The daily worker. [volume] (Chicago, Ill.) 1924-1958, 1928-03-31
THE TURCO-TARTAR
THEATRE NAZERBAIJAN

revolution carried on a miserable
existance. Existing upon the doles Of
the Baku millionaires, and exploited
by commercial theatrical enterprises
and amateur circles, it differed little
from the Persian and Turkish theatres
which existed in Azerbaijan for the
purpose of providing fun and amuse-
ment for the idle well-to-dO classes.
The technique was extremely prim-
tive. Feminine parts on the stage
were mostly played by male actors.
The repertoire consisted chiefly OF
original plays depicting the life OF
the prosperous classes. Having no
material assistance from the state,
and depending entirely upon the pa
tronage of the rich, the Turco-Tartar
theatre was doomed to drag on mis-
cradle existence. Even in that con-
dition it could survive only on ae-
count of the exceptional self-sacrifice
of a small group of actors. In the
provincial towns of Azerbaijan there
were no theatrical performances with
The exception of occasional amateur
shows in connection with religious and
popular festivals.
Encouraged by Soviet
The actual history of the Turco-
Tartar theatre begins with the estab-
hshment of Soviet rule. The general
economic and cultural revival of Aver
baiian has aroused great interest in
the national theatre. Within short
space of time the national theatre
has grown into an institution OF real
national Importance, and the Turco-
Tartar theatre in its present shape
is not inferior to any of the theatres
of other cultured countries In ad-
dition to the Grand Theatre of Aver
baiian there has also been created
the new Workers Theatre. Further
more, the theatre is beginning to pene-
trate into the rural districts of the
country, where theatrical perform
ances serve the purpose of revolution
izing the social customs and habits.
First of all, word or two on the
activity of the Grand (Academic)
Theatre. The Academic Theatre has
introduced for the first time the pro-
duction of European plays translated
and adapted to the Turco-Tartar
stage. Great popularity is now en-
ioyed by the classic plays of Shakes
peare, Schiller. Moliere, and Gogol.
The Academic Theatre has now under
taken the production of modern revo-
lutionary plays by Russian authors,
as we'll as by progressive modern
Turco-Tartar playwrights.
Proletarian Playgoers.
Equally Important have been the
achievements of the Workers Theatre.
The repertoire Of this theatre indi-
Gates that it caters chiefly to proletar-
ian playgoers and sets to itself the
task of introducing the revolutionary
achievements of the Russian theatres
to the masses. Among the plays pro-
duced should be mentioned such plays
as Upton Sinclair's zone Hundred
Percent" "The Decembrists," "Lyu-
bov Yarovaya," and so on. The Work
ers' Theatre has played tremendous
part in the progressive campaign
against the survivals of ancient pref
udices and superstitions, At the same
time the Workers Theatre serves as
model for the amateur theatrical
circles of the workers clubs and the
villages.
A tremendous achievement is the
ever-growing number Of theatrical
circles in the clubs. During the first
half of this year the workers clubs
of Baku gave 2340 different perform
ances, which have been attended by
over 10000 spectators.
Village Theatres.
Under the Soviet regime in Aver
baiian the theatre began to penetrate
into the villages. In the rural dis
tricts of Azerbaijan there are 127
Reading Huts, and at many of them
there are dramatic circles which give
performances for the peasant popula-
ton. The average attendance at the
village performances is about 1000
people per month, showing how pro-
foundly the village theatre is pene-
trating into the life of even the most
backward Turco-Tartar villages.
Finally, there were opened musical
schools, theatrical schools, and con-
servatory where the future Azerbaijan
composers are being trained. BY the
efforts of the young students of these
schools there will soon be opened a
real opera.theatre, answering the re-
cuirements of our modern times. We
have banished from Azerbaijan the
vaudeville show, the music-hall, the
cabaret, and similar institutions; we
have chosen the course of European
musical technique and culture, estab-
fishing musical schools and giving up
the antediluvian musical instruments
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