Theater of Armenia
[2][1] The ancient and beloved form of theatrical art is lyrical (profound) drama, which exerted its influence on the folklore of the Near East, Balkan, and Apennine peoples.
Following the adoptation of Christianity as the state religion in 301 and the strengthening of authoritarian rule, the church's opposition to theatre art became apparent.
Nonetheless, productions were presented based on the works of ancient dramatists such as Menandros and Euripides, in addition to performances by Armenian comedians and tragedians.
Hovhan Mandakuni attested that, following ancient amphitheatres as a model, a dedicated theatre structure with distinct seating for women was also established.
But the advances Armenian culture came to an abrupt halt in the seventh century when the Arab invasion slowed all progress.
Archaeological excavations made in the fort of Kaitzun Bert in Lori have uncovered numerous statues of actors and masks of animals and birds, which confirm the descriptions given by historians.
On the walls of the 10th-century Aghtamar temple, two varieties of Armenian theater masks, representing domestic comedy and clown characters, are depicted.
During the eleventh through fourteenth centuries, the Armenian theatre continued to improve and enhance its dramatic styles in the Armenian-Cilicia area.
The first surviving works of Armenian drama, including Hovhannes Yerznkatsi's dramatic poem and Arakel Syunetsi's "Adam book," also date back to this era.
Chardin's account reveals that the Goussan tradition was still alive with mime action, accompanied by music, singing and dancing, similar to opera.
From a poor family with a minimal education, Baronian's brilliance enabled him to master several languages, reading the classics in Greek, French and Italian.
The most significant Western Armenian classical dramatist was Levon Shant (1869–1952), whose creative outpour spanned half a century with short stories, poems, essays, text-books and plays.
His most popular plays are: Ancient Gods, (1909) The Emperor, (1914), The Chained (1918), The Princess of the Fallen Castle, (1921), and Oshin Payl (1929).
He is the first Armenian dramatist to use expressionism and to expertly draw from mythology and blend it with realism, as illustrated in Ancient Gods.
[3] His student, Khachadour Abovian, wrote the first play of the modern eastern Armenian dialect, Aghchegan Sera, (The Girl's Love), and it was performed by the group.
Sundukian was born in Tiflis, and as a result of his studies in France and Russia, he learned French, Italian and Russian, as well as classical and modern Armenian.
His plays expose a society dominated by greed, superstition and hypocrisy, demonstrating a deep concern for truth and justice.
Soon after the Sundukian Theatre gained stature, many prominent actors from abroad, including those whose reputations had flourished in Western Armenia, went to Yerevan to join its repertory.
In the period from 1890 to 1900, Armenian amateur performances were organized in the working-class districts of major cities like Tbilisi and Baku.
Armenian amateur theater troupes presented public performances in cities such as Yerevan, Alexandropol, Batum, Shushi, and Elizavetpol (Kirovabad).
These theaters and troupes staged classical and modern drama works for the general public, offering affordable ticket prices.
Various actors and directors contributed to the operations of folk theaters, including figures like Poghos Araksyan, Amo Kharazyan, Grigor Ter-Grigoryan, Vahan Galstyan, M. Gavrosh, Davit Gulazyan, and others.
In the 1910s, new actors emerged as masters of the stage, including Hasmik, Isahak Alikhanyan, Petros Adamyan, Olga Gulazyan, Knarik, Mikayel Manvelyan, Arshak Mamikonyan, and later additions like Arus Voskanyan, Vahram Papazyan, and Hovhannes Zarifyan.
During the early twentieth century, productions of Shakespearean plays were performed by the Armenian Art Theatre in New York under the direction of Hovaness Zarifian until 1937 when he died.
Greek historian Plutarch testified that in 53 BC, Euripides' play "The Bacchae" was staged in Artashat, and Armenian Artavazd B composed tragedies.
Armenian historians' works contain evidence of original folk theaters operating in Armenia in subsequent centuries, and some miniature manuscripts have preserved images of masked actors.
One such valuable testament is the 1286 manuscript, which features a pantomime actor with a double mask on his head and belonged to Armenian King Hetum II.
