![\"\u018fs\u0259d](\"http:\/\/kultur.az\/wp-content\/uploads\/2021\/04\/\u018fs\u0259d-Cahangir.jpg\")
<\/a>\u015e\u0259hidl\u0259rimizin ruhuna<\/span><\/h4>\n\u00dc\u00e7\u00fcnc\u00fc hiss\u0259<\/strong><\/p>\n \n \u018fvv\u0259li\u00a0www.kultur.az<\/strong><\/p>\n \n 61. S\u0259s dal\u011falar\u0131n\u0131n ki\u00e7icik bir titr\u0259yi\u015find\u0259n bel\u0259 c\u0259nn\u0259tin sirli s\u0259ssizliyi pozula bil\u0259r. Odur ki, orda Allahla insan\u0131n \u00fcnsiyy\u0259t vasit\u0259si d\u00fc\u015f\u00fcnc\u0259dir. C\u0259nn\u0259td\u0259 s\u0259s\u0259 g\u0259r\u0259k yoxdur. Qanad varsa, k\u00f6rp\u00fc n\u0259y\u0259 laz\u0131m? Orda g\u00f6zl\u0259r dan\u0131\u015f\u0131r. Amma maddi d\u00fcnyada d\u00fc\u015f\u00fcnc\u0259 dili \u00f6z \u00f6n\u0259mini itirir. D\u00fc\u015f\u00fcnc\u0259 maddi qat\u0131 yar\u0131b, h\u0259ms\u00f6hb\u0259t\u0259 \u00e7atm\u0131r. Nitq (s\u0259s) z\u0259rur\u0259t\u0259 \u00e7evrilir.<\/p>\n 62. Hegel terminl\u0259ril\u0259 des\u0259k, s\u0259s s\u00f6z\u00fcn t\u0259bi\u0259t, s\u00f6z s\u0259sin m\u0259ntiq m\u0259rh\u0259l\u0259sidir. S\u0259s t\u0259bi\u0259tl\u0259 ba\u011fl\u0131d\u0131r v\u0259 odur ki, sonludur. T\u0259bii olan h\u0259r \u015feyin \u0259vv\u0259li oldu\u011fu kimi sonu da olur. D\u00fc\u015f\u00fcnc\u0259 formas\u0131nda olan s\u00f6z is\u0259 \u0259b\u0259diyy\u0259t meyv\u0259sidir. Onun n\u0259 \u0259vv\u0259li, n\u0259 d\u0259 sonu var. O, Allah\u0131n \u00f6z\u00fcd\u00fcr.<\/p>\n 63. S\u00f6z \u00f6z ruhuyla yaradan, s\u0259s is\u0259 \u00f6z t\u0259bi\u0259tiyl\u0259 da\u011f\u0131dand\u0131r. S\u00f6z b\u0259lli bir ideya \u0259traf\u0131nda s\u0131xla\u015fanda s\u0259si, s\u0259sin intensivl\u0259\u015fm\u0259si is\u0259 s\u00f6z\u00fc do\u011furur. S\u00f6z\u00fcn m\u0259qam\u0131 yoxluq oldu\u011fu \u00fc\u00e7\u00fcn “yoxdan var” (F\u00fczuli) s\u0259sin m\u0259qam\u0131 varl\u0131q oldu\u011fu \u00fc\u00e7\u00fcn vardan yox edir. Yoxluqdan varl\u0131\u011fa, varl\u0131qdan yoxlu\u011fa ke\u00e7m\u0259k olar. \u00dc\u00e7\u00fcnc\u00fc m\u0259qam yoxdur.<\/p>\n 64. \u0130nsan\u0131n yoxdan yaran\u0131\u015f\u0131 Allah\u0131n sevgisi, d\u00fcnyaya g\u0259li\u015fi \u015feytan\u0131n nifr\u0259tind\u0259n do\u011fub. Yoxdan yaran\u0131\u015f s\u00f6zl\u0259, d\u00fcnyaya g\u0259li\u015f s\u0259sl\u0259dir. Odur ki, dini d\u00fc\u015f\u00fcnc\u0259d\u0259 s\u00f6z Allah\u0131n, s\u0259s \u015feytan\u0131n r\u0259mzidir. \u018fslind\u0259, s\u0259s s\u00f6z\u00fcn e\u015fidil\u0259n, \u015feytan Allah\u0131n g\u00f6r\u00fcn\u0259n formas\u0131d\u0131r. N\u0259d\u0259n ki \u015feytan\u0131 da Allah yarad\u0131b v\u0259 onu da \u00f6z d\u00fc\u015f\u00fcnc\u0259sind\u0259n hasil edib. \u015eeytan Allah\u0131n \u00f6z\u00fc-\u00f6z\u00fcn\u0259 parodiyas\u0131d\u0131r. \u0130nsan \u00f6z\u00fcnd\u0259n ba\u015fqa ham\u0131n\u0131, Allah yaln\u0131z \u00f6z\u00fcn\u00fc parodiya ed\u0259 bil\u0259r.<\/p>\n 65. \u00d6z seksual evfemizmi v\u0259 \u00fcsyankar ruhuyla H\u0259zr\u0259t \u0130san\u0131n \u015f\u00f6hr\u0259tin\u0259 k\u00f6lg\u0259 salan rok(n-rol) ulduzlar\u0131n\u0131n (Elvis Presli, Con Lennon, Fred Merkuri) z\u00fchuru bat\u0131 musiqisind\u0259 s\u0259sin getdikc\u0259 g\u00fccl\u0259n\u0259n demonizminin ifad\u0259siydi. Amma s\u0259sin da\u011f\u0131d\u0131c\u0131l\u0131\u011f\u0131 yarad\u0131c\u0131d\u0131r. O, daha y\u00fcks\u0259k yaran\u0131\u015flar \u00fc\u00e7\u00fcn da\u011f\u0131d\u0131r. V\u0259, \u0259slind\u0259, \u015feytan\u0131n “g\u00fcnah\u0131” ilahi komediyan\u0131n (Dante) antoqonist q\u0259hr\u0259man\u0131 olmaqdan ba\u015fqa bir \u015fey deyil.<\/p>\n 66. Allah bu komediyan\u0131n t\u0259kc\u0259 dramaturqu v\u0259 rejissoru yox, h\u0259m d\u0259 i\u015ftirak\u00e7\u0131s\u0131d\u0131r. O, birc\u0259 d\u0259f\u0259 “Ol” deyir v\u0259 ilahi dal\u011falanma (emanasiya) ba\u015flay\u0131r. \u0130lahi s\u0259s s\u0131n\u0131rs\u0131z bo\u015fluqlar i\u00e7ind\u0259 \u0259riyir, amma yoxa \u00e7\u0131xm\u0131r, enerjid\u0259n madd\u0259y\u0259 \u00e7evrilir – d\u00fcnya yaran\u0131r. D\u00fcnya Allah\u0131n “donmu\u015f s\u0259sidir” (Fridrix \u015eellinq). O, yarad\u0131c\u0131 s\u0259sinin s\u00fcr\u0259tini azald\u0131b ki, bizim bu kosmik prosesi izl\u0259m\u0259k imkan\u0131m\u0131z olsun. D\u00fcnya “el\u0259 bir dildir ki, onun vasit\u0259sil\u0259 sonsuz ruh sonlularla dan\u0131\u015f\u0131r” (Corc Berkli).<\/p>\n 67. D\u00fcnya adl\u0131 film varl\u0131\u011f\u0131n rejissoru t\u0259r\u0259find\u0259n \u0259z\u0259ld\u0259n \u00e7\u0259kilib v\u0259 biz o \u00e7\u0259kili\u015fl\u0259rd\u0259 ruh\u0259n i\u015ftirak etmi\u015fik. \u0130ndi biz\u0259 rol ald\u0131\u011f\u0131m\u0131z filmi g\u00f6st\u0259rirl\u0259r. \u00c7\u00fcnki “yer yox ik\u0259n, g\u00f6y yox ik\u0259n ta \u0259z\u0259ld\u0259n var idik” (X\u0259tai). Amma ana b\u0259tnind\u0259 \u00e7\u0259kildiyimiz filmd\u0259n x\u0259b\u0259rsiz oldu\u011fumuz kimi, ilahi b\u0259tnd\u0259 \u00e7\u0259kildiyimiz film d\u0259 yadda\u015f\u0131m\u0131z\u0131n lentind\u0259n silin\u0259r\u0259k ilahi fondda saxlan\u0131l\u0131r. \u00c7\u0259kili\u015f meydan\u00e7as\u0131 ana b\u0259tnind\u0259 kosmik miqyasda daral\u0131r, ilahi b\u0259tnd\u0259 is\u0259 tamam yoxa \u00e7\u0131x\u0131r. \u0130lahi b\u0259tn yoxlu\u011fa \u00e7\u0131x\u0131\u015fd\u0131r. Qutsal vibrasiya qanununa g\u00f6r\u0259, yoxluq al\u0259mind\u0259ki kadrlar ana b\u0259tnind\u0259kil\u0259rl\u0259, onlar is\u0259 d\u00fcnyadak\u0131larla m\u00fcqayis\u0259d\u0259 s\u00fcr\u0259tl\u0259 f\u0131rlan\u0131r. O d\u0259r\u0259c\u0259d\u0259 s\u00fcr\u0259tl\u0259 ki, yoxluq al\u0259mind\u0259 sad\u0259c\u0259 g\u00f6r\u00fcnm\u00fcrl\u0259r.<\/p>\n 68. S\u00f6z metafizik yoxluq al\u0259mi, r\u0259ng d\u00fcnya, s\u0259s ana b\u0259tniyl\u0259 tutu\u015fdurula bil\u0259r. Ana b\u0259tni yoxluq v\u0259 varl\u0131q aras\u0131nda k\u00f6rp\u00fcd\u00fcr. Ruhumuz bu k\u00f6rp\u00fcd\u0259n ke\u00e7ib d\u00fcnyaya g\u0259lir. Ana b\u0259tni s\u0259sdir. S\u0259s burda s\u00fckutun \u00f6z\u00fcn\u0259 q\u0259d\u0259r s\u0131x\u0131l\u0131b. Maqnitofon oxuyur, amma d\u00fcym\u0259 s\u00f6nd\u00fcr\u00fcld\u00fcy\u00fcnd\u0259n s\u0259s e\u015fidilmir. Odur ki, d\u00fcym\u0259 bas\u0131lan kimi s\u0259s-k\u00fcy\u00fcn al\u0259mi ba\u015f\u0131na g\u00f6t\u00fcrm\u0259si – k\u00f6rp\u0259nin a\u011flamas\u0131 m\u0259ntiqidir. Ana kultunun \u0259sas anlam\u0131 yoxluqla varl\u0131q aras\u0131ndak\u0131 bu k\u00f6rp\u00fc m\u00f6vqeyind\u0259dir. Y\u0259qin, buna g\u00f6r\u0259 Pey\u011f\u0259mb\u0259rimiz “c\u0259nn\u0259t analar\u0131n ayaqlar\u0131 alt\u0131ndad\u0131r” deyir, Qorqud ata is\u0259 “Ana haqq\u0131, Tanr\u0131 haqq\u0131” s\u00f6yl\u0259yirdi.<\/p>\n 69. Futbol reportajlar\u0131nda topun qap\u0131dan ke\u00e7ib-ke\u00e7m\u0259diyini b\u00fct\u00fcn d\u0259qiqliyi il\u0259 g\u00f6st\u0259rm\u0259k \u00fc\u00e7\u00fcn l\u0259ngidilmi\u015f kadr \u00fcsuluna \u0259l at\u0131rlar. Allah da \u00f6z toplar\u0131n\u0131n – planetl\u0259rin u\u00e7u\u015funu oyunun \u0259vv\u0259lind\u0259n sonuna q\u0259d\u0259r l\u0259ngidilmi\u015f \u015f\u0259kild\u0259 g\u00f6st\u0259rir. \u018fg\u0259r bel\u0259 olmasa, planetl\u0259rin h\u0259r\u0259k\u0259tini izl\u0259y\u0259 bilm\u0259rik. H\u0259tta bu q\u0259d\u0259r l\u0259ngitm\u0259d\u0259n sonra da elmi d\u00fc\u015f\u00fcnc\u0259 Kopernik, Bruno, Qaliley v\u0259 Kepler\u0259 q\u0259d\u0259r planetl\u0259rin h\u0259r\u0259k\u0259tinin \u0259sl m\u0259nz\u0259r\u0259sini g\u00f6r\u0259 bilmirdi.<\/p>\n 70. D\u00fcnya s\u0259sd\u0259n yaran\u0131b, s\u0259sl\u0259 d\u0259 da\u011f\u0131lacaq, amma Allah\u0131n yox, m\u0259l\u0259yin s\u0259sil\u0259. \u0130srafil surunu \u00e7alacaq v\u0259 “g\u00f6y yar\u0131lacaq” (“Quran”, “Haqq\u0259”, 16) “yer l\u0259rz\u0259y\u0259 g\u0259lib par\u00e7a-par\u00e7a olacaq” (“F\u0259cr”, 21) “da\u011flar yun kimi didil\u0259c\u0259k” (“Qaris\u0259”, 5), “G\u00fcn\u0259\u015fl\u0259 Ay birl\u0259\u015f\u0259c\u0259k” (“Qiyam\u0259t”, 9), “d\u0259nizl\u0259r od tutub yanacaq” (“T\u0259kvir”, 6), “gec\u0259 g\u00fcnd\u00fcz\u0259 qar\u0131\u015facaq”, “diril\u0259r \u00f6l\u0259s\u0259k, \u00f6l\u00fcl\u0259r diril\u0259s\u0259k”, – Qiyam\u0259t qopacaq! V\u0259 s\u0259s k\u00f6rp\u00fc g\u00f6r\u0259vini bu d\u0259f\u0259 neqativ planda yerin\u0259 yetir\u0259c\u0259k.<\/p>\n 71. S\u0259s iki d\u00fcnya aras\u0131nda k\u00f6rp\u00fc oldu\u011fundan musiqi ruhu bir anda g\u00f6yl\u0259r\u0259 qald\u0131r\u0131r v\u0259 insan \u0259b\u0259diyy\u0259tl\u0259 n\u0259f\u0259s al\u0131r. Bununla da s\u0259s \u00f6nc\u0259d\u0259n m\u00fc\u0259yy\u0259n edil\u0259n ilahi proqrama m\u00fcdaxil\u0259 edir, insan\u0131 \u00f6z yolundan \u00e7\u0131xar\u0131r.<\/p>\n 72. \u00d6l\u0259c\u0259yini bil\u0259n Qorqud ata qopuz \u00e7al\u0131r v\u0259 n\u0259 q\u0259d\u0259r ki, qol\u00e7a qopuz \u0259lind\u0259dir, \u00f6l\u00fcm ona yax\u0131n d\u00fc\u015f\u0259 bilmir. Qopuzun h\u0259r simi insanla Tanr\u0131 aras\u0131ndak\u0131 f\u0259l\u0259yin qatlar\u0131na uy\u011fundur. Barmaqlar\u0131 bu siml\u0259r\u0259 toxunan ozan f\u0259l\u0259yin qatlar\u0131n\u0131 yararaq yuxar\u0131 qalx\u0131r v\u0259 ilkin m\u0259nb\u0259 il\u0259 birl\u0259\u015fir. O m\u0259nb\u0259 is\u0259 \u00f6l\u00fcm tan\u0131m\u0131r.<\/p>\n 73. Lakin “\u00f6l\u00fcm haqd\u0131r, \u00e7\u0131xmaq olmaz \u0259mrd\u0259n” (A\u015f\u0131q Al\u0131). S\u0259s bu \u0259mri iki m\u0259nada pozur: ya insan\u0131 Qorqud atan\u0131n misal\u0131nda oldu\u011fu kimi \u00f6lm\u0259y\u0259 qoymur, ya da m\u00fcasir estrada ulduzlar\u0131n\u0131n fanatlar\u0131 kimi onu \u00f6z damar\u0131n\u0131 do\u011frama\u011fa t\u0259hrik edir.<\/p>\n 74. \u018fski s\u0259n\u0259t ya\u015fad\u0131rd\u0131, \u00e7a\u011fda\u015f s\u0259n\u0259t \u00f6ld\u00fcr\u00fcr. \u018fski s\u0259s yarad\u0131c\u0131yd\u0131, \u00e7a\u011fda\u015f s\u0259s da\u011f\u0131d\u0131c\u0131. N\u0259d\u0259n ki \u0259ski s\u0259s Allahl\u0131n “Ol” h\u00f6km\u00fcn\u0259 yax\u0131n\u0131yd\u0131, \u00e7a\u011fda\u015f s\u0259s is\u0259 \u0130srafilin “\u00d6l” \u0259mrin\u0259!<\/p>\n 75. “Olaqm\u0131, \u00f6l\u0259kmi?”. \u00c7a\u011fda\u015f s\u0259n\u0259t kimi, \u00e7a\u011fda\u015f insan da bu \u015eekspir dilemmas\u0131 qar\u015f\u0131s\u0131ndad\u0131r. Qaraba\u011f davas\u0131 bizim Hamlet sual\u0131m\u0131zd\u0131r.<\/p>\n 76. Qaraba\u011f lap vaxt\u0131nda – mill\u0259tin formala\u015fmas\u0131 \u00f6nc\u0259si y\u00fcks\u0259ldi v\u0259 \u00f6z g\u00f6r\u0259vini yerin\u0259 yetirdi. \u0130qtisadi amill\u0259rl\u0259 ba\u011fl\u0131 Bak\u0131n\u0131n on doqquzuncu y\u00fczilin sonundak\u0131 y\u00fcks\u0259li\u015fi \u015eu\u015fan\u0131n m\u0259d\u0259ni m\u0259rk\u0259z rolunu aradan qald\u0131rmad\u0131. \u00dczeyir b\u0259y Hac\u0131b\u0259yli – Qaraba\u011f\u0131n yetirdiyi d\u00fcha Bak\u0131 d\u00fcnya \u015f\u0259h\u0259rin\u0259 \u00e7evril\u0259nd\u0259 z\u00fchur etdi. B\u0259li, d\u00fcz e\u015fitdiniz, o do\u011fulmad\u0131, m\u0259zh z\u00fchur etdi. Pey\u011f\u0259mb\u0259rl\u0259r z\u00fchur edir v\u0259 \u00dczeyir b\u0259y s\u0259n\u0259t pey\u011f\u0259mb\u0259ridir. Onun “Quran”da xat\u0131rlanan 28 pey\u011f\u0259mb\u0259rd\u0259n birinin ad\u0131n\u0131 da\u015f\u0131mas\u0131 da t\u0259sad\u00fcfi deyil. \u00dczeyir pey\u011f\u0259mb\u0259rin \u0259sas i\u015fi Qiyam\u0259t g\u00fcn\u00fc \u00f6l\u00fcl\u0259rin ilahi h\u00f6kml\u0259 diril\u0259c\u0259yin\u0259 inam a\u015f\u0131lamaq idi. \u00dczeyir b\u0259y d\u0259 qiyam\u0259t qopar\u0131r, \u015e\u0259rqin y\u00fczill\u0259rl\u0259 \u00f6lm\u00fc\u015f s\u0259n\u0259t ruhunu dirildir, M\u0259cnunla Leylini, K\u0259r\u0259ml\u0259 \u018fslini, Koro\u011fluyla Nigar\u0131 yad, ruhlar\u0131n\u0131 \u015fad el\u0259yirdi.<\/p>\n 77. \u00dczeyir b\u0259y Qaraba\u011f\u0131n uca m\u0259qamlardan ald\u0131\u011f\u0131 el\u0259 bir n\u0259f\u0259siydi ki, s\u00f6z, s\u0259s v\u0259 r\u0259ngin metafizik s\u0131ralanmas\u0131n\u0131 pozaraq, onlar\u0131 bir araya g\u0259tirir v\u0259 teatra \u00e7evirirdi. Dahi b\u0259st\u0259kar ilahi \u00f6l\u00e7\u00fcn\u00fc insani ar\u015f\u0131nla \u0259v\u0259z edir, “o olmas\u0131n, bu olsun” deyirdi. Onun opera v\u0259 operettalar\u0131 ilahi komediya qar\u015f\u0131l\u0131\u011f\u0131nda insani g\u00fclm\u0259c\u0259l\u0259riydi.<\/p>\n 78. Opera \u00f6z\u00fcnd\u0259 s\u00f6z (libretto), s\u0259s (partiya, ariya, xor…) v\u0259 r\u0259ngi (dekor, rekvizit, geyim) birl\u0259\u015fdir\u0259n sinkretik s\u0259n\u0259tdir. \u0130st\u0259nil\u0259n nizam\u0131n pozulmas\u0131 v\u0259 yeni nizama ged\u0259n yol xaosdan ke\u00e7ir. S\u00f6z, s\u0259s v\u0259 r\u0259ngin bir-birin\u0259 qar\u0131\u015fd\u0131\u011f\u0131 opera (\u00fcmum\u0259n teatr) s\u0259n\u0259ti \u00f6z\u00fcnd\u0259 xaotik potensial da\u015f\u0131y\u0131r. Teatr\u0131n “\u015feytani” mahiyy\u0259tinin metafizik \u0259sas\u0131nda olsun ki, bu amil dayan\u0131r. Nizam Allaha, xaos \u015feytana m\u0259xsusdur.<\/p>\n 79. \u00dczeyir b\u0259yin yarad\u0131c\u0131l\u0131\u011f\u0131 m\u0259d\u0259niyy\u0259timizin \u00f6z yeni inki\u015faf m\u0259rh\u0259l\u0259sin\u0259 girm\u0259sini g\u00f6st\u0259rirdi. O, islami \u015f\u00fcur\u00fcst\u00fcd\u0259n (“Leyli v\u0259 M\u0259cnun”) etnik \u015f\u00fcuralt\u0131na (“Koro\u011flu”) ged\u0259n minillik yolu 20-30 il\u0259 ke\u00e7irdi. \u015e\u0259rqin s\u00f6z\u00fc var\u0131yd\u0131, s\u0259si yox. \u00dczeyir b\u0259y bir dahi kimi y\u00fczill\u0259rl\u0259 s\u0131x\u0131l\u0131b qalm\u0131\u015f s\u0259si s\u00f6z\u0259 \u00e7atd\u0131r\u0131r, “Leyli v\u0259 M\u0259cnun” v\u0259 “Koro\u011flu”ya qar\u015f\u0131l\u0131q operalar yarad\u0131rd\u0131. Bu operalar\u0131n birind\u0259n mu\u011fam, dig\u0259rind\u0259n saz s\u0259si g\u0259lirdi. \u00dczeyir b\u0259y s\u0259n\u0259t Simurqunun qo\u015fa qanadlar\u0131 \u00fcst\u00fcnd\u0259 z\u00fclm\u0259td\u0259n i\u015f\u0131ql\u0131 d\u00fcnyaya u\u00e7ur, “qa” dey\u0259n mu\u011fama \u0259t, “qu” dey\u0259n saza su verirdi. Bu, ger\u00e7\u0259klik \u00f6l\u00e7\u00fcl\u0259rini a\u015fan bir u\u00e7u\u015fuydu.<\/p>\n 80. \u00dczeyir b\u0259y bir dahi kimi Qara Ba\u011f\u0131n son n\u0259f\u0259sini ald\u0131, s\u0259s t\u0259dric\u0259n k\u00fcy\u0259 \u00e7evrilm\u0259y\u0259 ba\u015flad\u0131. \u00c7a\u011fda\u015f Az\u0259rbaycan musiqisi \u0259sas\u0259n hay-k\u00fcyd\u0259n ibar\u0259tdir. Onun ruhundan (melodiyas\u0131) daha \u00e7ox, cismi (ritmi) var.<\/p>\n 81. \u00dczeyir b\u0259y d\u00fcnyaya orijinal milli m\u0259d\u0259niyy\u0259t fakt\u0131 kimi \u00e7\u0131x\u0131rd\u0131. Bu \u00fczd\u0259n “Ar\u015f\u0131n mal alan” filmi d\u00fcnyan\u0131 g\u0259zir, h\u0259tta onun Hollivud versiyas\u0131 haz\u0131rlan\u0131rd\u0131. Bu, Az\u0259rbaycan kinosu tarixind\u0259 ilk v\u0259 son bel\u0259 olay idi.<\/p>\n 82. Dahilik estafetini \u00dczeyir b\u0259yd\u0259n iki b\u0259st\u0259kar ald\u0131: Fikr\u0259t \u018fmirov v\u0259 Qara Qarayev. G\u0259nc\u0259li \u018fmirov s\u0259s, bak\u0131l\u0131 Qarayev is\u0259 r\u0259ngi t\u0259msil edirdi. Fikr\u0259t \u018fmirovun \u00e7ar\u015fab\u0131n\u0131 atan (“Sevil”) v\u0259 ya \u0259rin\u0259 na\u011f\u0131l dan\u0131\u015fan qad\u0131n (“Min bir gec\u0259”) kimi “ekzotik \u015e\u0259rq m\u00f6vzular\u0131”n\u0131 s\u0259hn\u0259y\u0259 g\u0259tirm\u0259si bat\u0131ya ilginc g\u0259lirdi. O, M\u0259cnun-Leyli-\u0130bn S\u0259lam klassik triosunu modern Sevil-Bala\u015f-Dilb\u0259rl\u0259 \u0259v\u0259zl\u0259yirdi. Feministl\u0259\u015fm\u0259 meylin\u0259 uy\u011fun art\u0131q q\u0131z\u0131n deyil, o\u011flan\u0131n iki adaxl\u0131s\u0131 var\u0131yd\u0131. Leyli iki yer\u0259 b\u00f6l\u00fcnm\u00fc\u015fd\u00fc – “frans\u0131zcan\u0131 frans\u0131zdan yax\u015f\u0131 bil\u0259n… Parisd\u0259 manik\u00fcr\u00e7\u00fcl\u00fck kursu bitir\u0259n” m\u00fcsavat Dilb\u0259ri v\u0259 Moskvada sa\u00e7 k\u0259sdirm\u0259yi, mini v\u0259 h\u00fcnd\u00fcrdaban geyinm\u0259yi \u00f6yr\u0259n\u0259n sovet Sevili. Q\u0259hr\u0259manlar\u0131ndan f\u0259rqli olaraq, b\u0259st\u0259kar \u00f6z\u00fc is\u0259 milli ruh v\u0259 \u015e\u0259rq tembrin\u0259 s\u0259daq\u0259tliydi.<\/p>\n 83. Qarayevin kakofonik musiqisi \u00fc\u00e7\u00fcn s\u0259ciyy\u0259vi olan k\u00fcy art\u0131q d\u00fcnya musiqisin\u0259 ged\u0259n yol (“\u0130ld\u0131r\u0131ml\u0131 yollarla”) v\u0259 ona qovu\u015fma\u011f\u0131m\u0131zdan (“Don Kixot”) x\u0259b\u0259r verirdi. \u018fslind\u0259, mahiyy\u0259t d\u0259yi\u015fmir – klassik m\u0259cnunlu\u011fumuz \u00f6z yerini modern don kixotlu\u011fumuza verirdi.<\/p>\n 84. \u0130lahi \u0259mr olmadan xalq \u00f6z m\u0259n\u0259vi dayaq n\u00f6qt\u0259sini itir\u0259 bilm\u0259z. Bel\u0259 bir disfunksiya ba\u015f verirs\u0259, bu, x\u0259b\u0259rdarl\u0131q kimi q\u0259bul edilm\u0259lidir. “\u00d6z varl\u0131\u011f\u0131n haqda d\u00fc\u015f\u00fcn!” Allah tiran olmad\u0131\u011f\u0131ndan v\u0259 d\u00fcnyan\u0131 insanla birlikd\u0259 f\u0131rlatd\u0131\u011f\u0131ndan itirdikl\u0259rimizl\u0259 ba\u011fl\u0131 m\u0259suliyy\u0259timiz b\u00f6y\u00fckd\u00fcr. Allah ba\u011f\u0131m\u0131za bax\u0131b, qar ya\u011fd\u0131r\u0131r. Ba\u011fa baxanda ba\u011f, baxmayanda da\u011f olur. Ona g\u00f6r\u0259 d\u00fcz otuz il sin\u0259miz\u0259 Qaraba\u011f da\u011f\u0131 \u00e7\u0259kildi. Qaraba\u011f\u0131m\u0131z d\u00f6n\u00fcb Qarada\u011f oldu!<\/p>\n 85. Biz Qaraba\u011f\u0131 itirm\u0259mi\u015fd\u0259n Qara Ba\u011f\u0131 v\u0259 s\u0259si itirdik. B\u0259lk\u0259, buna g\u00f6r\u0259 Qaraba\u011f u\u011frunda m\u00fcbariz\u0259d\u0259 v\u0259t\u0259np\u0259rv\u0259rlik pafosuyla dolu hay-k\u00fcy\u00fcm\u00fcz Allaha \u00e7atmad\u0131. Allah k\u00fcy\u00fc dinl\u0259mir. K\u00fcy yalan, Allah is\u0259 h\u0259qiq\u0259tdir.<\/p>\n 86. H\u0259r insan \u00f6z h\u0259yat\u0131 v\u0259 h\u0259r xalq \u00f6z tarixind\u0259 dilemma qar\u015f\u0131s\u0131nda qal\u0131r: hara gedim – i\u015f\u0131qg\u0259l\u0259n\u0259, ya ith\u00fcr\u0259n\u0259? \u0130\u015f\u0131qg\u0259l\u0259n s\u00f6z, ith\u00fcr\u0259n s\u0259sd\u0131r. Biz Sovet divinin i\u015f\u0131qg\u0259l\u0259nind\u0259n ith\u00fcr\u0259n\u0259 qay\u0131td\u0131q. Sovet i\u015f\u0131qg\u0259l\u0259ni insana “i\u015f\u0131ql\u0131 g\u0259l\u0259c\u0259k” boyun olan kommunist boyunduru\u011fundan ba\u015fqa bir \u015fey deyildi. O \u00f6z ad\u0131n\u0131 i\u015f\u0131q qoyan z\u00fclm\u0259tiydi – Leninin elektrikl\u0259\u015fdirm\u0259, Stalinin kollektivl\u0259\u015fm\u0259 v\u0259 repressiya, Xru\u015f\u015fovun qar\u011f\u0131dal\u0131, Brejnevin dur\u011funluq, Andropovun \u0259m\u0259k intizam\u0131 z\u00fclm\u0259ti… SSR\u0130-nin \u0259sl ad\u0131 da\u011f\u0131lmas\u0131 \u0259r\u0259f\u0259sind\u0259 \u00fcz\u0259 \u00e7\u0131xd\u0131 – \u00c7ernenko, \u00c7ernob\u0131l, Qaraba\u011f z\u00fclm\u0259ti! Qaraba\u011f olaylar\u0131 bizim erm\u0259nih\u00fcr\u0259n\u0259 qay\u0131d\u0131\u015f\u0131m\u0131zd\u0131r. Bu olaylar\u0131n erm\u0259nil\u0259rin Topxanada iki a\u011fac\u0131 k\u0259sm\u0259siyl\u0259 ba\u015flamas\u0131 odun y\u0131\u011fd\u0131\u011f\u0131m\u0131z me\u015f\u0259y\u0259 d\u00f6n\u00fc\u015f\u00fcm\u00fcz\u00fcn, problemin a\u011fac \u00fcst\u00fcnd\u0259 alovlanmas\u0131 \u00f6l\u00fcm-dirim sava\u015f\u0131na girm\u0259yimizin ni\u015fan\u0259siydi. Yar\u0131 \u00f6l\u00fcm, yar\u0131 h\u0259yat olan a\u011fac \u00f6l\u00fcm-dirim dem\u0259kdir. Amma erm\u0259ni bizi \u00f6l\u00fcm-dirim\u0259 \u00e7\u0259k\u0259 bilm\u0259zdi. Musan\u0131n q\u00f6vm\u00fc kimi biz d\u0259 \u00f6z su\u00e7umuzdan s\u0259hralara d\u00fc\u015fm\u00fc\u015fd\u00fck. Bu h\u0259qiq\u0259ti ilk d\u0259f\u0259 B\u0259rd\u0259 v\u0259 A\u011fcab\u0259did\u0259ki \u00e7ad\u0131r \u015f\u0259h\u0259rcikl\u0259rind\u0259 yeddid\u0259n yetmi\u015f\u0259 ham\u0131n\u0131n \u00e7\u0259rg\u0259y\u0259 durub, namaz q\u0131ld\u0131\u011f\u0131n\u0131 g\u00f6r\u0259nd\u0259 ba\u015fa d\u00fc\u015fd\u00fcm. D\u00fcn\u0259n\u0259 q\u0259d\u0259r \u00f6z evl\u0259rind\u0259 oturub, p\u00fcrr\u0259ngi \u00e7ay i\u00e7\u0259-i\u00e7\u0259 televizora baxan, n\u0259rd, domino oynayan bu qocalar hara, ilan-\u00e7ayan m\u0259l\u0259y\u0259n \u00e7\u00f6ll\u0259rd\u0259ki \u00e7ad\u0131rlar hara? Bir-birini \u00e7\u0259rg\u0259d\u0259 it\u0259l\u0259y\u0259n bu u\u015faqlar hara, namaz hara?.. Musa q\u00f6vm\u00fcn\u00fcn meditasiyas\u0131 q\u0131rx, bizimki otuz il \u00e7\u0259kdi.<\/p>\n 87. \u018fslind\u0259, Qaraba\u011f \u00f6z s\u0259sini h\u0259l\u0259 60-lardan itirm\u0259y\u0259 ba\u015flam\u0131\u015fd\u0131. Bu klassikan\u0131n b\u0259tnind\u0259n modern m\u0259d\u0259niyy\u0259tin do\u011fuldu\u011fu d\u00f6vr\u00fcyd\u00fc. Yox, Qaraba\u011fdan \u0259vv\u0259ll\u0259r oldu\u011fu kimi n\u0259inki istedadlar (Arif Babayev, Sahib\u0259 \u018fhm\u0259dova, S\u0259xav\u0259t M\u0259mm\u0259dov, Q\u0259ndab Quliyeva, M\u0259nsum \u0130brahimov, N\u0259zak\u0259t Teymurova) \u00e7\u0131x\u0131r, onlar aras\u0131ndan fenomenl\u0259r (Q\u0259dir R\u00fcst\u0259mov) d\u0259 z\u00fchur edirdi. Amma bir fakt dan\u0131lmazd\u0131r – milli-m\u0259d\u0259ni inki\u015fafda prioritet istiqam\u0259tin b\u0259lirl\u0259nm\u0259sind\u0259 Qaraba\u011f \u00f6z\u00fcn\u00fcn \u00f6nc\u0259l\u0259rd\u0259ki rolunu itirirdi. Daha Qaraba\u011fdan mu\u011fam\u0131n pey\u011f\u0259mb\u0259r Cabbar\u0131, m\u00fc\u0259llim Seyidi, a\u011fayana Xan\u0131 v\u0259 \u015fahan\u0259 Saras\u0131 \u00e7\u0131xm\u0131rd\u0131. Zamanla klassik mu\u011fam ifa\u00e7\u0131l\u0131\u011f\u0131ndan uzaqla\u015fanlar (B\u00fclb\u00fcl, \u015e\u00f6vk\u0259t \u018fl\u0259kb\u0259rova, R\u0259\u015fid Behbudov, Flora K\u0259rimova) yeti\u015fir v\u0259 \u0259sas q\u00fcvv\u0259y\u0259 \u00e7evrilirdil\u0259r. Az\u0259ri q\u0131z\u0131 G\u00fcnel g\u00f6st\u0259rir ki, bu meyil indi d\u0259 davam edir. Az\u0259rbaycan m\u00fc\u011f\u0259nnisi tarixd\u0259 ilk d\u0259f\u0259 “Az\u0259ri” t\u0259x\u0259ll\u00fcs\u00fc g\u00f6t\u00fcr\u00fcr v\u0259 onun milli m\u0259d\u0259niyy\u0259timizin t\u0259msil\u00e7isi olmas\u0131 ehtimal\u0131 bu qeyri-milli s\u00f6zd\u0259n uza\u011fa getmir.<\/p>\n 88. K\u00f6rp\u0259 isti ana b\u0259tnind\u0259n ayr\u0131landa ay\u0131ld\u0131\u011f\u0131 kimi, ba\u011f\u0131n\u0131 itir\u0259n xalq\u0131n da g\u00f6zl\u0259ri a\u00e7\u0131l\u0131r. H\u0259r \u015feyi \u00f6z \u0259dal\u0259t t\u0259r\u0259zisind\u0259 \u00e7\u0259k\u0259n Allah bir yandan ba\u011flayanda o biri yandan a\u00e7\u0131r. D\u00fcnyan\u0131n s\u0259rt \u00fcz\u00fcn\u00fc g\u00f6r\u00fcb qaraq\u0131\u015fq\u0131r\u0131q salan k\u00f6rp\u0259 kimi, ba\u011f\u0131n\u0131 itir\u0259n xalqa da bird\u0259n-bir\u0259 d\u0259h\u015f\u0259tli h\u0259qiq\u0259tl\u0259r agah olur.<\/p>\n 89. Ba\u011f\u0131n\u0131 itir\u0259n xalq yeni dayaq n\u00f6qt\u0259si formala\u015fd\u0131rma\u011fa ba\u015flay\u0131r. Bu ba\u011f \u00f6z g\u0259l\u0259c\u0259yini duyan etnik \u015f\u00fcuralt\u0131n\u0131n dikt\u0259sil\u0259 haz\u0131rlan\u0131r. H\u0259l\u0259 Allah bu i\u015f\u0259 qol qoymur. Ona g\u00f6r\u0259 \u0259vv\u0259l-\u0259vv\u0259l qanundank\u0259nar istedadlar do\u011fulur. \u0130lahi nikah k\u0259sil\u0259nd\u0259n, yerl\u0259 g\u00f6y birl\u0259\u015f\u0259nd\u0259n sonra h\u0259qiqi istedadlar meydana \u00e7\u0131x\u0131r. Bu istedadlar\u0131n z\u00fchuru yeni m\u0259d\u0259ni m\u0259rk\u0259zin r\u0259ng m\u0259kan\u0131nda formala\u015fd\u0131\u011f\u0131n\u0131 g\u00f6st\u0259rir. Formala\u015fma prosesinin m\u0259ntiq m\u0259rh\u0259l\u0259si \u00f6z ifad\u0259sini \u00f6t\u0259n y\u00fczilin \u0259vv\u0259ll\u0259rind\u0259 S\u0259m\u0259d M\u0259nsurun “H\u0259psi r\u0259ngdir” \u015feirind\u0259 tap\u0131rd\u0131:<\/p>\n \n Uyma, ey dil, x\u0259lqd\u0259 yoxdur s\u0259daq\u0259t, r\u0259ngdir,<\/em><\/p>\n M\u0259scid\u00fc meyxan\u0259 r\u0259ng, ey\u015f\u00fc ibad\u0259t r\u0259ngdir.<\/em><\/p>\n Mey riya, m\u0259\u015fuq\u0259 \u011f\u0259\u015f\u015f, h\u00fcsn\u00fc v\u0259cah\u0259t r\u0259ngdir,<\/em><\/p>\n R\u0259ngdir h\u0259r d\u00fcrl\u00fc mat\u0259m, h\u0259r m\u0259s\u0259rr\u0259t r\u0259ngdir.<\/em><\/p>\n Anla, ey \u0259bnayi-xilq\u0259t, c\u00fcml\u0259 xilq\u0259t r\u0259ngdir.<\/em><\/p>\n \n Bak\u0131l\u0131 \u015fair r\u0259ngi daha d\u0259rind\u0259n duyur, amma Nizaminin, F\u00fczulinin s\u00f6z\u00fcyl\u0259 t\u0259rbiy\u0259l\u0259ndiyind\u0259n onu q\u0259bul ed\u0259 bilmirdi. O, cism\u0259n r\u0259ngd\u0259n olsa da, ruh\u0259n s\u00f6z\u0259 m\u0259xsusdur. M\u0259hz bu s\u00f6z\u0259m\u0259xsusluq onun r\u0259ngi yaln\u0131z neqativ planda g\u00f6rm\u0259sin\u0259 s\u0259b\u0259b olurdu. \u018fslind\u0259, h\u0259r \u015fey kimi, r\u0259ngin d\u0259 iki t\u0259r\u0259fi var v\u0259 o, obyektiv tarixi z\u0259rur\u0259td\u0259n do\u011fur. Burda su\u00e7lamaya yer qalm\u0131r.<\/p>\n 90. H\u0259l\u0259 30-cu ill\u0259rd\u0259 heca \u015feiril\u0259 s\u0259rb\u0259st aras\u0131ndak\u0131 qar\u015f\u0131durma s\u00f6z\u0259 hakim olmaq u\u011frunda s\u0259s v\u0259 r\u0259ngin m\u00fcbariz\u0259siydi. R\u0259ng \u00f6z m\u0259ntiq m\u0259rh\u0259l\u0259sind\u0259n t\u0259bi\u0259t m\u0259rh\u0259l\u0259sin\u0259 ke\u00e7irdi. Heca v\u0259zni s\u0259si, s\u0259rb\u0259st \u015feir r\u0259ngi t\u0259msil edirdi. Milli v\u0259znin t\u0259msil\u00e7isi S\u0259m\u0259d Vur\u011fun s\u00f6zd\u0259n g\u0259ls\u0259 d\u0259, Vaqif vasit\u0259sil\u0259 Qaraba\u011fa ba\u011flan\u0131r v\u0259 s\u0259sin n\u00fcmay\u0259nd\u0259sin\u0259 \u00e7evrilirdi. Onun \u015fah \u0259s\u0259ri (“Vaqif”) Qazax sultanl\u0131\u011f\u0131 yox, Qaraba\u011f xanl\u0131\u011f\u0131n\u0131n tarixind\u0259n b\u0259hs edirdi. O, s\u0259sin t\u0259msil\u00e7isini (F\u0259rhad) q\u0259hr\u0259man se\u00e7ir, “F\u0259rhad v\u0259 \u015eirin” yaz\u0131rd\u0131.<\/p>\n 91. S\u0259rb\u0259st \u015feirin lideri R\u0259sul Rza r\u0259ngin (\u015eirvan) yetirm\u0259siydi. Onun \u00fcnl\u00fc “R\u0259ngl\u0259r” poetik silsil\u0259sini m\u0259hz 60-c\u0131 ill\u0259rd\u0259 yazmas\u0131 da t\u0259sad\u00fcfi deyildi. Bu ill\u0259r s\u0259sin bir m\u0259d\u0259ni-estetik amil kimi \u00f6z m\u00f6vqeyini r\u0259ng\u0259 verdiyi d\u00f6vr idi. Milli poeziya meydan\u0131na ilk d\u0259f\u0259 30-su ill\u0259rd\u0259 daxil olan s\u0259rb\u0259st \u015feirin ilk h\u00fccumu m\u0259\u011flubiyy\u0259tl\u0259 qurtarsa da, 60-lardak\u0131 h\u0259ml\u0259si z\u0259f\u0259r y\u00fcr\u00fc\u015f\u00fcn\u00fcn ba\u015flan\u011f\u0131c\u0131na \u00e7evrildi. “R\u0259ngl\u0259r” silsil\u0259si il\u0259 r\u0259ng \u00f6z\u00fcn\u00fcn s\u0259s \u00fcz\u0259rind\u0259ki q\u0259l\u0259b\u0259sini b\u0259yan edirdi. D\u00fc\u015f\u00fcnc\u0259 axar\u0131nda yaz\u0131lm\u0131\u015f bu silsil\u0259d\u0259 s\u0259s s\u0131x\u0131\u015fd\u0131r\u0131l\u0131b aradan \u00e7\u0131xar\u0131lm\u0131\u015f, s\u0259sin d\u0259, s\u00f6z\u00fcn d\u0259 yerini r\u0259ng tutmu\u015fdu. R\u0259ngin holi bayram\u0131 idi. O, adi bir boyadan b\u00fct\u00f6v bir universuma, h\u0259r \u015feyi \u00f6z\u00fcnd\u0259 birl\u0259\u015fdir\u0259n bir \u015fey\u0259 \u00e7evrilmi\u015fdi:<\/p>\n \n R\u0259ngl\u0259r k\u00f6nl\u00fcm\u00fczd\u0259n ke\u00e7ir<\/em><\/p>\n isti, s\u0259rin k\u00fcl\u0259kl\u0259r kimi.<\/em><\/p>\n N\u0259\u011fm\u0259l\u0259r, s\u00f6zl\u0259r, s\u0259sl\u0259r<\/em><\/p>\n Q\u0259lbimiz\u0259 dolur m\u00fcxt\u0259lif r\u0259ngl\u0259r kimi.<\/em><\/p>\n R\u0259ngl\u0259r xatir\u0259l\u0259r oyad\u0131r,<\/em><\/p>\n duy\u011fular oyad\u0131r.<\/em><\/p>\n G\u00f6rd\u00fcy\u00fcm\u00fczd\u0259n art\u0131q g\u00f6rm\u0259k ist\u0259m\u0259s\u0259k<\/em><\/p>\n h\u0259r r\u0259ng adic\u0259 boyad\u0131r.<\/em><\/p>\n \n 92. 60-lardan sonra n\u0259inki r\u0259ng m\u0259kan\u0131ndan olanlar (\u018fli K\u0259rim, Fikr\u0259t Qoca, \u018fl\u0259kb\u0259r Salahzad\u0259, Fikr\u0259t Sad\u0131q) s\u00f6z\u00fcn (\u0130sa \u0130smay\u0131lzad\u0259) v\u0259 s\u0259sin (Vaqif Bayatl\u0131 Od\u0259r) t\u0259msil\u00e7il\u0259ri d\u0259 \u0259n az\u0131 formaca r\u0259ng\u0259 t\u0259r\u0259f ke\u00e7irdil\u0259r. S\u0259sin \u0259n b\u00f6y\u00fck itkisi onda ba\u015f verdi ki, onun birba\u015fa genetik varisi d\u0259 (Vaqif S\u0259m\u0259do\u011flu) r\u0259ng\u0259 meyil el\u0259m\u0259y\u0259 ba\u015flad\u0131. S\u0259s\u0259 forma etibaril\u0259 sadiq qalanlar is\u0259 (Ramiz R\u00f6v\u015f\u0259n, Qulu A\u011fs\u0259s, Salam) s\u00f6z\u0259 \u00fcz tutur, s\u0259sd\u0259n m\u0259zmunca uzaqla\u015f\u0131rd\u0131lar. N\u0259 s\u0259si e\u015fid\u0259n qalm\u0131\u015fd\u0131, n\u0259 d\u0259 s\u0259si e\u015fidil\u0259n. \u00d6z s\u00f6z\u00fcm\u00fcz\u00fc \u00f6z\u00fcm\u00fcz\u0259 p\u0131\u00e7\u0131ldamaq vaxt\u0131yd\u0131 (Salam).<\/p>\n 93. S\u0259sd\u0259n r\u0259ng\u0259 ke\u00e7id m\u0259d\u0259niyy\u0259tin dig\u0259r sah\u0259l\u0259rind\u0259 d\u0259 \u00f6z\u00fcn\u00fc g\u00f6st\u0259rirdi. Otuzuncu ill\u0259rd\u0259 y\u00fcks\u0259li\u015f d\u00f6vr\u00fc ke\u00e7ir\u0259n, 40-c\u0131 ill\u0259rd\u0259 zirv\u0259y\u0259 \u00e7atan, 50-l\u0259rd\u0259 konfrontasiya d\u00f6n\u0259min\u0259 gir\u0259n teatr 60-lardan sonra s\u0259sd\u0259n uzaqla\u015faraq r\u0259ng\u0259 \u00fcz tutdu. \u00d6z gur s\u0259sl\u0259ril\u0259 s\u0259hn\u0259l\u0259ri, zallar\u0131 titr\u0259d\u0259n titanlar v\u0259 titanidalar\u0131n (H\u00fcseyn \u018fr\u0259blinski, Sidqi Ruhulla, Abbas Mirz\u0259 \u015e\u0259rifzad\u0259, Kaz\u0131m Ziya, M\u0259rziy\u0259 Davudova, Fatma Q\u0259dri, \u00dclvi R\u0259c\u0259b) n\u0259sli getdikc\u0259 k\u0259silir, s\u0259s r\u0259ngin q\u0131rm\u0131z\u0131 kitab\u0131na d\u00fc\u015f\u00fcrd\u00fc. Hamlet k\u0259ll\u0259sini, Otello d\u0259smal\u0131n\u0131, \u0130sg\u0259nd\u0259r butulkas\u0131n\u0131, milli teatr vahid s\u0259sini itirmi\u015f, romantik (Adil \u0130sg\u0259nd\u0259rov), f\u0259ls\u0259fi (Mehdi M\u0259mm\u0259dov) v\u0259 lirik-psixoloji (Tofiq Kaz\u0131mov) meyill\u0259rin m\u00fcbariz\u0259 meydan\u0131na \u00e7evrilmi\u015fdi. Bu meyill\u0259rd\u0259n birinci v\u0259 ikincisinin banisi s\u0259s, \u00fc\u00e7\u00fcnc\u00fcs\u00fc is\u0259 r\u0259ng m\u0259kan\u0131ndan idi.<\/p>\n 94. 60-c\u0131 ill\u0259rin ba\u015flan\u011f\u0131c\u0131nda A.\u0130sg\u0259nd\u0259rovun teatrdan uzaqla\u015fd\u0131r\u0131lmas\u0131, M.M\u0259mm\u0259dovun uzaqla\u015fmas\u0131, T.Kaz\u0131movun ba\u015f rejissor t\u0259yin edilm\u0259si sad\u0259c\u0259 inzibati olay deyildi. R\u0259ng ana teatr\u0131m\u0131zda hakimi-m\u00fctl\u0259q\u0259 \u00e7evrilirdi! \u00c7evril\u0259n kimi d\u0259 s\u00f6z\u0259 v\u0259 s\u0259s\u0259 at\u0259\u015f a\u00e7\u0131r, onlar\u0131n s\u0259hn\u0259y\u0259 b\u0259x\u015f etdiyi \u0259n m\u0259lah\u0259tli s\u0259sl\u0259r\u0259 (\u018fli Zeynalov, Barat \u015e\u0259kinskaya) qar\u015f\u0131 \u00f6z s\u0259sl\u0259rini (\u018fl\u0259sg\u0259r \u018fl\u0259kb\u0259rov, H\u00f6k\u00fcm\u0259 Qurbanova) qoyurdu. B.\u015e\u0259kinskaya C\u00fclyettan\u0131n balkonundan indi falset s\u0259sl\u0259 dan\u0131\u015f\u0131rd\u0131. 60-lardan etibar\u0259n s\u0259s teatr\u0131n\u0131n s\u00fcr\u0259kli \u00f6l\u00fcm\u00fc r\u0259ng m\u0259kan\u0131ndan olan aktyorlar\u0131n (\u015e\u0259fiq\u0259 M\u0259mm\u0259dova, S\u0259fur\u0259 \u0130brahimova, Fuad Poladov, V\u0259fa F\u0259tullayeva, Nur\u0259ddin Mehdixanl\u0131, B\u0259sti C\u0259f\u0259rova) \u00f6n plana ke\u00e7m\u0259siyl\u0259 m\u00fc\u015fayi\u0259t olunurdu. Get-ged\u0259 \u00f6z hakimlik statusunu itir\u0259n s\u0259s \u00fcz\u00fcn\u0259 lirik-psixoloji boya vurur, \u00f6z\u00fcn\u00fc zaman\u0131n t\u0259l\u0259bin\u0259 uy\u011fun \u015f\u0259kl\u0259 sal\u0131rd\u0131. S\u0259sd\u0259n r\u0259ng\u0259 ke\u00e7idi ist\u0259r m\u0259kan (G\u0259nc\u0259-Bak\u0131) ist\u0259rs\u0259 d\u0259 zamanca (60-80-l\u0259r) \u00f6z\u00fcnd\u0259 \u0259ks etdir\u0259n aktrisa da (Amaliya P\u0259nahova) bu f\u0259ls\u0259fi-estetik \u0259sasda meydana \u00e7\u0131x\u0131rd\u0131. Onun spesifik v\u0259 t\u0259krars\u0131z istedad\u0131n\u0131n \u0259n parlaq t\u0259r\u0259fi – s\u0259si tama\u015fa\u00e7\u0131lar\u0131 get-ged\u0259 az \u00e7\u0259kirdi v\u0259 bu m\u0259ntiqi idi. \u018fhli-r\u0259ng s\u0259s\u0259 deyil, r\u0259ng\u0259 \u00fcst\u00fcnl\u00fck verir, y\u00fcz d\u0259f\u0259 e\u015fitm\u0259kd\u0259ns\u0259, bir d\u0259f\u0259 g\u00f6rm\u0259k ist\u0259yirdi.<\/p>\n 95. S\u0259sd\u0259n r\u0259ng\u0259 ke\u00e7id dramaturgiyan\u0131 da \u0259hat\u0259 edirdi. Cavid s\u00f6z, Cabbarl\u0131 s\u0259s, \u0130lyas \u018ff\u0259ndiyev s\u0259sd\u0259n r\u0259ng\u0259 ke\u00e7id dramaturqu idi. Cavidin romantik poeziya teatr\u0131nda s\u00f6z\u00fcn b\u0259dii g\u00f6z\u0259lliyi h\u0259r\u0259k\u0259td\u0259n \u00fcst\u00fcn idi:<\/p>\n \n G\u0259ldin d\u0259, ni\u00e7in p\u0259mb\u0259 buludlar kimi axd\u0131n,<\/em><\/p>\n Bilm\u0259m, niy\u0259 getdin, niy\u0259 d\u00f6nd\u00fcn, niy\u0259 baxd\u0131n?<\/em><\/p>\n \u015eim\u015f\u0259k kibi \u00e7axd\u0131n da, ni\u00e7in k\u00f6nl\u00fcm\u00fc yaxd\u0131n,<\/em><\/p>\n Bilm\u0259m, niy\u0259 getdin, niy\u0259 d\u00f6nd\u00fcn, niy\u0259 baxd\u0131n?<\/em><\/p>\n \n Cabbarl\u0131da s\u0259s \u0259n y\u00fcks\u0259k oktavaya \u00e7at\u0131rd\u0131. Onun Oqtay v\u0259 Elxan kimi q\u0259hr\u0259manlar\u0131n\u0131n monoloqlar\u0131 \u00f6z diapazonuna g\u00f6r\u0259 \u015eillerin q\u0259hr\u0259manlar\u0131n\u0131 k\u00f6lg\u0259d\u0259 qoyur, “M\u0259hkum \u015f\u0259rq\u0259”, \u00f6z\u0259llikl\u0259 d\u0259, “Ana” \u015feirind\u0259 s\u0259s maksimum istismar olunurdu. Min be\u015f y\u00fcz illik poeziya tariximizd\u0259 \u00f6z amplitudas\u0131na g\u00f6r\u0259 “Ana” \u015feirind\u0259ki bu misralar\u0131n qar\u015f\u0131s\u0131na \u00e7\u0131xar\u0131las\u0131 \u00f6rn\u0259k yoxdur:<\/p>\n \n \u018fs ey k\u00fcl\u0259k, ba\u011f\u0131r ey b\u0259hri-biaman l\u0259p\u0259l\u0259n,<\/em><\/p>\n Gurulda, taqi-s\u0259mavi, gurulda, \u00e7atla, da\u011f\u0131l!<\/em><\/p>\n At\u0131l ahana, s\u0259n ey ild\u0131r\u0131m, al\u0131\u015f, parla,<\/em><\/p>\n S\u00f6n ey G\u00fcn\u0259\u015f, ya\u011f\u0131\u015f\u0131n ya\u011fd\u0131r, ey bulud, a\u011fla!<\/em><\/p>\n \n Cabbarl\u0131n\u0131n s\u0259s\u0259 ba\u011fl\u0131l\u0131\u011f\u0131n\u0131n daha bariz y\u00f6n\u00fc bu g\u00fcn d\u0259 dill\u0259rd\u0259n d\u00fc\u015fm\u0259y\u0259n b\u0259st\u0259l\u0259ridir (“Azad bir qu\u015fdum”, “M\u0259n bir solmaz yarpa\u011fam ki”, “S\u0259n\u0259 n\u0259 olub, zal\u0131m yar”…). \u0130.\u018ff\u0259ndiyev mahn\u0131 b\u0259st\u0259l\u0259mir, amma \u00f6z pyesl\u0259rini m\u00fc\u0259yy\u0259n mahn\u0131lara k\u00f6kl\u0259yib yaz\u0131rd\u0131. \u00d6z\u00fcn\u00fcn etiraf\u0131na g\u00f6r\u0259, o, “S\u0259n h\u0259mi\u015f\u0259 m\u0259niml\u0259s\u0259n” pyesini “Qaragil\u0259”, “Mahn\u0131 da\u011flarda qald\u0131”n\u0131 is\u0259 “Aman, ov\u00e7u, vurma m\u0259ni” mahn\u0131lar\u0131n\u0131n melodik orbitind\u0259 yazm\u0131\u015fd\u0131. Onun 60-c\u0131 ill\u0259rd\u0259ki \u0259s\u0259rl\u0259rin\u0259 qurulu\u015fu \u0259ks\u0259r\u0259n r\u0259ng rejissoru (T.Kaz\u0131mov) vers\u0259 d\u0259, bu \u0259s\u0259rl\u0259r daxil\u0259n s\u0259s \u00fcst\u00fcnd\u0259 yaz\u0131l\u0131rd\u0131.<\/p>\n 96. 70-l\u0259rin lap ba\u015flan\u011f\u0131c\u0131nda s\u0259s \u00f6z “mahn\u0131lar\u0131n\u0131n da\u011flarda qald\u0131\u011f\u0131n\u0131” etiraf etdi. Otuzuncu ill\u0259rd\u0259 b\u00f6y\u00fck u\u011furla ke\u00e7\u0259n tama\u015falar\u0131n (“Maqbet”, “Vaqif”) 80-l\u0259rd\u0259ki z\u0259if \u0259ks-s\u0259das\u0131 s\u0259sin exoya \u00e7evrilm\u0259sini g\u00f6st\u0259rirdi. Antik (“\u00c7ar Edip”) v\u0259 klassik (“Kral Lir”) tragediyalar\u0131n 90-lardak\u0131 yeni s\u0259hn\u0259 h\u0259yat\u0131 is\u0259 onlara r\u0259ng\u0259 uy\u011fun qurulu\u015f verilm\u0259sil\u0259 ba\u011fl\u0131yd\u0131. Rejissor B\u0259hram Osmanov birinci tama\u015fan\u0131 ikir\u0259ngli taxt, dig\u0259rini ikir\u0259ngli geyim \u00fcst\u00fcnd\u0259 qurmu\u015fdu.<\/p>\n 97. R\u0259ngin getdiks\u0259 y\u00fcks\u0259l\u0259n m\u00f6vqeyin\u0259 baxmayaraq, s\u0259sin bir dramaturqunu (\u0130.\u018ff\u0259ndiyev) dig\u0259ri (\u018fli \u018fmirli) \u0259v\u0259zl\u0259yirdi. \u018f.\u018fmirli vur\u011funu r\u0259ngin ya iki \u0259sas q\u00fctb\u00fc (“A\u011fqoyunlular v\u0259 Qaraqoyunlular”), ya da \u00e7oxsayl\u0131 \u00e7alarlar\u0131 (qara, sar\u0131, \u0259lvan…) \u00fcst\u00fcn\u0259 sal\u0131rd\u0131 (“Varl\u0131 qad\u0131n”). Lakin bu “x\u0259yan\u0259tin\u0259” baxmayaraq, dramaturq ikinci planda s\u0259s\u0259 s\u0259daq\u0259tini saxlay\u0131r, r\u0259ng\u0259 neqativ m\u00fcnasib\u0259t onun \u0259s\u0259rl\u0259rinin janr\u0131ndanca (faci\u0259, ekssentrik qara komediya) ayd\u0131n g\u00f6r\u00fcn\u00fcr, proses kriptoqrafik xarakter da\u015f\u0131y\u0131rd\u0131. R\u0259ng birinci halda (faci\u0259) a\u011flamal\u0131, ikincid\u0259 (komediya) g\u00fclm\u0259li, h\u0259r iki halda yolverilm\u0259z idi.<\/p>\n 98. S\u0259sd\u0259n r\u0259ng\u0259 ke\u00e7id mahn\u0131 ifa\u00e7\u0131l\u0131\u011f\u0131nda da \u00f6z \u0259ksini tap\u0131rd\u0131. 60-lardan etibar\u0259n r\u0259ng s\u0259hn\u0259nin g\u00fcn\u0259\u015fi (Zeyn\u0259b Xanlarova) v\u0259 \u0259n parlaq ulduzlar\u0131n\u0131 (Elmira R\u0259himova, \u0130lham\u0259 Quliyeva, Nis\u0259 Qas\u0131mova, S\u0259kin\u0259 \u0130smay\u0131lova, M\u0259l\u0259kxan\u0131m \u018fyyubova) verm\u0259kl\u0259 qalmay\u0131b, mu\u011fam\u0131n reformatorunu (Alim Qas\u0131mov) da yeti\u015fdirdi. 90-lardan sonra klipl\u0259rin geni\u015f yay\u0131lmas\u0131 r\u0259ngin s\u0259si \u00fcst\u0259l\u0259m\u0259sinin vizual ifad\u0259si oldu. V\u0259 bir m\u0259s\u0259l\u0259ni d\u0259 g\u00f6st\u0259rdi – r\u0259ngin apar\u0131c\u0131 m\u00f6vqey\u0259 ke\u00e7m\u0259si d\u00fcnya inc\u0259s\u0259n\u0259tind\u0259 ged\u0259n qlobal prosesdir. R\u0259ngl\u0259\u015fm\u0259ni kino v\u0259 informasiya vasit\u0259l\u0259rinin g\u0259li\u015fm\u0259sind\u0259 d\u0259 g\u00f6r\u00fcr\u00fck: lal kino s\u00f6z, a\u011f-qara kino s\u0259s, r\u0259ngli kino r\u0259ng d\u00f6n\u0259mi dem\u0259kdir; m\u0259tbuat s\u00f6z, radio s\u0259s, televiziya r\u0259ng d\u00f6n\u0259minin g\u00f6st\u0259ricisidir.<\/p>\n 99. R\u0259ng\u0259 ke\u00e7id meylini b\u0259dii n\u0259sr (Mu\u011fanna, Sabir \u018fhm\u0259dli, El\u00e7in), \u0259d\u0259bi t\u0259nqid (Mehdi H\u00fcseyn, Ya\u015far Qarayev, Tehran \u018fli\u015fano\u011flu), teatr\u015f\u00fcnasl\u0131q (\u0130lham R\u0259himli, Ayd\u0131n Tal\u0131bzad\u0259), telejurnalistika (Telli P\u0259nahq\u0131z\u0131, \u0130lqar \u018flifo\u011flu, Mir\u015fahin) v\u0259 dig\u0259r sah\u0259l\u0259rd\u0259 d\u0259 g\u00f6rm\u0259k m\u00fcmk\u00fcnd\u00fcr.<\/p>\n 100. R\u0259ng m\u0259d\u0259niyy\u0259timizin dibidir. Amma bu onun g\u0259l\u0259c\u0259k m\u0259d\u0259ni g\u0259li\u015fm\u0259miz \u00fc\u00e7\u00fcn \u015f\u0259rt olmas\u0131n\u0131 inkar etmir. \u00c7\u00fcnki “top a\u015fa\u011f\u0131ya n\u0259 q\u0259d\u0259r b\u0259rk d\u0259y\u0259rs\u0259, bir o q\u0259d\u0259r d\u0259 y\u00fcks\u0259y\u0259 qalxar” (\u018fli b\u0259y H\u00fcseynzad\u0259).<\/p>\n 101. S\u00f6zd\u0259n s\u0259s\u0259, s\u0259sd\u0259n r\u0259ng\u0259, r\u0259ngd\u0259n s\u00f6z\u0259! \u00c7\u00fcnki g\u0259li\u015fm\u0259 “d\u00fcz x\u0259tt” (Marks) yox, “\u00e7evr\u0259” (\u018fflatun) boyunsa gedir. El\u0259 bu \u00e7evr\u0259 boyunca da m\u0259d\u0259ni a\u011f\u0131rl\u0131q m\u0259rk\u0259zi fasil\u0259siz olaraq bu \u00fc\u00e7 m\u0259qam\u0131n birind\u0259n dig\u0259rin\u0259 ke\u00e7ir. Bu m\u0259qamlar yaln\u0131z bizd\u0259n k\u0259narda yox, h\u0259m d\u0259 \u00f6z\u00fcm\u00fczd\u0259dir. \u00c7\u00fcnki d\u00fcnya makroinsan, insan mikrod\u00fcnyad\u0131r. “H\u0259r n\u0259 varsa, bizd\u0259dir…” (\u018fs\u0259d Cahangir, “Namaz”). F\u00fczuli baban\u0131n “Leyli v\u0259 M\u0259cnun”da M\u0259cnun haqq\u0131nda dediyi kimi, s\u00f6z insan\u0131n zehni, s\u0259s avaz\u0131, r\u0259ng camal\u0131d\u0131r:<\/p>\n \n Avaziy\u00fc zehniyy\u00fc c\u0259mali,<\/em><\/p>\n Q\u0131lm\u0131\u015fd\u0131 m\u00fcq\u0259yy\u0259d \u0259hli-hali.<\/em><\/p>\n Kim olsa bu \u00fc\u00e7 k\u0259mala qabil,<\/em><\/p>\n Dem\u0259k olur ona zati-kamil.<\/em><\/p>\n \n Bu yaz\u0131n\u0131 ba\u015flayanda tamam ba\u015fqa m\u00f6vzunu h\u0259d\u0259f\u0259 alm\u0131\u015fd\u0131m. Bu \u00fc\u00e7 “k\u0259mal\u0131” (k\u0259lam\u0131) intuitiv sezm\u0259k v\u0259 q\u0259l\u0259m\u0259 almaq irad\u0259m d\u0131\u015f\u0131nda oldu. Olsun ki, bu g\u00fcv\u0259nc g\u00f6st\u0259ril\u0259nd\u0259 \u00fc\u00e7 geokulturoloji b\u00f6lg\u0259nin he\u00e7 birind\u0259n olmad\u0131\u011f\u0131m v\u0259 bu \u00fczd\u0259n m\u0259s\u0259l\u0259y\u0259 obyektiv yana\u015faca\u011f\u0131m g\u00f6z \u00f6n\u00fcn\u0259 al\u0131nd\u0131. M\u0259n d\u0259 g\u00f6st\u0259ril\u0259n g\u00fcv\u0259nc qar\u015f\u0131l\u0131\u011f\u0131nda bacard\u0131\u011f\u0131m q\u0259d\u0259r obyektiv olma\u011fa \u00e7al\u0131\u015fd\u0131m. M\u0259qs\u0259dim\u0259 n\u0259 q\u0259d\u0259r \u00e7atd\u0131m? Bunu yaln\u0131z Allah bilir. \u00c7\u00fcnki h\u0259r \u015feyin do\u011frusunu bil\u0259n Odur.<\/p>\n \n M\u0259nb\u0259: \u018fd\u0259biyyat q\u0259zeti<\/p>\n Yaz\u0131ya 525 d\u0259f\u0259 bax\u0131l\u0131b<\/p>\n","protected":false},"excerpt":{"rendered":" \u015e\u0259hidl\u0259rimizin ruhuna \u00dc\u00e7\u00fcnc\u00fc hiss\u0259 \u018fvv\u0259li\u00a0www.kultur.az 61. S\u0259s dal\u011falar\u0131n\u0131n ki\u00e7icik bir titr\u0259yi\u015find\u0259n bel\u0259 c\u0259nn\u0259tin sirli s\u0259ssizliyi pozula bil\u0259r. Odur ki, orda Allahla insan\u0131n \u00fcnsiyy\u0259t vasit\u0259si d\u00fc\u015f\u00fcnc\u0259dir. C\u0259nn\u0259td\u0259 s\u0259s\u0259 g\u0259r\u0259k yoxdur. Qanad varsa, k\u00f6rp\u00fc n\u0259y\u0259 laz\u0131m? Orda g\u00f6zl\u0259r dan\u0131\u015f\u0131r. Amma maddi d\u00fcnyada d\u00fc\u015f\u00fcnc\u0259 dili \u00f6z \u00f6n\u0259mini itirir. D\u00fc\u015f\u00fcnc\u0259 maddi qat\u0131 yar\u0131b, h\u0259ms\u00f6hb\u0259t\u0259 \u00e7atm\u0131r. Nitq (s\u0259s) z\u0259rur\u0259t\u0259 \u00e7evrilir. […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[16,3],"tags":[],"_links":{"self":[{"href":"https:\/\/kultur.az\/index.php?rest_route=\/wp\/v2\/posts\/16459"}],"collection":[{"href":"https:\/\/kultur.az\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kultur.az\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kultur.az\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kultur.az\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=16459"}],"version-history":[{"count":1,"href":"https:\/\/kultur.az\/index.php?rest_route=\/wp\/v2\/posts\/16459\/revisions"}],"predecessor-version":[{"id":16461,"href":"https:\/\/kultur.az\/index.php?rest_route=\/wp\/v2\/posts\/16459\/revisions\/16461"}],"wp:attachment":[{"href":"https:\/\/kultur.az\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=16459"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kultur.az\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=16459"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kultur.az\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=16459"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}