Death of Armen Armenian (July 20, 1965)

There was a constellation of names in the history of the Armenian theater at the end of the nineteenth century and beginning of the twentieth, and Armen Armenian was one of the stars of that constellation.

Armen Ipekian, his actual name, was the elder brother of Kaspar Ipekian (1883-1952), who would also become an important figure of Armenian theater and public life in the Diaspora. He was born in Constantinople, where he received his education, on September 10, 1871. He apparently jumped from one school to the other: from the Armenian elementary school in the neighborhood of Pera (Beyoglu) he went to a German school in the same area, then became a boarding student of the Mekhitarist Congregation in Kadikeuy, a student of the school of Ortakeuy, and finally, he graduated from the newly open Central (Getronagan) School.

Newly graduated, he was mesmerized by the great actor Bedros Atamian in 1889-1890, and deeply impacted by his death in 1891. He had to fight against the wishes of his family, which opposed to his theatrical interests, and finally had their consent to perform on the condition of never using the family name. This is how Armen Armenian was born. His first role was in Alexandre Dumas’ “The Dame of the Camellias.

His father wanted him to become a merchant, and sent him to Hamburg, in Germany, in 1894. While taking care of family business, he also watched Eleonora Duse and later, during a trip to Brussels, Sarah Bernhardt’s play. He got in touch with the “divine Sarah” and asked for her assistance. Later, he moved to Paris and entered Sarah Bernhardt theater, where he performed silent roles and became the assistant to the technical director, while following the art of Bernhardt, Mounet-Sully and his younger brother Paul Mounet, and others. He learned theatrical speech and the art of classical tragedy and comedy at Paul Mounet’s private studio in 1895-1897. He later performed at the Bouffes du Nord theater and at the Comedie Francaise.

In 1902 he was invited to Tiflis, where he performed and directed French plays, and then went to Baku as director and actor of the local Armenian theater group. In 1904 he moved to Nor Nakhichevan and formed a theater group, with which he toured the Armenian communities of Northern Caucasus and Russia

By 1908 Armenian had become a well-known director and actor, and joined forces with another recognized colleague, Hovhannes Abelian, to form the “Abelian-Armenian” theater group, which was particularly successful during its five-year run, with Abelian as the spirit of the group and Armenian as the director, with lengthy presentations in the Ottoman Empire, the Caucasus, and Russia. Armenian, who was the first director to stage Levon Shant’s famous play, “Ancient Gods,” was also an accomplished actor in the roles of Yago and Shylock (Shakespeare’s “Othello” and “The Merchant of Venice”), Franz (Friedrich Schiller’s “The Brigands”), Harpagon (Moliere’s “The Imaginary Invalid”), and others.

Armenian continued his theatrical activities in the Caucasus from 1914-1917, and went to Iran from 1917-1921. He returned to the Soviet Union in 1921, and worked in the Northern Caucasus, Baku, Tiflis, Alexandropol (nowadays Gyumri), and other places. He was the director of theaters in Alexandropol and Sukhumi, on the Black Sea shore. From 1935 he worked at the State Theater of Leninakan (Gyumri’s name from 1924-1991), and received the title of Popular Artist of Soviet Armenia in the same year. He staged a total of more than 100 plays in his life, and played about 150 roles. In 1954 he published his memoirs, entitled Sixty Years on the Armenian Stage.

Armen Armenian passed away at the age of ninety-three, on July 20, 1965, in Leninakan.

Death of Garnik Stepanian (July 1, 1989)

One of the best specialists of Western Armenian culture in Soviet Armenia, Garnik (Der) Stepanian was born on February 14, 1909, in the village of Mamakhatoun, district of Derjan, in the area of Erzinga. In May 1915 most Armenians of Derjan were killed during the genocide; many were forcibly converted to Islam, and the remainders were deported towards Der-Zor. Young Garnik managed to survive and, after the war, he reached Sepastia, where he received elementary education. In 1923 he was moved to Greece together with many Armenian orphans, where he found shelter in the orphanages of Edipsos, Khalkis, and Oropos. Two years later, he found his way to Egypt and worked for the next five years as a typesetter in the daily Arev and the printing house Voskedar.

Stepanian’s life would make a turn in 1930 when he immigrated to Soviet Armenia and found his lost parents there. He continued working as a typesetter, this time at the first printing shop of the State Publishing House. In 1938 he graduated from the Faculty of Philology of Yerevan State University. Meanwhile, he taught Armenian language and literature at the Alexander Tamanian technical school (1937-1939), and Classical Armenian at the Faculty of Philology from 1939-1940. He was a student of famous linguist Hrachia Adjarian, about whom he would write an intriguing memoir (1976).

He wore several hats in the editorial world: he worked at the daily Sovetakan Hayastan, the monthly Sovetakan Hayastan (published for the Armenians of the Diaspora), and the monthly Teghekagir, the social studies publication of the Academy of Sciences of Armenia. In 1943 he became a member of the Writers Union of Armenia and two years later, he published the first novel about the Armenian Genocide in Soviet Armenia, Nightmarish Days (1945), based on his own experience, which was reprinted three times.

Garnik Stepanian worked at the Institute of Literature of the Academy, directed the Museum of Literature and Art from 1954-1963, and was a researcher at the Institute of Art of the Academy from 1963 until his death. He became a prolific and well-regarded name as a historian of Armenian culture, specializing in the fields of Western Armenian literature and theater. He authored monographs about several famous actors in the history of Western Armenian theater, like Bedros Atamian, Arusiag Papazian, Megerdich Djanan, and Siranush, a volume of correspondence by Atamian, and a memoir about another famous actor, Vahram Papazian. His most important contribution to the field was the seminal three-volume monograph, Outline of the History of Western Armenian Theater (1962, 1969, 1975). He would also delve into the theater of the Diaspora, with a series entitled Essays on the History of Diasporan Armenian Theater, of which he managed to write two volumes on French-Armenian (1982) and Armenian-American theater (posthumously published, 2008).

Stepanian not only published monographs on two famous Western Armenian writers, Arpiar Arpiarian (1955) and Hagop Baronian (1956, 1964), but he also translated from Turkish into Armenian the first Turkish novel, Hovsep Vartanian’s Akaby (1953, originally published in 1851), and several works by Baronian.

Another important contribution by Stepanian to the field of Armenian Studies was his three-volume Biographical Dictionary (1973, 1981, 1990), which unfortunately remained unfinished .

In 1967 he earned the title of Emeritus Art Worker of Armenia and four years later he defended his second doctoral thesis in the field of art. In 1980 he was a co-winner of the State Prize of Armenia for the five-volume collective work, History of Modern Armenian Literature.

Stepanian passed away on July 1, 1989, in Yerevan. Among his posthumous works is an especially remarkable 600-page monograph on the history of his birthplace, Erzinga (2005).

Birth of Varoujan Khedeshian (April 7, 1937)

Varoujan Khedeshian was one of the most innovative directors of Armenian theater in the Diaspora during the second half of the twentieth century.

He was born on April 7, 1937, in Aley (Lebanon). At the age of sixteen, he debuted in the Hamazkayin “Kaspar Ipekian” dramatic troupe, directed by Georges Sarkissian, another famous name of Diasporan theater.

In 1960 he went to London to study at the Webber Douglas Academy of Dramatic Art. He graduated in 1965 and returned to Lebanon, where he joined the Hamazkayin “Levon Shant” dramatic troupe. Two years later, he founded the “Theatre 67” dramatic troupe, which had a very important role in the Lebanese Armenian community until the beginning of the civil war in 1975. Khedeshian was noted for staging works from the Armenian and international repertoire that went outside the mold of tradition, introducing the audience to contemporary works by playwrights like Arthur Miller, Peter Weiss, Edward Albee, and Neil Simon. He would maintain this approach when he took over the direction of the “Kaspar Ipekian” from 1989-2000. He translated a total of 22 plays from English into Armenian.

Some of the works he directed included, along with “Ancient Gods” and “The Emperor” (Levon Shant), “By the Road of Heaven” and “Up to Where?” (Hagop Oshagan), “Alafranca,” “The Oriental Dentist,” and “Brother Balthazar” (Hagop Baronian), “The Piper of the Mountains of Armenia” (Hamasdegh), world-famous works like “The Merchant of Venice” (William Shakespeare), “Who’s Afraid of Virginia Woolf?” (Edward Albee), “Marat/Sade” (Peter Weiss), “The Crucible,” “View from the Bridge,” “The Price,” and “All My Sons” (Arthur Miller), “The Prisoner of Second Avenue” and “Barefoot in the Park” (Neil Simon), “The Master Builder” (Henrik Ibsen), “Romulus the Great” (Friedrich Dürrenmatt), “The Venetian Twins” (Carlo Goldoni), “The Caretaker” (Harold Pinter).

From 1979-1987 Khedeshian staged five dramatic performances in Armenia, both in Yerevan and Leninakan (now Gyumri), and received the “Bedros Atamian” medal in 1987, becoming the first Diasporan Armenian who earned this award during the Soviet period.

His decades-long theatrical activity earned him multiple accolades and several distinctions late in life. In 2000 he was decorated with the “St. Mesrob Mashdots” order of the Holy See of Cilicia by Catholicos Aram I and the Hamazkayin order by the Central Executive Board of this organization. In 2008 the Ministry of Culture of Armenia awarded him its gold medal, and Catholicos of All Armenians Karekin II bestowed upon him the “St. Sahag-St. Mesrob” medal of the Armenian Church. Meanwhile, in 2004 he had received the order of the Institute of Arts of Lebanese University, where he had taught dramatic art from 1971-1999.

Varoujan Khedeshian passed away on December 28, 2015, in Beirut, at the age of seventy-eight.

Birth of Sos Sargsyan (October 24, 1929)

Sos Sargsyan became one of the most renowned Armenian actors in the second half of the twentieth century.

He was born in Stepanavan, in the Lori region of Armenia, on October 24, 1929. He debuted on the stage in 1947 as David Copperfield in a homonymous play based on Charles Dickens’ novel. He moved to Yerevan in 1948 and started performing at the Theater of the Young Spectator. Meanwhile, he entered the Yerevan Fine Arts and Theatre Institute, from where he graduated in 1954. Upon graduation, at the age of twenty-five, he entered the Gabriel Sundukian Drama Theatre, the premier theatrical ensemble of the country, where he worked for the next thirty-seven years.

Sargsyan was one of those actors who did not need to make recourse to external emphasis and emotions in order to reflect his feelings. During his lengthy career, he performed roles in many plays both by Armenian and non-Armenian authors. Roles like Ben Alexander (William Saroyan’s My Heart is in the Mountains), Don Quixote (Mikhail Bulgakov’s homonymous play), Iago (William Shakespeare’s Othello), or King Lear (Shakespeare’s homonymous play), among others, cemented his fame.

He played in over forty films, including unforgettable roles in Armenian classic movies like Guys from the Army Band (1961), Triangle (1

Sos Sargsyan in the film "Pepo"

967, Armenian SSR State Prize in 1975), We Are Our Mountains (1969), Khatabala (1971), Nahapet (1977), Dzori Miro (1981), Gikor (1982), and others. His cinematographic participations included various Russian films, most particularly Andrei Tarkovsky’s Solaris (1972). He was the narrator of the documentary Matenadaran (1988, Armenian SSR State Prize).

In 1992 he established the Hamazkayin Theater, which he headed until the end of his life. Sargsyan continued directing and playing, both in theater and cinema. Simultaneously, he was the dean of the Yerevan Institute of Theater and Cinema from 1997-2005, and served as a member of its board of directors from 2006 until his death. He published several novels, memoirs, and collections of essays between 1991 and 2013.

His lengthy career of more than sixty years earned him many distinctions. He was named Popular Artist of Armenia in 1972 and of the Soviet Union in 1986). He was also awarded the Mesrop Mashtots medal of the Republic of Armenia (1996), the St. Sahak-St. Mesrop medal of the Armenian Church (2000), and the Mekhitar Gosh medal of the Republic of Mountainous Karabagh (2001). He was named honorary citizen of Yerevan in 2000 and earned the title of Professor in 2003.

Sos Sargsyan was also active in the political field. He was elected deputy to the Supreme Soviet of the USSR from 1989-1991, and in October 1991 he was nominated by the Armenian Revolutionary Federation as candidate in the first presidential election in independent Armenia. In 2009 he was elected to the National Assembly on the A.R.F. list. On the same year, he was elected as member of the Public Council, an advisory body to the President of Armenia.



The famous actor passed away on September 26, 2013, in Yerevan, and was buried at the Komitas Pantheon.

Birth of Hagop Vartovian (August 18, 1830)

The foundation of Turkish theater is linked to a controversial name: Hagop Vartovian.

He was born as Hagop Gulluyan on August 18, 1830, in Constantinople. We know little about his first years, except that he went to school from 1846-1848. He debuted as an actor in May 1862, playing with the Oriental Theater in the last performance of their first season. He later moved to Smyrna, where he translated his last name into Armenian and turned it from Gulluyan into Vartovian (Turkish gülli /Armenian vartov “with rose(s)”). In 1862-1863 he acted and directed the Vaspurakan group, which played in Armenian, French, Turkish, and Greek. In 1867 he was back in Constantinople as director of the Asiatic Society group, and played Macbeth in William Shakespeare’s homonymous play, which marked the first time that the Bard entered the Western Armenian stage (after a performance in 1865 in the Mekhitarist school system without female characters). In 1869 the group was renamed Ottoman Theater, and it would cement Vartovian’s fame. In the same year, he premiered Vart and Shoushan, one of the plays of eighteen-year-old poet Bedros Tourian (1851-1872), who became one of his authors.

The great fire of Pera (nowadays Beyoglu) in May 1870 engulfed the entire district. Actress Azniv Hrachia, one of its witnesses, wrote in her memoirs: “The fire of Pera came suddenly; I cannot describe that terrible catastrophe, that horrible day as it was. I will just say that the entire neighborhood of Pera was in flames; the wealthy became poor, the mothers were left without children, and the children without mothers. There was not a single family with one or two members missing. Many families were found asphyxiated in the stone houses as a group. The fire did not only devour an infinite wealth, but also thousands of lives. Pera was in flames from fourteen sides, as if the fire was coming from the sky. Many people were burned in the streets.”

The fire destroyed all the theaters and decorations of Pera, as well as the dwellings of many actors and actresses. Only the group of Hagop Vartovian, which functioned in the neighborhood of Gedikpasha, was able to continue regular performances during the 1870-1871 season. In the same year, Vartovian ensured a ten-year permit from the Sultan, with the support of Prime Minister Ali Pasha, as the only theater allowed to present performances in Turkish. The group played in Scutari (Uskudar) in the summer, and it also had performances in Kadikoy and Pera. It had an eighty-people organization behind it, including actors, singers, and dancers, but also the auxiliary staff. The famous satirist Hagop Baronian wrote in a profile of Vartovian: “To say the truth, thanks to Vartovian’s tireless work our nation today has a theater. Once he organized the group, he hired translators and started to criticize the flaws of the nation with foreign plays, like that man who slaps a stranger and thinks to have stricken the son.”

The Ottoman Theater continued functioning until its dissolution in 1882. Vartovian had to sell everything to make a living and maintain his wife and three children. For a while, he was designated director of the court’s theater group. However, following the wishes of Sultan Abdul Hamid, he converted to Islam and adopted the name of Güllü Agop. He passed away on February 2, 1898, and was buried in the Yahya Efendi cemetery of Beshiktash.

Birth of Levon Shant (April 6, 1869)

Levon Shant was perhaps the most important playwright in the history of Armenian theater, but he was primarily a seasoned and accomplished educator. He was also an active participant in the Armenian liberation movement. 

Shant was born Levon Nahashbedian on April 6, 1869, in Constantinople. He lost his parents at an early age and adopted the last name Seghposian after his father Seghpos. He attended the Armenian school of Scutari (now Uskudar) until 1884, and then the Gevorgian seminary at Holy Etchmiadzin for the next seven years. He returned to Constantinople in 1891, where he worked as a teacher. He published his first literary piece in the local daily Hairenik in the same year. In 1893 he departed to Germany, where he studied science, child psychology, education, literature, and history in the universities of Leipzig, Jena, and Munich. Meanwhile, he started his literary career with the poem The Mountain Girl (1892), published under the pen name Levon Shant (shant/շանթ means “lightning”), but soon shifted to a series of novellas (Dreamlike Days and The Outsiders, 1894; Vergine, 1896; The Return, 1896, and The Actress, 1898). After finishing his university studies in 1899, he taught for more than a decade at the Gayanian Girls School in Tiflis and the Diocesan School of Yerevan. He became a member of the Armenian Revolutionary Federation in the 1890s.
The turn of the century brought in him a different literary persona: the playwright. He wrote his first play, The Egoist, in 1901, followed by For Someone Else (1903), and On the Road (1904). After this string of plays inspired in contemporary life, he turned to the historical past and wrote his masterpiece Ancient Gods (1909), published in 1912, which made a huge impact on the Armenian literary world when it was premiered in Tiflis (1913). This was the first of several successful historical dramas he would write over the next two decades: The Emperor (1916), The Enchained One (1918-1921), The Princess of the Fallen Fortress (1922), Oshin the Bailiff (1932).
In Tiflis, Shant participated actively in the gatherings of the literary circle “Vernadun” (Վերնատուն), held at the attic of poet Hovhannes Tumanian’s home, and was in close contact with other writers of the group, like Ghazaros Aghayan, Avetik Isahakian, and Derenik Demirjian. In 1909 he published, together with Hovhannes Tumanian and Stepan Lisitsian, the series of Armenian textbooks Lusaber.
In 1911 he returned to his birthplace, Constantinople, and taught at the Central (Getronagan) and Esayan schools until 1914. By that time he was already married and moved with his family to Lausanne in Switzerland. He returned to the Caucasus in 1915 to supervise the publication of textbooks, but was unable to go back to Europe and remained in Tiflis until 1917, when he returned to Switzerland. However, after the independence of Armenia, he returned to Yerevan, where he became a vice-president of the Parliament of the first Republic. In April 1920 he led a delegation to Moscow to carry out negotiations with the Soviet regime, which would fail in the end. He was imprisoned by the new government after the Soviet takeover, but freed following the uprising of February 1921. In April 1921, after the end of the uprising, he left Armenia.
For the next thirty years of his life, Shant would live abroad, first in Paris, then in Cairo, and finally in Beirut. He wrote political essays, like Nationhood as the Basis of Human Society (1922) and Our Independence (1925). In 1928, together with educator and literary critic Nikol Aghbalian, theater director Kaspar Ipekian, and former prime minister of the Republic, Dr. Hamo Ohanjanian, as well as a group of less known A.R.F. members, he was one of the main founders of the Hamazkayin Armenian Cultural and Educational Society in Cairo. In 1930, together with Nikol Aghbalian, he settled in Beirut, where they founded the Armenian Lyceum (Jemaran) of Hamazkayin in 1930, later known as the Nishan Palanjian Lyceum and currently as Haig and Melanchton Arslanian Lyceum. Shant was the school principal for the next twenty years, while at the same time he taught pedagogy and psychology. He created a unique pedagogical atmosphere in the Jemaran, focused on his belief that the school should educate a humanistic education also linked to the preservation and development of national identity.
Engaged as he was in education and school management, Shant continued with the task of preparing school textbooks. He did not leave literature. In 1945 he published the novel The Thirsty Souls, and from 1946-1951 he published an edition of works in eight volumes, which included a yet unpublished history of Armenian literature. He passed away on November 29, 1951.
His name was banned in Soviet Armenia, as were many other writers who were A.R.F. members or sympathizers. Nevertheless, a monograph about him was published there in 1930, and a collection of his plays appeared in 1968. After the second independence, a school in Yerevan was renamed after him in 1994.

Birth of Mher Mkrtchyan (July 4, 1930)

Mher Mkrtchyan was one of the greatest Armenian actors of the Soviet period.

Son of survivors of the Armenian Genocide, he was born in Leninakan (nowadays Gumri) on July 4, 1930. His actual given name was Frunze, for which he was also known as “Frunzik,” but he later took the name Mher. His father wanted him to become a painter, but he started playing in the theatrical group of the textile factory of the town, which was next door to their home. He studied in the Art College and Theatre Studio of the city from 1945-1946, and then he played in the permanent group of the Mravian Theatre. He performed in a dozen of plays, and showed his maturity despite his young age.

He then moved to Yerevan, where he was accepted straight into the second year of the Acting Department of the Institute of Fine Arts and Theatre. He graduated in 1953 and he immediately started performing in the Sundukyan Academic Drama Theatre of Yerevan. He also directed many successful productions.

His film career began in 1955, and he played in 49 films until 1987. Mkrtchyan earned a reputation as one of the leading comedy actors of the Soviet Union thanks to his celebrated roles in Aybolit-66 (Rolan Bykov, 1966), Kidnapping, Caucasian Style (Leonid Gaidai, 1966), and Mimino (Georgi Daneliya, 1977). However, his acting talent and emotional depth were best displayed in several classic films of Armenian cinema: Triangle (1967), We Are Our Mountains (1969), Father (1973), Nahapet (1977), The Song of the Old Days (1982), Tango of Our Childhood (1985). In his posthumously published memoirs, Mkrtchyan wrote that his godfather in cinema was filmmaker Henrik Malyan:

“He was the first to notice me and trusted me to perform in his films, from Arsen (The Boys of the Orchestra), Gaspar (Triangle), Ishkhan (We Are Our Mountains), to Daddy (Father), Apro (Nahapet) and Grigor agha (A Piece of Sky), which all had the characteristic fate of the Armenian man: they are ingenious, hardworking, wistful, and dreamers.”

Among other honors, the actor won the USSR State Prize in 1978 and was also honored with the title of People’s Artist of the Armenian SSR.

Mher Mkrtchyan passed away at the age of 63 on December 29, 1993 in Yerevan. Thousands of people attended the funeral of their beloved actor. He was buried at the Komitas Pantheon. A museum remembers him in his birthplace Gumri and the Tekeyan Cultural Association of New York-New Jersey named its theater group after him.

Death of Bedros Atamian (June 4, 1891)

Bedros Atamian was the greatest tragic actor in the Armenian theater during the last quarter of the nineteenth century.

Born on December 21, 1849, in Constantinople, he belonged to a lower middle class Armenian Catholic family. His mother died when Bedros was one year old. In 1857-1858 he went to the elementary school of the St. Salvador Armenian Catholic Church in the neighborhood of Galata. He was a precocious and voracious reader. After graduating from the school, they placed him as an apprentice, but his heart was not in learning a trade. He found his vocation in theater.

After playing a silent role in 1864, he debuted in the play William the Conqueror two years later. Between 1867 and 1869 he played in various theatrical groups of the city. As most of his contemporaries, he was a self-taught actor, but he studied the theoretical approaches of European theater to improve himself over time. In 1869 he went with a theatrical group to Nor Nakhichevan (Nakhichevan-on-the-Don), in Northern Caucasus, but the venture ended in financial failure. During his absence, the great fire of Constantinople, in 1870, had ravaged the area of Pera (nowadays Beyoglu) and destroyed his father’s properties, who was ruined and died shortly thereafter.

Atamian continued his theatrical career, and also dabbled as a painter to make his daily living. The newly built theater of Ortakeuy housed a brilliant theatrical group from 1872-1875, under the direction of Bedros Maghakian, with Atamian and the famous actress Azniv Hrachia as its main stars.

1879 would be a breakthrough year for the talented actor. Actor Gevorg Chemeshkian went from Tiflis to Constantinople, commissioned by the Armenian Theatrical Board of the city, to hire several actors. He came to an agreement with Atamian and two promising sisters, Siranush, who would become one of the most famous actresses of the Armenian scene, and Asdghik. For the next three years, he would win over the Armenian audiences of Tiflis. The newspaper Meghu Hayastani wrote: “He rules over the play and, like a bright lighthouse, he illuminates the stage.” The Georgian and Russian newspapers would also devote columns to him. Following the suggestions of the press and his friends, he left aside the customary melodramas and historical plays, and incorporated new and fresh works. The centerpiece would be Shakespeare, who had been played only since 1866. Hamlet, Othello, and King Lear would be the three Shakespearean roles in Atamian’s 250-strong repertoire. He later performed in many other cities, like Shushi, Rostov-on-the-Don, Moscow, St. Petersburg, Astrakhan, Baku, Odessa, et cetera, not only with Armenian, but non-Armenian groups. For instance, in 1882 he performed Hamlet with a French group in Rostov; the performance was in French, with Atamian playing Hamlet in Armenian. His performances as Hamlet and Othello would be highly praised everywhere by the audiences and the press, both Armenian and Russian, and they immortalized his name.

Atamian was not only an actor, but also a theater scholar. In 1887 he published a study in Armenian, Shakespeare and the Sources and Criticism of his Tragedy Hamlet, which was the first of its kind. He also wrote poetry and a novel (posthumously published), although without great literary value.

In mid-1888 he returned to his hometown, Constantinople, and the twenty-fifth anniversary of his theatrical career was celebrated on December 30, 1888. His last performance was a year later. In the meanwhile, he had taken a devastating turn in his life: he developed a condition in his throat that was attributed either to tuberculosis or to cancer. He was unable to work anymore, and fell into utter poverty. Thanks to the efforts of Russian friends from St. Petersburg, he was moved to the St. Nicholas Russian hospital of Pera in February 1891. However, medical assistance was not enough to save his life and he passed away on June 4, 1891. The great Shakespearean actor was buried in the Armenian cemetery of Sisli.

Atamian’s name was later given to the Armenian theater of Tiflis, as well as to the theater group of the Armenian General Benevolent Union in Aleppo. Today, a street in Yerevan also bears his name.

December 14, 1861: Foundation of the Oriental Theater

The 1850s became a period of cultural awakening for the Western Armenian centers of Constantinople and Smyrna. Many young people were getting their higher education and bringing back new ideas with them. Armenians and Greeks used to be the carriers of European innovation in the Ottoman Empire. Theater was among those innovations.

Patriotic plays in Classical Armenian and comedies in Turkish were developing the interest for theater among the public. The Altunduri (Altunian) brothers headed the formation of a theatrical committee at the beginning of 1861 in Constantinople. Arakel and Stepan Altunduri knew good French and made several translations, but above all, they had the financial means to organize theater performances. The theatrical committee would become the founder of the first Armenian professional drama theater in modern times. They rented a building that belonged to Holy Trinity Armenian Church in Pera (nowadays Beyoglu), which was called Cafe Oriental. The premises were revamped and decorated, and a state license was secured. The theater was renamed “Oriental Theater.”

The first performance, on December 14, 1861, was “Two Sergeants,” a melodrama by French playwright Rota. The theatrical group was formed by ten actors (including important names of the time such as Bedros Maghakian, Serovpe Benklian, and Mardiros Menakian) and two actresses (Arusiak Papazian and Aghavni Papazian); the presence of women on the stage was a novel element in Armenian theater. The theatrical committee had hired an Italian director, Asti. An interesting element was that Mikayel Nalbandian, the Eastern Armenian writer and journalist, who was visiting Constantinople at the time, read a speech at the inaugural performance. He reminded the public that, “The theater stage is not less than the study chair; the stage of the theater is that chair where philosophy sits and, embodying the living word, with practical ideas and examples, liberates the public from the effort of understanding those ideas only through imagination.” He also encouraged the bravery of the actresses: “The history of Armenian theater will not forget the names of the respectable damsels, Arusiak and Aghavni Papazian, who are the first to have set foot on the theatrical stage. They have fought against common prejudices and have come to the arena after overcoming them. Long live them!”

The first season of the Oriental Theater lasted five months, until May 1862. The group presented four original plays and four translations. However, theater was still a field of polemics among progressive and conservative writers and public figures, and the Oriental Theater ceased its activities in April 1863. It was reopened in 1865 under the direction of playwright Srabion Hekimian. It was finally closed again in mid-1867 after several performances of Romanos Sedefjian’s play “Vartan Mamigonian, Savior of the Fatherland,” dedicated to the memory of Nalbandian, who had passed away the previous year in a Russian prison.

Despite its short life, the impact of the Oriental Theater would be lasting. Many of its members would continue their activities in different groups and become pillars of Western Armenian theater until the beginning of the twentieth century.

March 29, 1912: Death of Gabriel Sundukian

This year is the 90th anniversary of the National Academic Theatre of Armenia. Not by chance, it is named after Gabriel Sundukian. This is a deserved homage to the founder of Armenian modern theater.

Sundukian was born in the family of a merchant in Tiflis, on July 11, 1825. He studied at first in the school of Shahan Cirbied, the former professor of Armenian language at the Sorbonne, from 1832-1837. There he learned Classical and Modern Armenian, French, Latin, and Italian. After studying for two years in another Armenian private school, he followed the courses of the Russian gymnasium of Tiflis from 1840-1846.

He later went to St. Petersburg, where he studied at the Oriental Department of the School of History and Philology of the university. In those years, his love and interest for literature grew, and his theatrical taste was forged in the theaters of the Russian capital. He graduated with a dissertation on the principles of Persian versification.

During a short while, he taught at the Nersisian School of Tbilisi, and lived in Derbend, on the Caspian Sea shore, from 1853-1858. He returned to Tbilisi and went to work at the Railway Commission of Tiflis until his retirement.

Sundukian wrote his plays in the Armenian dialect of Tbilisi, with the aim of reaching out to the common people. The social questions of the time were the main subject of his works, and gave them enormous popularity. He was the first to represent the life of the city in Armenian theater, touching on family subjects, marriage, inequality of women, the relationship of parents and children, and other issues with depth and realism. He included all social classes in his plays, from merchants to workers.

The first phase of his production started with Sneezing at Night is Good Luck, premiered in 1861. He wrote other popular plays, such as Quandary (Khatabala) and Oskan Petrovich in the Other Life in 1866. These were basically light comedies where Sundukian criticized the situation of women, excessive love of money, and raised important moral questions.

The second phase consisted of serious comedies, where laughter and cry went together. He wrote his masterpiece, Pepo (1871), in this period, which had an enormous success. He introduced here the conflict of the bourgeois class and the lower class, and the tragedy of the protagonist, Pepo, who represented the working class. The play was essentially a critique of the moral flaws of the ruling class.

Other popular plays were Destroyed Home (1883) and Another Victim (1884), where he depicted the destruction of an entire family and the conflict of generations.

Sundukian passed away on March 29, 1912, in his hometown, Tbilisi, and was buried in the Armenian cemetery of Khojivank. His works have continued to enjoy wide popularity in Armenia and the Diaspora. Pepo became one of the first Armenian sound movies, filmed by Hamo Bek-Nazarian in 1935, and Khatabala was also turned into a movie in 1971.

The facade of the Gabriel Sundukian Theater in Central Yerevan.

Birth of Hagop Baronian - November 19, 1843

Every society and every point in time needs critics. Critics may lash out at negative points, and they can hit very hard. However, they will hit even harder if they use satire as their weapon. This is why the late nineteenth century critics of Armenian society are not remembered today, but Hagop Baronian has become the most famous Armenian satirist writer of all time.

He was born in Adrianople (nowadays Edirne, in Eastern Thrace) on November 19, 1843, in a family belonging to the poor class. After graduating from the local Arshaguniats School, he studied for a year at the Greek school of the town (1857-1858). Then he had to contribute to family living. He first worked two years at a pharmacy, and then entered a tobacco company as a bookkeeper. Self-teaching and continuous reading made up for his lack of formal education.

He moved to Constantinople in 1863 and taught at the Scutari Lyceum, where one of his students was Bedros Turian, the future poet. He entered journalism in 1871 as editor-in-chief of the newspaper Yeprad, but soon took a position as editor of the newspaper Meghu, published by Harutiun Svajian, and turned it into a well-known satirical publication. Meghu ceased publication in 1874 and Svajian transferred the right of publication to Baronian, who renamed it Tadron. Becoming the publisher, Baronian gave a free ride to his lashing and educational wit to criticize the negative aspects of society. However, economic troubles ended the publication of Tadron in 1879.

Baronian married Satenik Etmekjian in 1879 and they had two children, Zabel and Ashod. In the same year, he started to work for Minas Kapamajian’s Luys, as the editor of the comic section. His writing attracted a lot of attention, but Kapamajian did not appreciate him, and Baronian was forced to stop his contribution to Luys.

He started to publish the monthly Khigar in 1884, and despite financial hurdles and short interruptions, managed to continue it until 1888. Some of his most important satirical works were published here.

Between 1871 and 1888, he published more than 10,000 pages in the newspapers, although most of his works were published in book form posthumously. His most important works were the novel The Honorable Beggars, the collection of stories The Perils of Politeness, the satirical chronicles A Trip in the Neighborhoods of Constantinople and National Big Shots, and the comedies The Oriental Dentists and Brother Baghdasar.

To make ends meet, Baronian became a teacher of accountancy at the Getronagan School of Galatia from 1888-1890. One of his students was the famous linguist Hrachia Ajarian. He died of tuberculosis on May 27, 1891, at the age of 48, leaving his widow and his young children penniless. Nevertheless, a compact crowd participated in his burial. His colleague Mateos Mamurian, another noted journalist, wrote: “How many people who loved education and the nation responded to the invitation formulated by the Armenian newspapers at the time of his illness...? As a matter of fact, what did we do for the poor man? What did the nation make collectively for its brave son? It made the burial and just decided to collect monies for his orphans. There was not a single official body or individual who would put a crown of flowers on the immortal Baronian, even though his works are his perennial crowns.”

As supreme irony, Baronian was buried in the cemetery of Ortakeuy without a tombstone marking his grave, and the exact location was soon forgotten. Nevertheless, his works were widely published and read after his death; his plays have been frequently performed and even turned into movies (The Perils of Politeness and The Honorable Beggars were adapted into plays), and the comedy theater of Yerevan bears his name.

Birth of Megerdich Beshigtashlian - August 18, 1828

Megerdich Beshigtashlian was a pioneering writer and public figure of Western Armenian society, considered the founder of modern lyric poetry among Armenians. He was born in Constantinople, and received his primary education at the school of the Mekhitarist Congregation in the suburb of Pera (today Beyoglu) from 1834-1839. He continued his studies at the Samuel-Moorat school of Padua, in Italy, until 1845. The atmosphere of the Italian liberation movement would greatly impact over his intellectual formation.

He returned to Constantinople and became a widely-sought teacher. He taught Armenian language and literature, as well as French in the Tarkmanchats, Loosavorchian, and Hripsimiants Schools. He was particularly successful in teaching the language to Armenian children who spoke foreign languages. For instance, since the late 1850s he was the Armenian teacher of Serpouhi Vahanian (1842-1901), who at first disdained the language, as she had grown speaking French. However, Beshigtashlian’s patient work engaged her student, who later would become a pioneering feminist writer in Armenian literature, Serpouhi Dussape (after marrying her French music teacher, Paul Dussape, in 1870).

Beshigtashlian is considered the founder of Western Armenian theater on a permanent basis. He organized a theater group in 1856, which started to stage plays in ashkharhapar (Modern Armenian). This was an important advance, as plays were performed in krapar (Classical Armenian), becoming an obstacle for popular success. He wrote various plays with historical subjects, seeking to awaken national feelings among the public. He also translated various pieces from French and Italian with similar subjects. He also wrote musical comedies.

Beshigtashlian was particularly active in the public sphere in the 1860s, with an important role in the preparation and approval of the National Constitution (1863). The writer also participated in the foundation of the Abnegated Society (Antznever Engerootioon), which functioned from 1860-1863 and was devoted to education, but also helped financially and morally the rebels of Zeytoon in 1862. He was also the driving force behind the Alumni Association of the Moorat-Raphaelian school between 1858 and 1868.

However, Beshigtashlian’s main contribution to Armenian literature was his poetry. His output was not very big, some 60 poems, but it was quite varied. His poetry, in Classical and Modern Armenian, touched subjects such as love, nature, and homeland. He wrote children’s poems, elegies, etcetera. He published his first poem in 1849. His two most famous poems, “We Are Brothers” and “Spring,” were later set to music. The first was a call of unity to Western Armenians, while the second was a romantic love song to the homeland. He wrote several poems dedicated to the rebellion of Zeytoon.

Beshigtashlian passed away at the age of 40, on November 29, 1868. He inaugurated a list of famous Armenian poets who died from the “romantic disease”: tuberculosis.

Death of Hovhannes Abelian - July 1, 1936

The three Abelian brothers, originally from Shamakha (current Azerbaijan), became noteworthy personalities in different aspects of Armenian culture and history in the nineteenth and twentieth centuries. The elder brother, Nerses (1855-1933), an engineer by trade, was among the students who founded the Union of Patriots (1882) in Moscow, one of the first Armenian political groups in the Russian Empire. The middle brother, Alexander (1858-1940), was a prolific playwright, and the younger one, Hovhannes, turned to be one of the stars of Armenian theater for more than fifty years.

Hovhannes Abelian was born in 1865 in Shamakha. After the violent earthquake of 1872, most of the Armenian population of the city started to move to Baku, which was coincidental to the development of this city as a world-known oil center. The young Hovhannes gave his first steps on the stage in 1882, in a Russian group. He moved to Tiflis (Tbilisi), the main Armenian cultural center of the Caucasus, in 1886 and entered the playgroup of the Armenian Dramatic Club. He lived and played between Tiflis and Baku for the next two decades, and became an unsurpassed interpreter of the works of famous playwright Shirvanzade (Alexander Movsisian, 1858-1935), who incidentally was his cousin. He played some 300 roles in his long career, including plays by Gabriel Sundukian, Levon Shant, and Hagop Baronian, but also works by Russian and European playwrights, from Nikolai Gogol to William Shakespeare.

In 1908 Abelian joined forces with another famous Armenian actor, Armen Armenian (1871-1965), brother of theater director and playwright Kaspar Ipekian (the founder of the Hamazkayin theater group in Lebanon, 1883-1952). The Abelian-Armenian Theater Group, with several very important names in the cast, started a three-year long tour of Armenian cities and communities in Eastern Armenia, the Caucasus, Western Armenia, Iran, and Turkey. In 1909 it went to Constantinople and another famous actor, Hovhannes Zarifian (1879-1936), joined them. After several performances in the Ottoman capital, following the cultural revival brought by the restoration of the Ottoman Constitution in 1908, the Abelian-Armenian-Zarifian Theater Group divided into three branches, which performed in Smyrna (Izmir), Anatolia, and the third one, led by Abelian and Zarifian, in Izmit, Bardizag, Adapazar, Eskishehir, and Rodosto (Tekirdag). They ended their run in 1911, with performances in Baku, Nor Nakhichevan, and Moscow.

During the 1910s, Abelian—who was equally qualified to play in Armenian and Russian productions—continued his professional activities and performed in the Caucasus, but also in Moscow and Petersburg, as well as Iran and Central Asia. He left the Caucasus in September 1920 and moved abroad with his family. For the next three years, he performed in Constantinople, Smyrna, Cairo, Alexandria, Berlin, (where he played “Othello” with a German group, performing his signature role of Othello in Armenian), Paris, Brussels, and London. He arrived in the United States in 1923 and performed in many communities on the East Coast and the Midwest (New York, Boston, Philadelphia, Detroit, and Chicago) for the next two years.

However, Abelian’s aim was not to stay abroad. In 1925 he accepted an invitation of the government of Soviet Armenia and settled in Yerevan. He was conferred with the title of Popular Artist of the Republic in 1925 and entered the First Theater (now the Sundukian Theater). He would continue to play with the same enthusiasm and talent of his younger years until his death on the stage, in Yerevan, at the age of 71. The dramatic theater of Vanadzor, the third city of Armenia, bears his name.