The roots of theatrical art in Azerbaijan are connected with the activities, life, festivities and wedding traditions of the people, as well as their worldview. In ancient ceremonies such as “Sayachi”, “Novruz”, “Gavsach”, along with choir, dance and dialogue, there is a dramatic plot, action, and sometimes an artistic image. The play “Kosa-kosa”, which is an important episode of the “Novruz” ceremony, is a real theatrical example. There is a consistent plot, dramatic action, as well as an actor wearing a mask wearing special clothes. “Khan-khan”, “Dance of the Mutribs”, “Exchange of the bride and mother-in-law” performed at the wedding ceremonies lasting several days, etc. episodes show that the elements of play and spectacle are of independent importance here. Elements of square theater were strong in Ozan-ashug assemblies, “Zorkhana” scenes, performances of jugglers, as well as in “Yug” ceremony, which was widespread among the people in ancient times.
Elements of performances in ceremonies, rituals and games played an important role in the establishment of an independent folk theater. “Kosa-kosa”, “Garavelli” (one of the forms of square theater), “Kilimarasi”, “Shah Salim” (puppet performances) and others, which have been widespread among the people for a long time. It shows that the People’s Theater in Azerbaijan has an independent history. While some of these performances were game-based because they were based on a fixed plot, others had a repertoire of small jokes and formed a more mature stage of the Azerbaijani People’s Theater.

The Azerbaijan People’s Theater had a realistic character and was connected with the working class. The repertoire of the People’s Theater consisted of small performances with a certain ethical content. “The Bride and Groom”, “We Found a Shepherd”, “Lazy Brother” (three-act comedy) and others. The performances became popular among the people. These performances mainly reflected the economic and domestic life of the village. Optimism is their main feature. In those performances, laughter sometimes became serious, turning into bitter irony and satire, whipping the defects in people’s work, life and psychology.

During the Safavid period (16th century), which defended Shiism as an official religion, it used various means to influence the minds of the people. From this period, the religious play “Shabih” was widespread. “Shabihs” have effectively influenced the establishment of professional theater in Azerbaijan, as well as created an opportunity for many artists to come on stage.

The People’s Theater has played an important role in the formation of the Azerbaijan Professional Theater.
The history of the Azerbaijani theater begins with MFAkhundov’s performances “Lankaran khan’s vizier” and “Haji Gara” staged in Baku in March and April 1873. At the initiative of H. Zardabi, with the close participation of N. Vazirov and A. Adigozalov (Gorani), these first amateur performances by students of the real school were a powerful impetus for the establishment of the national theater.

Leading Azerbaijani intellectuals, teachers who later graduated from the Gori seminary, staged theatrical performances in Shusha, Nakhchivan and other cities, and at the same time acted as “actors” in these performances. Leading teachers and intellectuals in Shusha, under the leadership of Y. Malik-Hagnazarov, regularly organized performances during the summer holidays at the club and Khandamirov’s theater, playing MFAkhundov’s comedies (“Khirs-guldurbasan”, “Monsieur Jordan and dervish Mastali Shah”).

It is known that performances of MFAkhundov’s works were given. Since 1876, MFAkhundov’s comedies have been performed in Tbilissi (Azerbaijani). Author of a number of comedies and vaudeville among leading intellectuals N.Vazirov, B.Badalbeyov, A.Valibeyov, F.Kocharli, H.Saricalinski, Mukhtar Muradov, I.Shafibeyov, famous singer Jabbar Qaryagdioglu (Shusha), M.Sidgi, J.Mammadguluzade The activities of his brother Mirza Alakbar, playwright E.Sultanov (Nakhchivan), R.Afendiyev (Nukha) and others should be especially noted. In the 70s and 80s, theater enthusiasts operating in various cities of Azerbaijan gradually began to form around theater figures in Baku. Therefore, the theatrical life of Baku was revived in the late 80’s, which led to the creation of a certain theater team. Since 1887, the Baku theater troupe has been led by H. Mahmudbeyov, SM Ganizade and N. Valiyev. They greatly strengthened the group and turned it into a troupe, which began operating as an independent theater group in 1888.

Starting from the 1890s, N.Narimanov had a great contribution to the development of the Azerbaijani theater in a healthy way to the idea, to the implementation of the requirements of stage realism in the theater. He valued the theater as one of the important means of raising the public consciousness of the people and spreading the advanced ideas of the time, and used the theater as a tribune. N.Narimanov invited intelligent young people to the troupe of actors, and at the same time he played leading roles in many performances. In 1897, the first “Union of Artists” was established in Baku. The repertoire of the pre-revolutionary Azerbaijani theater is composed of plays by national playwrights – MFAkhundov, N.Vazirov, H.Vazirov, N.Narimanov, A.Hagverdiyev, J.Mammadguluzadeh and others, as well as Russian (NVGogol, ISTurgenev, LNTolstoy ) and Western Europe (W. Shakespeare, F. Schiller, H. Heine, J.B. Moliere). From the first years, the Azerbaijani theater was committed to enlightenment and democratic ideas. Along with M.F. Nadir Shah’s plays exposed feudal customs, the oppression and despotism of the landlord-capitalist system, and ignorance.

In 1906, the Muslim Drama Artists Company was established in Baku. The company was headed by the famous theatrical figure J. Zeynalov. Despite the persecution and financial difficulties, the Company continued to perform and expand its repertoire. During these years, drama groups and theater troupes (“Balakhani Drama Club”, “Society”) were organized in the working districts of Baku. In addition to its direct organizer MA Aliyev, A. Rzayev, J. Hajinski and others were included in the staff of the “Society” troupe established under the “Evolution” newspaper. There was a. The members of the troupe both prepared the performance and gathered the audience. Since there was no money to build a good building, the performances were held in the Granvio trade hall. In 1906, N.Narimanov’s play “Ignorance” was played here. After the 1905 revolution, a number of “societies” were allowed to be established in Baku, and previously secret societies were exposed. One of them was “Nijat” cultural and educational society. The formation of a theater troupe under this society in 1907 played an important role in the theatrical life of that period. In 1908, a single drama troupe uniting professional actors such as H. Arablinsky, S. Ruhulla, A. Vali was established under the “Nijat” society; he had a permanent wardrobe, props. The troupe performed once or twice a week at the Tagiyev Theater, as well as in the workers’ districts. A.Hagverdiyev’s “Unfortunate young man”, “Aga Muhammad shah Gajar”, N.Narimanov’s “Nadir shah”, N.Vazirov’s “Pahlavanani-zamana”, Sh.Sami’s “Gaveyi ahangar”, F.Shiller’s “Runaways”, N.Neynen’s Plays such as “Almansur”, V. Shakespeare’s “Othello”, J.B. Moliere’s “Violent Doctor”, N.V. Gogol’s “Inspector”, “Marriage”, LN Tolstoy’s “The First Winemaker” took an important place in the repertoire of the Azerbaijani theater at that time.

In 1910, a new cultural and educational society called “Safa” and a theater department were established under it. The drama troupe of the Safa Society was much weaker than that of the Nijat. However, the actors of “Nijat” gradually transferred to “Safa”. D.Bunyadzadeh, poet Samad Mansur, actors J.Zeynalov, A.M.Sharifzadeh take an active part in the work of the society. were invited from time to time. In addition to performing, the troupe of the “Safa” society was engaged in cultural and educational activities related to the life of the theater. In 191, the troupe celebrated the 25th anniversary of J.Zeynalov’s stage activity, in 1911 the 100th anniversary of MFAkhundov’s birth, and in 1913 the 40th anniversary of N.Vazirov’s literary activity. One of the interesting aspects of the work of the “Shafa” troupe was its organization of touring performances in the cities and villages of Azerbaijan, as well as in a wider circle (South Caucasus, Central Asia, North Caucasus, Iran, Astrakhan, Kazan, etc.). In general, both Nijat and Safa societies played a role in strengthening the Azerbaijani theater in terms of organization and creativity. On January 12, 1908 (on the 25th in a new way) the foundation of the Azerbaijan professional musical theater was laid in Baku with the performance of the first national opera – “Leyli and Majnun” by U.Hajibeyov. In the first years of the musical theater, its repertoire included operas “Leyli and Majnun”, “Sheikh Sanan”, “Rustam and Zohrab”, “Shah Abbas and Khurshid Banu”, “Asli and Karam” created by U.Hajibeyov in 1908-1913, ” Husband and wife “,” Let it be, let it be “,” Arshin mal alan “. In the following years the repertoire of the Azerbaijan Musical Theater Z.Hajibeyov (opera “Ashig Garib”, musical comedies “Young at fifty”, “Single when married”), M.Magomayev (“Shah Ismayil”), MMKazimovski (musical comedy “Vurhavur”) , MJ Amirov (“Seyfalmulk” opera) and others. However, despite its separate repertoire, there was a great need for professional performers in the musical theater. In musical performances, along with opera singers such as H.Sarabski, M.Mammadov (Bulbul), H.Hajibababayov, H.Teregulov, M.Bagirov, A.Agdamski, mainly drama actors H.Arablinsky (as director) A.Huseynzade, H .Abbasov, A. and Y.Olenskayalar, R.Darabli, A.Anapli and others. were performing. There was no clear division between musical theaters and drama theaters, and the troupe’s repertoire included both drama and musical works (in the 1910s, musical performances predominated).

In 1916, the staging of J. Mammadguluzadeh’s comedy “Dead” was an event that showed that the Azerbaijani theater had matured into an idea. The play was a great success, sounding like an indictment against the world of superstition and ignorance, lies and oppression. In 1917, the “Union of Muslim Artists” was established in Baku. AM Sharifzade was elected chairman of the union. The union gathered all the theater groups around itself and performed on the basis of friendly relations. However, this alliance lasted until March 1918. Entrepreneurs of the Mayilov Theater did not allow Azerbaijani actors to perform in the building. Most of the actors were on tour. Only Ü. and the troupe of Z. Hajibeyov’s brothers operated relatively regularly.

The troupe included drama, opera and operetta artists. Closely associated with progressive, democratic ideas, the Azerbaijani theater played an important role in the cultural development of the people. But at the same time, in these years, the theater has not yet reached the level of high stage culture.