Theatre of Stepanakert and Marianna: The Story Continues

This story was prepared as part of a project implemented by “Stepanakert” Media Club. The original was published in Russian on Step1.am.

The Stepanakert Drama Theatre played an essential role in preserving national identity during Soviet times. It served as a cultural center not only for Armenians in Artsakh but also for Armenians throughout Soviet Azerbaijan. Here, people could hear Armenian and attend Armenian performances.

The theatre building has withstood several wars, remaining intact despite shelling. During the Artsakh war, it provided shelter for many refugees. However, over time, the building deteriorated, and working conditions declined. In 2018, the Artsakh Ministry of Culture, Youth, and Tourism launched a fundraising campaign for the theatre’s reconstruction. The restoration was nearly underway but was halted due to changes within the Artsakh Cabinet of Ministers.

Despite these setbacks, the theatre artists continued to work in the building of the Stepanakert Youth Chamber. They faced numerous challenges, including the poor condition of the building and low pay. Still, these committed individuals remained resilient, promoting culture for the people of Artsakh. They never stopped creating.

Then came the war of 2020.

“When we returned to Artsakh after the 2020 war, I imagined we would face the same struggles we had in the ’90s,” says Marianna Grigoryan, one of the theatre’s artists and its administrator. “Back then, the theatre was a pillar of Armenian identity. Some of our artists were on the front lines, while others wrote and recited poems. It was an intellectual battle, reminding people what they were fighting for, what was worth dying for, and what we opposed. I thought we might find ourselves in a similar situation.”

After the war, Artsakh was in mourning. The theatre mourned too, in its own way. Many Artsakhis still remember Before the Dawn, a documentary performance about Arthur Sargsyan, a hero from Ashan village, written by his daughter, the talented writer Hermine Avagyan. The audience was moved to tears. It seemed to remind everyone why everything continued and what it all meant. Many recall the powerful scene where Arthur writes “false” on the Azerbaijani map hanging on the wall.

Even during the Covid, when people stayed in, the artists tried to make videos and perform online. They did the same after the war. The first performance was “Avan Flower”, planned to be staged in December 2020: children were free from guilt, they needed childhood, and they needed this performance. But then they decided to postpone it for a few months and played a Christmas performance in the spring.

“During the war I was asking myself, like many others what I could do. Despite all, I understood that we had what we had and I could no longer indulge in illusions. Then I started helping families in need. I was joined by many young people, some – from abroad. I talked with the manager, and we decided to give children presents after the performances. We donated presents to around 700 kids in 2021 and 2022. Returning to Artsakh, we didn’t find some of our staff there: some pursued their education in Yerevan, some could not return because of the war. Some time later I started working as an administrator”, – recalls Marianna.

During the blockade theatre personnel took some initiative. The road from Armenia to Artsakh was blocked several days after the artists came back from a tour in Moscow. The Artsakhis faced another trial. “We had sponsors from Russia then, with an agreement to perform in Russian. We were against it. We had performed in Russian before, but at this point it was important to inspire Artsakh people and meet their thirst for culture. We made up our minds to choose a Russian fairy tale and perform it in Armenian. Together with Kajik Harutyunyan we crafted a scenario based on “Baba Yaga” fairy tail and staged a play for kids. It was a flamboyant performance. It was heart-warming for the blockaded people. The gifts for the kids were brought in by Russian peacekeepers despite the blockade. This was possible at the beginning of the blockade”, – tells Marianna.

The theatre continued to address social challenges and reflect on the community’s struggles. Later, the troupe prepared for the play The Immortal Stand. “One day, a 9 or 10-year-old boy came with his grandmother and asked her to buy two tickets. I told her that this wasn’t a play for children—it had explosions, and the stage setup was intense and realistic. She explained that actually she did not want to come, but it was her grandchild’s decision; he said, ‘I’m going to see my Daddy.’ He had lost his father in the war. It was heart-wrenching. All of us shared that same deep sorrow,” recalls Marianna. “There were moments when the faces of the fallen soldiers came to mind. For this reason, we limited the number of performances to avoid causing further pain for those already in difficult situations.”

“We also staged A Mad Dog in the Yard, a play intended to help people process their emotions amid the turmoil. We walked to rehearsals in the rain, under the sun, through rolling blackouts, waiting for each other for hours,” says Marianna. “The last play was Predatory Feast, staged in the summer, which drew parallels to the ongoing blockade. Under these challenging conditions, we also travelled to villages, hoping to uplift and encourage the people there”.

Since the theatre needed professional actors, Marianna initiated a studio during the blockade to teach drama to children, with over twenty students attending from June to August. The studio also collaborated with the “Empathy” mental health support clinic to help the children understand and process their emotions. Marianna had long dreamt of having a studio of her own. Aware of the gravity of the moment, she was determined to pursue her vision in Artsakh, no matter what lay ahead.

Some wonder where the theatre staff is now and if the artists continue to perform. After being displaced from Artsakh, they toured the U.S. with the play Three Apples Fell from Heaven. Later, they performed The Immortal Stand and Monster on the Moon in Lebanon, receiving great acclaim.

Some actors have resigned—either leaving the country for family reasons or finding other employment to address financial needs. The theatre staff is now seeking a space and funding to continue their work. One of the younger artists, who played Alyonushka in a children’s performance, was severely burned in a petrol stock explosion and is currently undergoing treatment in France.

Nevertheless, the troupe remains hopeful, determined to continue performing, uphold the standards of Artsakh theatre, and share Artsakh’s story with the world.