Azerbaijan State Theater for Young Spectators. Azerbaijan State Theater for Young Spectators Azerbaijan State Theater for Young Spectators on the map

In March 1927 In Baku, for the first time, a poster appeared for the play “Furtuna” by an amateur circle of pioneers at the Baku sailors’ club.
The play was written by pioneer leader Latif Karimli, the circle was led by pioneer Aga Dadash Kurbanov, and later National artist Azerbaijan.
The successful theme of the play and the direct performance of their roles by the circle members M.A. Dadashev, J. Iskenderova, K. Gasanov, Yu. Dadashev and others attracted the attention of the public.
In the first success amateur group big role played by one of the greatest masters Soviet scene, People's Artist of the USSR, Stalin Prize laureate Sidgi Ruhulla, who provided creative assistance to the circle members.
The play “Furtuna” formed the basis of the repertoire of the Azerbaijani sector of the future theater, and the pioneers who played in this play became its first actors.

On October 5, 1928, by decision of the People's Commissariat of Education of the Republic, the Russian sector of the theater was organized.

On the initiative of the Komsomol of the republic in 1928 - 1929. An independent state theater for children was created.

This is how the history of the Azerbaijan State Theater of Young Spectators began, which has been operating since 1936. name of A.M. Gorky.

The best stage masters were involved in the work of the theater:
Sarabsky G., Tuganov A.A., Takhmasib R., Sidgi Ruhulla, Zharikov I.I., Baykov B.P., Mayorov, subsequently Ashumov M.K., Gasanov K.V. and others.
artists - Azimzade, Sagiyan, Gasanov A., Mustafaev G.A., Ovchinnikov N.S., etc.
composers – Niyazi, Mailyan, Kuliev T., Vainshtein M.R. and etc.

At first, the theater staged translated plays from the Youth Theater repertoire. Then productions of Azerbaijani drama appeared on its stage: “On the Streets” by Jafarov and Melik-Eganov (1932), “Nergiz” (1936), “Ayaz” (1937), “Gyzyl Gush” (1938) by Seidzade, “Partizan Mamed” by Iskanderov and Rakhman (1939), “Seyran” by Ataev and Akhmedov (1939).

Among best productions 40-50s - "Vaten" (1943), "Mother" (1944), "Fitne" (1946), "Chernushka" ("Garacha Gyz", 1948) A. Shaika, "Melik Mamed" (1943 ), "Song of Spring" ("Bahar Negmessi") by Abbasov (1949).

In 1940, the theater participated in the All-Union Youth Theater Show in Moscow.
The theater showed the fairy tale “Seyran” by A.M. Ataev and A. Hasanov (directed by K. Gasanov) and the play “Partizan Mamed” by S. Rakhman and A. Iskanderov (directed by M. K. Ashumov)

During the Great Patriotic War The theater staff continued to develop and strengthen their creative achievements. During this period (1941 - 1945), the Youth Theater showed 3054 performances on stage in Baku and at traveling performances in the regions of Azerbaijan, serving about a million spectators.
During the same period, theater artists gave 3,688 concerts and individual performances.

In the repertoire of the post-war theater one could see such performances as “Ana”, “Vaten”, “Fitna”, “Garaja Gyz” by A. Shaig, “Your House”, “Senin Evin”, “Beloved Girl”, “Gyzyl Medal” ", " Golden medal", "Snowball" by V. Lyubimova, "I want to go home", "Hususi Tapshyryg" by S. Mikhalkov, "Her Friends" by V. Rozov, "How the Steel Was Tempered" by N. Ostrovsky, "Sparrow Hills" by Simukov, "Puss in Boots "Malyarevsky, "At the Forest Lake" by Ts. Solodar, etc.

Among the theater's productions you can find works
- Russian classics: “The Inspector General” by Gogol (over 8 seasons it was shown about 300 times), “There wasn’t a penny, but suddenly Altyn” (over 13 years it was shown with great success 425 times) “ Captain's daughter"A.S. Pushkin, "Marriage" by Gogol, "Philistines" by Gorky, etc.
- and Azerbaijani classics: “Haji Gamber” by Vezirov (passed about 500 times), “Molla Ibrahim Khalil Kimaryag”, “Khirs Guldur Basan”, “Monsieur Jordan and the Dervish Mestali Shah” by M.F. Akhundova, “Bakhtsyz Javan” Akhverdova and others.

World classics were represented by plays:
Schiller - "Robbers" and "Cunning and Love".
K. Goldoni – “The Servant of Two Masters”, “A Funny Case”
Moliere – “The Reluctant Doctor”, “The Tricks of Scapin”, “Scapenin’s Callery”
Shakespeare - "The Two Gentlemen of Verona"

The performances "Anajan" by Azimzade (1957) and "Sombrero" by Mikhalkov (1957) were awarded at the All-Union Festival drama theaters in 1957.

Source: Anniversary brochure "Azerbaijan State Theater of Young Spectators - 25 years" (1954), Theater Encyclopedia

Azerbaijani State Theater young spectator (Youth Theater) - professional theater, intended for children's audiences, has 433 seats.

Created in 1928 as Baku Child Theater.On the initiative of the Komsomol of the republic in 1928 - 1929. An independent state theater for children was created.

On October 5, 1928, by decision of the People's Commissariat of Education of the Republic, the Russian sector of the theater was organized, and since 1929 - the Azerbaijani branch.

The theater was formed in the drama club at the Baku Maritime Club. In March 1927 In Baku, a poster for the play “Furtuna” by an amateur circle of pioneers in Baku appeared for the first time.
The play was written by pioneer leader Latif Karimli, the circle was led by pioneer Aga Dadash Kurbanov, later People's Artist of Azerbaijan.
The successful theme of the play and the direct performance of their roles by the circle members M.A. Dadashev, J. Iskenderova, K. Gasanov, Yu. Dadashev and others attracted the attention of the public. In the first success of the amateur group, a major role was played by one of the greatest masters of the Soviet stage, People's Artist of the USSR, Stalin Prize laureate Sidgi Ruhulla, who provided creative assistance to the circle members.

The play “Furtuna” formed the basis of the repertoire of the Azerbaijani sector of the future theater, and the pioneers who played in this play became its first actors.

Since 1936 it has operated as the Azerbaijan State Theater for Young Spectators. In the same year, the theater was named after Gorky. Since 1932, the theater's repertoire has featured works by Az. authors: “On the Street” (J. Jafarov, Sh. Melikeganov), “Speed” (A. Ataev), etc.

In 1940, at the All-Union Review held in Moscow young theaters our theater with the productions “Partizan Mamed” (S. Rakhman, A. Iskenderov) and “Seyran” (E. Ataev, A. Akhmedov) received a well-deserved prize. The repertoire initially consisted mainly of dramatizations of fairy tales and stories, usually included in the circle children's reading(“Mowgli” according to Kipling, “The Little Humpbacked Horse” according to Ershov).

For junior schoolchildren genre is being developed theatrical fairy tale, in which fantasy and folklore are combined with elements of modern reality (“ The Snow Queen"Schwartz, "12 Months" by Marshak); adventure plays and comedies form the basis of the repertoire for teenagers. Works by Azeri playwrights "Yashar" (J. Dzhabarly), "The Secret City" (M.A. Dadasheva), " Last letter"(I. Ismailova), as well as comedies of Western European and Russian classics.

The best stage masters were involved in the work of the theater:
Sarabsky G., Tuganov A.A. , Tahmasib R., Sidgi Ruhulla, Zharikov I.I., Baykov B.P., Mayorov, subsequently Ashumov M.K., Gasanov K.V. et al.
artists - Azimzade, Sagiyan, Gasanov A., Mustafaev G.A., Ovchinnikov N.S., and other composers - Niyazi, Mailyan, Kuliev T., Vainstein M.R. and etc.

The young theater sought to create its own repertoire, uniting around itself young playwrights - A. M. Ataev, Cornelli, Seidzade, Musaev, S. Rakhman, E, Abasov, Z. Neymatov, A. Dadashev and others.

In 1940, the theater participated in the All-Union Youth Theater Show in Moscow.
The theater showed the fairy tale “Seyran” by A.M. Ataev and A. Hasanov (director - K. Gasanov) and the play “Partizan Mamed” by S. Rakhman and A. Iskanderov (directed by M.K. Ashumov)

During the Great Patriotic War, the theater staff continued to develop and strengthen their creative achievements. During this period (1941 - 1945), the Youth Theater showed 3054 performances on stage in Baku and at traveling performances in the regions of Azerbaijan, serving about a million spectators. During the same period, theater artists gave 3,688 concerts and individual performances.

In 1947, a building was built for the Youth Theater on the street. Nizami - architect M. Gusman, on the pediment of which there is a bas-relief frieze made by sculptor Elizaveta Rodionovna Tripolskaya on subjects musical comedy Uz.Hadzhibekov "Arshin Mal Alan".

In the repertoire of the post-war theater one could see such performances as “Ana”, “Vaten”, “Fitna”, “Garaja Gyz” by A. Shaig, “Your House”, “Senin Evin”, “Beloved Girl”, “Gyzyl Medal” ", "Gold Medal", "Snowball" by V. Lyubimova, "I Want to Go Home", "Hususi Tapshyryg" by S. Mikhalkov, "Her Friends" by V. Rozov, "How the Steel Was Tempered" by N. Ostrovsky, "Sparrow Hills" by Simukov , “Puss in Boots” by Malyarevsky, “At the Forest Lake” by Ts. Solodar, etc.

Among the theater's productions you can find works
- Russian classics: “The Inspector General” by Gogol (over 8 seasons it was shown about 300 times), “There wasn’t a penny, but suddenly it was Altyn” (over 13 years it was shown with great success 425 times) “The Captain’s Daughter” by A.S. Pushkin, “The Marriage” by Gogol, “The Bourgeois” by Gorky, etc.
- and Azerbaijani classics: “Haji Gamber” by Vezirov (passed about 500 times), “Molla Ibrahim Khalil Kimaryag”, “Khirs Guldur Basan”, “Monsieur Jordan and the Dervish Mestali Shah” by M.F. Akhundova, “Bakhtsyz Javan” Akhverdova and others.

World classics were represented by plays:
Schiller - “The Robbers” and “Cunning and Love”, C. Goldoni – “The Servant of Two Masters”, “A Funny Case”, Moliere – “The Reluctant Doctor”, “The Tricks of Scapin”, “Scapenin’s Calculator”

Such directors as Tuganov A.A., Ashumov M.K., Zharikov P.P., Neymatov Zafar and others worked at the theater for a long time.

Actively working with authors, the theater created a number of performances reflecting the life of the school, dedicated to topical issues modernity, as well as historical, fabulous, etc.
The theater stages classical drama: "The Inspector General" (1937); "The Servant of Two Masters" (1946); "The Two Gentlemen of Verona" by Shakespeare (1956).

The Russian sector staged the following plays: “Your House”, “Gold Medal” (1947) by Lyubimova, “Pavlik Morozov” by Gubarev (1953), “How the Steel Was Tempered” (1947).

On February 28, 1954, the 25th anniversary of the Azerbaijan State Theater of Young Spectators was solemnly celebrated.
During the anniversary, Magerram Gashimov, Aliaga Agayev and Agadadash Gurbanov were awarded the honorary title of People's Artist of the Republic for their services in the creation and flourishing of the Azerbaijan State Theater of Young Spectators; playwright A. Abbasov, director Z. Neymatov, artist N. Ovchinnikov were awarded the titles of Honored Artists of the Azerbaijan SSR; The honorary title "Honored Artist of the Republic" was awarded to director Kamal Hasanov, artists M. Dadashov, Yusif Dadashov, Suleiman Aleskerov, Javakhir Iskenderov, Alexey Lezhnev, A. Lizina.

The performances "Anajan" by Y. Azimzade (1957) and "Sombrero" by S. Mikhalkov (1957) were awarded at the All-Union Festival of Drama Theaters in 1957.

In 1959-60. The plays “Two Lives” by Rauf Ismailov and “Morning of April” by Yusif Azimzade were staged.

As part of the theater team (1960) - people. art. Azerbaijan SSR A. Agayev, honored. art. S. Medzhidova, S. Aleskerov, A. Ataev, Y. Dadashev, G.A. Sadigov, A. T. Lezhnev and others.
Directors - honored. activities arts of Azerbaijan SSR 3. Neymatov, K. Hasanov, directors - A. S. Varshavsky, U. Rafili and others.

"Three Musketeers"

In 1975, the theater staged the most brilliant and high-profile performance of the season - the musical “The Three Musketeers” by Maxim Dunaevsky (play by M. Rozovsky and Yu. Ryashentsev, directed by Yu. Gusman).

Photos of the play "The Three Musketeers"

Photo album: Actors of the Theater of Young Spectators (Baku)

Notes:

Baku press about the performance.
Author of the article - V. Portnov
The Gorky Youth Theater staged the musical “The Three Musclers.” The performance attracted attention and the audience's success was obvious. It is interesting to understand this unusual production. The play by M. Rozovsky and Yu. Ryashentsev skillfully concentrates a number of episodes from Dumas’ novel, but a kind of focus remains almost unnoticeable. The Three Musketeers - Athos, Porthos and Aramis - are revealed not in action, but in songs similar to Business Cards. Each of the three sings about himself as he is; however, in one way or another, the musketeer ideals of friendship, loyalty, and courage are glorified. D'Artagnan, the cardinal and my lady can, to some extent, express themselves in action; other heroes receive mise-en-scène and a few lines... It should probably be borne in mind that the authors consciously went for illustrativeness, for internal staticity, of the episodes - pictures, went to the extent of what remains of some images symbol- this is a sober calculation. We have known the characters since childhood, we know what happened to them and what will happen to them, and we can guess everything that is left unsaid.
But what was the director to do? With the help of this dotted line, he had to create the illusion of a solid three-dimensional drawing. And I must say right away that the young director of the play, Yu. Gusman, coped with this task well professional level. His first big work at the Theater took place. What we have before us is precisely a “director’s” performance, and the theater in every possible way supported this character of the production, feeling that it Right way. What has been done? In Dumas's novels, they often sing or read poetry. In The Three Musketeers, Aramis reads a rondo own composition, and my lady sings spiritual hymns. In the novel “Twenty Years Later” they sing every now and then: the frondeurs sing, Aramis sings, de Beaufort sings, the couplets are read in Scarron’s salon.. These sands and poems are extremely stylish, tightly connected with the plot, but not as strictly functional as the songs M. Dunaevsky and Yu. Ryashentsev. And although the songs of the authors are preserved in the performance. leading place, but made inserts from the classical repertoire, from the modern, close in spirit. Like the “songs” and poems in Dumas’s novels, they help to “enter the atmosphere” and enrich the style of the production and its content. Music directors A. Dzhangarov and R. Naroditsky achieved this goal. Something similar is done by means of artistic design. They greet us in the foyer. large photographs of landmarks in Paris; during intermission, a young man in a musketeer costume (Ya. Kogan) performs songs from the play with a guitar; the viewer is literally mesmerized by the magnificent color slides and film footage that accompany all three parts of the production. Among the slides, there are probably original ones that were obtained especially for this occasion: images of the Louvre, reproductions French artists, landscapes of France; one part of the slides was made or adapted for the performance by Yu. Lipsitz; cinema, which seems to continue what did not fit on the stage (horse groups, etc.), belongs to T. Kasumov. The director sought the most acute characterization from the actors. This is achieved mainly through reduction or direct parody. D'Artagnan is interesting - A. Sharovsky. Before us is a true Gascon - a reckless brave man and a nice fellow. It is this character plan that is given the largest, especially in the duel with the cardinal, who is confidently and freely played by V. Semerenko.
The cardinal performed by Semerenko does not look like the novel Richelieu, bilious, arrogant; insightful and convinced in his own way. For Semerenko, he is a cynic, an intriguer, a zhuir - and that’s all. But it was played juicily. The duel of a poor but honest Gascon with a temporary worker who despises the people, to which the line between d'Artagnan and Richelieu ultimately came down, is close to the modern young viewer and is not contraindicated to the pathos of Dumas... He also has it. Y. Izrailan, G. Zverev, K. Artemov in the roles of Athos, Porthos and Aramis also ground their heroes, refusing, first of all, the poeticization of aristocracy, for which the great romantic had a weakness...
With A. Kharchenko, V. Gasapov, T. Kharitonova and A. Dobronetsky in the roles of Rochefort, Buckingham, the queen and the king, this is brought to the point of buffoonery, sometimes very funny and entertaining.
The consistency of this interpretation is the “face” of the performance. Without this it would be colorless. But, in our opinion, all this is too much. There are not enough halftones, nuances: that “little bit” that would save familiar images from excessive simplification. Milady 3. Kharchenko seems to be lucky. There is even more irony and parody elements in her game, and yet this is the same Milady we know: the prototype of all the beautiful vampiresses of the adventure classics. The actress plays easily and naturally. She succeeds in the main thing - her heroine looks beautiful, but something about her is repulsive; she is a “real lady,” as the English say, and there is something vulgar about her.
You can laugh at what Dumas himself found funny. One can also laugh at the excessive seriousness of his romanticism. When my lady rushes: “I have loved villainy since childhood” - this is a completely legitimate “auto-parody” of her understandable and irrepressible maliciousness.
And almost all the parody tricks of the production are justified. When my lady contacts the cardinal using a portable radio station, and he congratulates her on the “start of the operation,” this is, after all, the same convention as the endless notes exchanged in the novel by participants in continuous intrigue, like lines of disguised aristocrats, herds of driven horses etc. “Sports commentary” with G. Khazanov’s soundtrack during the fight between musketeers and guards parodies the purely sports, “game” attitude of the writer himself to such fights, duels, chases and shootouts. It has long been noted by literary scholars that the most terrible carnage on the pages of Dumas is, in essence, just a game. Why don’t microphones, soundtracks, slides, parody destroy the charm of the pathetic “musketeer” cult of the cloak and sword, duty and honor? We are once again convinced of the power of Dumas’s romantic pathos, even though we sometimes laugh at him. A drop of this amazingly persistent essence is enough for its aroma to awaken the memory, to lift the cherished and indelible from the bottom of the soul. This is where Yu. Ryashentsev’s songs must be given their due - after all, they managed to convey this aroma. It seems that the romantic flavor of Dumas is skillfully supported by extras and dancing. All these white and black pawns, spies and spies, Carmelites, maids, courtiers, murderers, tavern servants, guardsmen, and so on. form a brilliant corps de ballet (choreographer N. Nazirova) and in their own way return us to the novel. Create a feeling of adventurous feverishness and continuous passages into auditorium. Boxes and doors leading to the foyer are used. The action seems to spill over the edge.
Somewhere among the play's strengths comes one of its weaknesses. Its entertainment value and staging are somewhat oversaturated. It is difficult to say where exactly and in what way the “density” is overwhelming. But general impression by the beginning of the third part it weakens: you get tired!.. The feeling of brightness and brilliance does not leave the viewer, despite the fact that the costumes are not rich. They are expertly crafted. The contribution of production designer F. Kafarov, costume designer E. Vaschinskaya, and lighting designer A. Israfilov to this very difficult production is extremely great. A musical performance, and even on classic theme, and with many discoveries and innovations, with motley crowd scenes - it’s a difficult matter for our Youth Theatre. But in the very atmosphere of the production there is so much sincere enthusiasm, so much sparkling youth, so much inspiration that they become like a stage device.
Photos from the private archive of N. Agureeva
Valery Lysenko, former actor Youth Theater: “I am grateful to fate that I, a then young Youth Theater actor, was lucky enough to work with these the most talented actors, G. Tsygankov and L. Lezhnev. Unfortunately, there is not much information about them, about their work in the Youth Theater of those years. These were, indeed, People's Artists! And we, the youth of the theater, have always admired their attitude towards their profession, towards rehearsals, towards performances. And they worked mainly for younger viewers - children, which required even greater responsibility. And few people know that Georgy Gavrilovich Tsygankov fought at the front as a pilot and had military awards, including the Order of the Red Star. I will always remember them."
From the memoirs of V. Lysenko: “This is the performance of our native Baku Youth Theater “They and We”, in which I was engaged with the then famous theater actors Alexander Sharovsky, Arnold and Zoya Kharchenko, Victor and Alla Malkin, Konstantin Artyomov, Tatyana Kharitonova and many others Many years have passed. Alexander Yakovlevich is now Main director Russian Drama. I am proud that I once worked with this wonderful actor. I now work in cinema. “Soon one of the studios of the Mosfilm film concern will put into production a full-length film based on my script.”

Management
Azerbaijan State Theater for Young Spectators

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Former names	Azərbaycan Dövlət Gənc Tamaşaçılar Teatrı
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Main director	Bakhram Osmanov
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K: Theaters founded in 1928 K: Theaters closed in 170 Coordinates:

Azerbaijan Theater for Young Spectators named after. M. Gorky(Azerb. Azərbaycan Dövlət Gənc Tamaşaçılar Teatrı) - theater in the city of Baku.

History of the theater

Formation and repertoire

In the first years, the theater staged plays by Russian writers, which were also in the repertoire of youth theaters in other cities of the USSR. These plays were translated into Azerbaijani. In the 1930s, performances based on plays by Azerbaijani playwrights appeared in the repertoire: “On the Streets” by Jafarov and Melik-Eganov (1932), “Nergiz” (1936), “Ayaz” (1937), “Qızıl quş” (“Falcon”) Seyidzade (1938), “Partisan Mamed” by Iskanderov and Rakhman (1939).

The theater also stages classical dramaturgy of Russian and foreign authors, plays Soviet writers and playwrights: “The Inspector General” by N.V. Gogol (1937), “The Servant of Two Masters” by Shakespeare (1946), “How the Steel Was Tempered” by A.N. Ostrovsky (1947).

Repertoire of the Russian theater troupe for 1958-1959:

Huseyn Najafov “Difficult Happiness”
M. Lvovsky “PS Crystals”
S. Mikhalkov “Sombrero”
V. Kirshon “Wonderful Alloy”
K. Paustovsky “Steel Ring”
V. Gubarev “Pavlik Morozov”
Y.Azimzade "Anajan"
A. Ostrovsky “Poverty is not a vice”
M. Twain "The Adventures of Huckleberry Finn"
V. Korostylev and M. Lvovsky “Dimka the Invisible”
I.Malyarevsky “Puss in Boots”
D. Fonvizin “Undergrowth”
S. Marshak “Cat House”
V. Korostylev “What the wizards told about”
M. Svetlov “20 years later”

Theater troupe

Elkhan Gurbanov (1952-2011)

Today's theater day

December 24, 2013 The small stage of the theater opened. Capacity - 45 spectators.
In 2013, the theater staged performances based on the works of Dilsuz, Alexei Tolstoy, Astrid Lindgren, and K. Agabalaev. Also played on stage: Then suddenly it was as if some kind of door had opened in my memory - I remembered what I knew about these neighbors...
It was quite a “famous” house for its oddities (which, in my opinion, only I believed in in our entire district) house. There were rumors among the neighbors that the owner was apparently not completely normal, since she constantly told some “wild” stories with objects flying in the air, writing pens, ghosts, etc. etc... (similar things are shown very well in the film "Ghost", which I saw many years later).
The neighbor was a very pleasant woman of about forty-five, whose husband actually died about ten years ago. And from then on, all these incredible miracles began in her house. I visited her several times, eager to find out what was going on there, but, unfortunately, I was never able to get my reclusive neighbor to talk. Therefore, now I completely shared the impatience of her strange husband and hurried to enter as quickly as possible, anticipating in advance what, according to my ideas, was supposed to happen there.
“My name is Vlad,” my former neighbor croaked.
I looked at him in surprise and realized that he was very afraid... But I decided not to pay attention to it and entered the house. A neighbor was sitting by the fireplace embroidering a pillow. I said hello and was about to explain why I came here, when she suddenly said quickly:
- Please, honey, leave quickly! It can be dangerous here.
The poor woman was scared half to death, and I suddenly understood what she was so afraid of... She apparently always felt the presence of her husband when he came to her!.. And all the poltergeist manifestations that had happened to her before apparently occurred through his fault. Therefore, again feeling his presence, the poor woman just wanted to “protect” me from possible shock... I gently took her hands and said as softly as possible:
– I know what you are afraid of. Please listen to what I have to say and this will all end forever.
I tried to explain to her as best I could about the souls coming to me and how I was trying to help them all. I saw that she believed me, but for some reason she was afraid to show it to me.
“Your husband is with me, Milya, and if you want, you can talk to him,” I said carefully.
To my surprise, she was silent for a long time, and then quietly said:
“Leave me alone, Vlad, you’ve tormented me long enough.” Leave.
I was completely shocked by how much anguish there was in this woman’s voice!.. And, as it turned out, it shocked not only me, the answer also stunned her strange husband, but only in a different way. I felt a wild whirlwind of alien energy next to me, which literally tore everything around me. Books, flowers, a tea cup - everything that was lying on the table flew down with a roar. The neighbor turned white as a sheet and hastily began to push me out. But such “effects” as throwing cups have not frightened me for a very long time. Therefore, I gently pulled away the poor shaking woman and firmly said:
- If you don’t stop scaring your wife so vilely, I’m leaving, and look for someone else for the same number of years...
But the man did not pay any attention to me. Apparently all these long years he was just waiting for someone to eventually find someone who could help him “get” his poor wife and his ten-year “sacrifice” would not be in vain. And now, when it finally really happened, he completely lost control of himself...
– Mile, Milenka, I’ve been wanting to say for so long... come with me, dear... let’s go. I can’t do it alone... I can’t live without you for so many years... come with me.

It was created on October 5, 1928 by the decision of the People's Commissariat of Education of Azerbaijan as the Azerbaijan Theater for Young Spectators. In 1928, the Russian sector was opened, in 1930 (on the basis of the pioneer drama club at the Baku sailors' club) - the Azerbaijani one. Among the founders of the theater are actors A. Kurbanov, M. Dadashov, Yu. Dadashov, Z. Aliyeva, J. Iskenderova, M. K. Ashumov, G. K. Korneli and others. In 1936 it was named after M. Gorky, at the same time artistic director M.K. Ashumov, who graduated from GITIS this year, was appointed. The event was his production in the Russian and Azerbaijani sectors of the play “Seryozha Streltsov” by V. Lyubimov. In 1937, the famous Azerbaijani children's writer A. Shaig, artistic director - A. Tuganov. Events included Tuganov's productions of "The Inspector General" by N. Gogol (in the Azerbaijani sector), "Cunning and Love" by F. Schiller (in Russian), and "The Reluctant Doctor" by Moliere (in both sectors). In the 1960s, the flourishing of the theater was associated with the activities of the main director Zafar Neymatov, a talented teacher and organizer who had a great influence on the formation of a new generation of playwrights, actors and directors. Among the leading artists different years: A.Kurbanov, A.Agaev, S.Aleskerov, F.Sharifova, Y.Veliev, G.Sadikhov, L.Mamedbekov, A.Lezhnev, G.Tsygankov, E.Yusifkyzy, S.Kurbanova, T.Kasumov, Kh .Gadzhieva, G.Kurbanova, O.Gadzhibekov, R.Melikova, S.Mejidova, M.Ermakova, F.Naibov, T.Razumovskaya, A.Dobronetsky, A.Kharchenko, J.Iskenderova, R.Agaeva, A.Salmanly , R. Guseinov, Y. Karaev, A. Mirzoev, L. Aliyeva, N. Novruzova, N. Allakhverdieva and others.

The Azerbaijan State Theater for Young Spectators (Youth Theater) is a professional theater designed for children's audiences and has 433 seats.

Created in 1928 as the Baku Children's Theater. On the initiative of the Komsomol of the republic in 1928 - 1929. An independent state theater for children was created.

On October 5, 1928, by decision of the People's Commissariat of Education of the Republic, the Russian sector of the theater was organized, and since 1929 - the Azerbaijani branch.

The theater was formed in the drama club at the Baku Maritime Club. In March 1927 In Baku, a poster for the play “Furtuna” by an amateur circle of pioneers in Baku appeared for the first time.

The play was written by pioneer leader Latif Karimli, the circle was led by pioneer Aga Dadash Kurbanov, later People's Artist of Azerbaijan.

In 1940, the theater participated in the All-Union Youth Theater Show in Moscow.

The theater showed the fairy tale “Seyran” by A.M. Ataev and A. Hasanov (directed by K. Gasanov) and the play “Partizan Mamed” by S. Rakhman and A. Iskanderov (directed by M. K. Ashumov)