Հայ-հարաւասլաւական առնչութիւնների պատմութիւնից (սկզբից մինչեւ 1930ականներ)
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2008
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Abstract
Serbuhi Stepan Lisitsyan (1893-1979) is a renowned name in Armenian ethnography. She had a very productive, multifaceted artistic life. Her input in founding professional choreographic education in Armenia as well as in artistic sports, her involvement in literary translations and pamphletting, etc. are significant and interesting. However, until recently her role and place in Armenian professional choreography and in the formation of Armenian opera and ballet were not adequately uncovered and assessed.
Enriched with Armenian and Russian artistic figures' memoirs, views, letters and documents, as well as those of Lisitsyan's close friends about her early 1910-1920s activities, the article highlights Lisitsyan's activities of the first two decades of 20th century, these included her studies in Moscow, when she translated Levon Shant's play, "Ancient Gods" and wrote its operatic libretto. They also include Lisitsyan's organizational and creative talent and the taking root of the rhythmo plastic trend in Trans-Caucasia and the features of its unique interpretation.
These include her studies at Geriee’s women’s school of historico- philology in Moscow between 1911-1917; her enrollment in Olga Ozarovskaya and Inna Chernetskaya’s studios in 1914; her participation in several functions through reciting, acting and dancing; and upon the request of poet Yuri Veselovski, the writing of a scenario based on Shant’s play, “Ancient Gods” in late 1913. The composer Alexander Spendiaryan started to create an opera based on this scenario but soon abandoned his plan. Using this same scenario in 1917-1921, Anoushavan Ter Ghevondyan created “Seda”, the first Eastern Armenian professional, high quality opera. Meanwhile in 1915, the Russian translation of Lisitsyan's "Ancient Gods" was published and was highly appreciated by Armenian and Russian scholars as well as Shant, the author himself. After her return to her birthplace Tbilisi in 1917 Lisitsyan organized the Reciting, Rhythm and Plastic Art Studio which was renamed the Institute of Rhythm and Plastic Form in 1923. The performances of Lisitsyan and her students in their diverse expressions were outstanding in the Russian Trans-Caucasian and Armenian artistic milieu of the time.
In this article, Sargsyan underlines the uniqueness of Lisitsyan’s rhythmo- plastic dance which was based on Francois Delsard’s theory. The article particularly highlights the oriental motifs Lisitsyan included in it. Sargsyan assesses Lisitsyan’s teaching methodology, the characteristics of her directorial style and the input of the institute in the development of rhythmo- plastic dance in Trans-Caucasian and in Armenia.
In Appendix 1 and 2, Lisitsyan’s two short papers on rhythmo- plastic dance and Delsard’s system are published for the first time.
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Բախչինեան, Ա., «Հայ-հարաւասլաւական առնչութիւնների պատմութիւնից (սկզբից մինչեւ 1930ականներ)», «Հայկազեան հայագիտական հանդէս», 2008, Պէյրութ, էջ 133-172