Հայ ծաղրածուական արուեստի ձեւաբանական քննութիւն. Լէոնիդ Ենգիբարեան
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2009
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Circus distinguishes eccentricism as a farcical act, whereby the unnatural character of the actor does not create surprise or wonder but makes the audience mock or laugh due to his stupidity. The Aramian Theater-cireus back in the late-19* Century had already developed two joker characters. the clown and the athlete clown, whose performances were distinguished by eccentric acts. The clown constructed his performance mostly on ingenious, skillful acts, and his show was composed of eccentric athletic humorous acts.
The athletic clown's acts, on the other hand, were at the forefront and were characterized by superb skills. His eccentric act was mainly constructed on contrasts, which gave a humorous nature to the whole performance. The overlapping of these two styles of performance gradually developed into the classical character of the bufoon. Later on jesters showed up alongside the clown, particularly in the Easter-European circus. Gradually a new type of clown-pantomime was developed. It is this character that the world-renowned artist. Leonid Yengibarian personified and performed as of the 1960s. The artistic devices in his eccentric pantomime acts, which have become classics, are constructed on contrasts, wierdness and mimicing, as well as on unique rhythm and scale, in coordination with light and music scenes
These were the basic ingredients which wove the style of his performance. The degree of expression of the whole play depended on the extent of the dense construction of these elements.
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Օրդոյեան, Գ., «Հայ ծաղրածուական արուեստի ձեւաբանական քննութիւն. Լէոնիդ Ենգիբարեան», «Հայկազեան հայագիտական հանդէս», 2009, Պէյրութ, էջ 47-69