Պարային տեսարանների դերն ու նշանակութիւնը Ալմաստ եւ Անուշ օպերաներում

Abstract

The paper draws parallels between the operas of Salomé by Richard Strauss and Almast by Alexander Spendiaryan, and analyses the dance scenes in both these operas as well as Armen Tigranyan's Anush opera. Basically it focuses, however, on the heroines in Salomé and Almast, and argues that their theatrical performance was conditioned by the art trends of the late 19th and early 20*h centuries. The analysis of the dance scenes of Armen Tigranyan's Anush opera (1912), on the other hand, shows that Tigranyan remained loyal to the literary source and strived to emphasize the important dramaturgical role of ritual episodes, prioritising Anush's predetermined fate. The study shows that the dance scenes in Almast and Anush are in full agreement with the European cultural trends of the 20th century and constitute an important structural and dramaturgical component of these operas.