Press_Yerevan State Chamber Theatre

Newspapers like “Variety” (USA), “Reporter” (USA),

“The Oregonian Living” (USA), “Przyiazn” (Poland) etc. has rated highly

the peculiar art of Chamber Theatre.

“At present what makes the understanding of synthetic actor is fully shown in The Chamber Theatre’s actors. And what a pleasure to watch them, listen to them, watch their momentary metamorphoses, their joyful returning. The imagination, the inventiveness, happy friendship and everyone’s giftedness”

“People, be watchful and active as you must keep the world for further generations – this interesting performance the creators call “Gentlemen Everything is collapsing but We Can Still Live and Have Fun”

“Gentlemen everything is Collapsing but We Can Still Live and Have Fun” is a publicity variety of a performance where through the eccentricity, musical parodies, showy tricks the idea is persistently coming out looking for the question: believe in what?

From the stage, it actually sounds like a precaution: indifference, passivity towards the problem of war and peace today are not permissible.

The plays “Gentlemen everything is Collapsing but We Can Still Live and Have Fun” and “Hiroshima” differ with their civic activeness, philosophic thinking.

In “Nazar”, the staff proved its ability towards the deep scenic generalization, the exact and profound metaphor.”

“The Hatred Improvised playing the play not in general meaning of the word but as a sketch, burlesk, pamphlet and all this, as a rule, is dynamic, funny and sharp. One wants to say that it is fattened on the most painful moments in the life of human being (Individuality), community, national politics and culture. The actors have all the arsenal means; possess the skills of dialogue, clues momentary reaction.”

“The affection towards the theater was born just from the first performance. From that moment when one of its actors went out and demonstrated a trick that was as old as the world itself. The Chamber Theater’s main magnets are its actors. The element is the tempo. It is contra-indicated for them to play slowly…”

“This theater’s staff follows the Armenian theater traditions that are many centuries old and the roots of which laconically are shown to the audience in its staging.”

“…infects the enthusiasm, character of search and it comes from being studious-like-mindedness, unit of understanding of today’s art tasks. I personally accept this theater…”

“Several themes penetrate the staff’s whole creativeness. The theme of illusions and realities, illusions and truths, the theme of all people’s values, the future of these values is with the young people and clearly of relations with the past. The theatre’s style is intellectual-eccentric.

…The work of the theatre is truth intelligence and temperament, an attempt to accept the rich cultural world, an active position towards the past that is always considered a part of present. All those show that the theatre is alive, intensively exists and without any doubt has got a future…”

“One will applaud the Chamber Theatre just from the heart. And there is for what! They are sharply expressive, full of good imagination, gladden with their actor skills, high civility. The Chamber Theatre staff is worried about the important moral problems of modern life. It would like to be heard. That is why the people on the stage spoke to the men and women in the audience hall with great frankness and trust, and in spite of it that the actors on the stage had fun just from their hearts, it was fully clear the seriousness of what was going on.”

“Good job boys, I give up!” …This phrase belongs to a famous film producer D. Keosayan who was not accepting The Chamber Theater’s principle for a long time.

…Yerevanians – the only theatric collective – could rebuild and prove the actuality of one of the important forms of the 20es theatre…

…They built – in much more wider meaning of the word than we, critics, audience still not long time ago, understood it.

“Theatre of Nero and Seneca Times” during The Chamber Theatre’s performance the audience is afraid to sing loudly not to disturb the rhythm of action, that is spread on the stage and going through the audience.

While thinking over his own programs about “the face” of his theater, Ara Yernjakyan, spoke like those whose memoirs we read with pleasure today.”