n g\u00f6st\u0259rir.<\/p>\n

“\u00dcmid i\u015f\u0131\u011f\u0131”n\u0131n fabulas\u0131nda d\u00fcnya \u0259d\u0259biyyat\u0131 v\u0259 kinematoqraf\u0131nda d\u0259f\u0259l\u0259rl\u0259 i\u015fl\u0259n\u0259n, \u00f6z\u00fcn\u00fcn \u0259n s\u0259ciyy\u0259vi ifad\u0259sini \u00fcnl\u00fc hind kinorejissoru Rac Kapurun on milyonlarla insan, \u00f6z\u0259llikl\u0259 d\u0259, sovet tama\u015fa\u00e7\u0131lar\u0131n\u0131n q\u0259lbini f\u0259th el\u0259y\u0259n “Bobbi” (1973) filmind\u0259n \u00fcz\u00fc b\u0259ri ham\u0131ya yax\u015f\u0131 m\u0259lum sevgi dram\u0131 durur. Biri kas\u0131b, dig\u0259ri varl\u0131 ail\u0259d\u0259n olan iki g\u0259ncin h\u0259r iki t\u0259r\u0259fin valideynl\u0259ri t\u0259r\u0259find\u0259n naraz\u0131l\u0131qla qar\u015f\u0131lanan b\u0259lal\u0131 sevgisi! Yal\u00e7\u0131n adl\u0131 yoxsul, x\u0259st\u0259 anas\u0131 il\u0259 sovetd\u0259nqalma, k\u00f6hn\u0259 binada birotaql\u0131 evd\u0259 ya\u015fayan, i\u015fsiz-g\u00fccs\u00fcz g\u0259ncl\u0259 N\u0259rgiz adl\u0131 maddi t\u0259minatl\u0131, atas\u0131 n\u00fcfuzlu \u015firk\u0259tl\u0259rd\u0259n birind\u0259 ba\u015f m\u00fchasib i\u015fl\u0259y\u0259n q\u0131z bir-birin\u0259 vurulur v\u0259 h\u0259r iki t\u0259r\u0259fin valideynl\u0259rinin a\u015fiq-m\u0259\u015fuqlara qar\u015f\u0131 \u00e7\u0131xmas\u0131, umu-k\u00fcs\u00fcl\u0259r, dava-dala\u015flar, finaldak\u0131 qeyri-m\u00fc\u0259yy\u0259n ayr\u0131l\u0131q, bir s\u00f6zl\u0259, konfliktoloji durum (bu) sevgid\u0259n ba\u015flay\u0131r! B\u0259li, h\u0259r \u015fey sevgid\u0259n ba\u015flay\u0131r! B\u0259li, pyesin m\u00f6vzu-problematikas\u0131 \u015fablon g\u00f6r\u00fcn\u00fcr… amma yaln\u0131z ilk bax\u0131\u015fdan. \u00c7\u00fcnki olaylar g\u0259li\u015fdikc\u0259 Z.M\u0259h\u0259rr\u0259mlinin problem\u0259 yana\u015fmas\u0131nda \u00f6z\u00fcn\u0259m\u0259xsus y\u00f6nl\u0259r \u00fcz\u0259 \u00e7\u0131x\u0131r v\u0259 oxucunu da, tama\u015fa\u00e7\u0131n\u0131 da g\u00fcn\u00fcm\u00fcz\u00fcn konkret, s\u0259rt, ac\u0131 ger\u00e7\u0259kliyi il\u0259 \u00fcz-\u00fcz\u0259 qoyur. H\u0259r \u015fey sevgid\u0259n ba\u015flasa da, sad\u0259c\u0259 sevm\u0259kl\u0259 i\u015f bitmir, g\u0259r\u0259k \u00f6z sevgini qoruma\u011f\u0131 da bacarasan. M\u00fc\u0259llifin tama\u015fa\u00e7\u0131ya \u00f6t\u00fcrd\u00fcy\u00fc ba\u015fl\u0131ca ismar\u0131\u015flardan biri budur.<\/p>\n

Sosial diskriminasiya v\u0259 sevginin qar\u015f\u0131la\u015fmas\u0131 konusundak\u0131 \u0259s\u0259rl\u0259rd\u0259 toplumla f\u0259rd, \u00e7\u00f6ll\u0259 i\u00e7 toqqu\u015fur v\u0259 klassik m\u00fc\u0259llifl\u0259r toplum deyil, f\u0259rd\u0259, \u00e7\u00f6l deyil, i\u00e7\u0259 \u00f6n\u0259m verir, d\u00fcnyada yaln\u0131z bir h\u0259qiq\u0259t var – q\u0259lbin h\u0259qiq\u0259ti, h\u0259yatda yaln\u0131z bir h\u00f6km var – \u00fcr\u0259yin h\u00f6km\u00fc m\u00f6vqeyind\u0259 dururlar. Bu \u0259s\u0259rl\u0259rd\u0259 ad\u0259ti \u00fczr\u0259 maddi y\u00f6nd\u0259n z\u0259nginl\u0259r m\u0259n\u0259n yoxsul, m\u0259n\u0259n z\u0259nginl\u0259r is\u0259 maddi bax\u0131mdan imkans\u0131z g\u00f6st\u0259rilir ki, bu da olaylara da, xarakterl\u0259r\u0259 d\u0259 bir sxematizm, basmaq\u0259lib s\u0259ciyy\u0259si verir. Y\u0259ni su\u00e7 h\u0259mi\u015f\u0259 varl\u0131dad\u0131r, \u00e7\u00fcnki o varl\u0131d\u0131r; kas\u0131b h\u0259mi\u015f\u0259 haql\u0131d\u0131r, \u00e7\u00fcnki o kas\u0131bd\u0131r. S\u0259n\u0259t h\u0259mi\u015f\u0259 \u0259zil\u0259n, yaz\u0131q, kas\u0131b, m\u0259hkum, haqq\u0131 tapdalanm\u0131\u015f, al\u00e7ald\u0131lm\u0131\u015f v\u0259 t\u0259hqir olunmu\u015flar\u0131n t\u0259r\u0259find\u0259 durmal\u0131d\u0131r! Ba\u015flan\u011f\u0131cda – s\u0259naye devrimi d\u00f6n\u0259mind\u0259 problem\u0259 bax\u0131\u015f bel\u0259 idi v\u0259 onun izl\u0259ri \u00f6t\u0259n y\u00fczilin sonlar\u0131nacan qal\u0131rd\u0131.<\/p>\n

M\u00f6vzuya yana\u015fman\u0131n ikinci d\u00f6n\u0259minin ba\u015flanmas\u0131 \u00fc\u00e7\u00fcn b\u0259lli bir d\u00f6vr ke\u00e7m\u0259li, varl\u0131-kas\u0131b m\u00fcnasib\u0259tl\u0259rind\u0259ki k\u0259skin qar\u015f\u0131durma yeni m\u0259rh\u0259l\u0259y\u0259 girm\u0259li, \u0259n az\u0131, bir q\u0259d\u0259r yum\u015falmal\u0131 idi. Bu yeni yana\u015fma d\u00fcnya kinosunda \u00f6z\u00fcn\u00fcn \u0259n qabar\u0131q ifad\u0259sini Hollivudun “Ay\u0131 h\u00fccumu” (1997, rejissor Li Tamaxori) filmind\u0259 \u00fcnl\u00fc aktyor Entoni Hopkinsin ifas\u0131nda, varl\u0131 olmaqla yana\u015f\u0131, h\u0259m d\u0259 a\u011f\u0131ll\u0131, xeyirxah, m\u0259rd, c\u0259sur, bacar\u0131ql\u0131 \u00c7arlz obraz\u0131na m\u00fcnasib\u0259td\u0259 tap\u0131b. Rejissorun da, ssenaristin d\u0259 fikrinc\u0259, \u00c7arlz m\u0259hz bu \u00f6z\u0259llikl\u0259rin\u0259 g\u00f6r\u0259 var-d\u00f6vl\u0259t qazana bilib v\u0259 cavanl\u0131\u011f\u0131, yara\u015f\u0131\u011f\u0131ndan ba\u015fqa he\u00e7 bir \u00fcst\u00fcnl\u00fcy\u00fc olmayan kas\u0131b Robertd\u0259n kritik anlarda \u00f6z\u00fcn\u00fc qat-qat l\u0259yaq\u0259tl\u0259 apar\u0131r. \u0130st\u0259r varl\u0131, ist\u0259r kas\u0131b ol, \u015f\u0259rt xarakterd\u0259, a\u011f\u0131lda, bacar\u0131qdad\u0131r. Kimin varl\u0131, kimin kas\u0131b olmas\u0131 da, ilk \u00f6nc\u0259, n\u0259 al\u0131n yaz\u0131s\u0131, n\u0259 d\u0259 “\u0259dal\u0259tsiz” toplumsal qanunlar deyil, xarakter, bacar\u0131q, a\u011f\u0131lla ba\u011fl\u0131d\u0131r. Filmin g\u0259ldiyi sonuc budur.<\/p>\n

Z.M\u0259h\u0259rr\u0259mlinin m\u0259lum-m\u0259\u015fhur problem\u0259 bax\u0131\u015f buca\u011f\u0131 bir q\u0259d\u0259r ayr\u0131 c\u00fcrd\u00fcr v\u0259 bununla maraql\u0131d\u0131r. O n\u0259 kas\u0131b oldu\u011fu \u00fc\u00e7\u00fcn kas\u0131b\u0131n, n\u0259 d\u0259 varl\u0131 oldu\u011fu \u00fc\u00e7\u00fcn varl\u0131n\u0131n t\u0259r\u0259fini saxlay\u0131r. N\u0259 \u00fcnl\u00fc hind rejissoru kimi varl\u0131n\u0131 “a\u011f\u0131lland\u0131randan” sonra kas\u0131bla bar\u0131\u015f\u0131d\u0131r\u0131b qohum el\u0259mir, n\u0259 d\u0259 Hollivud rejissoru kimi “varl\u0131n\u0131n varl\u0131, kas\u0131b\u0131n kas\u0131b olmas\u0131 t\u0259sad\u00fcfi deyil”, y\u0259ni “h\u0259r k\u0259s \u00f6z ya\u015fad\u0131\u011f\u0131 h\u0259yata v\u0259 \u00fczl\u0259\u015fdiyi aqib\u0259t\u0259 layiqdir” m\u00f6vqeyind\u0259 durmur. O daha \u00e7ox \u00e7a\u011fda\u015f zaman, \u00f6z\u0259llikl\u0259 d\u0259, marketinq d\u00f6n\u0259minin s\u0259rt, g\u00fcz\u0259\u015ftsiz qanunlar\u0131n\u0131n yaratd\u0131\u011f\u0131 qorxu v\u0259 bu qorxunun do\u011furdu\u011fu m\u0259n\u0259vi-\u0259xlaqi a\u015f\u0131nmaya fokuslan\u0131r. Onun fikrinc\u0259, b\u00fct\u00fcn ba\u015f ver\u0259nl\u0259r\u0259 g\u00f6r\u0259 g\u00fcnah\u0131 n\u0259inki (t\u0259kc\u0259) varl\u0131lar\u0131n, b\u00fct\u00f6vl\u00fckd\u0259 insan\u0131n \u00fcst\u00fcn\u0259 y\u0131xmaq m\u0259s\u0259l\u0259ni b\u0259sitl\u0259\u015fdirm\u0259k dem\u0259kdir, zaman\u0131n pozucu t\u0259sirinin d\u0259 burda b\u00f6y\u00fck rolu var v\u0259 varl\u0131, ya kas\u0131b olmas\u0131ndan as\u0131l\u0131 olmayaraq, bu t\u0259sir\u0259 qar\u015f\u0131 dayanmaq \u00e7ox vaxt insan\u0131n irad\u0259si d\u0131\u015f\u0131ndad\u0131r. S.Vur\u011funun diliyl\u0259 des\u0259m, “insan – o m\u00fcq\u0259dd\u0259s bir kainatd\u0131r, bu saf q\u0259lbi pozan yaln\u0131z h\u0259yatd\u0131r.” Sad\u0259c\u0259, Z.M\u0259h\u0259rr\u0259mli bu \u00fcnl\u00fc deyimd\u0259ki “yaln\u0131z” s\u00f6z\u00fcn\u00fc ixtisara sal\u0131r v\u0259 sovet d\u00f6n\u0259mi klassikinin maksimalist h\u00f6km\u00fcn\u00fc xeyli yum\u015fald\u0131r. Finalda problem \u00e7\u00f6z\u00fclm\u00fcr v\u0259 bu, insan\u0131n zamana, toplumsal \u015f\u0259rtl\u0259r\u0259 uduzmas\u0131n\u0131n r\u0259mzi i\u015far\u0259sin\u0259 \u00e7evrilir. Ger\u00e7\u0259kliy\u0259 sadiq qalan m\u00fc\u0259llif \u015f\u0259rti nikbin finaldan – toydan, duvaqqapmadan \u00fcz \u00e7evirir, optimizm xatirin\u0259 g\u0259ncl\u0259ri yapma bir \u015f\u0259kild\u0259 qovu\u015fdurmur, baya\u011f\u0131 “toy olsun, a, toy olsun, h\u0259yat firavan olsun” pafosundan qa\u00e7\u0131r, qar\u015f\u0131l\u0131\u011f\u0131nda insan\u0131 \u0259n qutsal duy\u011fudan – sevgid\u0259n m\u0259hrum el\u0259y\u0259n \u00e7a\u011fda\u015f toplumsal h\u0259yat qanunlar\u0131na toy tutur.<\/p>\n

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Lakin Z.M\u0259h\u0259rr\u0259mlinin toplum v\u0259 insan qar\u015f\u0131durmas\u0131na yana\u015fmas\u0131 birplanl\u0131 deyil. O he\u00e7 d\u0259 ham\u0131ya toplumun saplarla y\u00f6nl\u0259ndirdiyi, \u015f\u0259xsi irad\u0259d\u0259n m\u0259hrum kuklas\u0131 kimi baxm\u0131r. Patronajla dil tapmad\u0131\u011f\u0131ndan i\u015fd\u0259n \u00e7\u0131xan, x\u0259st\u0259 anas\u0131n\u0131n t\u0259qa\u00fcd\u00fc hesab\u0131na ya\u015fayan, sevdiyi q\u0131z\u0131n atas\u0131n\u0131n g\u00f6nd\u0259rdiyi \u015f\u0259xsl\u0259r t\u0259r\u0259find\u0259n az qala, \u00f6l\u00fcm\u00fcn\u0259 d\u00f6y\u00fcld\u00fckd\u0259n sonra i\u00e7kiy\u0259 qur\u015fanan v\u0259 k\u00fc\u00e7\u0259d\u0259 t\u0259sad\u00fcf\u0259n tan\u0131\u015f oldu\u011fu “dostlar\u0131” il\u0259 t\u00fcfeyli h\u0259yat ke\u00e7ir\u0259n Yal\u00e7\u0131ndan f\u0259rqli olaraq, ata-anas\u0131n\u0131n basq\u0131s\u0131 N\u0259rgizin irad\u0259sini q\u0131ra bilmir v\u0259 o, n\u0259 q\u0259d\u0259r depressiyaya d\u00fc\u015fs\u0259, \u00fcmidsizliy\u0259 qap\u0131lsa da, sonucda valideynl\u0259rini \u00f6z ist\u0259yi il\u0259 hesabla\u015fma\u011fa vadar el\u0259y\u0259 bilir. G\u0259nc q\u0131z \u00f6l\u00fcmc\u00fcl inad\u0131 il\u0259 onlara ba\u015fa sal\u0131r ki, g\u00fcz\u0259\u015ft\u0259 getm\u0259s\u0259l\u0259r, \u00f6vladlar\u0131n\u0131 itir\u0259 bil\u0259rl\u0259r v\u0259 sonucda g\u00f6zl\u0259nilm\u0259z bir metamorfoz ba\u015f verir – N\u0259rgizin valideynl\u0259ri sad\u0259c\u0259 sevgiy\u0259 m\u00fcnasib\u0259td\u0259 deyil, b\u00fct\u00f6vl\u00fckd\u0259 d\u0259yi\u015fir, yenid\u0259n qurulur, g\u0259ncl\u0259\u015fir, bir s\u00f6zl\u0259, ba\u015fqa insana \u00e7evrilir, \u00f6z q\u0131zlar\u0131n\u0131 atan\u0131n \u00e7al\u0131\u015fd\u0131\u011f\u0131 \u015firk\u0259tin prezidentinin o\u011fluna verm\u0259k sevdas\u0131ndan \u0259l \u00e7\u0259kirl\u0259r. Qreqor Zamzan\u0131 (Kafka, “\u00c7evrilm\u0259”) do\u011fma atas\u0131 \u00f6z \u00f6gey, soyuq m\u00fcnasib\u0259ti il\u0259 adamdan h\u0259\u015f\u0259rata \u00e7evirmi\u015fdi. N\u0259rgiz is\u0259 inadkar sevgisi il\u0259 \u00f6z atas\u0131n\u0131 “qlavbux”dan adama, anas\u0131n\u0131 me\u015f\u015fan bir qad\u0131ndan h\u0259ssas anaya \u00e7evirir. Valideynl\u0259ri N\u0259rgizi d\u00fcnyaya cism\u0259n g\u0259tirmi\u015fdi, o is\u0259 valideynl\u0259rini m\u0259n\u0259n, ikinci d\u0259f\u0259 h\u0259yata g\u0259tirir.<\/p>\n

Dram s\u0259n\u0259tinin g\u00f6z\u0259lliyi g\u00f6zl\u0259nilm\u0259z a\u00e7\u0131l\u0131\u015flardad\u0131r v\u0259 valideynl\u0259rd\u0259ki g\u00f6zl\u0259nilm\u0259z daxili \u00e7evrilm\u0259 konfliktin \u00e7\u00f6z\u00fcm\u00fcnd\u0259 h\u0259lledici an t\u0259siri ba\u011f\u0131\u015flay\u0131r. N\u0259 g\u00f6z\u0259l! Tama\u015fa\u00e7\u0131ya el\u0259 g\u0259lir ki, dramaturji a\u00e7\u0131l\u0131\u015f \u015fablon \u00fczr\u0259 sevginin xeyrin\u0259 ged\u0259c\u0259k. Lakin\u00a0 “happy end” q\u0259hr\u0259manlar\u0131n q\u0259l\u0259b\u0259si olsa da, \u0259s\u0259rin m\u0259\u011flubiyy\u0259ti ola bil\u0259rdi. Dobrolyubovun diliyl\u0259 des\u0259m, \u0259g\u0259r Katerina (“Tufan”, A.Ostrovski) insan \u015f\u0259xsiyy\u0259ti v\u0259 l\u0259yaq\u0259tini al\u00e7aldan, azadl\u0131\u011f\u0131 bo\u011fan me\u015f\u015fan h\u0259yat t\u0259rzini q\u0259bul el\u0259s\u0259, \u00f6z\u00fcn\u00fc Volqan\u0131n sular\u0131na q\u0259rq el\u0259m\u0259s\u0259, tama\u015fa\u00e7\u0131 \u00f6z\u00fcn\u00fc t\u0259hqir olunmu\u015f sayard\u0131. Z.M\u0259h\u0259rr\u0259mlinin m\u0259qs\u0259di tama\u015fa\u00e7\u0131 zal\u0131n\u0131 raz\u0131 salmaq yox, insan\u0131 ibr\u0259tl\u0259ndirm\u0259kdir. Ger\u00e7\u0259kliy\u0259 sadiq qalan m\u00fc\u0259llif bu \u00fczd\u0259n \u015fablon finaldan vaz ke\u00e7ir v\u0259 ba\u015fqa sonuca var\u0131r. Ana himay\u0259sind\u0259 b\u00f6y\u00fcy\u0259n, t\u0259kc\u0259 atas\u0131ndan yadigar qalan saat\u0131 deyil, atalardan miras qalan q\u0259tiyy\u0259ti d\u0259 qoruyub saxlaya bilm\u0259y\u0259n Yal\u00e7\u0131n\u0131n ba\u011f\u0131\u015flad\u0131\u011f\u0131 ay\u0131 balas\u0131 g\u0259linciyini N\u0259rgiz geri qaytar\u0131r, sonra is\u0259 o\u011flan\u0131 \u00f6z oyunca\u011f\u0131 il\u0259 ba\u015f-ba\u015fa qoyub, s\u0259hn\u0259 qaranl\u0131\u011f\u0131nda yox olur. Bu gedi\u015f (b\u0259lk\u0259 d\u0259) \u00f6m\u00fcrl\u00fck ayr\u0131l\u0131\u011f\u0131n r\u0259mzi i\u015far\u0259si kimi m\u0259nalan\u0131r. Qad\u0131na kukla yox, \u00f6z ayaqlar\u0131 \u00fcst\u00fcnd\u0259 m\u00f6hk\u0259m dayanm\u0131\u015f v\u0259fal\u0131, q\u0259tiyy\u0259tli \u0259r – ki\u015fi laz\u0131md\u0131r! V\u0259 \u0259s\u0259r bu s\u0259rt, ac\u0131, amma real sonluqla bitir.<\/p>\n

Yal\u00e7\u0131n v\u0259 N\u0259rgiz obrazlar\u0131na bel\u0259 f\u0259rqli m\u00fc\u0259llif yana\u015fmas\u0131, m\u0259nc\u0259, iki ba\u015fl\u0131ca s\u0259b\u0259bd\u0259n do\u011fur. Do\u011frudan da, \u00e7a\u011fda\u015f toplumda qad\u0131n\u0131n rolu getdikc\u0259 g\u00fccl\u0259nir v\u0259 buna uy\u011fun onun q\u0259tiyy\u0259ti d\u0259 art\u0131r. Ne\u00e7\u0259 minill\u0259rd\u0259n b\u0259ri patriarxal d\u00fc\u015f\u00fcnc\u0259nin h\u00f6km\u00fc il\u0259 \u0259n adi insani h\u00fcquqlardan m\u0259hrum edil\u0259n qad\u0131n\u0131n haqlar\u0131 indi ona ist\u0259r h\u0259yat, ist\u0259rs\u0259 d\u0259 s\u0259n\u0259td\u0259 ki\u015fid\u0259n \u00fcst\u00fcn m\u00f6vqe verilm\u0259sil\u0259 kompensasiya olunur. \u00dcmum\u0259n bu g\u00fcn – bir minillyin bitib, dig\u0259rinin ba\u015flad\u0131\u011f\u0131 d\u00f6vrd\u0259 d\u00fcnyada sanki qlobal \u0259dal\u0259t tendensiyas\u0131 h\u00f6km s\u00fcr\u00fcr. Tarixin vicdan\u0131 canl\u0131lar aras\u0131nda heyvanlar\u0131n, ail\u0259d\u0259 u\u015faqlar\u0131n, ail\u0259 v\u0259 toplumda qad\u0131nlar\u0131n, toplum v\u0259 d\u00fcnyada z\u0259ncil\u0259rin tapdalanm\u0131\u015f haqlar\u0131n\u0131n \u00f6zl\u0259rin\u0259 qaytar\u0131lmas\u0131n\u0131 t\u0259l\u0259b edir. Bu qlobal kompensasiya prosesinin sonuclar\u0131 \u0259n qabar\u0131q ifad\u0259sini d\u00fcnyan\u0131n h\u0259r yerind\u0259 heyvansev\u0259rl\u0259r c\u0259miyy\u0259tl\u0259rinin yarad\u0131lmas\u0131, \u0130ndra Qandi, Ben\u0259zir Bhutto, Tansu \u00c7ill\u0259r, Marqaret Tet\u00e7er kimi \u00fcnl\u00fc qad\u0131nlar\u0131n ba\u015f nazir, qara iqrin n\u00fcmay\u0259nd\u0259si Barak Obaman\u0131n is\u0259, h\u0259tta superd\u00f6vl\u0259tin prezidenti postuna y\u00fcks\u0259lm\u0259sind\u0259 tap\u0131r. “\u00dcmid i\u015f\u0131\u011f\u0131” pyesi d\u0259 bu qlobal feminizasiya prosesinin dal\u011fas\u0131nda yaran\u0131b. Dig\u0259r yandan, pyesin m\u00fc\u0259llifi qad\u0131nd\u0131r v\u0259 tama\u015fa boyu bir k\u00f6yn\u0259k d\u0259rind\u0259 olsa da, feministik ruhla, qad\u0131n h\u0259mr\u0259yliyi il\u0259 \u00fczl\u0259\u015fm\u0259yimiz qanunauy\u011fundur. Z.M\u0259h\u0259rr\u0259mlinin Birinci Qaraba\u011f m\u00fcharib\u0259sind\u0259 q\u0131zlar\u0131m\u0131z\u0131n – qad\u0131nlar\u0131m\u0131z\u0131n q\u0259hr\u0259manl\u0131\u011f\u0131ndan dan\u0131\u015fan \u00fcnl\u00fc kitab\u0131n\u0131n ba\u015fl\u0131\u011f\u0131nda deyildiyi kimi, “D\u00f6y\u00fc\u015f\u0259 q\u0131zlar gedir”.<\/p>\n

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H\u0259vari Pavel m\u0259ktublar\u0131ndan birind\u0259 yaz\u0131rd\u0131: “\u0130ndi \u00fc\u00e7 \u015fey qal\u0131r: \u00fcmid, iman v\u0259 sevgi. Bunlardan \u0259n \u00f6n\u0259mlisi sevgidir.” \u00d6z \u0259s\u0259rini “\u00dcmid i\u015f\u0131\u011f\u0131” adland\u0131ran v\u0259 finalda birba\u015fa \u00f6z dilind\u0259n: “…Amma uzaqda, lap uzaqda balaca, bapbalaca bir i\u015f\u0131q g\u00f6r\u00fcrs\u0259n. O i\u015f\u0131\u011fa do\u011fru gedirs\u0259n… V\u0259 bir g\u00fcn, m\u00fctl\u0259q bir g\u00fcn \u00e7at\u0131b qovu\u015fursan o i\u015f\u0131\u011fa – \u0259vv\u0259li v\u0259 sonu olmayan \u00fcmid i\u015f\u0131\u011f\u0131na” dey\u0259n Z.M\u0259h\u0259rr\u0259mli ilk bax\u0131\u015fdan el\u0259 g\u00f6r\u00fcn\u00fcr ki, bu \u00fc\u00e7 k\u0259lamdan yaln\u0131z birini – \u00fcmidi saxlay\u0131r. \u018fslind\u0259 is\u0259 o, ikinci planda \u00fcmidl\u0259 yana\u015f\u0131, iman v\u0259 sevgid\u0259n d\u0259 s\u00f6z a\u00e7\u0131r. Diqq\u0259t! Ax\u0131, s\u00f6hb\u0259t “\u0259vv\u0259li v\u0259 sonu olmayan” \u00fcmidd\u0259n gedir! “\u018fvv\u0259li v\u0259 sonu olmayan” epitetl\u0259ri is\u0259 yaln\u0131z v\u0259 yaln\u0131z Tanr\u0131ya m\u0259xsusdur v\u0259 m\u00fc\u0259llif G\u00f6z\u0259g\u00f6r\u00fcnm\u0259z\u0259 iman haqq\u0131nda birba\u015fa deyil, dolay\u0131s\u0131 il\u0259 dan\u0131\u015f\u0131r. \u0130man is\u0259 inand\u0131\u011f\u0131n qutsal subyekt\u0259, ali varl\u0131\u011fa – Tanr\u0131ya h\u0259m d\u0259 sevgi dem\u0259kdir.<\/p>\n

Ki\u015fi qad\u0131ndan \u00fcz \u00e7evirs\u0259, Tanr\u0131ya do\u011fru \u00fcz tutur – bu \u00f6z\u00fcn\u00fcn \u0259n klassik ifad\u0259sini M\u0259cnun obraz\u0131nda tapm\u0131\u015fd\u0131. Qad\u0131n ki\u015fid\u0259n \u00fcz \u00e7evirs\u0259, yen\u0259 d\u0259 Tanr\u0131ya \u00fcz tutur. Bunu is\u0259 “\u00dcmid i\u015f\u0131\u011f\u0131”n\u0131n q\u0259hr\u0259man\u0131 N\u0259rgiz el\u0259yir. Tanr\u0131n\u0131n sur\u0259tind\u0259n (Leylid\u0259n) imtina el\u0259y\u0259n M\u0259cnunun onun mahiyy\u0259tin\u0259 t\u0259r\u0259f y\u00fcks\u0259lm\u0259si a\u00e7\u0131q \u015f\u0259kild\u0259 b\u0259yan edilir. \u00c7\u00fcnki proses d\u0259rk olunmu\u015f planda gedir. Yalan\u00e7\u0131 sevgid\u0259n (sevgilisinin verdiyi oyuncaqdan!) imtina el\u0259y\u0259n N\u0259rgiz\u0259 g\u0259linc\u0259, burda Tanr\u0131 il\u0259 ba\u011fl\u0131 a\u00e7\u0131q b\u0259yan yoxdur. \u00c7\u00fcnki proses ist\u0259r q\u0259hr\u0259man, ist\u0259rs\u0259 d\u0259 m\u00fc\u0259llifin d\u00fc\u015f\u00fcnc\u0259sinin \u015f\u00fcuralt\u0131 qat\u0131nda gedir. Amma h\u0259r iki halda v\u0259 insana inam\u0131n itdiyi b\u00fct\u00fcn hallarda \u00fcz tutulas\u0131 bir son \u00fcnvan var – Tanr\u0131! C\u0259lal\u0131n \u00f6l\u00fcm\u00fcnd\u0259n sonra \u00e7\u00f6l\u00fcn n\u0259hay\u0259tsiz sonsuzlu\u011funda getdikc\u0259 \u0259riyib n\u00f6qt\u0259y\u0259 d\u00f6n\u0259n v\u0259 yox olan Humay, g\u00f6r\u0259s\u0259n, hara gedirdi? (Y.S\u0259m\u0259do\u011flu, “Yeddi o\u011ful ist\u0259r\u0259m”) \u00d6l\u00fcm\u0259 v\u0259 \u00f6l\u00fcm vasit\u0259sil\u0259 Tanr\u0131ya do\u011fru! Yerd\u0259ki ki\u015fini itir\u0259n qad\u0131n g\u00f6yd\u0259ki ki\u015fid\u0259n ba\u015fqa kim\u0259 p\u0259nah apara bil\u0259r ki?! B\u0259s, Yal\u00e7\u0131n\u0131n m\u0259n\u0259vi \u00f6l\u00fcm\u00fcnd\u0259n sonra s\u0259hn\u0259nin m\u0259chul qaranl\u0131\u011f\u0131na \u00fcz tutan N\u0259rgiz hara gedirdi? Son \u00fcmidi tama\u015fa\u00e7\u0131lar\u0131n \u0259lind\u0259n almaq ist\u0259m\u0259y\u0259n Z.M\u0259h\u0259rr\u0259mli klassik drama m\u0259xsus “bitkinlikd\u0259n” imtina ed\u0259r\u0259k, m\u0259s\u0259l\u0259ni sual i\u015far\u0259si alt\u0131nda saxlay\u0131r.<\/p>\n

Orta \u00e7a\u011f (Leyli-M\u0259cnun) v\u0259 \u00f6t\u0259n y\u00fczilin (Humay-C\u0259lal) a\u015fiq-m\u0259\u015fuqlar\u0131ndan \u00e7a\u011fda\u015flar\u0131m\u0131z\u0131n (N\u0259rgiz-Yal\u00e7\u0131n) daha bir f\u0259rqi var – d\u0259yi\u015f\u0259n, feministl\u0259\u015f\u0259n zamana uy\u011fun rollar da d\u0259yi\u015fir – qad\u0131n aktiv, ki\u015fi passiv m\u00f6vqey\u0259 ke\u00e7ir. Amma n\u0259 olur-olsun, nec\u0259 olur-olsun, b\u0259dii fikrimiz yen\u0259 d\u0259 F\u00fczuli m\u0259hv\u0259rind\u0259, yen\u0259 d\u0259 Vur\u011funluq orbitind\u0259 f\u0131rlan\u0131r. B\u0259z\u0259n \u00f6z\u00fcm\u00fcz d\u0259 bilm\u0259d\u0259n,\u00a0 f\u0259rqin\u0259 varmadan, a\u011fl\u0131m\u0131za g\u0259tirm\u0259d\u0259n, \u015f\u00fcuralt\u0131 olaraq onlar\u0131n sehrind\u0259n \u00e7\u0131xa bilmirik. Bu, “\u0259vv\u0259li v\u0259 sonu olmayan” sevginin orbiti, iman\u0131n m\u0259hv\u0259ri v\u0259 \u00fcmidin i\u015f\u0131\u011f\u0131d\u0131r. Z.M\u0259h\u0259rr\u0259mli n\u0259 ibtida, n\u0259 d\u0259 int\u0259has\u0131 olmayan bu \u0259z\u0259li v\u0259 \u0259b\u0259di i\u015f\u0131q selin\u0259 \u00f6z\u00fcn\u00fcn bir z\u0259rr\u0259 sevgi, iman, \u00fcmid pay\u0131n\u0131 verir.<\/p>\n

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Milli dram s\u0259n\u0259timizin b\u00f6y\u00fck yenilik\u00e7isi C\u0259f\u0259r Cabbarl\u0131 deyirdi ki, tama\u015fan\u0131n u\u011furunun birinci pill\u0259sind\u0259 dramaturq, ikincid\u0259 is\u0259 rejissor dayan\u0131r. Ne\u00e7\u0259-ne\u00e7\u0259 tama\u015fada h\u0259m rejissorluq, h\u0259m d\u0259 aktyorluq el\u0259y\u0259n “\u00dcmid i\u015f\u0131\u011f\u0131” tama\u015fas\u0131n\u0131n qurulu\u015f\u00e7u rejissoru, \u0259m\u0259kdar artist Nazir R\u00fcst\u0259mov \u015eu\u015fa Teatr\u0131n\u0131n Stanislavskisi, Abbas Mirz\u0259 \u015e\u0259rifzad\u0259si \u0130brahim H\u0259mz\u0259yevdir (pyes d\u0259 yazsa, Sofoklu olard\u0131). Bu tama\u015fada da o \u0259sas rollardan birinin – N\u0259rgizin atas\u0131 Muxtar obraz\u0131n\u0131n iki ifa\u00e7\u0131s\u0131ndan biridir. Tama\u015faya iki d\u0259f\u0259 baxsam da, ikinci d\u0259f\u0259 Teatra m\u0259hz Nazir b\u0259yin Muxtar\u0131n\u0131 g\u00f6rm\u0259k \u00fc\u00e7\u00fcn gets\u0259m d\u0259, t\u0259\u0259ss\u00fcf ki, onu bu rolda g\u00f6rm\u0259k n\u0259sibim olmad\u0131. Bu \u00fczd\u0259n indi ancaq rejissor N.R\u00fcst\u0259movdan dan\u0131\u015f\u0131ram.<\/p>\n

N.R\u00fcst\u0259mov dramaturji m\u0259tni \u0259sas g\u00f6t\u00fcr\u0259r\u0259k, birhiss\u0259li, lirik-psixoloji janrda y\u0131\u011fcam, dinamik, rejissor qay\u0259si ayd\u0131n g\u00f6r\u00fcn\u0259n, tama\u015fa\u00e7\u0131n\u0131 dar\u0131xma\u011fa, telefonla oynama\u011fa qoymayan, bir s\u00f6zl\u0259, bax\u0131ml\u0131 bir tama\u015fa araya-\u0259rs\u0259y\u0259 g\u0259tirib. Bir t\u0259r\u0259fd\u0259 N\u0259rgiz, dig\u0259r t\u0259r\u0259fd\u0259 Yal\u00e7\u0131n\u0131n ya\u015fad\u0131\u011f\u0131 evin interyerinin s\u0259hn\u0259d\u0259 yan-yana qoyulmas\u0131 (qurulu\u015f\u00e7u r\u0259ssam Fatma \u018fliyeva) ist\u0259r dramaturji m\u0259tn, ist\u0259rs\u0259 d\u0259 tama\u015fan\u0131n \u0259sas m\u0259zmunu v\u0259 ideyas\u0131na son d\u0259r\u0259c\u0259 sad\u0259, amma ayd\u0131n vizual ifad\u0259 verir. Lakin, m\u0259nc\u0259, s\u0259hn\u0259 t\u0259rtibat\u0131 bax\u0131m\u0131ndan varl\u0131-kas\u0131b m\u00fcnasib\u0259tl\u0259ri v\u0259 h\u0259yat t\u0259rzind\u0259ki disbalans\u0131n daha qabar\u0131q, daha k\u0259skin g\u00f6st\u0259rilm\u0259sin\u0259 ehtiyac var idi.<\/p>\n

\u015eu\u015fa Teatr\u0131n\u0131n Musiqili Dram t\u0259yinat\u0131 v\u0259 \u0259s\u0259rin melodramatik m\u0259zmununa uy\u011fun “Ah, bu q\u0131z\u0131n barmaqlar\u0131” v\u0259 “Ya\u011f\u0131\u015f yuyur, g\u00fcn qurudur” mahn\u0131lar\u0131 (s\u00f6z – xalq \u015fairi Ramiz R\u00f6v\u015f\u0259n, musiqi – \u0259m\u0259kdar artist El\u015f\u0259n R\u00fcst\u0259mov) \u00f6z\u0259llikl\u0259 d\u0259, finalda s\u0259sl\u0259n\u0259n “Sev” mahn\u0131s\u0131 (s\u00f6z – \u0130brahim \u0130brahimli, musiqi – G\u00fcnel \u018flizad\u0259) kimi musiqi par\u00e7alar\u0131n\u0131n tama\u015faya daxil edilm\u0259si (musiqi t\u0259rtibat\u00e7\u0131s\u0131 Az\u0259r M\u0259mm\u0259dov) iki bir-birin\u0259 zidd v\u0259zif\u0259 yerin\u0259 yetirir: birincisi, musiqi nakam sevgi faci\u0259sinin yaratd\u0131\u011f\u0131 a\u011f\u0131r ovqat\u0131 yum\u015fald\u0131r, h\u0259r \u015feyin ke\u00e7iciliyi, \u00fcmum\u0259n d\u00fcnyan\u0131n faniliyi fikri do\u011furur; ikincisi, s\u0259hn\u0259d\u0259 c\u0259r\u0259yan ed\u0259n olaylar\u0131n melodik \u0259ks-s\u0259das\u0131 olmaqla s\u0259hn\u0259nin zal \u00fcz\u0259rind\u0259ki t\u0259sirini g\u00fccl\u0259ndirir.<\/p>\n

Dey\u0259s\u0259n, bu g\u00fcn m\u0259nim C\u0259f\u0259r Cabbarl\u0131 g\u00fcn\u00fcmd\u00fcr – b\u00f6y\u00fck dramaturqdan n\u00f6vb\u0259ti d\u0259f\u0259 sitat \u00e7\u0259k\u0259c\u0259m. Az\u0259rbaycan dramaturgiyas\u0131n\u0131n \u015eilleri deyirdi ki, tama\u015fan\u0131n u\u011furunun “son v\u0259 \u0259l\u00e7atmaz pill\u0259sini aktyor f\u0259th edir”. O bu s\u00f6zl\u0259ri “Od g\u0259lini” tama\u015fas\u0131ndan sonra p\u0259rd\u0259 arxas\u0131na g\u0259lib, Elxan rolunu b\u00f6y\u00fck m\u0259har\u0259tl\u0259 oynam\u0131\u015f Abbasmirz\u0259 \u015e\u0259rifzad\u0259y\u0259 demi\u015fdi.<\/p>\n

“\u00dcmid i\u015f\u0131\u011f\u0131”n\u0131 aktyorlar klassik \u0259n\u0259n\u0259 \u00fczr\u0259 iki hey\u0259td\u0259 oynay\u0131rlar. T\u0259biidir ki, tama\u015fan\u0131n \u0259sas a\u011f\u0131rl\u0131\u011f\u0131 ba\u015f rollar\u0131n – N\u0259rgiz v\u0259 Yal\u00e7\u0131n\u0131n ifa\u00e7\u0131lar\u0131 \u00fcz\u0259rin\u0259 d\u00fc\u015f\u00fcr. Bir s\u0131ra dig\u0259r tama\u015falarda da ba\u015f rollar\u0131 oynayan N\u0259rgizin ifa\u00e7\u0131s\u0131 Z\u0259hra Salayevan\u0131 (dig\u0259r ifa\u00e7\u0131 S\u00fcrahi \u018flim\u0259mm\u0259dovad\u0131r) \u015eu\u015fa Teatr\u0131n\u0131n ulduzu adland\u0131rmaq olar. Aktrisa N\u0259rgizi \u00fc\u00e7 \u0259sas psixoloji durumda oynay\u0131r: ba\u015flan\u011f\u0131cdak\u0131 lirik-romantik m\u0259h\u0259bb\u0259t s\u0259hn\u0259l\u0259rind\u0259 xo\u015fb\u0259xtlikd\u0259n az qala a\u011fl\u0131n\u0131 itirmi\u015f halda; atas\u0131n\u0131n g\u00f6nd\u0259rdiyi qoluzorlular t\u0259r\u0259find\u0259n Yal\u00e7\u0131n v\u0259h\u015fic\u0259sin\u0259 d\u00f6y\u00fcl\u0259nd\u0259 ke\u00e7irdiyi \u015fidd\u0259tli nevroz v\u0259ziyy\u0259tind\u0259; sevgilisind\u0259n zorla ayr\u0131 sal\u0131nd\u0131qda ya\u015fad\u0131\u011f\u0131 v\u0259 finalda da onu tam t\u0259rk etm\u0259y\u0259n depressiv psixoz \u0259hval\u0131nda. H\u0259r \u00fc\u00e7 halda da g\u0259nc aktrisa psixoloji inc\u0259lik v\u0259 d\u0259rinlik n\u00fcmayi\u015f etdir\u0259r\u0259k, tama\u015fa\u00e7\u0131n\u0131 obraz\u0131n daxili ya\u015fant\u0131lar\u0131n\u0131n t\u0259biiliyin\u0259 inand\u0131ra bilir. O \u00f6z q\u0259hr\u0259man\u0131n\u0131n depressiyas\u0131n\u0131 el\u0259 oynay\u0131r ki, tama\u015fa\u00e7\u0131 \u00f6vladlar\u0131n\u0131n t\u0259siri il\u0259 valideynl\u0259rd\u0259ki daxili \u00e7evrilm\u0259y\u0259 inan\u0131r. Z.Salayevan\u0131n N\u0259rgizi sad\u0259c\u0259, sevgisi da\u015fa d\u0259ymi\u015f bir q\u0131z\u0131n deyil, m\u0259h\u0259bb\u0259tini, bununla da h\u0259yat stimulunu itir\u0259n q\u0131zlar – qad\u0131nlar\u0131n daxili t\u0259nhal\u0131\u011f\u0131n\u0131 b\u00fct\u00fcn d\u0259rinliyi il\u0259 ortaya qoyan, eyni zamanda v\u0259fal\u0131, q\u0259tiyy\u0259tli, sevgisi u\u011frunda \u00f6l\u00fcm\u0259 getm\u0259y\u0259 haz\u0131r olan s\u0259hn\u0259 obraz\u0131d\u0131r. Sad\u0259c\u0259, ata-anas\u0131 t\u0259r\u0259find\u0259n ev dusta\u011f\u0131 edildiyi m\u00fcdd\u0259td\u0259 geydiyi qara paltar h\u0259r hans\u0131 \u00e7a\u011fda\u015f q\u0131z t\u0259r\u0259find\u0259n geyinilm\u0259si \u00e7\u0259tin t\u0259s\u0259vv\u00fcr edil\u0259n monast\u0131r libas\u0131n\u0131 xat\u0131rlad\u0131r (kostyum sexi – Lal\u0259 Pa\u015fayeva).<\/p>\n

Almanlar deyir ki, h\u0259r c\u00fcr m\u00fcqayis\u0259 q\u00fcsurludur, amma biz alman deyilik v\u0259 odur ki, Yal\u00e7\u0131n rolunun s\u0259hn\u0259 ifad\u0259si il\u0259 ba\u011fl\u0131 s\u00f6zl\u0259rim\u0259 bir m\u00fcqayis\u0259 il\u0259 ba\u015flayacam. G\u0259nc aktyorlar\u0131m\u0131z\u0131n h\u0259r ikisin\u0259 say\u011f\u0131m var, amma m\u0259nc\u0259, Yal\u00e7\u0131n\u0131 canland\u0131ran aktyorlardan Emin Sevdim\u0259liyev ist\u0259r vizual fakturas\u0131, ist\u0259rs\u0259 d\u0259 obraz\u0131n t\u0259c\u0259ss\u00fcm\u00fcnd\u0259ki \u00e7eviklik bax\u0131m\u0131ndan rolun dig\u0259r ifa\u00e7\u0131s\u0131 Cavidan K\u0259s\u0259m\u0259nlid\u0259n daha u\u011furludur. Onun N\u0259rgizin g\u00f6z\u00fc qar\u015f\u0131s\u0131nda d\u00f6y\u00fcld\u00fckd\u0259n sonra affekt hal\u0131nda qopard\u0131\u011f\u0131 f\u0259ryad sad\u0259c\u0259, bir qar\u015f\u0131durmada deyil, \u00fcmum\u0259n h\u0259yatda uduzdu\u011funu anid\u0259n v\u0259 b\u00fct\u00fcn qabar\u0131ql\u0131\u011f\u0131 il\u0259 anlayan insan\u0131n topluma, taley\u0259, h\u0259tta Tanr\u0131n\u0131n \u00f6z\u00fcn\u0259 qar\u015f\u0131 \u00fcsyan\u0131 kimi m\u0259nalan\u0131r v\u0259 dramatik konfliktin kuliminasiya h\u0259ddin\u0259 \u00e7atmas\u0131ndan x\u0259b\u0259r verir. Q\u0259hr\u0259man\u0131n bu affektiv f\u0259ryad\u0131 tama\u015fan\u0131n pik n\u00f6qt\u0259sidir. Finalda N\u0259rgizin qaytard\u0131\u011f\u0131 oyunca\u011f\u0131 d\u0259rin q\u0259h\u0259r v\u0259 g\u00f6z ya\u015flar\u0131 i\u00e7ind\u0259 k\u00f6ks\u00fcn\u0259 s\u0131xmas\u0131yla ba\u011fl\u0131 tap\u0131nt\u0131s\u0131 da E.Sevdim\u0259liyevin Yal\u00e7\u0131n\u0131na \u00f6z dublyoru il\u0259 m\u00fcqayis\u0259d\u0259 \u00f6n\u0259mli \u00fcst\u00fcnl\u00fck verir.<\/p>\n

B\u00fct\u00f6vl\u00fckd\u0259 g\u00f6t\u00fcrs\u0259k, Z.Salayeva v\u0259 E.Sevdim\u0259liyevin oyunu ist\u0259r \u015f\u0259n s\u0259hn\u0259l\u0259rd\u0259ki lirizmi, ist\u0259rs\u0259 d\u0259 dramatik s\u0259hn\u0259l\u0259rd\u0259ki psixologizmi il\u0259 tama\u015fan\u0131n lirik-psixoloji dram janr\u0131nda t\u0259qdimin\u0259 haqq qazand\u0131r\u0131r.<\/p>\n

N\u0259rgizin anas\u0131 \u00c7\u00f6hr\u0259 (P\u00fcst\u0259xan\u0131m Zeynalova) v\u0259 atas\u0131 Muxtar\u0131n (\u0259m\u0259kdar artist Teymur M\u0259mm\u0259dov) ifa\u00e7\u0131lar\u0131n\u0131n tama\u015fada \u0259sas i\u015fi q\u0131zlar\u0131n\u0131n t\u0259siri il\u0259 \u00f6zl\u0259rind\u0259 yaranan daxili d\u0259yi\u015fk\u0259nliyi canland\u0131rmaq, bununla da, zalda \u0259yl\u0259\u015f\u0259n valideynl\u0259r\u0259 ibr\u0259t d\u0259rsi verm\u0259kdir. Obraz\u0131n t\u0259qdimini tama\u015fadan-tama\u015faya cilalayan Teymur M\u0259mm\u0259dov \u00f6z i\u015finin \u00f6hd\u0259sind\u0259n laz\u0131m\u0131nca g\u0259lir. S\u0259hn\u0259d\u0259 a\u00e7\u0131l\u0131\u015fma\u011fa sanki ehtiyat el\u0259y\u0259n, plastikaya ehtiyac\u0131 olan P\u00fcst\u0259xan\u0131m \u018fliyeva haqq\u0131nda bunu dem\u0259k \u00fc\u00e7\u00fcn m\u0259n d\u0259, \u00f6z n\u00f6vb\u0259md\u0259, tama\u015faya yenid\u0259n baxmaq ehtiyac\u0131 duyuram.<\/p>\n

Birinci Qaraba\u011f sava\u015f\u0131n\u0131n k\u00f6n\u00fcll\u00fc d\u00f6y\u00fc\u015f\u00e7\u00fcs\u00fc, xalq artisti \u015e\u00fckuf\u0259 Musayeva Yal\u00e7\u0131n\u0131n anas\u0131 H\u0259lim\u0259nin timsal\u0131nda \u0259rini itirmi\u015f, fiziki c\u0259h\u0259td\u0259n x\u0259st\u0259, amma daxil\u0259n saf, a\u011f\u0131ll\u0131, q\u00fcrurlu qad\u0131n\u0131n, yegan\u0259 \u00f6vlad\u0131n\u0131n xo\u015fb\u0259xtliyi \u00fc\u00e7\u00fcn iztirab \u00e7\u0259k\u0259n v\u0259 m\u00fcbariz\u0259 aparan anan\u0131n obraz\u0131n\u0131 canland\u0131r\u0131r. \u015e\u00fckuf\u0259 xan\u0131m\u0131n qism\u0259tin\u0259 burda da d\u00f6y\u00fc\u015f d\u00fc\u015f\u00fcb. Onun H\u0259lim\u0259si me\u015f\u015fan muxtarlar v\u0259 \u00e7\u00f6hr\u0259l\u0259r d\u00fcnyas\u0131na qar\u015f\u0131 m\u0259n\u0259n d\u00f6y\u00fc\u015f\u0259n, sad\u0259, kas\u0131b t\u0259b\u0259q\u0259ni t\u0259msil el\u0259yir.<\/p>\n

Yal\u00e7\u0131n\u0131n avara gec\u0259 h\u0259yat\u0131 ke\u00e7ir\u0259n, vaxta\u015f\u0131r\u0131 gitara il\u0259, mahn\u0131 oxuya-oxuya s\u0259hn\u0259y\u0259 \u00e7\u0131xan dostlar\u0131 – Z\u00fclya (D\u00fcrdan\u0259 D\u00fcnyamal\u0131yeva) v\u0259 iki n\u0259f\u0259r g\u0259nc (Orxan Ab\u0131\u015fov, Cavid Cavadzad\u0259) anturaj olmalar\u0131na baxmayaraq, sad\u0259c\u0259 fon yaratmaqla qalm\u0131r, tama\u015fadak\u0131 a\u011f\u0131r ovqat\u0131 y\u00fcng\u00fcll\u0259\u015fdirm\u0259k kimi bir g\u00f6r\u0259vi yerin\u0259 yetirirl\u0259r. Onlar\u0131n h\u0259r g\u0259li\u015fi il\u0259 k\u0259skin dramatizmd\u0259n g\u0259rilmi\u015f zaldak\u0131lar\u0131n doda\u011f\u0131 qa\u00e7\u0131r, s\u0259hn\u0259d\u0259 is\u0259, Nits\u015fenin diliyl\u0259 des\u0259m, faci\u0259 musiqi vasit\u0259sil\u0259 d\u0259f olunur. Bu qay\u011f\u0131s\u0131z, \u0259hlikef intermediatorlar bir az da antik yunan tragediyas\u0131ndak\u0131 interpretatora – xora b\u0259nz\u0259yirl\u0259r. Saf \u0259xlaq da\u015f\u0131y\u0131c\u0131s\u0131 N\u0259rgizin antipodu olan Z\u00fclya rolunun ifa\u00e7\u0131s\u0131 \u00f6z\u00fcn\u00fcn r\u0259ngl\u0259nmi\u015f sa\u00e7lar\u0131, havaya f\u0131sq\u0131rtd\u0131\u011f\u0131 siqaret t\u00fcst\u00fcs\u00fc, vulqar g\u00f6rk\u0259mi, qaba dan\u0131\u015f\u0131\u011f\u0131 v\u0259 yeri\u015fi il\u0259 fasil\u0259siz gec\u0259 h\u0259yat\u0131n\u0131n kobudla\u015fd\u0131rd\u0131\u011f\u0131 “k\u0259p\u0259n\u0259y”in obraz\u0131n\u0131 h\u0259m zahir\u0259n, h\u0259m d\u0259 daxil\u0259n, x\u00fcsusil\u0259, yaddaqalan \u015f\u0259kild\u0259 s\u0259ciyy\u0259l\u0259ndir\u0259 bilir.<\/p>\n

Ki\u015fil\u0259ri – z\u0259if irad\u0259li yal\u00e7\u0131nlar, diktator muxtarlar, avara gec\u0259 h\u0259yat\u0131 ke\u00e7ir\u0259n g\u0259ncl\u0259r, muzdla adam d\u00f6y\u0259n qoluzorlulardan, qad\u0131nlar\u0131 – k\u00f6m\u0259ksiz h\u0259lim\u0259l\u0259r, me\u015f\u015fan \u00e7\u00f6hr\u0259l\u0259r, \u00f6z\u00fcn\u00fc d\u0259ryadak\u0131 yelk\u0259nsiz qay\u0131q kimi taleyin ixtiyar\u0131na buraxan z\u00fclyalar, g\u0259l\u0259c\u0259yi sual i\u015far\u0259si alt\u0131nda olan n\u0259rgizl\u0259rd\u0259n ibar\u0259t toplumu qar\u015f\u0131da n\u0259 g\u00f6zl\u0259yir? “Han\u0131 Peykanl\u0131n\u0131n m\u0259rdi?” Say\u0131n Zemfira xan\u0131m\u0131n da, Teatr\u0131n kollektivinin d\u0259 tama\u015fa\u00e7\u0131lara \u00fcnvanlad\u0131\u011f\u0131 yekun sual budur. Lakin tama\u015fada bu sual\u0131n cavab\u0131 da var – \u0259vv\u0259li v\u0259 sonu olmayan \u00fcmid i\u015f\u0131\u011f\u0131n\u0131 itirm\u0259y\u0259k!<\/p>\n

 <\/p>\n

Az\u0259rbaycan.media\u00a0<\/strong><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

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