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Journal articles on the topic 'Theater, Armenian'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 July 2025

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1

Ahmadova, Gulkhara. "WORLDLY SIGNIFICANCE OF THEATERS: IREVAN STATE AZERBAIJAN DRAMA THEATER." Scientific Journal of Polonia University 58, no. 3 (2023): 10–14. http://dx.doi.org/10.23856/5801.

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Historically and even now, the literary and cultural environment of Azerbaijan is known both in the East and in the West. As a result of the severe tragedies, deportations, and genocides inflicted on the people of Azerbaijan, scientific and educational institutions, state institutions, museums, natural monuments, and cultural centers created in our country have suffered as much as our people. Theaters were also forced to live the fate of refugees. Today Shusha Musical Drama Theater, Aghdam State Drama Theater, Fuzili State Drama Theater continue their activities in the field of refugees. All t

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2

Azeeva, Irina V., and Artem V. Nazlukhanyan. "Russian directing school and dramaturgy in Vahe Shakhverdyan's theater." World of Russian-speaking countries 1, no. 11 (2022): 134–49. http://dx.doi.org/10.20323/2658-7866-2022-1-11-134-149.

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The authors focus on the theater of the director Vahe Shakhverdyan, which is a phenomenon in the history and modern life of Armenian performing art. Emphasizing the relevance and significance of the theatrical and cultural description of this artistic phenomenon, the authors correlate it with the phenomenon of the independent theater. The research is based on the principles of studying and analysing the director’s theater developed by the Russian school of theater studies. The article is the first attempt of the theatrical analysis of Shakhverdyan’s creative work as a stage director. The autho

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Asatryan, Anna. "THE MUSIC AND PSYCHOLOGICAL IMAGES IN THE BALLET PHANTASY “DREAM” BY DOCTOR OF MEDICINE EDUARD HAMBARTSOUMIAN." Medicine and Art 1, no. 2 (2023): 19–31. http://dx.doi.org/10.60042/2949-2165-2023-1-2-19-31.

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The paper examines the one-act ballet phantasy “Yeraz [Dream]” by the renowned gynecologist, specialist in the field of reproductive medicine, director and founder of the “Center of Reproductive Medicine” in Yerevan, President of the Armenian Society of Reproductive Medicine, Doctor of Medicine Eduard Hambartsoumian. Since 2015, the ballet has established itself in the repertoire of the A. Spendiaryan Yerevan National Academic Theater of Opera and Ballet. The libretto is written by the prima ballerina of the Yerevan Opera and Ballet Theater, Merited Actress of Armenia Jacqueline Sarkhosh

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4

Sönmez, Ayşan. "Reflections on the Legacy of 19th-century Istanbul Armenian Theater Projects in the Contexts of Ottomanism and Turkishness." Journal of the Society for Armenian Studies 28, no. 2 (2022): 249–63. http://dx.doi.org/10.1163/26670038-12342766.

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Abstract Modern European theater disseminated both revolutionary discourse and a nationalist project in the aftermath of the French Revolution to every region it entered – a situation, which led to staggering impacts in multi-national, multi-religious, and decentralized territories such as the Ottoman Empire. Local individuals who engaged in European-style theatrical productions within the Ottoman Empire were initially and primarily Armenians. As a politicized form in terms of public opinion, urbanization, westernization, and education, the Ottoman Armenian theatrical experience became a legac

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Cankara, Murat. "Enter Armenians: The Rediscovery of Armenian Theater in Post-Hrant Dink Turkey." Theatre and Performance Notes and Counternotes 1, no. 2 (2024): 189–201. https://doi.org/10.5325/tpnc.1.2.0189.

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Yıldırım, Şeyda Nur. "Ottoman and Turkish Theatre and Performance Historiography: Established Trends, New Approaches." Theatre and Performance Notes and Counternotes 1, no. 2 (2024): 174–75. https://doi.org/10.5325/tpnc.1.2.0174.

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Abstract Despite their rich and politically significant theater and performance cultures, the Ottoman Empire and Turkey have not received the scholarly interest they deserve. Motivated by the recent scholarship in the field, this Symposium presents a critical discussion on the trends and emerging approaches in Ottoman and Turkish theater and performance historiography. As they study canonical works and emerging voices in the field, the authors analyze historiography as a field of vibrant contestation. The Symposium consists of four essays: a broader discussion on the politics of theater histor

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Abrahamian, L. А. "“Zvartnots conjunct with Colosseum”: From Tamanyan’s People’s House to the Theater of opera and ballet." Urbis et Orbis Microhistory and Semiotics of the City 3, no. 1 (2023): 32–61. http://dx.doi.org/10.34680/urbis-2023-3(1)-32-61.

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The article examines one of the most enigmatic constructions of Alexander Tamanyan – the People’s House, which was the basis of the current Opera and Ballet Theater in Yerevan. The People’s House was strictly criticized by young proletarian architects, the Armenian representatives of the revolutionary Culture One – the author follows the concept proposed by V. Paperny, according to which in the early 1930s the “spreading” egalitarian Culture One has been replaced with the Stalin-era Culture Two, characterized by “hardening” and hierarchy. It is shown that Tamanyan’s People's House was horizont

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Kamalyan, Margarita. "JEAN CARZOU'S CONTRIBUTION TO THE THEATRICAL-DECORATIVE ART OF FRANCE." Medicine and Art 2, no. 2 (2024): 95–105. http://dx.doi.org/10.60042/2949-2165-2024-2-2-95-105.

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In the 50-60s of the last century the famous French-Armenian artist Jean Carzou (Garnik Zouloumian, 1907-2000) created seven works of theatrical-decorative art for musical and dramatic theaters of France, having designed Jean-Philippe Rameau's opera-ballet «Les Indes Galantes», Adolphe Adam's ballet «Giselle», Jean Racine's drama «Athalie», Jacques Offenbach's operetta «La Périchole», etc. The aim of this article is to present concisely and analyze Carzou's theatrical-decorative work on the basis of archival materials.For stage designs of the productions by venerable directors and choreographe

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Ustinov, A. B. "Mstislav Dobuzhinsky and His Cabaret Companions: 1926 Parisian Season of the “La Chauve Souris”." Studies in Theory of Literary Plot and Narratology 15, no. 2 (2020): 490–595. http://dx.doi.org/10.25205/2410-7883-2020-2-490-595.

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The essay is dedicated to collaboration of Mstislav Valerianovich Dobuzhinsky (1875‒1957) with the Parisian theater “Chauve-Souris,” or “The Bat,” under the direction of the actor, entertainer, stage director and inspirer of the Russian cabaret Nikita Balieff (real name: Mkrtich Balyan, in Armenian: Նիկիտա Բալիեւ; 1877 (?) ‒ 1936). He invited Dobuzhinsky, who was in Berlin at the time, to become the Artistic Director and the lead designer for a new show of his theatre in the season of 1926. Balieff had already established himself as a successful European entrepreneur, and his cabaret theater h

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Harutyunyan, M. "THE COVERAGE OF THE THEATRICAL LIFE OF ARTSAKH IN THE SECOND HALF OF THE 19TH CENTURY AND THE BEGINNING OF THE 20TH CENTURY ON THE PAGES OF THE NEWSPAPER “KARABAKH” (1911-1912)." ASJ 1, no. 50 (2021): 4–9. http://dx.doi.org/10.31618/asj.2707-9864.2021.1.50.106.

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Thus, summarizing our scientific research, we can clearly emphasize that theatrical art flourished in Artsakh in the second half of the 19th century and the beginning of the 20th century. It should be noted that until the second half of the 19th century, the Armenians of Artsakh had their theatrical traditions for centuries. There was theater in dance art, at parties and events. But there was no professional theater yet, preconditions were created for that only when in 1865 famous figures of the Armenian theater Gevorg Chmshkyan, Mihrdat Americyan and Sedrak Mandinyan came to Shushi. And the M

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Muradyan, Anahit. "Models of verbal stems combinations in modern armenian language." JOURNAL FOR ARMENIAN STUDIES 5, no. 59 (2022): 25–37. http://dx.doi.org/10.24234/journalforarmenianstudies.v5i59.12.

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Consequently, while summarizing the effects of study of compositions word-building patterns, formed by verbal stems, one can state that the verbal stems have quite flexible word-building opportunities for formation of compound words and the new nouns and adjectives formed by them considerably enrich the word-stock of the Armenian language.As research showed the considerable part of stems, taking part in the word-building of the modern Armenian language were inherited to us from the ancient Armenian language (grabar). As for the verb stems of those morphological components in which the verb ste

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Harutyunyan, M. "THE PROBLEM OF STUDYING OF THE CHURCH ARCHITECTURE AND URBAN PLANNING ART OF ARTSAKH OF THE SECOND HALF OF THE 19TH CENTURY AND THE BEGINNING OF THE 20TH CENTURY ON THE PAGES OF THE EASTERN ARMENIAN PERIODICAL PRESS." East European Scientific Journal 1, no. 8(72) (2021): 4–11. http://dx.doi.org/10.31618/essa.2782-1994.2021.1.72.110.

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Our scientific research is dedicated to the study of the church architecture and urban art of Artsakh of the second half of the 19th century and the beginning of the 20th century which is based on valuable materials published in the pages of the periodical press of Eastern Armenian. The article shows with undeniable facts that along with other branches of the Armenian culture the architecture and urban planning art developed in Artsakh during the period. Many magnificent architectural monuments, public buildings, printing houses, schools and other cultural centers were built. Previously built

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Harutyunyan, M. "THE PROBLEM OF STUDYING OF THE CHURCH ARCHITECTURE AND URBAN PLANNING ART OF ARTSAKH OF THE SECOND HALF OF THE 19TH CENTURY AND THE BEGINNING OF THE 20TH CENTURY ON THE PAGES OF THE EASTERN ARMENIAN PERIODICAL PRESS." East European Scientific Journal 1, no. 8(72) (2021): 4–11. http://dx.doi.org/10.31618/essa.2782-1994.2021.1.72.110.

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Our scientific research is dedicated to the study of the church architecture and urban art of Artsakh of the second half of the 19th century and the beginning of the 20th century which is based on valuable materials published in the pages of the periodical press of Eastern Armenian. The article shows with undeniable facts that along with other branches of the Armenian culture the architecture and urban planning art developed in Artsakh during the period. Many magnificent architectural monuments, public buildings, printing houses, schools and other cultural centers were built. Previously built

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14

Muradyan, Goar Sarkisovna. "Greek tragedians in ancient and medieval Armenia." Shagi / Steps 10, no. 2 (2024): 225–33. http://dx.doi.org/10.22394/2412-9410-2024-10-2-225-233.

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1. А Greek inscription found in Armavir (Armenia) written probably in the 2nd c. BC in a script close to papyrus cursive, contains a fragment from a tragedy similar in style to Euripides. 2. Plutarch writes that the Armenian king Artavazd (Artavasdes) II (55–34 BC) wrote tragedies. He also tells that after the battle of Carrhae in 53 BC Crassus was beheaded and his head was taken to Armenia and cast into the hall, as the head of Pentheus, where, at the court of Artavazd, a tragic actor was singing a part of the Bacchae of Euripides. 3. The plot of Euripides’ lost tragedy The Daughters of Pelia

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15

Krzak, Andrzej. "The Greco-Turkish War of 1919–1922: Causes, Course, Effects." Studia Środkowoeuropejskie i Bałkanistyczne 32 (September 29, 2023): 65–87. http://dx.doi.org/10.4467/2543733xssb.23.004.18430.

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The Greco-Turkish war, in its strictest sense, was a multifaceted conflict characterized by the varied actions of the combatants. Even though there were not any coalitions comprising military contingents, joint command structures, or coordinated military forces between the Greek, Armenian, and French nationalist factions, one can argue that each theatre of warfare – Armenian, Cilician, and Greek (Anatolian) – operated as a cohesive strategic unit. For many Greeks and Armenians, this conflict represented an extension of their national liberation effort, driven by territorial aspirations, a ques

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Ivashkiv, Halyna. "Construction earthenware in Western Ukraine: continuity of ethnographical tradition (based on the examples of bricks)." JOURNAL OF ETHNOLOGY AND CULTUROLOGY 33 (August 2023): 38–43. http://dx.doi.org/10.52603/rec.2023.33.04.

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The article highlights the specificity of the brick as one of major types of construction material in the ХІV–ХХ c. in Western Ukraine. On the territory of the region, namely in Lviv, the brick has been used in construction since the second half of the ХІV c. when city walls and three main cathedrals were built (in particular, we mean the Roman-Catholic, the Armenian and St. George’s Cathedrals). Among the rare findings, there is a brick with a scratched motif of a Greek-type cross that was excavated by archaeologists in the center of Lviv. In the XVI–XVIII c., constructors used a widespread t

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Shannon-Chastain, Elif. "A Martyr of the Multicultural Ottoman Theatre: The Ottoman-Armenian Legacy of Mardiros Mnagian (1912–1920)." DIYÂR 5, no. 1 (2024): 26–46. http://dx.doi.org/10.5771/2625-9842-2024-1-26.

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On May 12, 1912, the Varyete Tiyatrosu in Istanbul’s Beyoğlu district hosted a seminal event in the annals of Ottoman theatre: the first official jubilee honoring the Armenian actor and director Mardiros Mnagian for his half-century of contributions to the empire’s theatrical arts. This event preluded the 1914 establishment of Darü’l Bedâyi, the inaugural Turkish theatre, by Turkish Muslim intellectuals and the Istanbul city government. While Mnagian’s role as principal drama instructor at Darü’l Bedâyi’s was proof of his initial import to the institution, he was not immune to politically moti

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YILDIRIM, ŞEYDA NUR. "Staging Theatre Historiography: The Afterlives of Ottoman Armenian Drama in Contemporary Turkish Public Theatre." Theatre Research International 48, no. 3 (2023): 246–63. http://dx.doi.org/10.1017/s0307883323000160.

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In the last twenty years, memory has gained broader attention in Turkey's social, cultural and political arena. In line with this movement, independent and subsidized theatres produced plays engaging with Armenian history through diverse political and aesthetic agendas. Among these works, public and state theatre productions remained mostly invisible in theatre scholarship due to their ambiguous position that does not directly align with the framework of political theatre. This article examines the adaptation of the Ottoman Armenian playwright Hagop Baronian's Adamnapuyj aravelyan (1868) as Şa

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Kadıoğlu, Ayşe. "Leaving a Life Behind: Eliza Binemeciyan’s Encounter with “the Banality of Evil”." Journal of the Society for Armenian Studies 28, no. 1 (2021): 3–32. http://dx.doi.org/10.1163/26670038-12342750.

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Abstract Among the Armenian actors who were essential in creating and sustaining Istanbul theaters at the turn of the twentieth century, Eliza Binemeciyan (1890-1981) emerged as a prominent one. In the aftermath of taking part in the play Kösem Sultan in 1912, she became the star of Istanbul theaters for more than a decade until she left her beloved city when she was 35 years old. She never returned to Istanbul, the city that was her home and where the remains of her parents, both well known Armenian actors, were buried. Her story as well as the stories of her Armenian colleagues reveal the de

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20

Brown, Mark. "Pain and Patriotism on the Armenian Stage." New Theatre Quarterly 27, no. 1 (2011): 87–89. http://dx.doi.org/10.1017/s0266464x1100008x.

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Gudkov, Maxim M. "“People of an Uncertain Existence”: The First Soviet Productions of William Saroyan’s Play My Heart’s in the Highlands." Literature of the Americas, no. 9 (2020): 208–35. http://dx.doi.org/10.22455/2541-7894-2020-9-208-235.

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Several plays by William Saroyan written in the mid-1930s reached the Soviet stage only during the Khrushchev Thaw, in the early 1960s. The paper focuses on the first Soviet productions of Saroyan’s play My Heart’s in the Highlands, premiered in Armenian (Yerevan) in 1961, and in 1962 staged in Russian by the Mayakovsky Moscow Theatre. The paper analyses the reasons for such a late appearance of Saroyan’s dramas on the Russian stage, traces how Saroyan’s trip to the USSR in 1960 prompted the staging of his work in Armenia’s capital, which thereon paved the way for its Moscow production. The th

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Melkonyan, Nora. "XIX CENTURY EASTERN ARMENIAN DRAMATURGY." JOURNAL FOR ARMENIAN STUDIES 3, no. 66 (2025): 50–62. https://doi.org/10.24234/journalforarmenianstudies.v3i66.122.

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In Eastern Armenian reality, a lasting value of dramaturgy was created through the initiative of Gabriel Sundukian. He became one of the first and most prominent representatives of Armenian classical realism, laying the groundwork for the further development and achievements of literature. The works of Sundukian stand out for their high artistic quality, sense of proportion, and precise and appropriate use of language. The aim of the article is to provide a comprehensive analysis of Gabriel Sundukyan's influence on Armenian drama, highlighting his role in the development of Armenian classical

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Seymour, Jasmine. "From Armenia to Poland ‘with love’s light wings’." Cahiers Élisabéthains: A Journal of English Renaissance Studies 104, no. 1 (2021): 95–104. http://dx.doi.org/10.1177/0184767821991553.

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On 30 July 2019, Yerevan State Chamber Theatre’s unconventional version of Romeo and Juliet was performed at the annual Gdańsk Shakespeare Theatre Festival in Poland, after successfully premiering in Yerevan, Armenia, in 2017. Following the overwhelming success of the production with local and international audiences and critics, invitations from other European festivals followed. When the current devastating restrictions imposed on theatres worldwide by the Covid-19 pandemic are finally lifted, the journey of the world’s best-known love story retold by this innovative theatre troupe will resu

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Ghonyan, Meline. "The Importance of Teaching English through Armenian Culture." Armenian Folia Anglistika 12, no. 2 (16) (2016): 115–22. http://dx.doi.org/10.46991/afa/2016.12.2.115.

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Culture and art have always been indispensable parts of language teaching. Cultural texts and various cultural topics have been included in language books and textbooks. However, textbook developers and English teachers give priority to teaching the culture of the target language rather than that of native learners. In the current paper we would like to state that it is beneficial to teach English through local culture materials as they increase the cognitive, communicative and social understanding of the learners. Having based on our teaching experience, we can claim that specific

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Gut, Damaris. "Inklusion und darstellende Künste." Schweizerische Zeitschrift für Heilpädagogik 29, no. 01 (2023): 43–48. http://dx.doi.org/10.57161/z2023-01-07.

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Armenien im Sommer 2022. Ich betrete ein weiss gestrichenes, schlicht eingerichtetes Büro mitten in der Hauptstadt Jerewan. Es gehört Vahan Badalyan, dem Direktor des «National Center for Aesthetics»[1] und Leiter des ersten und einzigen inklusiven Ausbildungszentrums für Tanz in Armenien. Er rückt seine schwarze Brille auf der Nase zurecht, lächelt und deutet auf den leeren Stuhl auf der anderen Seite seines Schreibtisches. In unserem Gespräch diskutieren wir über seine Erfahrungen mit inklusiven Theater- und Tanzprojekten und über das Potenzial der darstellenden Künste.  [1] www.

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Weidner, Daniel. "“SCHAU IN DEM TEMPEL AN DEN GANZ ZERSTÜCKTEN LEIB, DER AUF DEM KREUZE LIEGET”." Daphnis 39, no. 1-2 (2010): 287–312. http://dx.doi.org/10.1163/18796583-90000798.

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Der Beitrag untersucht am Beispiel von Gryphius’ Leo Armenius das Zusammenspiel von Repräsentation und Präsenz im barocken Theater. Ausgehend vom Antagonismus politischer und heilsgeschichtlicher Deutungen des barocken Welttheatertopos wird eine (theater-)semiotische Lektüre vorgeschlagen, die sich insbesondere an den heiligen Zeichen sowie an ihrem Modell, dem Sakrament, orientiert. Dazu wird rekonstruiert, wie im Stück über das Problem der Zeichenhaftigkeit reflektiert wird, wodurch die — unentscheidbar zwischen Präsenz und Absenz schwankende — Inszenierung bzw. Verhüllung des Kreuzeszeichen

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Айрапетян, Тамар. "Шушинский театр имени Никиты Хандамиряна (1891–1905)". Bulletin of Armenian Studies, № 10.1 (31 січня 2024): 264–76. http://dx.doi.org/10.58226/2579-275x-2023.10.(1)-264.

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В конце XIX и начале XX века город Шуши являлся одним из центров театральной культуры Восточной Армении. В Шуши по соседству с церковью Сурб Аменапркич (Казанчецоц) находился роскошный театр им. Хандамиряна, который своими архитектурными и техническими решениями, постановочными возможностями был исключительным явлением в культурной жизни армянского общества того времени. At the end of the XIX c. and the beginning of the XX c. Shoushi was considered one of the centers of Eastern Armenian performing arts. For the touring cast, who were well acquainted with Tiflis and Baku, the summer city of Shu

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Сурков, М. Ю. "«Недопустимое поведение» народного артиста как препятствие к выезду за границу: ВОКС и несостоявшаяся поездка в Иран В.К. Папазяна в 1934 г." Historical bulletin 8, № 1 (2025): 175–80. https://doi.org/10.58224/2658-5685-2025-8-1-175-180.

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целью статьи является анализ частного случая советской культурной дипломатии в Иране – поездки народного артиста Армянской ССР и Грузинской ССР В. К. Папазяна в Иран в 1933-1934 гг. и проблем с поездкой в эту же страну в 1934 г. На основе задействования методов интертекстуального анализа и историзма в статье отражены трудности, связанные с выездом за границу советских деятелей искусства и участием в этих процессах советских дипломатов и сотрудников Всесоюзного общества культурной связи с заграницей (ВОКС). На основе неопубликованных архивных документов из фонда ВОКС в Государственном архиве Ро

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Baş, Elif. "The Role of Armenians in Establishing Western Theatre in the Ottoman Empire." Asian Theatre Journal 37, no. 2 (2020): 442–63. http://dx.doi.org/10.1353/atj.2020.0036.

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KOCAER, Rabia. "20.Yüzyıl Başları, Beyoğlu Sinema Mekânları Belleği İzinde Yürüyüş Rotası." International Journal of Social Sciences 9, no. 38 (2025): 429–51. https://doi.org/10.52096/usbd.9.38.19.

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Istanbul, the capital of the Byzantine, Roman and Ottoman Empires, still has its traces in civil, religious, educational and commercial structures with its multi-layered and multi-cultural identity. The Greeks, Armenians, Jews and Turks living in the city have also had their reflections in the city’s culture, art and architecture. Beyoğlu is the most important place in Istanbul with its location, historical past and cultural interaction. The district is distinguished by its embassies, hotels, passages, religious buildings, theaters and cinemas. It was the most important district for a period o

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Jarząbek-Wasyl, Dorota. "Jak kupiec Symonowicz trafił do polskiej komedii." Lehahayer 6 (December 31, 2019): 71–89. http://dx.doi.org/10.12797/lh.06.2019.06.02.

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How Merchant Symonowicz Found his Way into Polish Comedy On 4th March 1766, Franciszek Bohomolec’s Małżeństwo z kalendarza (“Marriage by the Calendar”) was performed in Warsaw on the newly opened national stage. The play features an episodic character of a Warsaw merchant who immediately after the premiere was recognised as a satire on Symon Der Symonowicz, the owner of breweries and manufacturer of wine goods. The account of the lampoon attack on Symonowicz, though accepted as a fact, can also be called into question. The author of the article examines both the origin of this circulatin

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MARJANISHVILI, Mariam. "The World of Games and Georgian Theatre in Baku." Journal in Humanities 9, no. 2 (2021): 76–80. http://dx.doi.org/10.31578/hum.v9i2.422.

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The concept of Azerbaijan appeared in the Georgians’ mind with the folk song “Urmuli”, as in the first line of the song “I’ll go to Aghzevan for salt”, the word “Aghzevan” means Azerbaijan.The friendship and cultural relations between Georgian and Azerbaijan peoples have a long history. The best children of these two nations have always tried to develop and strengthen this friendship.It is important to study and research every form and field of these relations, including traditional theatric-cultural one between the two peoples.At the end of the 1870s, Baku, which was weakened by Turkey and Ir

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Shevtsova, Maria. "Teatr ZAR's Journeys of the Spirit." New Theatre Quarterly 29, no. 2 (2013): 170–84. http://dx.doi.org/10.1017/s0266464x13000274.

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Teatr ZAR has been developing its Gospels of Childhood triptych since 2003, when the company was founded after several years of research in Armenia, Iran, and Georgia. It was in Georgia that ZAR learned polyphonic songs from the Svan oral tradition, which it developed in its unique song theatre. In this article Maria Shevtsova maps the first of a series of expeditions, the latter notably including Greece, Corsica, and Sardinia. She describes how the ancient hymns and chants gathered through direct oral transmission (ZAR's choice of material reflects its interest in the songs of early Christian

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MUKHERJEE, MANJARI. "From Classroom to Public Space: Creating a New Theatrical Public Sphere in Early Independent India." Theatre Research International 42, no. 3 (2017): 327–32. http://dx.doi.org/10.1017/s0307883317000621.

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Though India declared itself a sovereign nation only in 1947, after two hundred years of British rule, its people had unleashed the processes of ‘Indianization’ well before independence. While addressing the transition from colonial subjecthood to independent citizenship is intricately linked to efforts of decolonization, the role of English-medium education in the creation of a new emergent class of independent Indian citizens often gets overlooked. This essay analyses the immediate impact of independence (1947–50), and locates the educational spaces where Indians (predominantly elite Bengali

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AVETISYAN, ASTGHIK. "NEW MEDIA AND ART: PROCESSES OF INTERACTION." JOURNAL FOR ARMENIAN STUDIES 1, no. 68 (2025): 260–81. https://doi.org/10.24234/journalforarmenianstudies.v1i68.159.

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In recent decades, new media has fundamentally transformed how art is created, communicated, and perceived. Digital technologies—including virtual and augmented reality, artificial intelligence, blockchain, and social media—have equipped artists with innovative tools, reshaping traditional artistic practices. Art is no longer limited to physical spaces; it has become dynamic, interactive, and digitally accessible. This article examines how new media redefines the nature, boundaries, and social perception of art by transforming methods of production, dissemination, and audience engagement. Spec

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Առաքելյան, Ռուզաննա. "Հրաչյա Ղափլանյանը՝ որպես դերասան Երևանի պատանի հանդիսատեսի թատրոնում". Herald of Social Sciences 1 (27 квітня 2023): 234–46. http://dx.doi.org/10.53548/0320-8117-2023.1-234.

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Հայ թատրոնի պատմության նորագույն շրջանի հայտնի ներկայացուցիչներից է բեմադրիչ, ԽՍՀՄ ժողովրդական արտիստ, Երևանի դրամատիկական թատրոնի հիմնադիր-գեղարվեստական ղեկավար Հրաչյա Ղափլանյանը, որը հանրությանը քիչ է հայտնի որպես դերասան: Պատանեկան տարիներին ՊՀԹ-ում անցնելով մասնագիտական հասունացման, թատերարվեստի նրբություններին ծանոթանալու շրջանը` նա այս թատրոնում դառնում է սիրված դերասան, հետագայում նաև՝ բեմադրիչ: Ղափլանյանը պատանիների իր դերերը ներկայացրել է համոզիչ ու հավաստի, հուզիչ ու անմիջական արտահայտչամիջոցներով, խորապես ընկալել հասակակից հերոսների ապրումները, ձգտումները, անձնվեր հայրենասիրությունը

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Graham-Jones, Jean. "The Theatre of Genocide: Four Plays about Mass Murder in Rwanda, Bosnia, Cambodia, and Armenia (review)." Human Rights Quarterly 30, no. 3 (2008): 807–10. http://dx.doi.org/10.1353/hrq.0.0021.

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Papadopoulos, Simos, Agni Karagianni, and Anastasia Filippoupoliti. "Inquiry Drama as a Method to Explore the Museum Environment. An Action Research Example at the Historical Museum of Alexandroupolis (Greece)." Culture. Society. Economy. Politics 2, no. 2 (2022): 80–99. http://dx.doi.org/10.2478/csep-2022-0012.

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Abstract The present research paper explores the contribution of the Inquiry Drama Method to meaning-making in a museum environment. It presents and assesses an educational program realized in the Historical Museum of Alexandroupolis. The article comprises a theoretical and an empirical section. The first part refers to the museum as a context of development and learning, in Inquiry Drama Method, and the functional connection between them. In the second part, a theatre-pedagogy intervention is presented through Inquiry Drama Method and Action Research methodology in a museum environment. The p

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KOLOMYYETS, Olha. "ORIENTAL STUDIES AT THE FACULTY OF CULTURE AND ARTS AT THE IVAN FRANKO NATIONAL UNIVERSITY OF LVIV: THE SUMMARY OF TWO DECADES." Bulletin of the Lviv University. Series of Arts Studies 243, no. 25 (2024): 63–85. https://doi.org/10.30970/vas.25.2024.63-85.

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The article is dedicated to the development of the Oriental Studies area at the Faculty of Culture and Arts during the two decades since its establishment in 2004 at the Ivan Franko National University of Lviv; looking closely at the program in its three most important spheres of functioning: educational – as a component of the faculty’s educational programs, scholarly – as an aspect of the research activities of faculty members, and artistically educational – as element of the cultural enrichment of all the participants of the educational process at the Faculty of Culture and Arts and the uni

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Arboleda, Julio César. "Currículo y Didactología." Revista Boletín Redipe 11, no. 11 (2022): 15–20. http://dx.doi.org/10.36260/rbr.v11i11.1903.

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Los artículos contenidos en este número de la Revista Boletín Redipe siguen la dirección que ha logrado hasta ahora de examinar con consciencia crítica, refexiva y generativa asuntos relacionados con la educación y sus procesos. Currículo, didáctica, gestión y política educativa, aprendizaje, ciudadanía e inclusión, son el grueso temático que confgura esta edición. LA TEORIA GENERAL DE SISTEMAS: UN PUENTE RELACIONAL ENTRE EL PENSAMIENTO RIZOMÁTICO Y COMPLEJO EN LA INFERENCIA DEL CURRÍCULO RURAL. Hugo Iván Marquínez GruezoMario Alberto Álvarez López. Artículo derivado de investigación. Pr

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Չթյան, Անահիտ. "Մկրտիչ Թաշճյան. Տաղանդավոր դերասանը, բեմադրիչը, նկարիչը". Journal of Art Studies, 2 грудня 2021, 140–50. http://dx.doi.org/10.52853/25792830-2021.2-140.

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Having settled in Tabriz in 1917, Mkrtich Tashchyan gathered around himself almost all the local leading theatrical figures. He applied new methods both in the field of acting and in the art of directing. In fact, in the Armenian theatre of Iran, he carried out the same mission as Ovi Sevumyan and Arshak Burjalyan did in the theater of Eastern Armenia. A man of many talents, Tashchyan generously shared his skills and knowledge with his colleagues, thereby promoting the emergence and formation of the Armenian theater in Iran.

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"Ռուսական դրամատուրգիայի դրսևորումները արդի հայ թատրոնում". Journal of Art Studies, 30 травня 2024, 167–72. http://dx.doi.org/10.54503/2579-2830-2023.2(10)-167.

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Ռուս դրամատուրգիան հայ թատերախմբերի խաղացանկում ներառվել է հայ պրոֆեսիոնալ թատրոնի սկզբնավորման օրից։ Դրա տարածմանը նպաստել են մոսկովյան կամ պետերբուրգյան թատերական կրթօջախներում ուսումնառած առաջատար հայ թատերական գործիչները, ովքեր վերադառնալով այնտեղից զբաղվել են թատերախմբեր հավաքելու և բեմադրական աշխատանքների կազմակերպման գործով։ Հետագայում այն ավելի արմատանալով կազմել է հայկական թատրոնների խաղացանկի անբաժանելի մասը։ Արդի հայ թատրոնների խաղացանկերն ուսումնասիրելիս ռուս գրականության ինչպես դասական, այնպես էլ ժամանակակից նմուշների պակաս չտեսանք: Ավելին՝ այսօր հայ երիտասարդ թատերական գործիչների

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Հովհաննիսյան, Սուսաննա. "Հայ մշակույթի երախտավորը (ուրվագիծ Գարեգին Լևոնյանի հայագիտական գործունեության)". Journal of Armenian studies, 26 вересня 2022, 153–74. http://dx.doi.org/10.54503/1829-4073-2022.2.153-174.

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The beginning of the twentieth century was the “golden age” of the Armenian culture and Armenian studies, and Garegin Levonyan has a special place among the best Armenian scholars of that fruitful era. His contribution to the development of Armenian philology and art criticism is paramount. With his valuable research, he stands at the origins of the formation of Human sciences in Armenia and is one of the founders of this direction in Armenian Studies. His research works cover a variety of fields of Armenian philology, culture and art: Ashug studies, fine arts, aesthetics of the history and th

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Ասլիբեկյան, Անուշ. "«Համազգային» թատրոնի թատերականացված ընթերցումները որպես խաղացանկային նոր երևույթ և հայեցակարգ". Երիտասարդ հայ արվեստաբանների գիտական նստաշրջանի նյութեր, 19 вересня 2023, 80–91. http://dx.doi.org/10.54503/2953-8122.2023.15(1)-80.

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В 2018-ом году художественным руководителем театра “Амазгаин” стала Заслуженная артистка Армении Нарине Григорян. С приходом нового руководителя, в числе многих других нововведений, впервые в истории армянской сцены сформировалась концепция “театрализованных чтений”, вошедших в основной репертуар театра. С появлением жанра “театрализованных чтений” актеры театра пребывают в постоянном творческом процессе, в поиске новых сценических форм, пробуют себя в качестве постановщика. С другой стороны, публика знакомится с новыми произведениями армянских и зарубежных авторов, в большинстве случаев либо

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Չթյան, Անահիտ. "Եղիշե Չարենցը և Մանուէլ Մարությանը". Journal of Art Studies, 22 травня 2025, 86–99. https://doi.org/10.54503/2579-2830-2024.1(11)-86.

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Եղիշե Չարենցը հեղափոխական հայացքների տեր այն արվեստագետներից էր, որը նաև ի պաշտոնե կոչված էր շրջադարձային փոփոխություններ իրականացնելու արվեստի բոլոր և թատրոնի ասպարեզում` հատկապես: Դասական թատրոնը և դրա թատերական գործիչներն այդ ժամանակ դիտվում էին նոր կառուցվող բեմարվեստից դուրս և կարող էին զրկվել լիարժեք գործունեության հեռանկարից: Մանուէլ Մարությանը նրանցից մեկն էր: Չգտնելով իր տեղը հայրենի բեմարվեստում, Մանուէլ Մարությանը ստացավ կայանալու լայն հնարավորություն Սփյուռքում: Լինելով հայակենտրոն բազմաթիվ համայնքներում, Մարությանը ժամանակի ընթացքում ճանաչվեց որպես Միջին Արևելքի հայ թատրոնի կազմակ

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Asatryan, Anna. "A Leading Figure in Armenian Byron Studies and a Tireless Researcher of Diaspora Armenian Theater: Anahit Bekaryan." Journal of Armenian studies, June 24, 2025, 185–93. https://doi.org/10.54503/1829-4073-2025.1.185-193.

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Ohanian, Seda D. "Episodes from the Cultural Activities of the Iraqi-Armenian Community in the 20th Century: Theater and Music." ՀԱՅՈՑ ՊԱՏՄՈՒԹՅԱՆ ՀԱՐՑԵՐ, December 23, 2024, 147–61. https://doi.org/10.59523/1829-4596.2024.2(29)-147.

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Армяне поселились в Месопотамии (Ирак) с древнейших времен. В разные периоды истории, в силу различных обстоятельств, их присутствие то становилось ярко заметным, то почти исчезало с исторической сцены этой страны. Деятельность армянской колонии, образовавшейся в Месопотамии, с древних времен выходила за рамки простого поддержания своего физического существования; благодаря взаимодействию с коренными жителями принимающей страны они они обогащали свои знания о многовековом прошлом своего народа и знакомились с современными достижениями в культурной и научной сферах. В результате происходил взаи

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Asatryan, Anna. "ԵՐԱԺՇՏԱԳԻՏՈՒԹՅԱՆ ՀԱՐՑԵՐԸ «ԼՐԱԲԵՐԻ» ԷՋԵՐՈՒՄ. ԱԿԱԴԵՄԻԱԿԱՆ ՉՈՒԽԱՃՅԱՆԱԳԻՏՈՒԹՅԱՆ ՁԵՎԱՎՈՐՈՒՄՆ ՈՒ ԶԱՐԳԱՑՈՒՄԸ". Herald of Social Sciences, 2021, 251–65. http://dx.doi.org/10.53548/03208117-2021.2-251.

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ISSUES OF MUSICOLOGY ON THE PAGES OF THE "HERALD": FORMATION AND DEVELOPMENT OF ACADEMIC TCHOUHADJIAN STUDIES The "Lraber hasarakakan gitutyunneri [Journal of Social Sciences]" scholarly periodical has significantly contributed to the academic musicology, in particular, to the emergence, formation and progress of Tchouhadjian Studies. In close collaboration with the main center of musicology – NAS RA Institute of Arts, the "Lraber" became one of the pioneers of academic Tchouhadjian Studies. The scholarly periodical published the major outcomes of researches on Tchouhadjian’s legacy – his oper

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Asatryan, Anna. "ԵՐԱԺՇՏԱԳԻՏՈՒԹՅԱՆ ՀԱՐՑԵՐԸ «ԼՐԱԲԵՐԻ» ԷՋԵՐՈՒՄ. ԱԿԱԴԵՄԻԱԿԱՆ ՉՈՒԽԱՃՅԱՆԱԳԻՏՈՒԹՅԱՆ ՁԵՎԱՎՈՐՈՒՄՆ ՈՒ ԶԱՐԳԱՑՈՒՄԸ". Herald of Social Sciences, 2021, 251–65. http://dx.doi.org/10.53548/03208117-2021.2-251.

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ISSUES OF MUSICOLOGY ON THE PAGES OF THE "HERALD": FORMATION AND DEVELOPMENT OF ACADEMIC TCHOUHADJIAN STUDIES The "Lraber hasarakakan gitutyunneri [Journal of Social Sciences]" scholarly periodical has significantly contributed to the academic musicology, in particular, to the emergence, formation and progress of Tchouhadjian Studies. In close collaboration with the main center of musicology – NAS RA Institute of Arts, the "Lraber" became one of the pioneers of academic Tchouhadjian Studies. The scholarly periodical published the major outcomes of researches on Tchouhadjian’s legacy – his oper

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Asatryan, Anna. "Dikran Tchouhadjian’s Opera Arif՚s Ruse (dedicated to the 150th anniversary of creating the first Armenian comic opera)." Journal of Art Studies, February 13, 2023, 5–27. http://dx.doi.org/10.54503/2579-2830-2022.2(8)-5.

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On December 9, 1872, Dikran Tchouhadjian’s Arif’s Ruse, the first Armenian comic opera, was staged at the Getik Pasha Theatre in Constantinople, simultaneously marking the beginning of the Turkish musical theatre. The author of the opera libretto was an Armenian opera singer, the first Western Armenian singer who received his professional education in Europe, tenor Hovhannes Achemian (1838-1905), who performed the title role of Arif. The Ottoman stage primadonna Shazik Keuyluyian (born Sevadjian, Lusnak Sargsi Keuyluyian, 1854- 1905) played the main character, Meriem. The performance of Arif w

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