Armenian theater

In 1 thousand BC er in the era of the slave-owning society, from the cult of ancestors associated with the glorification of heroic deeds, funeral ceremonies, rituals dedicated to the dying and resurrection god Gisane-Ara the Beautiful, the Armenian tragedy theater “Dzaynarku-gusanov” and “Vohbergakov” arose. The Gisane-Ara cult, the celebration of the return of spring, and bacchanalia in honor of the fertility goddess Anahit are also associated with the ancient Armenian comedy theater, the actors of which were “Katakergaks” and “Kataka-Gusans”. The Armenian professional theater arose under the Armenian Hellenistic monarchies from pagan mystery tragedy and folk comedy.

According to the testimony of the Greek historian Plutarch in 69 BC. er Tsar Tigran II the Great (95–55 BC) built in the southern capital of Great Armenia Tigranakert ^{[3] [4] [5] a} building similar to the Hellenistic amphitheaters of Syria, where performances were given. It is also known that the son of Tigran, King Artavazd II (56–34 BC), the author of the tragedies, created the Hellenistic theater in the northern capital of Armenia, Artashat (which the Romans called “Carthage of Armenia”) ^[3] . According to historical sources, there was a troupe led by the tragedian Jason, and in particular in 53 BC. er the tragedy of Euripides "The Bacchae" was played out. Since the 1st century BC. er Numerous historical facts confirm the continuity of the existence of a variety of genres and types of Armenian professional theater ^[3] . For example, in Armavir , the capital of ancient Armenia, inscriptions were found in Greek with excerpts from the tragedies of Greek authors or, perhaps, the Armenian king Artavazd II ^[6] .

In the ancient Armenian theater, pantomime was developed. Since the 2nd century , the Armenian “ wardzak ” (pantomimist actress) Nazenik has been known . In the 2nd – 3rd centuries, “zaynarku-gusany” and “vohberg-gusany” - Armenian tragedy actors performed Greek and Armenian plays, and in the middle of the 4th century performances were given at the court of Tsar Arshak II ^[3] .

Since 301 , after the adoption of Christianity as a state religion, as well as the strengthening of the feudal system, the opposition to the theater to theatrical art has been noted. Known, for example, the sermons and speeches of Catholicos John Mandakuni ( V century ) ^[3] directed against the theatrical art ^[7] :

... You strive to fall into his woeful trap, entering into the filthy theatrical performances in order to hear the voice of the dirt - the most infamous instrument of deceiving the ears defiled by the godless insidious insanity of the gusans ...

Despite this, performances of ancient drama (works by Menander , Euripides) were given, as well as works by Armenian comedographers, tragedians and mimographers ^[3] . According to the type of ancient amphitheaters, there were special theater buildings with separate places for women ^[3] , as reported by John Mandakuni ^[8] . It was the popularity of theatrical performances that prompted the clergy to introduce theatrical elements in church rites. So, for example, from the liturgical drama a Christian mystery theater emerged, which is considered to be a characteristic product of the culture of the feudal era. An analysis of the works of Armenian philosopher scientists of the 6th - 7th centuries shows that the theater occupied a prominent place in the Armenian public life of the time. Already in the late Middle Ages, the prevalence of theatrical performances in the Vaspurakan principality , in the kingdom of Ani, and in the Armenian state in Cilicia ^{[3] is} known. There is speculation that troupes of gusan actors and wardzak actresses also performed on Akhtamar Island. The high reliefs of the walls of the Akhtamar temple of the first quarter of the 10th century depict masks of the Armenian theater of the era in two of its varieties - everyday comedy (similar to Menander’s dramaturgy) and also the satirical areal theater “mimos gusanov” and “tsahratsu”. In the XII century , an Armenian theater was formed in the kingdom of Cilicia , which gradually became one of the centers of Armenian culture. Theater and circus performances are becoming an important part of city life in Cilicia, as the local poet Grigor Marashetsi talks about in his works. By this time, the first surviving works of the Armenian dramatic art belong: the dramatic poem by Hovhannes Yerznkatsi Pluz and the mysterial drama “The Adam's Book” by Arakel Syuntsi ^[3] .

At the end of the XIV century , after the fall of the Cilician kingdom, the Armenian people lost their independence. Preserved data on the continuing negative attitude of the church to the theater. In particular, Matteos Jughaatsi (ca. 1350-1411) called for “ not to go to the gusans, they talk about the affairs of Hayk and foster a spirit of disobedience ” ^[9] . Foreign yoke reflected on art. Unfortunately in the XV - XVIII centuries in Armenia there is a process of gradual withering away of the ancient theatrical art. New Armenian theater appears already XVII — XVIII centuries. French traveler Jean Chardin reports on the setting of a comedy in three acts, which was performed by Armenian gusans, and which he saw in 1664 in the city square of Yerevan ^[10] . The new Armenian theater is developing among emigre Armenians. Armenian school theaters (church and secular) that existed since 1668 in a number of cities where Armenian colonies existed (Lviv, Venice, Vienna, Constantinople, Madras, Calcutta, Tbilisi, Moscow, Rostov-on-Don) are known. These theaters, being classical about direction, expressed ideas generated by the national liberation movement. The tragedy “The Martyrdom of Saint Hripsime ” (prologue, epilogue and interludes in Polish) was preserved, which was staged in 1668 in the Armenian school of Lviv ^{[3] [10]} .

Eastern Armenia

The accession of Eastern Armenia to Russia in 1827 played a key role in the development of the modern theater, in particular the theater art among Eastern Armenians, whose leaders had the opportunity to become more closely acquainted with Russian culture. It is noteworthy that the first production of the work of A. S. Griboedov “Woe from Wit”, which the author was present at, was carried out in Erivan in December 1827 . Already in the 1820s , the first Armenian amateur school performances were created in A. Alamdaryan Tiflis Armenian seminary and in Karasubazar (now Belogorsk ). An important event was the creation in 1836 by G. Shermazanyan of a theater in Tiflis called “Shermazanyan Darbas”, where in 1842 his comedy “Description of Some Things of the Bishop of Karapet” was criticized by the clergy, merchants and officials.

In 1859, an outstanding Armenian writer and Democrat M. Nalbandyan in a review of the performances of Armenian students in Moscow (the historical tragedy of S. Vanandets "Aristakes" and N. Aladatyan 's comedy "My fifty chervonets" disappeared), outlined his views on the role and significance of theatrical art that also fat theoretical basis for the further development of the Armenian democratic theater.

In 1850 - 1860 - yy. everyday comedies of M. Patkanyan, N. Puginyan, M. Ter-Grigoryan, O. Gurgenbekyan and other playwrights appeared. In 1863, under the direction of G. Chmshkyan, an Armenian theater was created in Tiflis. In 1865, the first Armenian performances were staged in Yerevan, and already in 1873 a theatrical group was created under the leadership of playwright, actor and director E. Ter-Grigorian ^[3] .

Western Armenia

Already in 1810, the first Armenian performances under the direction of M. Bzhishkyan were staged in Constantinople, which was considered the center of spiritual culture of Western Armenians (who lived or originated from Western Armenia ). Of great historical importance was the theater “Aramyan Tatron” by O. Gasparyan, which existed during 1846 - 1866- s, preserving also the traditions of the ancient Armenian theater. At the same time in the 1850s. Armenian amateur troupes also operated in Constantinople. The poet and playwright M. Peshiktashlyan founded the Armenian National Theater in 1856 . An equally important event is the release in 1857 of the theatrical magazine "Muses of Ararat". The works of M. Peshiktashlyan, S. Ekimyan, P. Duryan , T. Terzyan also developed the Western Armenian dramaturgy.

In the 1860s, amateur Armenian theater companies in Constantinople and Tiflis developed to the level of professional permanent theaters. The foundation of the Arevelyan Tatron Theater (Oriental Theater) in 1861 by Hakob Vardovyan becomes an important historical event. In 1869, he also organized in Constantinople "Vardovyan taterahumb" (Vardovian troupe), which operated until 1877 - the beginning of the Russian-Turkish war . In 1873 a theater group was founded, which was led by playwright, actor and director E. Ter-Grigoryan.

G. Chmshkyan, S. Mandinyan, M. Amrikyan (the latter, ignited by the idea of ​​founding a permanent Armenian theater, back in 1863, created a dramatic contribution to the perekhoe of the Armenian theater from the classical mannerism and pomp and execution to the realism of images and games) a circle that left a noticeable mark in the history of the formation of the Armenian scene) ^[11] . .

Already from the end of the 1870s. The Turkish government persecuted Armenian theaters in Constantinople. In the same years, many large Armenian actors moved from Constantinople to Transcaucasia, among them P. Adamyan , Siranuish , Astghik, Rachya Azniv, M. Mnakyan and others ^[3] .

Transcaucasia

For a long time Tiflis - the capital of Georgia was the cultural center of the Transcaucasus. The theatrical traditions of the Armenian people are largely connected with it.

In Tbilisi, starting in 1824, performances in the Armenian language were staged in the Armenian Nersesyan school, and later were played on different stages of the city. And already in 1856, a professional Armenian theater was founded, with a professional acting troupe headed by Gevorg Chmshkyan. Under his leadership, the first generation of actors grew up in the theater: M. Amrikyan, A. Sukiasyan, A. Mandinyan, S. Matinyan, K. Aramyan, G. Miragyan, S. Shaginyan, Satenik and others. During this period, playwrights collaborated with the theater: N. Aladadyan, N. Puginyan, M. Ter-Grigoryan and, of course, the founder of the Armenian realistic dramaturgy Gabriel Sundukyan . Tbilisi was not only the theater center of Tbilisi Armenian actors, it also contributed to the appearance of talented Armenian actors living in western Armenia: such as Petros Adamyan, Siranuish, Azniv Grachya, D. Turyan and many others ^[12] .

In the 1870s , Armenian theaters in Constantinople were persecuted by the Ottoman government. During these years, many large Armenian actors moved from Constantinople to the Transcaucasus: P. Adamyan , Siranush Astghik , Hrachya Azniv , M. Mnakyan, etc.

An outstanding role in the development of the theater in the 1880s belongs to the biggest tragedian P. Adamyan , who expressed his protest against social and national oppression. Adamyan created wonderful realistic stage images in the plays of Sundukyan and in the translated repertoire saturated with inspired romance.

The further development of the theater is connected with the dramaturgy of A. Paronyan , who created the bright satirical comedies “Uncle Bagdasar”, “Oriental Dentist”, “Flatterer” and A. Shirvanzade , author of the outstanding realistic psychological dramas “Because of Honor”, ​​“Namus”, “Angry spirit "," In the ruins. " Widely entered the repertoire of Armenian theaters of drama and comedy E. Ter-Grigorian "Under the guise of charity", "Victim of oppression." The romantic tendencies permeated the work of Muratsan - the historical drama "Ruzan".

Realistic trends in the Armenian theater were claimed by the actors A. Abelyan , Siranuish , P. Araksyan, A. Harutyunyan, A. Armenyan, A. Vruyr, G. Avetyan, O. Sevumyan, G. Petrosyan, O. Maisuryan, Zabel, who played in Tiflis, Baku and other cities.

In 1905 - 1907, the Armenian theater experienced a great creative upsurge. Back in the 1890s - 1900s , Armenian amateur performances were organized in the working districts of large cities (Baku, Tiflis). Then, folk theaters are created, in the performances of which both amateurs and professionals take part.

Public theaters were created in Tiflis - the Avchal audience ( 1901 ), the Murashko theater ( 1902 ), the Avlabar theater of P. Araksyan ( 1903 ), the Assembly theater ( 1903 ), the Armenian drama section of the Zubalov People’s House ( 1909 ).

In Baku, at the people's houses of the working outskirts, Armenian drama circles existed. Publicly accessible performances were given by Armenian amateur troupes in Erivan, Alexandropol (Gyumri), Batumi, Shusha, Elizavetpol (Ganja). The performances of these theaters and circles were designed for the general population, they staged classical and modern drama, ticket prices were publicly available. Some of these theaters operated until World War I ( 1914 ). In the activities of Nar. actors and directors P. Araksyan , A. Kharazyan, V. Ter-Grigoryan, M. Gavrosh, V. Galstyan, D. Gulazyan and others took part in the theaters.

In the 1910s , new actors appeared who became masters of the stage - Asmik, I. Alikhanyan, P. Adamyan , O. Gulazyan , Knarik, M. Manvelyan, A. Mamikonyan, later - A. Voskanyan , V. Papazyan , O. Zarifyan . New playwrights - R. Papazyan, L. Manvelyan.

Political powerlessness, national oppression, hampered the development of the national theater. Lack of material and organizational support, censorship oppression impeded the development of stage art.

The theater experienced the deepest crisis during the years of the domination of the Dashnaks ( 1918 - 1920 ).

On May 5, 1920, an Armenian studio under the name “Eastern Theater Studio” was created in the liberated Baku, at the head of which stood the composer and theatrical figure A. S. Mayilyan. The repertoire of the studio theater consisted of the works of A.M. Shirvanzade, G. Ibsen, P. Giacometti. ^[13]

A month later, the Armenian State Theater opened in Baku, the first performance of which, “For Honor” by A.M. Shirvanzade, was shown on June 20, 1920.

During the years 1917 - 1920, so many Armenian theaters were created (in Moscow, Kiev, Kharkov, Rostov-on-Don, Astrakhan, Yekaterinodar, Armavir, Pyatigorsk and other cities of Soviet Russia) that the Commissariat of Nationalities for Armenian Affairs could no longer do without a section of the theater, which opened under the department of cultural and educational work ^[13] .

• On January 25, 1922, the First State Drama Theater of Soviet Armenia opened. ^[13]
• In 1940 a new Armenian Academic Opera and Ballet Theater was built in Yerevan . A. Spendiarova

• Georg Goian 2000 years of the Armenian theater. Volume One: Theater of Ancient Armenia . - Moscow : State Publishing House "Art", 1952 . - T. 1.
• Georg Goian 2000 years of the Armenian theater. Volume Two: Theater of Medieval Armenia . - Moscow: State Publishing House "Art", 1952. - T. 2.
• Stepanyan G., “Petros Adamyan” (Yerevan, ( 1956 )
• Meliksetyan S., “The Way of Our Theater” (Yerevan, ( 1941 )
• Harutyunyan B. , “Armenian-Russian Theater Communications” (Yerevan, ( 1956 )
• Tigranov G. , “Armenian Musical Theater” (Yerevan, ( 1956 )

• Theaters of Armenia