"Aharoun" - National Theatre


    Farroukh Qasim has brought renewal to theatre in Tajikistan through his approach to the creative reworking of an eclectic repertoire.



   The aesthetic of Qasim's production differs both from the mainstream of European theatre and from the socialist realist style, and they have nothing in common with conventional European impressions of the East. Asceticism is characteristic of this director—in scenography, costume and effects—in everything, except the richness of the content and dramatic material. The supremacy of the human heart, the aspiration of becoming the perfect human, underlies the philosophical system of the Sufis and the poetic images of Persian poetry; and Farroukh Qasim's production persuades us that the tasks of modern theatre are the same.

Aharoun      Aharoun      Aharoun     











   Qasim's theatre seeks answers to ancient philosophical questions that are alien to official political thinking. It draws inspiration from the civilizations of Central Asia, both Persian-language Islamic and pre-Islamic cultures, but Qasim's creativity is not confined by these parameters. He readily absorbs and adapts resources, methods, philosophical conceptions and literary sources. Thus, Aharoun surprised the European audience by Tajik King Lear, where Qasim added verses from Faridoun a similar episode of the 10th century Shahname by Firdausi, to Shakespeare's play.

   Later, Qasim and his troupe presented a performance based on Avesta, the central text of the Zoroastrians. Aharoun Aharoun Through the prism of the human wisdom of diverse cultures with a long history, Farroukh Qasim tried to find answers to the questions of the present, and to look to the future, melting away the apparently immoveable barriers between West and East, between religions and cultures.

   It was because of Farrukh Qasim’s work, that Tajik theatre acquired a true national identity on the one hand and, on the other hand it organically blended with the world theatre movement, which was eroding formerly unshakable borders between the nations and cultures.


Extract from dissertation of Elena Edgar “Art of directing in Tajikistan 1980 - 1990”