Identification System_Yerevan State Chamber Theatre

It is possible to acquire familiarity with the method in more details

of Ara Yernjakyan named “Identification as a principle of the theatrical art”,

Essence of the Identification System lies in the identification of the spectator with the event-taking place, in the inter osculation of two realities: a theatre reality and a life reality.

Such a full and natural contact is achieved by ignoring the so-called “4^th wall” in the most dramaturgic material, by building of a dialogue between actors through the auditorium.

The remarks made to auditorium are really addressed to the spectators and suppose the response. And willy-nilly the spectator is immediately involved into the game. Into the game, that grants the right to a live voice.

Hence, the System allows not only to show, but also to tell, explain, polemize, and prove.

Having expanded to sphere of aesthetic relations, it leads art to the direct contact with science.

In the result some intermediate from occurs, which has pretensions of belonging equally both to the art creativity and to the humanitarian scientific knowledge.

In other words, the emotional aesthetic influence is based on the scientific knowledge, and the letter is achieved and fixed by means of art. The image merges with the concept.

The Identification System helps to create the generalized images embodying the idea not in typical characters, but through transfer of typical situations.

Here the idea makes much shorter way to the spectator than where it is presented in the destinies of heroes. Here it is transferred to the spectator directly using all possible means of scenic influence.

As confirmation of the vital capacity of the Identification System are such plays by Ara Yernjakyan as “Gentlemen, everything is collapsing but We Can Still Live and Have Fun”, “Daily Chronicle of Yerevan”, “An Etude about Women”, “Under Ground”, “To Arms” and others, which were staged at the Chamber theatre.

It is possible to acquire familiarity with the method in more details in the research work of Ara Yernjakyan named “Identification as a principle of the theatrical art”.

As regards the emblem – two profiles (the actor and the spectator) unified by the mathematical identity sign – so it is a tribute to the Identification System, as it was already mentioned about, to the system that has become a basis of the Yerevan Camber theatre.