320:, where he was president for twenty years. In 1930, he helped the famed actor-director, Caspar Ipekian, in the formation of Beirut's first Armenian Theatre Group. In 1941, Shant again assisted Caspar Ipekian in the formation of the first permanent Theatrical Society in the Diaspora, known as the Casper Ipekian Hamazkayin Taderakhumb (The Caspar Ipekian National Theatre Group), and its first production was Shant's The Princess of the Fallen Castle. Shant's plays became a regular part of its repertory from 1942 until his death in 1951, when he was given a national burial in Beirut.
392:, was a prolific novelist, poet and playwright. His most popular play, Nazar the Brave (Kaj Nazar, 1923), satirizes bourgeois morality and has been adapted very successfully to film. Alexander Shirvanzade, like his counterparts, wrote in many genres. His plays expose a society dominated by greed, superstition and hypocrisy, demonstrating a deep concern for truth and justice. His plays, Chaos, Namus, Evil Spirit, and For the Sake of Honor are still widely performed. His masterful use of realism pervades the conflicting issues in the drama For the Sake of Honor.
341:, wrote the first play of the modern eastern Armenian dialect, Aghchegan Sera, (The Girl's Love), and it was performed by the group. Another student of Alamdarian, Galoust Shermazarian, wrote a satirical play, Karapet Episcoposi Ararknera (The Deeds of Bishop Karapet). After its performance, he had to flee the country because he had offended the clergy and government officials with its hilarious jabs at both institutions. In 1860, Gevorg Chimushgian organized a professional theatrical group in the Caucasus. Modern Armenian theatres were built in
425:(1857–1932) played the role of Hamlet in 1902. She played European and Armenian roles, as well as other Shakespearean roles, but her portrayals of Hamlet were a recurring part of her repertoire throughout her thirty-year reign on the Armenian stage. Her career on the Armenian stage lasted longer than that of any other Armenian actress. She and Vahram Papazian performed in Levon Shant's The Emperor in 1916 when it first appeared on the Tiflis stage. Papazian played Ohan Gourgen and she played the role of Theophano.
380:, as well as classical and modern Armenian. A brilliant man of letters, his plays offer a broad scope of human nature, its frailties and virtues. He was the first dramatist to deal with the Armenian middle and lower classes, and his play Pepo is among the most widely performed plays in Armenia. In 1921 the first state theatre was founded in Yerevan, Armenia and named the Sundukian Theatre, in his honor, His other major works include Embarrassment, Sneezing at Night is a Good Omen, The Husbands, Love and Freedom.
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407:. Adamian's specialty was the role of Hamlet, which he portrayed on the Russian and French stages in the Armenian language. Vahram Papazian is reputed to have played Othello 3,000 times in the Armenian, Russian and French languages. Papazian was a native of Istanbul and lived the second half of his life in Soviet Armenia (1888–1968).
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historians' works contain evidence of original folk theaters operating in
Armenia in subsequent centuries, and some miniature manuscripts have preserved images of masked actors. One such valuable testament is the 1286 manuscript, which features a pantomime actor with a double mask on his head and belonged to Armenian King Hetum II.
145:(410 AD), including the theatre. But the advances Armenian culture came to an abrupt halt in the seventh century when the Arab invasion slowed all progress. Although a cultural decline existed during the eighth and ninth centuries, the theatre held on and survived. Armenian historians of the era indicate its living presence.
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In the eighteenth century, original plays and translations of
European plays were published in Classical Armenian. They only attracted a secular audience, and as a result they were seldom performed, but were used in schools in the study of classical Armenian. Plays were written by the resident clergy
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Since 1668, Armenian school theaters, both ecclesiastical and secular, were established in cities where
Armenian communities resided, such as Lviv, Venice, Vienna, Constantinople, Madras, Calcutta, Tbilisi, Moscow, and Doni Rostov. These theaters, with a classical orientation, expressed the ideals of
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In the 1910s, new actors emerged as masters of the stage, including Hasmik, Isahak
Alikhanyan, Petros Adamyan, Olga Gulazyan, Knarik, Mikayel Manvelyan, Arshak Mamikonyan, and later additions like Arus Voskanyan, Vahram Papazyan, and Hovhannes Zarifyan. The era also saw the rise of a new playwright,
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In the later part of the Middle Ages, theatrical performances were also presented in the realms of
Vaspurakan, Ani, and Cilicia. It is believed that theater troupes also staged performances on Aghtamar Island. On the walls of the 10th-century Aghtamar temple, two varieties of Armenian theater masks,
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In Baku, alongside the folk houses in working-class neighborhoods, Armenian drama groups also operated. Armenian amateur theater troupes presented public performances in cities such as
Yerevan, Alexandropol, Batum, Shushi, and Elizavetpol (Kirovabad). These theaters and troupes staged classical and
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Nonetheless, productions were presented based on the works of ancient dramatists such as
Menandros and Euripides, in addition to performances by Armenian comedians and tragedians. Hovhan Mandakuni attested that, following ancient amphitheatres as a model, a dedicated theatre structure with distinct
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The emergence of the new
Armenian theater occurred in the 17th-18th centuries. Various theatre groups scattered all over Asia Minor, going to autonomous Armenian provinces. Charden, a French world traveller, in his Les Mimes de l'Orient, gives a detailed description of a performance he attended at
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area. The Mime
Theatre cleansed itself of erotic excesses, the Tragic Theatre was enriched by employing topics from the epics, and the Comic Theatre satirized the social classes. The first surviving works of Armenian drama, including Hovhannes Yerznkatsi's dramatic poem and Arakel Syunetsi's "Adam
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Soon after the
Sundukian Theatre gained stature, many prominent actors from abroad, including those whose reputations had flourished in Western Armenia, went to Yerevan to join its repertory. They contributed to notable advances in its repertory, which included Armenian plays and translations of
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In 1855, the first western Armenian amateur theatre group was established by Srabion Hek'imian, and a year later, Beshigtashlian organized a group of amateurs who performed at the Lusavochian School. Their success led to the construction of new school auditoriums and theatres in various parts of
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Already in 1810 in Constantinople, which was considered the cultural center of Western Armenians, the first Armenian performances are staged under the direction of Mandikyan. Hovhannes Gasparyan's "Armenian Theater" (1846-1866), which preserved the traditions of the ancient Armenian theater, had
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A wealth of manuscript information about the theater is stored in Matenadaran. Armenian theater boasts a history spanning over 2000 years. Greek historian Plutarch testified that in 53 BC, Euripides' play "The Bacchae" was staged in Artashat, and Armenian Artavazd B composed tragedies. Armenian
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Following the adoptation of Christianity as the state religion in 301 and the strengthening of authoritarian rule, the church's opposition to theatre art became apparent. As an example, the sermons of Catholicos Hovhannes Mandakuni (5th century), which targeted theatre art, are well-documented.
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During the years 1905-1907, the Armenian theater witnessed a significant upsurge. In the period from 1890 to 1900, Armenian amateur performances were organized in the working-class districts of major cities like Tbilisi and Baku. Subsequently, folk theaters were established, featuring a mix of
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had established a Shakespeare Foundation, a Shakespeare Center at the Institute of Arts was established in Yerevan, Armenia. Since the 1850s there have been at least 50 translators of Shakespearean drama, but to this day the translator whose excellence is still unmatched is the Iranian-born,
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The Armenians of the Caucasus enjoyed a greater freedom to develop their arts than did the Armenians in the Ottoman Empire during the early twentieth century. As a result, the development of Eastern Armenian Drama found its way in the Caucasus under different circumstances. Its founder,
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Chronicler Hovhan Mandakuni from the 5th century, along with Davit Kertogh, and later Tovma Artsruni (9th-10th centuries), and others, provide significant insights into the theater. Their accounts confirm that the theater continued to thrive in the later centuries as well.
71:, when hired professional gusans (troubadours), sang the praises of the nobleman's ancestors in lengthy verses. Singers of lamentations or tragedians were known as voghbergus, and those participating in festive ceremonies were called katakagusan (Comedians).
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the Armenian Mime Theatre in Yerevan, Armenia, in 1664. At that time Armenia was under Persian rule. Chardin's account reveals that the Goussan tradition was still alive with mime action, accompanied by music, singing and dancing, similar to opera.
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211:. Turks, whose introduction to Armenian theatre was at the homes of their Armenian friends, soon saw Armenian actors on Turkish stages as well. It is believed that Armenians played a principal part in the birth of contemporary Turkish Theatre.
252:(1869–1952), whose creative outpour spanned half a century with short stories, poems, essays, text-books and plays. (1869–1952) He was a diplomat and an educator, but his real fame rests on his powerful dramatic works. Shant was born in
50:, and Apennine peoples. Within this cultural context, Armenian folk and mystical drama, characterized by its dance elements, also took shape. Although the ancient theatre system hasn't been preserved, it has left its linguistic marks.
388:(1858–1935) were playwrights who were already famous before the Communist take-over of Armenia. They stayed in Armenia and continued their creative work there for the rest of their lives. Demirchyan, a contemporary of
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However, the development of the national theater was hindered by political restrictions, national pressures, a lack of material and organizational support, and censorship constraints on the growth of stage art.
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Various actors and directors contributed to the operations of folk theaters, including figures like Poghos Araksyan, Amo Kharazyan, Grigor Ter-Grigoryan, Vahan Galstyan, M. Gavrosh, Davit Gulazyan, and others.
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under the direction of Hovaness Zarifian until 1937 when he died. A decade later, Elia Kimatian, a former actor of the Zarifian group, directed and staged The Merchant of Venice in New York City with the
222:(1852–1872), is credited with freeing Armenian classicism to the vernacular usage. In spite of his short life span, he wrote at least 10 plays and several poems, some of which have been lost in a fire.
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chronicle plays drawn from English history, Shant's most popular plays chronicle crucial periods of Armenian history. He is the first Armenian dramatist to use expressionism and to expertly draw from
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Public theaters emerged in Tiflis, including the "Avchalyan Auditorium" (1901), "Murashko Theater" (1902), "Araksyan Havlabaryan Theater" (1903), and the "People's House named after Zubalov" (1909).
365:. In less than twenty-five years, Armenian writers produced plays of literary and artistic value. It was a varied repertoire of original works and quality translations of European masterpieces.
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and Roman theatres, it stands as one of the world's most ancient theatres. The ancient and beloved form of theatrical art is lyrical (profound) drama, which exerted its influence on the
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modern drama works for the general public, offering affordable ticket prices. Several of these theaters continued their activities until the outbreak of the First World War in 1914.
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at the time. His most popular plays are: Ancient Gods, (1909) The Emperor, (1914), The Chained (1918), The Princess of the Fallen Castle, (1921), and Oshin Payl (1929). Like
105:, orations, and historical commentaries which survived until the second century A.D. Artavazd built the second permanent public theatre of Armenia in the old capital of
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the national liberation movement. Notably, the play "The Passion of Saint Hripsime," which was staged in 1668 at the Armenian school in Lviv, has been preserved.
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Dramatists of the late nineteenth century set a strong precedent for those who followed. Major dramatists forged ahead with new styles and early traces of a new
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seating for women was also established. The popularity of theatrical performances led the clergy to incorporate theatrical elements into church rituals.
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classical, European and American plays. Its modern repertoire is richly diverse with offerings of Armenian translations of world famous dramatists.
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Theatrical Group which he had organized. He formed the group in the early 1940s and had a series of successes until the mid-1960s.
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During the eleventh through fourteenth centuries, the Armenian theatre continued to improve and enhance its dramatic styles in the
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have uncovered numerous statues of actors and masks of animals and birds, which confirm the descriptions given by historians.
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Paris-educated career diplomat, Hovaness Massehian (1864–1932). In addition to Armenian, he was fluent in English, French,
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were regularly produced there. He is considered the first Armenian playwright and director of Classical Armenian Theatre.
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A major source of Armenian intellectuals in the historic past of Armenia have been works of William Shakespeare.
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605:] (in Russian) (Т. 1. ed.). Москва: Государственное издательство «Искусство». p. 86.
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The introduction provides an overview of the historical development of Armenian theater.
372:(1825–1912). Sundukian was born in Tiflis, and as a result of his studies in France and
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Actors whose laurels included outstanding portrayals of Shakespearean characters were
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McGraw-Hill Encyclopedia of World Drama, Volumes 1, edited by Stanley Hochman, p. 205
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312:. When Lebanon became his permanent residence, he and his friend of Jemaran days,
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provided a significant step in the development of the Western Armenian Theatre.
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The theater experienced its most profound crisis during the years 1918-1920.
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The history of the Armenian Real Theater begins at about 70 BC. According to
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and received his early education in Turkey. Later he studied at the
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of Euripides, directed by Artavazd, was presented there in 53 B.C.
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he opened a great public theatre in 69 B.C., fourteen years before
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and is one of the oldest Eurasian theatrical traditions. Alongside
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representing domestic comedy and clown characters, are depicted.
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Shakespeare's Plays in Armenia Edward Alexander Page of 387-394
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469:. When he died even more of his translations were discovered:
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The most significant Western Armenian classical dramatist was
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Great advances in every field followed the translation of the
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A Brief History of Armenian Theatre By Dr. Anne T. Vardanian
292:, as illustrated in Ancient Gods. With the establishment of
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The Armenian Theatre in the Middle Ages (4th-15th centuries)
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in 1894, and during the years that followed, he translated
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2000 years of Armenian theater. Theater of Ancient Armenia
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and performed by the students. The pioneer efforts of the
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SHAKESPEARE AND THE ARMENIAN THEATRE By Nishan Parlakian
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in 1834 and staged several European plays. His student,
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The World Encyclopedia of Contemporary Theatre: Europe
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The Armenian Theatre has its roots in the theatre of
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599:2000 лет армянского театра. Театр древней Армении
225:The foremost satirist of the Armenian stage is
172:The Armenian Theatre in the 15th-18th Centuries
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576:. Columbia University Press. p. ix-x.
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101:Tigran's son, Artavazd II, wrote several
660:Nishan Parlakian; S. Peter Cowe (2001).
645:. Taylor & Francis. pp. 45–53.
572:Nishan Parlakian; S. Peter Cowe (2001).
193:The Armenian Theatre in the 19th Century
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296:in Armenia, Shant lived in exile in
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663:Modern Armenian drama: an anthology
574:Modern Armenian drama: an anthology
165:book," also date back to this era.
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449:. His earliest translation was of
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376:, he learned French, Italian and
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497:The Armenian Theatre in 1900-190
699:Toasting Shakespeare in Armenia
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543:Manuscripts in the Matenadaran
82:was built during the reign of
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666:. Columbia University Press.
534:Armenian Youth Federation's
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203:historical significance.
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94:first public theatre in
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471:Much Ado About Nothing
459:The Merchant of Venice
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386:Alexander Shirvanzade
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597:Гоян, Георг (1952).
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28:The Armenian Theater
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331:Harutyun Alamdaryan
109:. The tragedies of
1501:Theatre in Armenia
639:Don Rubin (1994).
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121:mentions that the
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1432:Transnistria
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1039:Dependencies
969:Turkmenistan
934:Saudi Arabia
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100:
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1470:Isle of Man
1405:recognition
1379:Switzerland
1314:Netherlands
1098:Asia portal
999:States with
919:Philippines
859:South Korea
854:North Korea
749:Afghanistan
637:"Armenia".
483:Coriolanius
475:The Tempest
437:, Russian,
428:Soon after
390:Levon Shant
294:Soviet Rule
250:Levon Shant
88:Dikranagert
32:Roman times
1349:San Marino
1309:Montenegro
1289:Luxembourg
1269:Kazakhstan
1172:Azerbaijan
979:Uzbekistan
954:Tajikistan
869:Kyrgyzstan
849:Kazakhstan
769:Bangladesh
759:Azerbaijan
556:References
216:vernacular
1460:Gibraltar
1284:Lithuania
1065:Hong Kong
1019:Palestine
944:Sri Lanka
939:Singapore
819:Indonesia
286:mythology
262:Ejmiatsin
111:Euripides
44:Near East
1495:Category
1480:Svalbard
1465:Guernsey
1412:Abkhazia
1364:Slovenia
1359:Slovakia
1334:Portugal
1192:Bulgaria
1088:Category
1009:Abkhazia
959:Thailand
914:Pakistan
894:Mongolia
889:Maldives
884:Malaysia
784:Cambodia
529:New York
423:Siranush
416:Siranush
414:Actress
278:Caucasus
254:Istanbul
119:Plutarch
115:Menander
107:Artashat
92:Pompey's
76:Plutarch
40:folklore
1389:Ukraine
1339:Romania
1299:Moldova
1257:Ireland
1252:Iceland
1247:Hungary
1237:Germany
1232:Georgia
1222:Finland
1217:Estonia
1212:Denmark
1197:Croatia
1182:Belgium
1177:Belarus
1167:Austria
1162:Armenia
1157:Andorra
1152:Albania
984:Vietnam
899:Myanmar
879:Lebanon
809:Georgia
764:Bahrain
754:Armenia
489:and to
467:Macbeth
463:Othello
447:Turkish
435:Persian
430:England
378:Russian
363:Yerevan
310:Lebanon
290:realism
270:Leipzig
243:Molière
239:Italian
123:Bacchae
80:Armenia
69:rituals
54:History
42:of the
1475:Jersey
1417:Kosovo
1384:Turkey
1374:Sweden
1354:Serbia
1344:Russia
1329:Poland
1324:Norway
1304:Monaco
1274:Latvia
1242:Greece
1227:France
1202:Cyprus
1029:Taiwan
964:Turkey
929:Russia
864:Kuwait
844:Jordan
834:Israel
794:Cyprus
779:Brunei
774:Bhutan
670:
649:
580:
491:Berlin
487:London
481:, and
451:Hamlet
443:Arabic
439:German
374:Russia
343:Tiflis
335:Tiflis
318:Beirut
298:France
274:Munich
235:French
48:Balkan
1450:Åland
1369:Spain
1294:Malta
1264:Italy
1070:Macau
989:Yemen
949:Syria
924:Qatar
904:Nepal
839:Japan
814:India
804:Egypt
789:China
601:[
306:Egypt
231:Greek
143:Bible
86:. In
36:Greek
909:Oman
874:Laos
829:Iraq
824:Iran
668:ISBN
647:ISBN
578:ISBN
465:and
445:and
403:and
361:and
359:Kars
347:Baku
308:and
302:Iran
272:and
266:Jena
237:and
151:Lori
96:Rome
1041:and
1497::
564:^
477:,
473:,
461:,
457:,
441:,
357:,
353:,
349:,
345:,
304:,
300:,
268:,
233:,
218:.
98:.
46:,
1132:e
1125:t
1118:v
727:e
720:t
713:v
676:.
655:.
586:.
20:)
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