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.png "Reconstruction of Armenian Theatre: Is it possible?")
Just a few days ago, I watched a new performance with my friends. It was in genre of comedy, but we nearly cried at the end. It was a humorous representation of our state system and every-day life. In a word, I really advise you to go and watch it. Believe me, it won’t be a waste of time.
Actually, this very performance made me look through several forums seeking new ideas and comments on our theatre. But the results really left e hopeless. It turned out, that people simply are not interested in the theatre. Younger generation prefers discos, usually of bad taste, while the elder simply don’t have enough money to go to the theatre, even if they had great desire.
That is why the television has large audience in spite of its’ programmes of law quality and bad taste. This is probably the reason why in the Puppet theatre there are not only child’s plays, but also performances of different genres; this is another way of attracting people.
Almost all theatres of the country are in Yerevan, 7 of them work regularly, but the performances are too old, usually belonging to classical authors. Many temporary authors and actors think that our theatre needs fresh air; it must get rid of old, stiff stereotypes. “The theatre should be a place where you can forget about everything and talk to yourself. But the theatre mustn’t be a journey to past”, says actor Michael Poghosyan.
Hakob Ghazanchyan, art-director of one of Yerevan theatres, also emphasizes the need of freedom for the theatre. “As for me, I can successfully work in foreign countries, rather than here, because the audience is free and easy there. Here it’s very hard to start something new without breaking hundreds of old, useless standards.
The lack of money is another problem for our theatre. Art-director of Theatre of Drama Armen Khandikyan is simply embarrassed to tell how much money his actors are now paid. The government does not support the theatres in proper way; the buildings are in poor state, the salaries of actors are too law. If we add to this the absence of interest, no way out may seem for this situation. Hence, great efforts should be made to rescue the theatre.
There should be a solution; we can find new, interesting plays. We can learn to work in a new way, in order to be understood and accepted not only in foreign countries, but here as well. Then people will attend our theatres with much more enthusiasm.
Actually, this very performance made me look through several forums seeking new ideas and comments on our theatre. But the results really left e hopeless. It turned out, that people simply are not interested in the theatre. Younger generation prefers discos, usually of bad taste, while the elder simply don’t have enough money to go to the theatre, even if they had great desire.
That is why the television has large audience in spite of its’ programmes of law quality and bad taste. This is probably the reason why in the Puppet theatre there are not only child’s plays, but also performances of different genres; this is another way of attracting people.
Almost all theatres of the country are in Yerevan, 7 of them work regularly, but the performances are too old, usually belonging to classical authors. Many temporary authors and actors think that our theatre needs fresh air; it must get rid of old, stiff stereotypes. “The theatre should be a place where you can forget about everything and talk to yourself. But the theatre mustn’t be a journey to past”, says actor Michael Poghosyan.
Hakob Ghazanchyan, art-director of one of Yerevan theatres, also emphasizes the need of freedom for the theatre. “As for me, I can successfully work in foreign countries, rather than here, because the audience is free and easy there. Here it’s very hard to start something new without breaking hundreds of old, useless standards.
The lack of money is another problem for our theatre. Art-director of Theatre of Drama Armen Khandikyan is simply embarrassed to tell how much money his actors are now paid. The government does not support the theatres in proper way; the buildings are in poor state, the salaries of actors are too law. If we add to this the absence of interest, no way out may seem for this situation. Hence, great efforts should be made to rescue the theatre.
There should be a solution; we can find new, interesting plays. We can learn to work in a new way, in order to be understood and accepted not only in foreign countries, but here as well. Then people will attend our theatres with much more enthusiasm.
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