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A rmenia has centuries-old pantomime traditions. The earliest pantomime record (M. Khorenatsi) dates back to the 5th century AD. The historian wrote about a dancer, Nazenik, entertaining a royal feast by employing her hands, in other words miming, to tell a story. One can frequently come across mimics, clowns and gusans (bards) in Armenian miniatures. These represent the traditional contemporary types of dramatic art. The revival of pantomime in Armenia in modern times is associated with the distinguished pantomime comedian Leonid Yengibaryan. In the 1960s, he often performed in Yerevan with pantomime short stories. An amateur collective pantomime group was founded in the late 1960s. In 1974, the group achieved professional status. The theater's then artistic director Arsen Poladov staged plays and one-act mime dramas /"The Bacillus of Laughter"; "The Blind"; William Saroyan's "Hey, Who's There?"; "The Starvelings"; etc./: In 1982, the theater received a state status. However, as the theater had no permanent premises, it spent most time touring abroad. That's why Yerevan pantomime is more known abroad, especially in the post Soviet states, than at home. In 1993, Yuri Kostanyan was appointed artistic director. It was during Kostanyan's time in this capacity that the theater received temporary premises located in Yerevan's 36, Isahakyan Street. During that period the theater lived through a change of generations as new stage directors and actors were invited. In 1998, Kostanyan promoted Zhirayr Dadasyan as the new artistic director. Simultaneously, the theater added some new plays to its repertoire and opened pantomime studios. The Yerevan State Theater of Pantomime has now won its deserved place among the country's other theaters. Every year the theater stages two or three new plays. It is in cooperation with pantomime groups and individual performers, the pantomime students at the Institute of Theater Arts and other organizations. It often goes on international tours. Today, the theater has a style of its own, a system of means of expression, which is also acknowledged by foreign art critics and specialists. |
36 Issahakian, Yerevan 09 |