Golden Apricot Daily - 2013, Day 7

DAY 7, SATURDAY, JULY 13

Paradjanov, artist in the service of beauty ö³ñ³ç³Ýáí. ·»Õ»óÇÏÇ Í³é³Ý

GOLDEN APRICOT DAILY | DAY 7 | 13 JULY | 2013

2 Íñ³·Çñ/program 13 ÑáõÉÇëÇ/ 13 july ØáëÏí³ ÏÇÝáóïñáÝ, γåáõÛï ¹³ÑÉÇ× Moscow Cinema, Blue Hall 14:00 г۳ëï³Ý. ³Ýï»ë³Ý»ÉÇ »ñÏÇñ/Armenia: Invisible Country سñdz٠úѳÝÛ³Ý/ Mariam Ohanyan, Arm/11'/FV

ØáëÏí³ ÏÇÝáóïñáÝ, γñÙÇñ ¹³ÑÉÇ× Moscow Cinema, Red Hall 15:00

12:00 ºñ¨³Ï³ÛáõÃÛáõÝ/Imagination ʳã³ïáõñ øñÇë سñïÇñáëÛ³Ý/Khachatur Chris Martirosyan, Arm/11'/FV

Lang.: Armenian, Subt.: English ÜíÇñáõÙ/Devotion ìñáõÛñ êÇÙáÝÛ³Ý/Vruyr Simonyan, Arm/15'/FV

Lang.: Armenian, Subt.: English

Ð. سÉÛ³ÝÇ ³Ýí³Ý ÏÇÝá¹»ñ³ë³ÝÇ Ã³ïñáÝ Theater-Studio of Cinema Artists After H. Malyand

Lang.: Russian, Subt.: English ²Ýí»ñç ÷³Ëáõëï, ѳí»ñÅ í»ñ³¹³ñÓ/Endless Escape, Eternal Return гñáõÃÛáõÝ Ê³ã³ïñÛ³Ý/Harutyun Khachatryan, Arm/87'/FV

Lang.: Armenian, Subt.: English سñáõëÛ³Ý/Maroosya ܳíǹ ØÇ˳ù/Navid Mikhak, Irn/29'/FV

17:00 ºñ¨³Ï³ÛáõÃÛáõÝ/Imagination ʳã³ïáõñ øñÇë سñïÇñáëÛ³Ý/Khachatur Chris Martirosyan, Arm/11'/FV

Lang.: Persian, Subt.: English

Lang.: Russian, Subt.: English ì»ñçÁ/...The End ì³ñ¹·»ë سÝáõÏÛ³Ý/Vardges Manukyan, Arm/5'/FV

Lang.: Armenian, Subt.: English

ö³ñ³ç³Ýáí/Paradjanov ê»ñÅ ²í»ïÇùÛ³Ý, úɻݳ ü»ïÇëáí³/Serge Avedikian, Olena Fetisova, Ukr-Fra-Geo-Arm/95'/CF-FAB

ֳݳå³ñÑ. Ðݹϳëï³Ý/ Hit the Road: India ¶áé ´³Õ¹³ë³ñÛ³Ý, è³½ÙÇÏ Ô³½³ñÛ³Ý/Gor Baghdasaryan, Mushegh Baghdasaryan, Arm/80'/FV

Lang.: Armenian, Subt.: English

,

,

(

16:00

Lang.: Rusian/Ukrainian/ Georgian/Armenian/French, Subt.: English

àñëáñ¹Á/The Hunter ²ñ³ ²éáõß³ÝÛ³Ý/Ara Arushanyan, Arm-Rus/20'/FV

ܳÇñÇ ÏÇÝáóïñáÝ/ Nairi Cinema

Lang.: Russian, Subt.: English

Lang.: Armenian

18:00

ÎÇÝÁ/The Woman ²ñß³Ï ¼³ù³ñÛ³Ý/Arshak Zakaryan, Arm/14'/FV

Lang.: Armenian, Subt.: English êå³ëáõÙ/Waiting Ü³é³ Î³ñ³å»ïÛ³Ý/Nara Karapetyan, Arm/11'/FV

Lang.: Armenian, Subt.: English ì»ñ ϳó, سñÇ/Wake up, Mary ²ñïÛáÙ ´³ñÏáõ¹Á/ Artyom Barkudr, Arm/24'/FV

Î³í» Ù³ñ¹Á/The Clay Man ²ñ»Ý ì³ÃÛ³Ý/Aren Vatyan, Arm/20'/FV

¼ÇÝíáñÇ Ñ³ÛñÁ/Soldier's Father 軽á âË»ÇÓ»/Rezo Chkheidze, Geo/92'/R

Lang.: Russian, Subt.: English

ijÝ-Ä³Ï èáõëáÛÇ Ñ³ÛÏ³Ï³Ý í»ñ³ñÏáõÝ/Jean Jacques Rousseau Armenian Coat ä³ïñÇÏ Î³½³É/Patrick Cazals, Fra/50'/FV

Lang.: French

20:00

SUBMIT YOUR DOCUMENTARY FILM TO CAUCADOC ONLINE CATALOGUE

Lang.: Russian Î³í» Ù³ñ¹Á/The Clay Man ²ñ»Ý ì³ÃÛ³Ý/Aren Vatyan Arm/20'/FV

Lang.: Armenian 17:00 ÈÇÝ»É æáõÉdzÝ/Being Julia Æßïí³Ý ê³μá/István Szabó, USA-Can-UK-Hun/104'/R

ÈÇÝ»É ï³ñμ»ñ/Being Different ²ßáï ØÏñïãÛ³Ý/ Ashot Mkrtchyan, Arm/50'/FV

γñïáýÇÉ/Jiseul ú Øáõ»É/O Muel, Kor/109'/SF

Lang.: Korean, Subt.: English and Armenian

Lang.: Armenian, Subt.: English

Lang.: English, Subt.: Armenian

CAUCADOC launches an online catalogue for creative/artistic documentaries (both completed and in progress), produced in Armenia, Georgia, and Azerbaijan since 2007. companies, both local and international broadcasters and festivals. It will contribute to the exchange,

last 5 years in the South Caucasus.

Editor in chief: Ronald Rovers

The Application form is available at www.caucadoc.com and www.sakdoc.ge.

General supervising manager: Peter van Bueren ¶É˳íáñ ËÙµ³·Çñ` Ռոնալդ Ռովերս úñ³Ã»ñÃÇ Ñ³Ù³Ï³ñ·áÕ` ¶»Ýáýdz سñïÇñáëÛ³Ý ¶É˳íáñ ËáñÑñ¹³ïáõ` äÇï»ñ í³Ý ´Ûáõ»ñ»Ý ԱշËատակազմ` ²ñÃáõñ ì³ñ¹ÇÏÛ³Ý, Արծվի Բախչինյան, Նատալիա Իռա Սուքիաս, ê»ñ·»Û ÎÇñ³ÏáëÛ³Ý, Գոռ Իսաջանյան, Բերենդ Յան Բոքտինգ, Սեդա Պապոյան, ¾íñÇ٠γ۳, Մարինե Ղարախանյան, Ռիմա Աղեկյան

Coordinator Daily: Genofia Martirosyan

For additional information please contact:

Journalists: Berend Jan Bockting, Artur Vardikyan, Anastasia Costishanu, Evrim Kaya, Kristine Kyurklyan, Natalia Ira Sookias, Artsvi Bakhchinyan

Georgia : Anna Dziapshipa anna@sakdoc.ge Armenia: Karine Aroyan k.aroyan@internews.am Azerbaijan: Alina Abdullaeva motorproduction@gmail.com

Photos: Vahan Stepanyan ©PanARMENIAN Photo

CAUCADOC is a project run by Czech NGO People in Need, Sakdoc Film and Internews Armenia. It aims

Design: Gayane Grigoryan

Èáõë³ÝϳñÝ»ñÁ` Վահան ՍտեփանյանÇ ¸Ç½³ÛÝÁ` ¶³Û³Ý» ¶ñÇ·áñÛ³ÝÇ Տպագրված` §ÜáÛÛ³Ý î³å³Ý¦ êäÀ-áõÙ

ship Culture programme and the Development Cooperation of the Czech Republic. гٳ½·³ÛÇÝ Ã»ñÃ

-

GOLDEN APRICOT DAILY | DAY 7 | 13 JULY | 2013

ýÇÉÙ»ñ »õ é»ÅÇëáñÝ»ñ 3

³÷³éáõÙÇ ï³ëݳÙÛ³ÏÝ»ñ ³åñ³Í ѳÛÇ »ñ³½³ÝùÁ §²Ýí»ñç ÷³Ëáõëï, ѳí»ñÅ í»ñ³¹³ñÓ¦, é»Å.` гñáõÃÛáõÝ Ê³ã³ïñÛ³Ý, г۳ëï³Ý, §ØáëÏí³¦ Ï/Ã, γñÙÇñ ¹³ÑÉÇ×, 13.07 (15:00) г­ñáõ­ÃÛáõÝ Ê³­ã³ï­ñÛ³­ÝÇ §²Ý­í»ñç ÷³­Ëáõëï, ѳ­í»ñÅ í»­ñ³­¹³ñÓ¦ ýÇÉ­ÙÇ å³­ïáõ­ÙÁ ͳÛñ ¿ ³é­ÝáõÙ 1988 Ãí³­Ï³­ÝÇó ¨ Ó·íáõÙ ÙÇݭ㨠ٻñ ûñ»­ ñÁ: л­ñá­ëÁ, Çñ ѳۭñ»­ÝÇ ù³­Õ³­ùáõÙ ã·ïÝ»­Éáí ÇÝù­ ݳ¹ñ­ë¨­áñ­Ù³Ý µ³­í³­ñ³ñ Ñݳ­ñ³­íá­ñáõ­ÃÛáõÝ­Ý»ñ, µéÝ»É ¿ ¹»­·»­ñáõÙ­Ý»­ñÇ áõ­ÕÇÝ ¨ ýÇÉ­ÙáõÙ Çñ Ï۳ݭ ùÇ å³ï­Ùáõ­ÃÛáõÝÝ ¿ ß³­ñ³¹­ñáõÙ, áñÝ ³ñ­Ï³­Í³­ÛÇÝ Å³Ý­ñÇ í»å ¿ ÑÇ­ß»ó­ÝáõÙ` í³ï ùá­Õ³ñÏ­í³Í é᭠ٳݭïÇÏ Ýñµ»­ñ³Ý·­Ý»­ñáí: à±ñÝ ¿, Ç í»ñ­çá, ó­÷³­éáõ­ÙÇ ï³ë­Ý³­Ù۳ϭݻñ ³å­ñ³Í ѳ­ÛÇ` гۭÏÇ »ñ³­½³Ý­ùÁ. ßù»Õ Ù»­ù»­Ý³ ϳݷ­Ý»ó­Ý»É å³­å»Ý³­Ï³Ý ï³Ý µ³­ÏáõÙ, í»­ñ³­ Ýá­ñá­·»É ѳ­ñ³­½³ï ·Ûáõ­ÕÇ »Ï»­Õ»­óÇÝ áõ Ùï³­Í»É §Ã³­·³­Å³­é³Ý­·Ç¦` áñ­¹áõ Ù³­ëÇÝ, áñÇ ã·á­Ûáõ­ÃÛ³Ý Ñ³­Ù³ñ Çñ»Ý ¹³­ï³­å³ñ­ïáõÙ »Ý ݳ˭ÝÇ­Ý»ñÝ ³ÛÝ ³ß­Ë³ñ­ÑÇó: Îѳëó­ÝDZ гÛÏÝ Çñ³­·áñ­Í»É ³Ûë ÇÕ­ ÓÁ, Ïï³± Ï۳ݭùÁ Ýñ³Ý ÝÙ³Ý Ñݳ­ñ³­íá­ñáõ­ÃÛáõÝ: ²Ûë ѳñ­ó»­ñÁ ã»Ý áñá­ß³­ÏÇ­³­ÝáõÙ ýÇÉ­ÙáõÙ: ì»ñ­çÇÝ ï³ë­Ý³­Ù۳ϭݻ­ñÇÝ ·ñ»­Ã» Ûáõ­ñ³­ù³Ý­ ãÛáõ­ñÇë ÁÝ­ï³­ÝÇ­ùáõÙ ¿É µáõÝ ¿ ¹ñ»É å³Ý¹Ë­ïáõ­ ÃÛ³Ý Ñ³­Ù³Ë­ï³­ÝÇ­ßÁ: àõ µá­Éáñë ¿É Ù»ñ ÏéÇíÝ áõ­ Ý»Ýù ³Û¹ Ññ»­ßÇ Ñ»ï: ²Û¹ ¿ å³ï­×³­éÁ, áñ г­ ñáõ­ÃÛáõÝ Ê³­ã³ï­ñÛ³­ÝÇ ýÇÉ­ÙÁ ¹Ç­ï»­ÉÇë ëÏëáõÙ »ë ï³­ñáõ­µ»ñ­í»É ѳ­Ï³­ë³­Ï³Ý ½·³­óá­Õáõ­ÃÛáõÝ­Ý»­ñÇ áõ ¹³­ïá­Õáõ­ÃÛáõÝ­Ý»­ñÇ ³ñ³Ý­ùáõÙ, áñáß ¹»å­ù»­ñáõÙ ¹Åí³­ñ³­ÝáõÙ »ë ϳ­é³­í³­ñ»É ½·³ó­ÙáõÝù­Ý»ñ¹: г­ñáõ­ÃÛáõÝ Ê³­ã³ï­ñÛ³­ÝÁ, ÇÝã­å»ë ÙÇßï, Ù³­ïÁ ¹ÝáõÙ ¿ Ù»ñ ³Ù»­Ý³­ó³­íáï ï»­ÕÇÝ, ÷áñ­ÓáõÙ ëó­ ÷áõ­ÃÛ³Ý Ïá­ã»É ³Û¹ ó³­íÇ Ýϳï­Ù³Ùµ ³Ý­ï³ñ­µ»ñ Ù³ñ¹­Ï³Ýó, û·­ÝáõÙ ï»ë­Ý»É ó³­íÇ å³ï­×³é­Ý»ñÝ áõ ѳխó­Ñ³­ñ»É Ñ»­ï¨­³Ýù­Ý»­ñÁ: Îè

MASTER CLASS

êï»ÉÇÝ·Ç ×ßÙ³ñïáõÃÛáõÝÁ

§Զրույց հանգուցյալ կնոջ հետ¦

§Î³ñ× Ù»ïñǦ í»ñ»ÉùÁ ²Ûë ï³­ñÇ ÷³­é³­ïá­ÝÇ §Îá­ñǽ¦ Íñ³­·Ç­ñÁ, áñÁ ÝíÇñ­í³Í ¿ ÙÇ­ç³½­·³­ÛÇÝ Ï³ñ­×³­Ù»ï­ñ³Å ýÇÉ­Ù»­ ñÇÝ ¨ Ýå³­ï³Ï áõ­ÝÇ ·ïÝ»­Éáõ Ýá­ñ³­Ñ³Ûï ÏÇ­Ýá­ ·áñ­ÍÇã­Ý»­ñÇ ³é³­çÇÝ ëï»Õ­Í³­·áñ­Íáõ­ÃÛáõÝ­Ý»­ñÁ, ïá­ÝáõÙ ¿ Çñ »ñ­ñáñ¹ ï³­ñÇÝ: »¨ §»ñ­Ï³ñ Ù»ï­ ñÁ¦ ϳ­ñ¨­á­ñ³­·áõÛÝÝ ¿ ÷³­é³­ïá­ÝáõÙ ª §Ï³ñ­×Á¦ ÝáõÛÝ­å»ë ³ñ­Å³­ÝÇ ¿ áõ­ß³¹­ñáõ­ÃÛ³Ý: î³­ñ»ó­ï³­ñÇ Íñ³­·ÇñÝ ³í»­ÉÇ áñ³­ÏÛ³É ¿, ÇëÏ Ùñó³Ï­óáõ­ÃÛáõ­ÝÁª ³í»­ÉÇ Ã»Å: ²Ûë ï³ñ­ í³ Íñ³­ ·ÇñÝ ³í»­ ÉÇ áõ­ Å»Õ ¿ñ, ù³Ý »ñ­µ¨¿: ØÇ ù³­ÝÇ Ñ³­ñÛáõñ ¹Ç­Ùáñ¹­Ý»­ñÇó Áݹ­ ѳ­ Ýáõñ ³é­ ٳٵ ÁÝïñ­ í»É ¿ÇÝ 47 ýÇÉÙ ª ëÏë³Í ëñ³­ÙÇï ϳ­ï³­Ï»ñ­·áõ­ÃÛáõÝ­Ý»­ñÇó, ÇÝã­å»ë ûñÇ­ ݳϪ §´³­ñÇ ·³­Éáõëï ¨® ó³­í³Ï­óáõÙ »Ýù¦, áõ ëñï³×Ù­ÉÇÏ ¹ñ³­Ù³­Ý»­ñÇóª §âáñë å³ï. ê³­ñ³­ ¨á¦, ¨ í»ñ­ç³ó­ñ³Í §³Ý­Ñ³Ûï¦ Å³Ý­ñ»­ñÇ å³ï­ ϳ­ÝáÕ ï³­ñû­ñǭݳÏ, µ³Ûó ·»­ñáÕ áõ ÇÝù­Ý³­»ñ­·Ç­

ͳ­Ï³Ý ýÇÉ­Ù»­ñáí, ûñǭݳϪ §Ð»­ùÇ­³­ÃÁ¦ (Íñ³·­ñÇ ÙÇ­³Ï ѳۭϳ­Ï³Ý ÏÇ­Ýáݭϳ­ñÁ): Ìñ³·­ñÇ ýÇÉ­Ù»­ñÁ ÑÇ٭ݳ­Ï³Ý ÙñóáõÛ­ÃÇ ÉÇ­³­Ù»ï­ñ³Å­Ý»­ñÇ Ïñ×³ï­ í³Í å³ï­×»Ý­Ý»­ñÁ ã»Ýª ÝáõÛ­ÝÇëÏ »Ã» û­Ù³­Ý»­ ñÁ »ñ­µ»ÙÝ Ñ³­Ù³­ÑáõÝã »Ý: ØÇÝã ÉÇ­³­Ù»ï­ñ³Å­ Ý»ñÝ ³í»­ÉÇ íßï³­ÉÇ »Ý ¨ ¹»å­ñ»­ëÇíª ïå³­íá­ñÇã Ý»ñ­Ï³­Û³ó­Ý»­Éáí ÏÛ³ÝùÇ Ùé³ÛÉ ¨ ¹Åí³ñ ÏáÕ­Ù»­ ñÁ, §Îá­ñÇ­½Ç¦ ýÇÉ­Ù»ñÝ ³í»­ÉÇ Ã»­Ã¨ »Ý, »ñ­µ»ÙÝ ¿É` ß³ï Íǭͳ­Õ»­ÉÇ: ÜáõÛ­ÝÇëÏ ¹ñ³­Ù³­Ý»­ñÁ ÙÇ­ ïáõÙ ãáõ­Ý»Ý å³ï­Ï»­ñ»­Éáõ ÙÇ Çñ³­Ï³­Ýáõ­ÃÛáõÝ, áñ­ ï»Õ ÑáõÛ­ëÁ ѳ­í»ñÅ Ù»­é³Í ¿: Ìñ³·­ñÇ ·ñ»­Ã» áã ÙÇ ýÇÉÙ (ÝáõÛ­ÝÇëÏ ïËáõñ ³í³ñï áõ­Ý»­óáÕ­Ý»­ñÁ) §ó³Ý­Ïáõ­ÃÛáõÝ ãáõ­ÝǦ ѳݭ¹Ç­ë³­ï»­ëÇÝ Ñáõ­ë³­Ñ³­ ï»ó­Ý»­Éáõ: 곭ϳÛÝ ÙÇ­³Ù­ïá­ñ»Ý ɳ­í³­ï»­ë³­Ï³Ý ¿É ã»Ý: Üñ³Ýù áõÕ­Õ³­ÏÇ ³ñ­ï³­óá­ÉáõÙ »Ý Ï۳ݭùÇ ³í»­ÉÇ »ñÇ­ï³­ë³ñ­¹³­Ï³Ý, Çñ ï»­ë³­ÏÇ Ù»ç ÇÙ³ë­ ïáõÝ ¨ Ñáõ­ë³¹­ñáÕ ÙÇ Áݭϳ­ÉáõÙ: ²ì

§ÎÇ­ÝáÝ å³ï­Ï»ñ­Ý»­ñÇ Ñ³­Ù³Ï­óáõ­ÃÛáõÝ ¿, ¨ é»­ ÅÇ­ëá­ñÇ ·áñÍÝ Çñ³­ñÇó ³Ý­Ï³Ë å³ï­Ï»ñ­Ý»­ñÁ ѳ­ Ù³¹­ñ»­Éáí` ÇÙ³ëï ëﳭݳÉÝ ¿,– Çñ ³ß­Ë³­ï³Ý­ ùÇ ¿áõ­ ÃÛ³Ý Ù³­ëÇÝ Ëá­ë»­ Éáí` ³ë³ó §àë­ Ï» ÍÇ­ ñ³Ý¦ ÏÇ­Ýá­÷³­é³­ïá­ÝÇ ÑÛáõñ, ³ß­Ë³ñ­Ñ³Ñé­ã³Ï é»­ÅÇ­ëáñ Úáë êï»­ÉÇÝ­·Á:— ²ÛÝ ³Ù»­ÝÁ, ÇÝã ϳ­ë»Ù, ¹³ ×ßÙ³ñ­ïáõ­ÃÛáõÝ ã¿, ³Ûɪ ÇÙ ×ßÙ³ñ­ïáõ­ÃÛáõÝÝ ¿, ×ßÙ³ñ­ïáõ­ÃÛ³Ý ÇÙ Ó¨­³­Ï»ñ­åáõ­ÙÁ¦,— Ýß»ó ݳ: ´³­Ý³­Ëá­ëÁ ϳ­ñ¨­á­ñ»ó ѳݭ¹Ç­ë³­ï»­ëÇ áõ­ÅÁ. §´á­Éá­ñÁ Ëá­ëáõÙ »Ý ýÇÉ­Ù»­ñÇ áñ³­ÏÇó, µ³Ûó Ùá­ é³­ÝáõÙ »Ý Ëá­ë»É ѳݭ¹Ç­ë³­ï»­ëÇ áñ³­ÏÇ Ù³­ëÇÝ: гݭ¹Ç­ë³­ï»ëÝ ¿ ëï»Õ­ÍáõÙ ýÇÉ­ÙÇ ïå³­íá­ñáõ­ ÃÛ³Ý Ï»­ëÁ: úñÇ­Ý³Ï ³Ý­óÛ³É ¹³­ñáõÙ ÙÇ é»­ÅÇ­ëáñ Ýϳ­ñáõÙ ¿, û ÇÝã­å»ë ¿ ³Õ­çÇ­ÏÁ ˳­ÕáõÙ Ï³ï­ íÇ Ñ»ï: л­ïá ݳ Ýϳ­ñ³­Ñ³­ÝáõÙ ¿ ÙÇ­³ÛÝ Ï³ï­ íÇÝ áõ å³ï­Ï»ñ­Ý»­ñÁ ¹ÝáõÙ Çñ³ñ ÏáÕ­ùÇ: гݭ¹Ç­ ë³­ï»­ëÇ Ù»ç ïå³­íá­ñáõ­ÃÛáõÝ ¿ ëï»ÕÍ­íáõÙ, û ϳ­ïáõÝ Ï»­ñ»É ¿ »ñ»­Ë³­ÛÇÝ: ÎÇ­ÝáÝ å³ï­Ï»ñ­Ý»­ñÇ Ñ³­Ù³Ï­óáõ­ÃÛáõÝ ¿, áñáÝù Çñ³­ñÇó ³Ý­Ï³Ë ÇÙ³ëï ãáõ­Ý»Ý: üÇÉ­Ù³ñ­ï³¹­ñáõ­ÃÛáõ­ÝÁ ß³ñÅ­íáÕ å³ï­Ï»ñ­ Ý»­ñÇ Ñ³­Ù³¹­ñáõ­ÃÛáõÝ ¿: Æñ³­Ï³Ý Ï۳ݭùáõÙ ¹áõù ÁÝï­ñáõÙ »ùª ÇÝ­ãÇÝ áõ­ß³¹­ñáõ­ÃÛáõÝ ¹³ñÓ­Ý»É, ÇëÏ ÏÇ­Ýá­ÛáõÙ Ó»ñ ÷á­Ë³­ñ»Ý Ù»Ï áõ­ñÇßÝ ¿ ÁÝï­ñáõ­ÃÛáõÝ ³ÝáõÙ` é»­ÅÇ­ëá­ñÁ: ÎÇ­Ýá­Ã³ï­ñáÝ­Ý»­ñáõÙ ³í»­ÉÇ áõ ³í»­ÉÇ ß³ï »Ý Ñ»­éáõë­ï³­ï»­ë³­ÛÇÝ ýÇÉ­Ù»ñ óáõ­ ó³¹­ñáõÙ: âϳ åá­»­½Ç³, ãϳ Ééáõ­ÃÛáõÝ, ϳ ³ñ³­ ·áõ­ÃÛáõÝ, ³ñ³· å³­ïáõÙ ¨ í»ñç: àõ­½áõÙ »Ù Ó»½ ½·áõ­ß³ó­Ý»É, áñ å³­Ñ»ù ÏÇ­Ýá­³ñ­ï³¹­ñáõ­ÃÛáõ­ÝÁ, ¹³ áã û ÏÇ­Ýá­³ñ­ï³¹­ñáÕ­Ý»­ñÇ, ³ÛÉ Ó»ñ ·áñÍÝ ¿¦: ²Ý¹­ñ³­¹³é­Ý³­Éáí Çñ ѳÙñ ýÇÉ­Ù»­ñÇÝ` êï»­ ÉÇÝ·Ý ³ë³ó, áñ »ñÏ­ Ëá­ëáõ­ ÃÛáõ­ ÝÁ ÙÇ µ³Ý ¿, áñ ï³­ÝáõÙ ¿ ¹»­åÇ áõ­Õ»­ÕÁ. §ºë áõ­½áõÙ ¿Ç ëï»Õ­Í»É ÏÇ­Ýá, áñ ï³­ÝáõÙ ¿ ¹»­åÇ Ñ³Ý­¹Ç­ë³­ï»­ëÇ Ñá­·ÇÝ: ºÃ» ¹áõ ÙÇ ÷áùñ »ñÏ­Ëá­ëáõ­ÃÛáõÝ áõ­Ý»ë ýÇÉ­ÙáõÙ, ѳݭ¹Ç­ë³­ï»­ëÁ Ùï³­ÍáõÙ ¿, û ¹³ ¿ µ³­Ý³­ÉÇÝ áõ Ï»Ýï­ñá­Ý³­ÝáõÙ ¿ ¹ñ³ íñ³: ÆëÏ Ñ³Ùñ ýÇÉ­Ù»­ñáõÙ

ѳݭ¹Ç­ë³­ï»ëÝ ÇÝùÝ ¿ ëÏëáõÙ µ³­Ý³­ÉÇ­Ý»ñ ÷Ýïñ»É áõ ÷áñ­Ó»É ѳë­Ï³­Ý³É ýÇÉ­ÙÁ¦: êï»­ ÉÇÝ­ ·Á Ýß»ó, áñ µá­ Éá­ ñÁ ß³ï »Ý Ëá­ëáõÙ ¹»­ñ³­ë³Ý­Ý»­ñÇ Ù³­ëÇÝ: ´³Ûó ¹»­ñ³­ë³Ý­Ý»ñÝ Áݹ­ ѳݭñ³­å»ë ¿³­Ï³Ý ã»Ý: »­É³¹­ñáÕÝ Çñ³­íǭ׳ÏÝ ¿, áõ Ñ»Ýó ¹³ ¿ ýÇÉ­ÙÇ ³Ù»­Ý³­Ï³­ñ¨­áñ Ù³­ëÁ. §úñÇ­Ý³Ï »ñµ µ³­¹Á ù³Û­ÉáõÙ ¿, ¹³ áãÇÝã ãÇ Ýß³­Ý³­ÏáõÙ: ´³Ûó »Ã» »ë ÙÇ µ³¹ ¿É óáõÛó ï³Ù, áñ ¹é³Ý Ñ»­ï¨­áõÙ ¹³­Ý³­Ïáí ϳݷ­Ý³Í ¿, ¹áõù ÏÙï³­Í»ù, áñ ³Ûë ³é³­ çÇÝ µ³­¹Á ß³ï É³í ¹»­ñ³­ë³Ý ¿: ´³Ûó ³Ûë­ï»Õ Çñ³­ íǭ׳ÏÝ ¿ Ù»­Õ³­íáñ: ºë ¹»­ñ³­ë³Ý­Ý»­ñÇë ³ëáõÙ »Ù, áñ »Ã» áõ­½áõÙ »ù ˳­Õ³É, ·Ý³­ó»ù óï­ñáÝ: ºñµ »ë í»ñó­ÝáõÙ »Ù Ó»ñ ¹»ÙùÝ áõ »ñ³Åß­ïáõ­ÃÛáõÝ »Ù ¹ÝáõÙ, ëï³ó­íáõÙ ¿, áñ Ùï³­ÍáõÙ »ù, µ³Ûó Çñ³­Ï³­ÝáõÙ ¹áõù áãÇÝã ¿É ã»ù ³ÝáõÙ: ¸»­ñ³­ë³­ÝÇ Ë³­ÕÁ ÙÇ Ù³ëÝ ¿ ϳ½­ÙáõÙ, ÇëÏ Ë³­ÕÁ, »ñ³Åß­ïáõ­ÃÛáõ­ÝÁ ¨ ¿ý»Ïï­Ý»­ñÁ ÙÇ­³­ëÇÝ ëï»Õ­ÍáõÙ »Ý Çñ³­íǭ׳­Ï¦: øø

GOLDEN APRICOT DAILY | DAY 7 | 13 JULY | 2013

4 ÙñóáõóÛÇÝ ýÇÉÙ»ñ ê»ñÅ ²í»ïÇùÛ³Ý.

гݹÇë³ï»ëÁ ѳÛïݳµ»ñ»Éáõ ¿ ÙÇ ö³ñ³ç³Ýáí, áõÙ ãÇ ×³Ý³ãáõÙ §ö³ñ³ç³Ýáí¦ ýÇÉÙáõÙ Çñ ϳï³ñ³Í ³ß˳ï³ÝùÇ Ù³ëÇÝ å³ïÙáõÙ ¿ ѳٳé»ÅÇëáñ ¨ ·É˳íáñ ¹»ñ³Ï³ï³ñ ê»ñÅ ²í»ïÇùÛ³ÝÁ

¶»Õ»óÇÏÇ Í³é³Ý §ö³ñ³ç³Ýáí¦, é»Å.` ê»ñÅ ²í»ïÇùÛ³Ý, úɻݳ ü»ïÇëáí³, àõÏñ³Çݳ/ üñ³Ýëdz/ìñ³ëï³Ý/г۳ëï³Ý (§üÇÉÙ»ñ ³é³Ýó ë³ÑÙ³ÝÝ»ñǦ ³ñï³ÙñóáõóÛÇÝ Íñ³·Çñ), §ØáëÏí³¦ Ï/Ã, γñÙÇñ ¹³ÑÉÇ×, 13.07 (15:00) ²Ñ³ ¨ ê»ñ­·»Û ö³­ñ³­ç³­Ýá­íÁ` ËáñÑñ­¹³­ÛÇÝ ÏÇ­ Ýá­ÛÇ ÑëÏ³Ý Ï³Ù ¿É §µáõñ­Åá­õ³­Ï³Ý, ³½­·³Û­Ý³­ÙáÉ áõÏ­ñ³­Ç­Ý³­óÇݦ` ÇÝã­å»ë ÇÝùÝ Çñ»Ý Ýϳ­ñ³·­ñáõÙ ¿ ³Ûë ýÇÉ­ÙáõÙ: ê»ñÅ ²í»­ïÇ­ùÛ³­ÝÇ §ö³­ñ³­ç³­Ýá­ íÁ¦ å³ï­ÙáõÙ ¿ Ýñ³ Ï۳ݭùÇ å³ï­Ùáõ­ÃÛáõ­ÝÁ, áñÝ ëÏëíáõÙ ¿ ÎÇ­¨­áõÙ ³Ýó­Ï³ó­ñ³Í Ýñ³ »ñ­ç³­ÝÇÏ ûñ»­ ñÇó, ³å³ ѳ­çáñ­¹áõÙ ¿ Ýñ³ Ó»ñ­µ³­Ï³­Éáõ­ÃÛáõ­ÝÁ` 1973 Ã. ¨ ѳ­Ù³­ë»­é³­ÙáÉáõ­ÃÛ³Ý áõ µéݳ­µ³­ñáõ­ ÃÛ³Ý Ñ³­Ù³ñ Ù»­Õ³¹­ñ³Ýù­Ý»­ñÁ, ß³­ñáõ­Ý³Ï­íáõÙ ¿ ëÇ­µÇ­ñÛ³Ý ³ù­ëá­ñ³­í³Û­ñáí ¨ ³í³ñï­íáõÙ 1983 Ã.` µǭÉÇ­ëÇ­áõÙ µÝ³­Ïáõ­ÃÛáõÝ Ñ³ë­ï³­ï»­Éáí: §Ì³­·áõ­ Ùáí ѳÛ, ÍÝáõÝ­¹áí ìñ³ë­ï³­ÝÇó, áõÙ Ù»­Õ³¹­ñáõÙ »Ý áõÏ­ñ³­Ç­Ý³­óÇ ³½­·³Û­Ý³­ÙáÉ ÉÇ­Ý»­Éáõ ѳ­Ù³ñ¦. Ýñ³ ѳݭ׳­ñÁ ³Ý»Íù ¿ñ Çñ ѳ­Ù³ñ, µ³Ûó ÙÇ Ù»Í Áݭͳª ѳ­Ù³ß­Ë³ñ­Ñ³­ÛÇÝ ÏÇ­Ýá­ÛÇ Ñ³­Ù³ñ: ÊáñÑñ­¹³­ÛÇÝ ÙÇ­áõ­ÃÛáõ­ÝáõÙ Ýñ³Ý »Ý­Ã³ñ­Ï»É »Ý ýÇ­½Ç­Ï³­Ï³Ý áõ Ñá­·»­µ³­Ý³­Ï³Ý Ïïï³Ýù­Ý»­

ñÇ ¨ ×ÝßáõÙ­Ý»­ñÇ: ²ÛÝ­ï»Õ Ýñ³ ýÇÉ­Ù»­ñÁ ï³­ñÇ­ Ý»ñ ß³­ñáõ­Ý³Ï ³ñ­·»É­í³Í ¿ÇÝ, ÙÇÝã­¹»é ¹ñ³Ýù µáõéÝ á·¨­á­ñáõ­ÃÛ³Ùµ ¿ÇÝ ÁÝ­¹áõÝ­íáõÙ ÙÇ­ç³½­·³­ÛÇÝ ÷³­é³­ïá­Ý»­ñáõÙ: Üñ³ Ó»ñ­µ³­Ï³­Éáõ­ÃÛáõ­ÝÇó Ñ»­ïá µ³½­Ù³­ÃÇí ³ñ­í»ë­ï³­·»ï­Ý»ñ ¿ÇÝ Çñ»Ýó µá­ÕáùÝ ³ñ­ï³­Ñ³Û­ï»Éª ³Û¹ ÃíáõÙ ¶á­¹³­ñÁ, îñÛáõ­ýáÝ, ´Ûáõ­ Ýá­õ»­ÉÁ, ü»­ÉÇ­ÝÇÝ, ²Ý­ïá­ÝÇ­á­ÝÇÝ ¨ Ýñ³ Ùï»­ñÇÙ ÁÝ­ Ï»­ñÁª î³ñ­Ïáíë­ÏÇÝ: ¸³ ·áõ­ó» áñáß ã³­÷áí ë÷á­ ÷áõÙ ¿ñ Ýñ³Ý: ´³Ûó ë³­éÁ µ³Ý­ïáõ٠ݳ Ù»­Ý³Ï ¿ñª ÙÛáõë µ³Ý­ï³ñ­Ï۳ɭݻ­ñÇ ëå³é­Ý³­ÉÇù­Ý»­ñÇ áõ Ýí³ë­ ï³­óáõÙ­Ý»­ñÇ ¹»Ù, áí­ù»ñ ã·Ç­ï»­ÇÝ, û ÇÝã ¿ Çñ»­ÝÇó Ý»ñ­Ï³­Û³ó­ÝáõÙ §ÏÇ­Ýá­ÛÇ ³Û¹ Ë»Ýà ٳñ­¹Á¦` Çñ µá­ Éáñ Ýϳñ­Ý»­ñáí ¨ §³Ý­å»ïù¦ Ïá­É³Å­Ý»­ñáí: üñ³Ý­ë³­Ñ³Û ¹»­ñ³­ë³Ý-é»­ÅÇ­ëáñ ê»ñÅ ²í»­ïÇ­ ùÛ³­ÝÁ, áí 2010 Ã. §àë­Ï» ³ñ­Ù³­í»­ÝǦ Ùñó³­Ý³­ÏÇ ¿ ³ñ­Å³­Ý³­ó»É §ÞÝ»­ñÇ ÏսǦ ýÇÉ­ÙÇ Ñ³­Ù³ñ` Çñ ϳñ­×³­Ù»ï­ñ³Å, ·»­Õ»­óÇÏ ³ÝÇ­Ù³­óÇ­³­Ûáí, ëï»Õ­ Í»É ¿ ö³­ñ³­ç³­Ýá­íÇ Ñ½áñ ¹Ç­Ù³Ý­Ï³­ñÁª Ýñ³ ÃáõÛÉ ¨ áõ­Å»Õ ÏáÕ­Ù»­ñáí, Ýñ³ áõ­ñ³­Ëáõ­ÃÛáõÝ­Ý»­ñáí ¨ ó³­ íáí: üÇÉ­ÙÇ Ñ³­Ù³­é»­ÅÇ­ëáñÝ ¿ ëó»­Ý³­ñÇ Ñ»­ÕÇ­Ý³Ï úɻݳ ü»­ïÇ­ëá­í³Ý: ö³­ñ³­ç³­ÝáíÝ Çñ Ï۳ݭùáõÙ ÙÇßï ¹Åí³­ñáõ­ÃÛáõÝ­Ý»­ñÇ ¿ ѳݭ¹Ç­å»É Çñ ѳ­Ù³ñ­ Ó³Ï µÝ³­íá­ñáõ­ÃÛ³Ý å³ï­×³­éáí: ²Ù­µáÕç Ï۳ݭ ùáõÙ Ýñ³Ý Ñ»­ï¨­»É ¨ ѳñ­ó³ùÝ­Ý»É »Ý Ç߭˳­Ýáõ­

ÃÛáõÝ­Ý»­ñÁ, µ³Ûóª §»ë ³Û­É³­ËáÑ ã»Ù¦,– ³ëáõÙ ¿ñ ݳ: §ºë ³ñ­í»ë­ï³­·»ï »Ù, ÇÙ ÙÇ­³Ï ó³Ý­Ïáõ­ÃÛáõ­ ÝÁ ýÇÉ­Ù»ñ Ýϳ­ñ³­Ñ³­Ý»ÉÝ ¿ª ·»­Õ»ó­Ïáõ­ÃÛ³­ÝÁ ͳ­ é³­Û»­ÉÁ¦: ºí ³Û¹ ¶»­Õ»ó­Ïáõ­ÃÛ³­ÝÁ ͳ­é³­Û»­ÉÇëª Ý³ ë³ñ­ë³­÷»­ÉÇ µÍ³ËÝ­¹Çñ ¿ñª ³Ý­·³Ù ³ÝÝ­ß³Ý Ù³Ý­ ñáõù­Ý»­ñáõÙ. §ê³­Û³Ã Üá­í³­ÛǦ ѳ­Ù³ñ ݳ å³­ ѳݭçáõÙ ¿ñ áë­Ï» ·³­í³Ã­Ý»ñ, ÇëÏ ³ÛÝ ·áñ­·»­ñÁ, áñáÝó ùáõñ¹ ³Õ­çÇÏ­Ý»­ñÁ å»ïù ¿ ¹Çå­ã»­ÇÝ Çñ»Ýó áï­ù»­ ñáí, å»ïù ¿ Ñ»Ýó ùñ¹»­ ñÇ Ó»é­ùáí ÉÇ­ Ý»­ ÇÝ å³ï­ñ³ëï­í³Í, Ýñ³ ѳ­Ù³ñ ÁÝ­¹áõ­Ý»­ÉÇ ã¿ñ áã ÙÇ ÝÙ³­Ý³­ÏáõÙ: ܳ ³Ý­ÙÇ­ç³­å»ë Ϲ³­¹³­ñ»ó­Ý»ñ Ýϳ­ñ³­Ñ³­ÝáõÙ­Ý»­ñÁ: ÜáõÛÝ­ù³Ý ˳ݭ¹áï ¿ñ ç³ñ¹­ í³Í ïÇÏ­ÝÇ­ÏÇ ¨ ϳ­Ý³­óÇ Ïá­ßÇ­ÏÇ Ñ³Ý­¹»å, áñÁ ·ï»É ¿ñ ³Õ­µ³­ÏáõÛ­ïáõÙ: л­ï³­·³­ÛáõÙ ³Û¹ Ïá­ßÇ­ÏÁ å»ïù ¿ ¹ñí»ñ ÷³Û­ï» Ãéãݳ­í³Ý­¹³­ÏáõÙ ¨ ·ÉáõË­ ·áñ­Íáó ¹³é­Ý³ñ... ²ÛÝ ³Û­ëûñ óáõ­ó³¹ñ­í³Í ¿ ºñ¨­ ³­ÝáõÙ ª ö³­ñ³­ç³­Ýá­íÇ Ã³Ý­·³­ñ³­ÝáõÙ: ²í»­ïÇ­ùÛ³­ÝÁ ¨ ü»­ïÇ­ëá­í³Ý Ñ»­ï¨­»É »Ý, û ÇÝã­ å»ë ¿ñ ö³­ñ³­ç³­Ýá­íÁ ͳ­é³­ÛáõÙ ¶»­Õ»ó­Ïáõ­ÃÛ³­ÝÁ, ¨ ³ÛÝ­å»ë »Ý í»­ñ³ñ­ï³¹­ñ»É Ýñ³ Ï۳ݭùÁ, ³ë»ë ¹³ Ñ»Ýó ³ñ­í»ë­ï³­·»­ïÇ Ñ»­Õǭݳ­Ï³Í Ïá­É³Å­Ý»­ ñÇó Ù»­ÏÁ ÉÇ­ÝǪ Ñ»­ï³åÝ­¹áÕ­Ý»­ñÁ, óݭϳñ­Å»ù ½³ñ­¹»­ñÁ, ųݭ·áï Ù»­Ë»ñÝ áõ Ïáïñ­í³Í ³å³­ÏÇ­ Ý»­ñÁ ÙÇ­³­ÓáõÉ­íáõÙ »Ý Çñ³ñ, ¨ ï»ë­ÝáõÙ »Ýù, û ÇÝã­å»ë ¿ ê»ñÅÝ ³ë­ïǭ׳­Ý³­µ³ñ í»­ñ³Í­íáõÙ ê»ñ­ ·»­ÛÇ: ØÇÝã Ýñ³ ï»­ë³Ý­ÏÛáõ­ÝÁ ѳݭ·áõÙ ¿ ÙÇ­³ÛÝ ëÇ­ñáõÝ áõ ·»­Õ»ó­Ïáõ­ÃÛ³­ÝÁ, Ù»Ýù ݳ¨ ï»ë­ÝáõÙ »Ýù ³ÛÝ ¹Ç­ï³­Ï»­ïÁ, áñ­ï»­ÕÇó ݳ ݳ­ÛáõÙ ¿: ԷԿ

»ñ­Ïáõ ׳٭µ³ñ­Ý»­ñáõÙ Ý»ñËÙ­µ³­ÛÇÝ µ³­ñá­Û³­Ñá­·»­ µ³­Ý³­Ï³Ý ѳ­Ï³­ë³­Ï³Ý ·áñ­Íá­Õáõ­ÃÛáõÝ­Ý»­ñáí: àõ­ ß³·­ñ³í ¿ 20 ï³­ñ»­Ï³Ý »ñ­Ïáõ ½ÇÝ­íá­ñÇ Ëá­ë³Ï­ óáõ­ÃÛáõ­ÝÁ, »ñµ ùÝݳñ­ÏáõÙ »Ý ³Ý­Ù»Õ Ù³ñ¹­Ï³Ýó ëå³­Ý»­Éáõ Çñ»Ýó ³é³­ù»­Éáõ­ÃÛ³Ý Ù³­ëÇÝ: Æ ï³ñ­ µ»­ñáõ­ÃÛáõÝ µ³ñÓ­ñ³ë­ïÇ­×³Ý ëå³­Ý»­ñÇ, áí­ù»ñ ³ñ­¹»Ý ѳ­×áõÛù »Ý ëï³­ÝáõÙ Ïá­Ùáõ­ÝÇë­ïÇ ³ñÛáõ­ ÝÇó, »ñÇ­ï³­ë³ñ¹ ½ÇÝ­íá­ñÁ ¹»­é¨ë ɳí ãÇ ·Ç­ï³Ï­ óáõÙ, û áõñ ¿ »Ï»É ¨ ÇÝ­ãáõ: ²½­¹»­óÇÏ ¿ µÝ³­ÏÇã­Ý»­ ñÇó ³Ùáõë­Ý³­Ï³Ý ½áõÛ­·Ç Ëá­ë³Ï­óáõ­ÃÛáõ­ÝÁ. Ýñ³Ýù ã·Ç­ï»Ý, û áñ­ï»Õ ¿ Çñ»Ýó ¹áõëï­ñÁ, áÕç ¿, û áã ¨ ÙÇ­ÙÛ³Ýó »Ý Ù»­Õ³¹­ñáõÙ ¹ñ³ ѳ­Ù³ñ: ä³ñ½­ íáõÙ ¿, áñ ¹ëï»­ñÁ Ñ»­ï¨­»­ÉÁ ÏÝáç å³ñ­ï³­Ï³­Ýáõ­ ÃÛáõÝÝ ¿ »Õ»É, 볭ϳÛÝ Ý³ Çñ ³ñ­¹³­ñ³­óáõÙÝ áõ­ÝÇ, í»ñó­ñ»É ¿ ϳñ­ïá­ýÇÉ, ³é³Ýó áñÇ ëá­í³Í ÏÙݳ­ÛÇÝ, ÷á­Ë³­ñ»­ÝÁ »ñ»­Ë³­ÛÇÝ ÃáÕ­Ý»­Éáí ï³­ÝÁ...

²Ûë Çñ³­Ï³­å³­ïáõÙ ýÇÉ­ÙáõÙ Ûáõ­ñû­ñÇ­Ý³Ï ËáñÑñ­¹³­å³ß­ïáõ­ÃÛáõÝ Ï³. Íáõ­ËÁ, ͳ­éÁ, ÓÛáõ­ÝÁ áã ÙÇ­³ÛÝ ÙÃÝá­Éáñï ëï»Õ­Í»­Éáõ ѳ­Ù³ñ »Ý: âݳ­ Û³Í Ýϳ­ñ³·ñ­í³Í ¹»å­ù»­ñÁ ß³ï Çñ³­Ï³Ý »Ý, 볭ϳÛÝ ÍËÇ ÙÇ­çá­óáí »ñ­µ»ÙÝ »ñ³­½³­ÛÇÝ ïå³­ íá­ñáõ­ÃÛáõÝ ¿ ëï»ÕÍ­íáõÙ. ϳñ­Í»ë é»­ÅÇ­ëá­ñÁ ãÇ áõ­ ½áõ٠ѳ­í³­ï³É, áñ ¹³ Çñ³­Ï³­Ýáõ­ÃÛáõÝ ¿: ê³ ã³­ ñÇ áõ µ³­ñáõ å³Û­ù³ñ ¿, µ³Ûó áã Ñ»­ùÇ­³Ã ­ Ç å»ë, áñÝ ³í³ñï­íáõÙ ¿ µ³­ñáõ ѳխó­Ý³­Ïáí: ²Ûë­ ï»Õ Ï»­ ݳó-Ù³­ Ñáõ å³Û­ù³ñ ¿, ÇÝãÝ ³í³ñï­ íáõÙ ¿ Ýáñ Ï۳ݭùÇ ÑáõÛ­ëáí: î»­ñ¨­³­Ã³÷­í³Í ͳ­ éÁ ÝÙ³Ý ¿ ³ÛÝ µÝ³­Ï³­í³Û­ñÇÝ, áñ­ï»­ÕÇó íï³­ ñ»É »Ý µÝ³­ ÏÇã­ Ý»­ ñÇÝ: ÎÛ³ÝùÝ ³Ûë­ ï»Õ ϳݷ ¿ ³é»Éª Ïñ³ÏÝ ¿ Ïá­ñ»É: ê¨ áõ ëåÇ­ï³Ï ³Ûë ýÇ­ ÙáõÙ å³ï­Ï»ñ­Ý»ñÝ ³í»­ÉÇ »Ý Áݹ·­ÍáõÙ ÉáõÛ­ëÇ ·»­Õ³ñ­í»ë­ï³­Ï³­Ýáõ­ÃÛáõ­ÝÁ: êÎ

γñïáýÇɪ ¹ëï»ñ ÷á˳ñ»Ý §Î³ñïáýÇɦ, é»Å.` ú Øáõ»É, гñ³í³ÛÇÝ Îáñ»³ (§øáõÛñ ÷³é³ïáÝ»ñ¦ ³ñï³ÙñóáõóÛÇÝ Íñ³·Çñ), ܳÇñÇ Ï/Ã, 13.07 (20:00) ²Ù­å»ñ, Íá­íÇ ³ÉÇù­Ý»­ñÇ ÷ñ÷áõñ, óÝÓñ Ùßáõ­ ßáí å³ï­í³Í ïáõÝ: ú Øá­õ»­ÉÇ §Î³ñ­ïá­ýÇɦ ýÇÉ­ÙÇ ëϽµáõÙ »ñ¨­³­óáÕ ³Ûë ϳ¹­ñ»­ñÇó ϳ­ñ»­ ÉÇ ¿ »Ý­Ã³¹­ñ»É, û ýÇÉ­ÙÁ ÉÇ­Ý»­Éáõ ¿ §³Ù­å»­ñÇ Ù»ç µÝ³Ï­íáÕ­Ý»­ñǦ Ù³­ëÇÝ: ´³Ûó Çñ³­Ï³­ÝáõÙ ³Û¹ ï»­ë³­ñ³Ý­Ý»­ñÁ ÏÇ­Ý᭹ǭïá­ÕÇÝ áõÕ­Õáñ­¹áõÙ »Ý ¹» åÇ 1948 Ã., ¹»­åÇ Ïá­ñ»­³­Ï³Ý Ïսǣ ØÇ­³­óÛ³É Ü³­Ñ³Ý·­Ý»­ñÇ µ³­Ý³­ÏÁ Îá­ñ»­³­Ûáõ٠ѳë­ï³­ïáõÙ ¿ ÙÇ Ññ³­Ù³Ý, Áëï áñÇ å»ïù ¿ §Ù³ù­ñ»É¦ ³Û¹ µÝ³­Ï³­í³Û­ñÁ Ïá­Ùáõ­ÝÇëï­Ý»­ñÇó: ¼ÇÝ­íá­ñ³­Ï³Ý­ Ý»­ñÇó ÷³Ë­ãáÕ Ë³­Õ³Õ µÝ³Ï­ãáõ­ÃÛáõ­ÝÁ óùÝ­ íáõÙ ¿ ù³­ñ³Ý­Ó³­íáõÙ: ÎÇ­Ý᭹ǭïá­ÕÇÝ Ññ³Ùó­íáõÙ ¿ Ï۳ݭùÇ ¨ ٳѭí³Ý »½­ñÇÝ Ï³Ý·­Ý³Í µÝ³­ÏÇã­Ý»­ ñÇ Ï۳ݭùÁ ù³­ ñ³Ý­ Ó³­ íáõÙ ¨ µ³ó »ñÏÝ­ùÇ ï³Ï` ÓÛ³Ý íñ³, ¨ ¹ñ³Ý ½áõ­·³­Ñ»é` ½ÇÝ­íá­ñ³­Ï³Ý­Ý»­ñÇ ßñç³­ÝáõÙ ½·³ó­íáÕ §Ïá­Ùáõ­ÝÇë­ïÇ ³ñÛ³Ý Í³­ñ³­ íÁ¦: سñ¹-Ù³ñ¹ ÷á˭ѳ­ñ³­µ»­ñáõ­ÃÛáõ­ÝÁ ýÇÉ­ÙáõÙ Ý»ñ­Ï³­Û³ó­íáõÙ ¿ áã ÙÇ­³ÛÝ ½ÇÝ­íá­ñ³­Ï³Ý­Ý»­ñÇ áõ ˳­Õ³Õ µÝ³Ï­ãáõ­ÃÛ³Ý Ñ³­Ï³¹­ñáõ­ÃÛ³Ùµ, ³Û­É¨ ³Û¹

êϽµáõÙ ÇÝÓ ³é³­ç³ñÏ­ í»É ¿ñ ýÇÉ­ ÙÇÝ Ù³ë­ Ý³Ï­ó»É áñ­å»ë ¹»­ñ³­ë³Ý£ ºñµ èá­Ù³Ý ´³­É³­Û³­ÝÁ Ññ³­Å³ñ­í»ó é»­ÅÇ­ëá­ñáõ­ÃÛáõ­ÝÇó, ÇÝÓ Ëݹñ»­óÇÝ ëï³ÝÓ­Ý»É Ý³¨ ³Û¹ ³ß­Ë³­ï³Ý­ùÁ: ²Ý­ÙÇ­ç³­å»ë ãå³­ï³ë­Ë³­Ý»­óÇ, ù³­ÝÇ áñ íï³Ý­ ·³­íáñ ¨ ͳÝñ ¿ »ñ­Ïáõ­ëÁ ÙÇ­³­Å³­Ù³­Ý³Ï ϳ­ ï³­ñ»­ÉÁ£ ´³Ûó »ñµ ѳë­Ï³­ó³, áñ »Ã» Ï۳ݭùáõÙ é»­ÅÇ­ëáñ »ë, ³å³ ¿Ï­ñ³­ÝÇÝ é»­ÅÇ­ëá­ñÇ ¹»­ñÁ ϳ­ ñáÕ »ë ã˳­Õ³É, ³ÛÉ å³ñ­½³­å»ë ÉÇ­Ý»É` ѳ­Ù³­ Ó³Û­Ý»­óÇ£ ²Û­ëÇÝùÝ` Ýϳ­ñ³­Ñ³Ý­Ù³Ý ï³­ñ³Í­ ùáõÙ »ë é»­ÅÇ­ëáñ ¿Ç, µ³Ûó ÙÇ­³­Å³­Ù³­Ý³Ï ö³­ ñ³­ç³­Ýáí é»­ÅÇ­ëáñÝ ¿Ç ÙÛáõë­Ý»­ñÇ Ñ³­Ù³ñ: ºë áã û Ýñ³ ¹»ñÝ ¿Ç ˳­ÕáõÙ, ³ÛÉ ÇÙ ·áñ­ÍÁÝ­Ï»ñ­Ý»­ ñÇÝ ï³­ÝáõÙ ¿Ç ¹»­åÇ ö³­ñ³­ç³­Ýá­íÇ ÙÃÝá­Éáñï` áã ÙÇ­³ÛÝ Çµ­ñ¨ ¹»­ñ³­ë³Ý, ³Û­É¨ ǵ­ñ¨ é»­ÅÇ­ëáñ, ǵ­ñ¨ Ù³ñ¹£ Ø»­ÏÁ ÙÛáõ­ëÇÝ û·­Ý»ó£ úÉ»­Ý³ ü»­ïÇ­ëá­í³Ýª ýÇÉ­ÙÇ Ñ³­Ù³­é»­ÅÇ­ëá­ ñÁ ¨ ëó»Ý³ñÇ Ñ»ÕÇݳÏÁ, ËáñÑñ­¹³­ÛÇÝ Å³­Ù³­ ݳϭݻ­ñáõÙ ÙÇ ëï»Õ­Í³­·áñ­Íá­ÕÇ ³½³­ïáõ­ÃÛáõÝ Ó»éù µ»­ñ»­Éáõ Ù³­ëÇÝ ·ñ»É ¿ñ` ÙdzÛÝ û·ï­í»­Éáí ݳ­Ù³Ï­Ý»­ñÇó, ³Ý­Ï»­ï³­ÛÇó£ ÆëÏ »ñµ ÙÇ­³­ëÇÝ ³ß­Ë³­ï»­óÇÝù, ݳ ѳë­Ï³­ó³í, áñ ýÇÉ­ÙÁ ÙÇ­³ÛÝ ¹ñ³­Ýáí ãÇ Ï³­ñáÕ µ³­í³­ñ³­ñ»É, ѳñ­Ï³­íáñ ¿ ³Û­ëûñ­í³ ѳ­Û³óù, áã û ëáëÏ ÷³ë­ï³·­ñ³­Ï³Ý Ùá­ï»­óáõÙ£ Üñ³ ѳ­Û³ó­ùÁ ¹³­ë³­Ï³Ý í³­í»­ñ³·­ ñ³­Ï³Ý ¿ñ, ÇëÏ »ë ß³ï ³ß­Ë³­ï»­óÇ ÷³ë­ï»­ñÇ ï³­ñ³Í­ùÇó ¹áõñë ·³­Éáõ ѳ­Ù³ñ, ³ÛÝ­å»ë, áñ ³Û¹ »ñ­Ïáõ­ëÁ ÙÇ­³­ëÇÝ ³å­ñ»Ý£ γ­ñ»­ÉÇ ¿ñ ÙÇ­³ÛÝ ÷³ë­ ï³·­ ñáõÃÛ³Ý ÑÇÙ³Ý íñ³ ýÇÉÙ ëï»Õ­Í»É, µ³Ûó ¹³ ÏÉÇ­Ý»ñ ³ÛÉ Ùá­ï»ó­Ù³Ùµ ¨ ³ÛÉ á×áí£ ²Ûë­ï»Õ ³Ù»­ÝÇó ¹Åí³­ñÝ ûµÛ»Ï­ïÇí Çñ³­Ï³­Ýáõ­ ÃÛ³Ý ¨ ùá ëáõ­µÛ»Ï­ïÇí Ù³­ïáõó­Ù³Ý ÙÇ­ç¨ Ñ³­ í³­ë³­ñ³Ïß­éáõ­ÃÛáõ­ÝÁ å³­Ñ»ÉÝ ¿ñ, ÇÝ­ãÁ, ϳñ­ÍáõÙ »Ù, ëï³ó­í»ó£ Àݹ­Ñ³­Ýáõñ ³ñ­¹ÛáõÝùÝ ³ÛÝ ¿, áñ Ï»ñ­å³ñÝ ëï³ó­í»ó ³ÛÝ ³éáõ­Ùáí, áñ ö³­ñ³­ç³­ Ýá­íÇÝ ãÇ ÏñÏÝáõÙ, µ³Ûó Ýñ³Ý ß³ï ÝÙ³Ý ¿` áã û ³ñ­ï³ù­Ý³­å»ë, ³ÛÉ Çñ ³½³­ïáõ­ÃÛ³Ùµ, Çñ ÝÇë­ïáõ­Ï³­óáí, Çñ Ëá­ñ³­Ù³Ý­Ïáõ­ÃÛ³Ùµ, Çñ ˳­ Õ³ñ­ÏáõÙ­Ý»­ñáí£ ¸»­ñÇ Ñ³Ý­¹»å ß³ï Ù»Í ½ëåí³­Íáõ­ÃÛáõÝ å³­ ѳÝç­í»ó ÇÝÓ­ÝÇó£ ´á­ÉáñÝ ëå³­ëáõÙ ¿ÇÝ, áñ ö³­ ñ³­ç³­Ýá­íÁ ÏÉÇ­ÝÇ ³ÛÝ­åÇ­ëÇÝ, ÇÝã­åÇ­ëÇÝ »ñ­µ»ÙÝ µ»­ÙÇ íñ³ ¿ñ ÉÇ­ÝáõÙ ª ó­ï»­ñ³­Ï³Ý á×áí, Ñáõ­ Ùá­ñáí, ˳­Õ»ñ ï³­Éáí, µ³Ûó ß³ï ùã»­ñÁ ·Ç­ï»­ ÇÝ Ýñ³Ý ÙÇ­³Û­Ý³Ï. ÇÝã­åÇ­ëÇ±Ý ¿ñ ݳ, »ñµ Ï᭠ɳŠ¿ñ ³ÝáõÙ, »ñµ Ýëï³Í ¿ñ ÙÇ É³í ÁÝ­Ï»­ñáç Ñ»ï... ºë ß³ï ³ß­Ë³­ï»­óÇ ¨ ϳñ­ÍáõÙ »Ù, áñ ýÇÉ­ÙáõÙ ¹³ ëï³ó­í»É ¿. ѳݭ¹Ç­ë³­ï»­ëÁ ѳÛï­ Ý³­µ»­ñ»­Éáõ ¿ ÙÇ ö³­ñ³­ç³­Ýáí, áõÙ ãÇ ×³Ý³ãáõÙ£ Æ ëϽµ³­Ý» ½·áõÙ ¿Ç, áñ å»ïù ¿ ß³ï ³½³ï ÉÇ­Ý»Ù, ãϳ߭ϳݹ­í»Ù ³Û¹ å³­ï³ë­Ë³­Ý³ï­íáõ­ ÃÛáõ­ÝÇó£ ÆëÏ å³­ï³ë­Ë³­Ý³ï­íáõ­ÃÛáõ­ÝÁ Ù»Í ¿ñª ¨ áñ­å»ë ¹»­ñ³­Ï³­ï³ñ, ¨ áñ­å»ë é»­ÅÇ­ëáñ£ ´³Ûó »ë ¹ÇÙ»óÇ ³Û¹ éÇë­ÏÇÝ: ²½³ï ÉÇ­Ý»­Éáõ ѳ­Ù³ñ å»ïù ¿ ß³ï ³ß­Ë³­ï»É£ ºí »ë ß³ï ³ß­Ë³­ï»­ óÇ: Æѳñ­Ï» ÇÝÓ ß³ï û·­ÝáÕ­Ý»ñ »Õ³Ýª áõÏ­ñ³­ ǭݳ­Ï³Ý ËáõÙ­µÁ, ѳ­Ù³­é»­ÅÇ­ëá­ñÁ, ﳭճݭ¹³­ íáñ ûå»­ñ³­ïáñ ê»ñ­·»Û Øǭ˳ɭãáõ­ÏÁ£ γñ­ÍáõÙ »Ù, áñ Ýϳ­ñ³­Ñ³­ÝáõÙ­Ý»­ñÇ Å³­Ù³­Ý³Ï µá­Éá­ñÁ ½·áõÙ ¿ÇÝ ÏÇ­Ýá­ÛÇ Ñ³­×áõÛ­ùÁ£ ¸³ áã û ѻ߭ï³ó­ ÝáõÙ ¿ñ ·áñ­ÍÁ, ³ÛÉ Ñݳ­ñ³­íá­ñáõ­ÃÛáõÝ ¿ñ ï³­ÉÇë Ùáõïù ·áñ­Í»É ê»ñ­·»Û ö³­ñ³­ç³­Ýá­íÇ ï³­ñ³Íùª ³é³Ýó áñ¨¿ µ³Ý å³ï­×»­Ý»­Éáõ, ³é³Ýó ïݳ½ ³Ý»­Éáõ, ¨ ÁÙ­µáßË­Ý»É ¹»­ñ³­ë³Ý áõ é»­ÅÇ­ëáñ ÉÇ­ Ý»­Éáõ ѳ­×áõÛ­ùÁ£ ÆëÏ »Ã» ÙïÝ»Ç ÇÝã-áñ ÏáÙ­åá­ ½Ç­óÇ­³­ÛÇ Ï³Ù ÁÝ­¹û­ñÇ­Ý³Ï­Ù³Ý Ù»ç, ÏÏáñ­ã»Ç£ ºë å»ïù ¿ Ùáï ÉÇ­Ý»Ç ÇÙ ÇëÏ ×³­Ý³­ã³Í ö³­ñ³­ ç³­Ýá­íÇݪ Ý»ñ­Ï³­Û³ó­Ý»­Éáí Ýñ³Ý ÇÙ ¿Ý»ñ­·Ç­³­ Ûáí£ ØÇ­·áõ­ó» áñáß µ³­Ý»ñ ³ÛÉ Ï»ñå »Ý ³ñ­í³Í, Ñݳ­ñ³­íáñ ¿ »ë ýÇ­½Ç­Ï³­å»ë ³í»­ÉÇ Ã»­Ã¨ »Ù, ù³Ý ÇÝ­ùÁ, µ³Ûó ¹³ ϳå ãáõ­ÝÇ, ϳ­ñ¨­á­ñÁ Ý»ñ­ ùÇÝ Ù³ñ¹Ý ¿ñ, áñÝ ëï³ó­í»É ¿£ Ø»Ï ³ÛÉ µ³Ý ¿É ¿ ëï³ó­í»É. ݳ áÕ­µ»ñ­·³­Ï³Ý Ï»ñ­å³ñ ¿, ÇÝ­ ãÁ »ë ã·Ç­ï»Ç Ýϳ­ñ³­Ñ³­ÝáõÙ­Ý»­ñÇó ³é³ç£ ²Ûá, ݳ ³ÝÁݹ­Ñ³ï ˳­ÕáõÙ ¿, ϳ­ï³­ÏáõÙ, 볭ϳÛÝ Çñ³­Ï³­ÝáõÙ Çñ Ëáñ­ùáõÙ áÕ­µ»ñ­·³­Ï³Ý Ï»ñ­å³ñ ¿£ üÇÉ­ÙÁ, Ç ¹»å, ѳݷáõÙ ¿ ¹ñ³Ý£ ²´

GOLDEN APRICOT DAILY | DAY 7 | 13 JULY | 2013

interview 5

Istvan Szabo §Ø»ýÇëïáÛǦ é»ÅÇëáñÁ ¨ ³Ûë ï³ñí³ Ñ³ÝÓݳÅáÕáíÇ Ý³Ë³·³Ñ Æßïí³Ý ê³µáÝ ³ëáõÙ ¿, áñ Ù³ñ¹ÏáõÃÛáõÝÁ ¹»é ý³áõëïÛ³Ý ·áñͳñùÇ ÍáõÕ³ÏáõÙ ¿. §ê³ï³Ý³ÛÇ Ñ»ï Ýáñ ·áñͳñùÇ å³ï׳éÁ ³å³Ñáí ½·³Éáõ ó³ÝÏáõÃÛáõÝÝ ¿¦:

ble of keeping her identity in films, it is never a role but her own identity. She was born so and she knows to understand the stars and the sky as animals understand the language of nature. She speaks this language.”

Do you think the problem of the writer is a general problem of intellectuals?

“No. There are people who understand life and there are people who don’t.”

Ò»ñ ýÇÉ­Ù»­ñÇó ß³­ï»­ñáõ٠ϳñ­Í»ë ³é³Ýó­ ù³­ÛÇÝ ¿ Ñ»­ï¨­Û³É ѳñ­óÁ. Ù³ñ¹Ý Çñ Ñ»ï ϳ­ ñá±Õ ¿ ³Ý­Ï»ÕÍ ÉÇ­Ý»É, û áã: ºë ¹³ ³Ý­Ï»Õ­Íáõ­ÃÛáõÝ ã»Ù ³Ý­í³­ÝáõÙ: ²é­Ñ³­ ë³­ñ³Ï DZÝã ¿ Ýß³­Ý³­ÏáõÙ ³Ý­Ï»Õ­Íáõ­ÃÛáõ­ÝÁ: ºë ÷Ç­ÉÇ­ëá­÷³ ã»Ù, ÁÝ­¹³­Ù»­ÝÁ é»­ÅÇ­ëáñ »Ù: γ­ñ¨­áñ ѳñóÝ ³ÛÝ ¿ª ³ñ­¹Ûáù Ù³ñ­¹Á ϳ­ñá±Õ ¿ ѳ­í³­ï³­ ñÇÙ ÙÝ³É Çñ»Ý ¨ ³ñ­¹Ûáù ݳ ϳ­ñáÕ ¿ ·ïÝ»É Çñ ÇÝù­Ýáõ­ÃÛáõ­ÝÁ:

You did many literary adaptations. Isn’t it difficult to follow the words of somebody else?

“The language of literature consists of the connection and tension between words. When you read something, following the instructions of the writer, you create images in your head. If you read War and Peace by Tolstoy, you know what Tolstoy thinks about Natasha Rostova. The color of her hair, of her eyes and her skin, everything is written. But the picture of Natasha Rostova in your head follows your experiences, it is a mixture of the picture of your mother, your sister, your friends etc. It is your picture, not Tolstoy’s.

But it works different in a film, the actress is Audrey Hepburn and you accept that, or else the film doesn’t work. Faces express emotions, born in front of the audience they change into other emotions. Of course you use words too but they are only dialogs, no descriptions of nature and emotions. You must find the images that represent the phantasy of the audience.”

²Û¹ ¹»å­ùáõÙ ÇÝã­å»±ë ϵÝáõ­Ã³·­ñ»­Çù Ù³ñ­ ¹áõ ÇÝù­Ýáõ­ÃÛáõ­ÝÁ: ÆÝù­Ýáõ­ÃÛáõÝÝ ³ÛÝ ¿, û á±í »ë ¹áõ: àñ­ï»­ÕDZó »ë: à±õÙ »ë å³ï­Ï³­ÝáõÙ: ƱÝã Ýå³­ï³Ï­Ý»ñ áõ­Ý»ë Ï۳ݭùáõÙ: Þ³ï ѳ­×³Ë Ù»Ýù ³Ï³­Ý³­ï»ë »Ýù ÉÇ­ÝáõÙ, »ñµ Ù³ñ­¹ÇÏ ã»Ý ϳ­ñá­Õ³­Ýáõ٠ѳ­í³­ï³­ñÇÙ ÙÝ³É Çñ»Ýó: ¶áõ­ó» Ýñ³Ýù ѳ­í³­ï³­ñÇÙ »Ý Çñ»Ýó ¿áõ­ÃÛ³­ ÝÁ, µ³Ûó ³ß­Ë³°ñÑ­Á ÃáõÛÉ ãÇ ï³­ÉÇë, áñ Ýñ³Ýù ÙÝ³Ý ³ÛÝ­åÇ­ëÇÝ, ÇÝã­åÇ­ëÇÝ Ï³Ý: ÊݹÇñ­Ý»­ ñÁ ÙÇßï ͳ­·áõÙ »Ý å³ï­Ùáõ­ÃÛáõ­ÝÇó, ù³­Õ³­ ù³­Ï³­Ýáõ­ÃÛáõ­ÝÇó áõ ·³­Õ³­÷³­ñ³­Ëá­ëáõ­ÃÛáõ­ÝÇó: úñÇ­Ý³Ï §Ø»­ýÇë­ïá­ÛǦ ¹»­ñ³­Ï³­ï³­ñÁ, §Îá­ Éá­Ý»É 軹­ÉǦ ëå³Ý, §ÈÇ­Ý»É æáõ­Édzݦ ýÇÉ­ÙÇ ¹»­ñ³­ë³­Ýáõ­ÑÇÝ... ÜáõÛ­ÝÇëÏ §²ñ¨­³­ÉáõÛ­ëÇ Ñ³­ÙÁ¦ ¨ §ÎáÕ­Ù»­ñÇ Ï³ñ­ÍÇù­Ý»­ñÁ¦ ýÇÉ­Ù»­ñÇ µá­Éáñ Ï»ñ­ å³ñ­Ý»­ñÁ ﳭճݭ¹³­íáñ Ù³ñ­¹ÇÏ »Ý: Üñ³Ýù áõ­ Ý»Ý ÙÇ µ³Ý, áñÁ Ïó³Ý­Ï³­Ý³­ÛÇÝ ³ñ­ï³­Ñ³Û­ï»É, µ³Ûó ³ß­Ë³ñ­ÑÁ Ýñ³Ý­óÇó ³ÛÉ µ³Ý ¿ 峭ѳݭçáõÙ: ºí ËݹÇñÝ ³ÛÝ ¿ª Ϸݳ±ë ½Ç­çáõÙ­Ý»­ñÇ, ÏÁÝ­¹áõ­Ý»±ë ÇÝã-áñ µ³Ý ³ß­Ë³ñ­ÑÇó, û áã: ÆëÏ Ù³ñ­¹ÇÏ, áí­ ù»ñ ½Ç­çáõÙ­Ý»­ñÇ »Ý ·ÝáõÙ, »ñ­µ»ÙÝ Ïáñó­ÝáõÙ »Ý Çñ»Ýù Çñ»Ýó: §¸áõ­éÁ¦ ýÇÉ­Ùáõ٠ѳ­Ï³ëáõ­ÃÛáõÝ Ï³ ѳ­ë³­ ñ³Ï Ù³ñ­¹áõ ¨ Ùï³­íá­ñ³­Ï³­ÝÇ ÙÇ­ç¨: êå³­ ëáõ­ÑÇÝ, áõÙ ¹»­ñÁ ϳ­ï³­ñáõÙ ¿ л­É»Ý ØÇ­ñ»­ ÝÁ, ϳñ­Í»ë ³í»­ÉÇ Ñ³­í³­ï³­ñÇÙ ¿ ÇÝùÝ Çñ»Ý, ù³Ý ·ñá­ÕÁ, áí ݳ­Ë³Ý­ÓáõÙ ¿ ¹ñ³Ý: àñáí­ Ñ»­ ï¨ ³ÛÝ ³Ù»­ ÝÁ, ÇÝã ·ñá­ ÕÁ ·Ç­ ïÇ, ëá­ íá­ñ»É ¿ áõ­ñÇß­Ý»­ñÇó: Üñ³ íñ³ ³½­¹áõÙ »Ý áõ­ñÇß Ù³ñ­¹ÇÏ ¨ áõ­ñÇß ·³­Õ³­÷³­ñ³­Ëá­ëáõ­ÃÛáõÝ­Ý»ñ, ÇëÏ ëå³­ëáõ­ÑÇÝ, áõÙ Ù³ñ٭ݳ­íá­ñ»É ¿ л­É»Ý ØÇ­ñ»­ÝÁ, Ç ÍÝ» å³ñ­½³­å»ë ³Û¹­åÇ­ëÇÝ ¿: Üñ³ ·Ç­ï»­ÉÇù­ Ý»­ñÇ ³Õ­µÛáõ­ñÁ µÝáõ­ÃÛáõÝÝ ¿ ¨ áã û áõ­ñÇß Ù³ñ­ ¹ÇÏ Ï³Ù ·ñù»­ñÁ ¨ ·³­Õ³­÷³­ñ³­Ëá­ëáõ­ÃÛáõÝ­Ý»­ñÁ: Üñ³ ³ñ­Ù³ï­Ý»­ñÁ ¹³ß­ï³­í³Û­ñ»­ñáõÙ »Ý: ÆëÏ ·ñá­ÕÇ ³ñ­Ù³ï­Ý»­ñÁ ·ñù»­ñáõÙ »Ý, ݳ áõ­ÝÇ Ñ³­Ù³É­ ë³­ñ³­Ý³­Ï³Ý ÏñÃáõ­ÃÛáõÝ, ·Ç­ï»­ÉÇù­Ý»ñ: ´³Ûó ݳ ãÇ Ñ³ë­Ï³­ÝáõÙ Çñ³­Ï³Ý Ï۳ݭùÁ: л­É»Ý ØÇ­ñ»ÝÝ ³ÛÝ­åÇ­ëÇ Ï»ñ­å³ñ ¿, áí Ç íǭ׳­ ÏÇ ¿ å³Ñ­å³­Ý»É Çñ ÇÝù­Ýáõ­ÃÛáõ­ÝÁ ýÇÉ­Ù»­ñáõÙ, ¹³ áã û ¹»ñ ¿, ³ÛÉ Ñ»Ýó Ýñ³ ë»­÷³­Ï³Ý ¿áõ­ÃÛáõ­ÝÁ: ܳ ÍÝí»É ¿ ³Û¹­åÇ­ëÇÝ, ݳ ѳë­Ï³­ÝáõÙ ¿ ³ëï­ Õ»­ñÇ ¨ »ñÏÝ­ùÇ É»­½áõÝ, ÇÝã­å»ë ϻݭ¹³­ÝÇ­Ý»ñÝ »Ý ѳë­Ï³­ÝáõÙ µÝáõ­ÃÛ³Ý É»­½áõÝ: ܳ ïÇ­ñ³­å»­ïáõÙ ¿ ³Û¹ É»½­íÇÝ: Ò»ñ ϳñ­ÍÇ­ùáí ³Ûë ·ñá­ÕÇ ËݹǭñÁ µá­Éá±ñ Ùï³­íá­ñ³­Ï³Ý­Ý»­ñÇÝ ¿ µÝá­ñáß: àã: Î³Ý Ù³ñ­¹ÇÏ, áí­ù»ñ ѳë­Ï³­ÝáõÙ »Ý Ï۳ݭùÁ ¨ Ï³Ý Ù³ñ­¹ÇÏ, áí­ù»ñ ã»Ý ѳë­Ï³­ÝáõÙ: ¸áõù µ³½­Ù³­ÃÇí å³ï­Ù³­Ï³Ý áÕ­µ»ñ­·áõ­ ÃÛáõÝ­Ý»ñ »ù Ýϳ­ñ³­Ñ³­Ý»É. ϳñ­ÍáõÙ »ùª å³ï­ Ùáõ­ÃÛáõÝÝ ³é­Ñ³­ë³­ñ³Ï áÕ­µ»ñ­·³­Ï³±Ý ¿: àã ÙÇ­³ÛÝ ¶»ñ­Ù³­ÝÇ­³­ÛÇ, ³Û­É¨ ³Ù­µáÕç λÝï­ ñá­Ý³­Ï³Ý ºí­ñá­å³­ÛÇ ùë³­Ý»­ñáñ¹ ¹³­ñÇ å³ï­ Ùáõ­ÃÛáõ­ÝÁ áÕ­µ»ñ­·áõ­ÃÛáõÝ ¿: ²ÛÝ ëÏëí»É ¿ »ñ­Ïáõ ѳ­Ù³ß­Ë³ñ­Ñ³­ÛÇÝ å³­ï»­ñ³½Ù­Ý»­ñáí ¨ ß³­ñáõ­ ݳϭí»É ³Û­ëá­õ³ÛÝ­ï»Õ µéÝÏí³Í ÙÇ ù³­ÝÇ Ñ»­ Õ³­÷á­Ëáõ­ÃÛáõÝ­Ý»­ñáí: ²ÛÝ­å»ë áñ »í­ñá­å³­óÇ­ Ý»­ ñÁ ß³ï »Ý ï³­é³­å»É: â»ù ·ïÝÇ ÙÇ ÁÝ­ ï³­ ÝÇù, áñÝ ³Ý­¹³Ù ϳ٠ѳ­ñ³­½³ï Ïáñó­ñ³Í ãÉÇ­ÝÇ Ï³Ù ¿É ïáõ­Å³Í ãÉÇ­ÝÇ ù³­Õ³­ù³­Ï³Ý, å³ï­Ù³­Ï³Ý áõ ·³­Õ³­÷³­ñ³­Ëá­ë³­Ï³Ý ï³ñ­µ»­ñáõ­ÃÛáõÝ­Ý»­ñÇ å³ï­×³­éáí:

After the many historical tragedies you made, do you think history is tragic?

“Not only German history but the whole Central European history of twentieth century is tragic. It started with two world wars and then also some re­ volutions broke out. So Central European people suffered a lot. You cannot find one family that didn’t loose a member or suffered because of political, historical, ideological differences.”

ø³­ÝÇ áñ ¹áõù û­ñ¨ë ɳ­í³­·áõÛÝ ³¹³å­ï³­ óÇ­³­ÛÇ Ñ»­ÕǭݳÏÝ »ù, DZÝã ¿ Ýß³­Ý³­ÏáõÙ §ü³­ áõë­ïÁ¦ Ó»½ ѳ­Ù³ñ: ¸³ ÙÇ Ù»Í ËݹÇñ ¿: سñ¹­Ïáõ­ÃÛáõ­ÝÁ ÙÇßï ·Ç­ï»­ÉÇù­Ý»­ñÇ ¿ Ó·ï»É: г­ÝáõÝ ¹ñ³ å³ï­ñ³ëï ¿ »Õ»É ÝáõÛ­ÝÇëÏ í³­×³­é»É ³Ù»Ý ÇÝã: ÐÇ­Ù³ ³Ûë ËݹǭñÁ ÷á­Ë³­ñÇÝ­í»É ¿ Ù»Ï áõ­ñÇ­ßáí: 곭ﳭݳ­ ÛÇ Ñ»ï Ýáñ ·áñ­Í³ñùÝ ³å³­Ñáí ½·³­Éáõ ó³Ý­ Ïáõ­ ÃÛáõÝÝ ¿: Ø»Ýù í³­ ׳­éáõÙ »Ýù ³Ù»Ý ÇÝã, áñ­å»ë­ ½Ç Ù»½ ³å³­ Ñáí ½·³Ýù: г­ ÝáõÝ ¹ñ³ å³ï­ñ³ëï »Ýù Ù»ñ Ñá­·Ç­Ý»­ñÁ í³­×³­é»É ë³­ï³­ ݳ­ÛÇÝ:

Mephisto director and this year’s jury president István Szabó says mankind is still trapped in a Faustian deal. ‘The new contract with the devil is the desire to feel safe.’

äñá­¹Ûáõ­ë»­ñáõ­ÃÛ³Ý å³Û­Ù³Ý­Ý»­ñÁ ų­Ù³­Ý³­ ÏÇ Áݭóó­ùáõÙ ÷áË­í»±É »Ý ¨ »Ã» ³Û᪠³å³ ÇÝã­å»±ë: Ø»ñ Ñݳ­ñ³­íá­ñáõ­ÃÛáõÝ­Ý»­ñÁ 峭ϳ­ë»É »Ý: üÇÉ­ Ù»­ñÇ ³ÛÝ ï»­ë³Ï­Ý»­ñÁ, áñ Ù»Ýù ëÇ­ñáõÙ »Ýù (»ë ÑÇ Ù³ Ëá­ëáõÙ »Ù ݳ¨ ÇÙ ·áñ­ÍÁÝ­Ï»ñ­Ý»­ñÇ ³Ýáõ­ÝÇó), ³ÛÅÙ §³ñíѳ­áõ½¦ ýÇÉ­Ù»ñ »Ý Ïáã­íáõÙ: Ø»½ ûñ»­ óûñ ³í»­ÉÇ áõ ³í»­ÉÇ ùÇã ýǭݳÝë­Ý»ñ »Ý ïñ³­Ù³¹­ ñáõÙ: ¸Åí³ñ ¿ ³Ù»­ Ýáõ­ ñ»ù, µ³Ûó Ñ³ï­ Ï³­å»ë ¹Åí³ñ ¿ ³ÛÝ »ñÏñ­Ý»­ñáõÙ, áñ­ï»Õ Ñ»­éáõë­ï³­ï»­ ëáõ­ÃÛáõÝÝ ³Û­ÉÁÝï­ñ³Ýù ã¿: гݭ¹Ç­ë³­ï»ëÝ ¿É ¿ ÷áË­í»É: Ü³Ë Ñ»­éáõë­ï³­ ï»­ëáõ­ÃÛ³Ý å³ï­×³­éáí. Ù³ñ­¹ÇÏ ëÏë»É »Ý Ëá­ë»É óáõ­ó³¹­ñáõ­ÃÛáõÝ­Ý»­ñÇ Áݭóó­ùáõÙ ª §Æ±Ýã »ë ³ëáõÙ, ëÇ­ñ»­ÉÇë¦: Üñ³Ýó ÃíáõÙ ¿, û óáõ­ó³¹­ñáõ­ÃÛáõÝ­ Ý»­ñÇ Áݭóó­ùáõÙ Ëá­ë»­ÉÁ Ýáñ­Ù³É »ñ¨­áõÛà ¿: ºí Ñ»­ïá, »Ã» ùá ýÇÉ­ÙÇ óáõ­ó³¹­ñáõ­ÃÛ³Ý Å³­Ù³­Ý³Ï ϳݷ­Ý»ë Ù³ñ¹­Ï³Ýó Ñ»­ï¨­áõÙ ª Ïï»ë­Ý»ë, áñ µá­Éá­ ñÁ ˳­ÕáõÙ »Ý Çñ»Ýó µçç³­ÛÇÝ Ñ»­é³­Ëáë­Ý»­ñáí: ºë ã»Ù ѳë­Ï³­ÝáõÙ, û ÇÝ­ãáõ »Ý Ýñ³Ýù ïáÙë ·ÝáõÙ, »Ã» ³Ù­µáÕç óáõ­ó³¹­ñáõ­ÃÛ³Ý Áݭóó­ùáõÙ å»ïù ¿ ѳ­Ù³­ó³Ý­óáõÙ ÉÇ­Ý»Ý: ü»­ÉÇ­ÝÇÇ ¨ ´»ñ·­Ù³­ÝÇ ýÇÉ­ Ù»­ñÁ ѳ­½³­ñ³­íáñ Ù³ñ­¹ÇÏ ¿ÇÝ ¹Ç­ïáõÙ, ÇëÏ ÑÇ­Ù³ å»ïù ¿ ·áÑ áõ »ñ­ç³­ÝÇÏ ÉÇ­Ý»ë, »Ã» 50 Ýëï³­ï»­ Õ»­ñáí ÏÇ­Ýá­Ã³ï­ñáÝ­Ý»­ñáõÙ ·á­Ý» ùë³Ý ï»­ÕÁ ½µ³­ Õ»ó­í³Í ÉÇ­Ý»Ý:

How would you define human identity then?

“Identity is who you are. Where are you coming from? Whom do you belong? What is your aim in life?”

²Û­ëÇÝùÝ` ¹áõù ³Û¹­ ù³Ý ¿É ɳ­í³­ ï»ë ã»ù ³å³­·³­ÛÇ Ñ³Ý­¹»å: àã: Ø»Ýù å»ïù ¿ ýÇÉ­Ù»ñ Ýϳ­ñ³­Ñ³­Ý»­Éáõ Ýáñ Ó¨­»ñ ·ïÝ»Ýù, å»ïù ¿ ¹ñ³Ýù Ñ»­ï³ùñ­ùÇñ ¹³ñÓ­ Ý»Ýù Ù³ñ¹­Ï³Ýó ѳ­Ù³ñ: ê³ ¿ Ù»ñ ËݹǭñÁ: ԷԿ

In many of your films the question whether one can be authentic to himself or not seems to play an important role.

“I don’t call it authenticity, what is authenticity anyway. I am not a philosopher, only a filmmaker. The important question is whether one can be faithful to himself and whether one can find his own identity.”

Many times we’re watching people who are not able to remain faithful to their identities.

“Maybe they are faithful to themselves but the world doesn’t allow them to remain so. The problem always comes from history, politics and ideologies. Take the actor in Mephisto, the officer in Colonel Redl, the actress in Being Julia... Even the characters in Sunshine and Taking Sides are all talented people. They have something in their hands that they would like to express but the world wants something else from them. And the question is whether you compromise and accept something from the world or not. And people who compromise sometimes loose themselves.”

In The Door there is a contrast between the com­ mon man and the intellectual. The maid played by Helen Mirren seems to be more truthful to herself than the writer, who becomes jealous of that.

“Because everything the writer knows she learned from other people. She is influenced by other people and different ideologies, whereas the maid portrayed by Helen Mirren was simply born so. All she knows comes from nature and not from other people or books and ideologies. She is somebody who has roots in the fields. And the writer has her roots in books, she has a university degree, she has knowledge. But she doesn’t understand real life.

Helen Mirren’s character is somebody who’s capa-

Seeing you did maybe the best adaptation, what is the meaning of Faust for you?

“It is a big problem. Mankind has been trying to get knowledge forever. It was even prepared to sell everything for it. Nowadays this problem has been replaced by another one. The new contract with the devil is the desire to feel secure. We are selling every­thing for this feeling of safety. We’re ready to give our souls to the devil for that.”

You made films in different languages. Does it make a difference in the way you work with the actors?

“No, not really. Actors are the same everywhere.

They work with their own emotions. I know they’re not listening to words but to changes in energy. What is important is the intensity and energy expressed by the faces and not by the words. Of course I like to work using my mother tongue but to find the exact word to help the actor is difficult even then.”

How did the conditions of production change over the years?

“We have fewer possibilities now. The type of films that we like, I am speaking in the name of my colleagues too, are called art-house movies now. It is difficult in all countries but especially in those where television is not an option.

And also the audience changed. First because of television, the audience started speaking during screenings. “What did you say honey?” They are under the impression that it’s ok to talk during the screenings. And also, if you stand behind people during the screening of your film, then you can see that everybody is playing with their mobile phones. I don’t understand why they buy a ticket if they will be on the internet during the whole film. There used to be a thousand people watching a Fellini or a Bergman but now we have cinemas with fifty seats and you have to be happy if twenty of them are filled.”

So you are not very optimistic about the future?

“No, we have to find new ways to make films, we have to make it interesting for them. It is our problem.” EK

GOLDEN APRICOT DAILY | DAY 7 | 13 JULY | 2013

6 reviews

Paradjanov: To beauty, to love!

Paradjanov (Serge Avedikian and Olena Fetisova, Ukrania 2013). 13-7, 17:00, Moscow Cinema, Red Hall.

Here comes Sergei Paradjanov, the giant of Soviet Cinema or “the bourgeois nationalist Ukrainian” as he describes himself in a brand new film. Serge Avedikian’s Paradjanov tells his life story starting with his happy days in Kiev, followed by his arrest in 1973 and the charges of homosexuality and rape, continuing in Siberian gulags until he settles in Tbilisi in 1983. “Armenian, born in Georgia, accused of being an Ukrainian nationalist” his uncompromising genius was a curse for himself but a great gift for world cinema.

He was subjected to physical and psychological torture and oppressions in the Soviet Union where he was for many years prevented from working.

Meanwhile his work was enthusiastically applauded at international film festivals. A wide range of artists protested against his imprisonment, including Godard, Truffaut, Buñuel, Fellini and Antonioni and his old friend Tarkovski and maybe that was some consolation for him. But in the cold prison yard he was alone facing the threats and humiliations of the other prisoners, who did not know what this mad “cameraman” was up to with all his paintings and collages of garbage.

French Armenian actor-director Serge Avedikian, who won the Palm d’Or for short film with his beautiful animation Barking Island in 2010, makes a powerful portrait of Paradjanov through his weaknesses and strengths, his joy and his pain, in a film that he codirected with his script writer Olena Fetisova. Paradjanov’s bold character brought him a life of continuous hardship. He was watched and interrogated by the authorities throughout his life but “I am no dissident”, he said. “I am an artist, my only desire is to make films in the service of beauty.”

He was obsessive about the smallest details when he was serving that beauty: he demanded cups of gold for Sayat Nova and the carpets that the Kurdish girls would touch with their feet had to be made by Kurds, no imitation was accepted. He would stop shooting immediately. And he showed the same passion towards a broken doll and a s­ingle wo­man’s shoe that he found in the garbage. That shoe would

make an art piece when put into a wooden bird cage, a piece that one can still see in the Paradjanov Museum in Yerevan today.

Avedikian and Fetisova follow Paradjanov in the service of beauty and recreate his life as if it were a collage by the artist himself: followers, jewels,

rusty nails and broken glasses come together as we watch how Serge slowly becomes Sergei. While his vision is only directed to love and beauty, we also see the position he’s he’s looking from: A captive in the eye of Brejnev, he is getting old while his love for his beautiful Svetlana refuses to fade. The film

jumps from dark greys to all the colors of life until Sergei finds peace in Paris after a speech in Georges Pompidou: “I don’t have an official title, I am nobody” he says in the film and then falls asleep in front of a fountain. As he sleeps all pain will be forgotten. Only beauty remains. EK

Hayk or 25 years later

Four Walls Sarajevo

The Short Meter Rises This year the festival’s Apricot Stone program dedicated to international short films and aimed to seek out the first attempts in filmmaking of young emerging filmmakers is celebrating its third year. While the “long meter” is always the highlight of the festival, the short meter deserves attention as well. Each year selection seems stronger.

This year’s program was solid as ever. From many hundred applicants a total of 47 films were chosen to participate. From witty comedies like Welcome and... Our Condolences and heartfelt dramas like Four Walls Sarajevo, to weird, but intriguing selfironic opuses of an unspecified genre like Fairly

Tale (the only Armenian short in the program). The films of the program aren’t just shorter copies of the ones in the feature competition even if the themes overlap. While the feature films are more lamentable and depressing, tellingly revealing the darker and harder sides of living, Stone films are lighter, at times even hilariously funny. Even the dramas show no sign of portraying a reality where hope is forever dead. Almost no film in the program (even the ones that end on a sad note) tends to leave the audience in despair. But they’re not naively optimistic either.

They reflect a more youthful, yet (on its own terms) wise and hopeful perception of life. AV

Harutyun Khachatryan’s Endless Escape, Eternal Return is planned as a series of feature films each of which is going to tell the story of a different person. All these people with their own unique stories appeared in Khachatryan’s 1989 The Wind of Emptiness, which was a common portrait of Armenians who for different reasons had left their homeland and wandered the far ends of the world. When The Wind was released Khachatryan felt that the film was incomplete. Over the years he continued to film these people, their lives and the evolution of their thoughts. Almost twentyfive years later the first film of the series called Hayk: Escape was ready. And considering the problem of constant emigration in modern day Armenia the film turned out to be more than topical.

This is a film-portrait of Hayk, a self-taught theatrical director who couldn’t find spiritual

freedom in Armenia and wandered off to the Russian taiga. As Khachatryan says, this is his most “talkative” film, where he wasn’t thinking about the language of cinema, but rather let Hayk to unfold himself through his own language. Throughout most of the film – from year to year, Hayk tells Khachatryan about his new experiences in life.

His stories are both entertaining and thoughtful, way beyond the usual domestic conversations.

Khachatryan is a humble listener, who never interrupts. And in that sense this is more Hayk’s film, than it is Khachatryan’s. AV Endless Escape, Eternal Return (Harutyun Khachatryan, Armenia, 2013) 13-7, 11:00 Cinema October (Gyumri), 15:00 Moscow Cinema, Red Hall

GOLDEN APRICOT DAILY | DAY 7 | 13 JULY | 2013

news 7

The man from ‘the bitter movie’ Levon Haftvan talks Iranian cinema and the secret services. And why he's optimistic about the future.

“I will disappoint you from the beginning: I live in Canada”, says Iranian stage director, actor and producer Levon Haftvan. Having left Iran in 1991, he returned in 2010 after nineteen years, playing the lead character in the internationally appraised Iranian films Fat Shaker and Parviz. During his absence, he never stopped following the development of Iranian cinema. He’s refuses to call himself a political person, but he doesn’t shy away from making statements either.

“Unfortunately, many directors left Iran, like Ghobadi and Makhmalbaf. Once they left their home, they became less important. To keep your stories strong you have to ground them in Iranian reality, the battleground, the source. You should know and breathe the reality of your country, otherwise your story looses its value.” Bahman Ghobadi left Iran four years ago, in the context of disputed political elections, demonstrations and people being killed. “His 2000 A Time for Drunken Horses is the type of movie which you can still watch after forty years”, but while his 2012 Rhino Season attracted international stars and talks about politics but will not be mentioned in five years. On the other

Levon Haftvan in Parviz

hand, Asghar Farhadi’s Academy Award winner A Separation was done as an experiment, and despite working as a guest director in France he succeeded in keeping his roots in Iranian reality.

“The Iranian government never liked intellectual artists. Politics is about product, marketing and money, concerned with making a good image of the country, far removed from reality.” In Dariush Mehrjui’s 1969

film The Cow, the Islamic government forced the director to change the image of the village in which the action took place so it wouldn’t look like a remote place. Today Parviz is banned from being shown in Iran. “They call it ‘the bitter movie’. Director Majid Barzegar negotiated two years with the Ministry of Culture in order to get a license for the film. From the very start it was decided to shoot two versions of each scene that might be considered by the Censorship Committee as not corresponding to the rules.”

Haftvan says that even those working within the government administration don’t believe in the censorship. For them it’s just a matter of d­oing a job for money, cutting and making chan­ges in the script without any clear rules. “Everyone has a portfolio at the bureau of the s­ecret services.

When they want, they can make it a court case and when it comes to that, it’s rough, involving jail or a ban to make movies, as Jafar Panahi experienced. Even in Yerevan there are people from the Iranian embassy always wat­ching. Once I was linked with a theater play which was classified as immoral and I was labeled in a newspaper as a CIA agent.”

A month ago in Iran elections were held. "My expectations? I’m optimistic. I hope it won’t become any worse. We’ve had 'worse' for thirty years." AC

Serge Avedikian

‘The unknown Paradjanov’ Serge Avedikian talks about directing and acting in Paradjanov.

I was first invited to participate in the film as an actor. But when director Roman Balayan refused to shoot the film I was asked to direct. I didn’t reply right away, because this project was both difficult and dangerous to do. But I agreed when I realized that I’ve been able to play the role of a director in real life. So, on the set I was director Paradjanov, but I was also the director of Paradjanov. I wasn’t playing his role, I was taking my colleagues into Paradjanov’s atmosphere. As a director and as a person, not just as an actor. The one helped the other.

My co-director Olena Fetisova was initially ba­ sing her writing on letters and questionnaires about a Soviet-era artist who fought for freedom. But when we starting working together, she realized that it wasn’t enough, it needed a fresh new look, and not a mere factual approach. She had a classic do­ cumentary approach, and I worked hard to go outside the facts. We could’ve created a movie based only on facts, but it would’ve been different in terms of the artistic approach and style.

The main problem was to keep the balance between objective reality and subjective approach, and I think we succeeded. The final result was that we created a character who was not an imitation of Paradjanov, but is very similar to him. Not physically but in terms of his free spirit, behavior and cunning mind. And most importantly, it took me a lot of restraint to play this role. Everyone was expecting that Paradjanov would be the way he was on stage sometimes – theatrical, funny, playful, giving – but very few people knew him at the times when he was making collages and was sitting alone with good friends. I worked hard on it and I think it turned out fine. The audience will see a Paradjanov it has never met.

From the beginning I felt that I should feel free about this responsibility. And the responsibi­lity was big – as an actor and as a director. But I took the risk. If I started imitating, I would’ve been lost. I wanted to be close to the Paradjanov I knew. Some things of course have been done differently, but that doesn’t matter, the most important is the person inside. Another thing which we’ve succeeded in is showing that he is a tragic character, which I did not understand before shooting began. Only superficially he seems to be constantly fooling around and joking. In reality he was a very tragic character. AB

Maria Sahakyan on the set of I am Going to Change my Name

‘A utopia for local filmmakers’ Director Maria Sahakyan stresses the importance of the festival that helped produce her film I am Going to Change my Name, which is part of this year's international Feature Competition.

The Golden Apricot Film Festival is turning things around. Ten years ago Artavazd Peleshyan’s work was screened and the cinema was barley filled. Thursday night at the retrospective of his work the cinema was overflowing. Every single seat in Cinema Moscow’s Red Theater was spoken for, the walkways were packed like a Marshutka minivan during rush hour and people wouldn’t stop coming in. After every film there was intense applause and at every opportunity a standing ovation. The energy was electric.

This is one of the many things Golden Apricot has accomplished. It aims to regenerate Armenia’s cinema community and it seems to be working.

“Ten years ago we didn’t have this possibility to

see films”, says Maria Sahakyan, who’s much spoken about film, I am Going to Change my Name, screened yesterday part of the Feature Competition.

“Someone who was really interested in film could only find interesting films in video libraries. Today, the festival includes more than 150 films. The accessibility is unbelievable. Young directors and film lovers who crowd the hallways of the cinemas can engage in conversation with likeminded professionals from abroad. And the conversations don’t stop there. Walk down Sayat Nova or Abovyan Street this week and there’s a big chance you’ll bump into a participant. Such chance encounters are part of what I’d call a utopia for local filmmakers.”

“Along with the exposure from this week, GAIFF works towards creating a film school within the framework of the festival through master classes and workshops.” She mentions the healthy competition they create. “You feel you are not the only one making films, there are others with the same ambitions and tomorrow there will probably be some-

one better than you. So you try to do your best. This competitiveness needs to grow and develop because it is important.”

“And I’m also happy because I see people returning from abroad. They start working here, in our context. I know some filmmakers; they are not living here, but making Armenian films.

They are bringing all their knowledge from France, Beirut or somewhere else, and we, who are living here, we should compete with them.”

Her own film partook in the Director’s Across Borders workshop years ago. It serves as a good example of how the festival today is working with contemporary filmmakers. Starting from its early development stages, the film went through the infrastructure the festival creates for filmmakers in the region – exposure to international film professio­ nals, workshops, financial support and the building of a film community. Years later Sahakyan’s film is shown in the feature competition of the very same festival that helped getting it made. NIS

GOLDEN APRICOT DAILY | DAY 7 | 13 JULY | 2013

8 Ñáí³Ý³íáñÝ»ñ

0029, Republic of Armenia, Yerevan, Silikyan District, 5th St., 58 ՀՀ, Երևան, Սիլիկյան թաղ., 5րդ փող., տուն 58