ON THE HISTORY OF THE ASSYRIAN THEATRE

Recently, we have come across one unique historical document that is a letter someone in Tiflis wrote to his addressee in Urmia. It said of the formation of the Assyrian theatrical society in Tiflis (the then substitution for now Tbilisi). Unfortunately we still do not know the name of its author. Analyzing the text we conclude that this letter was sent to the "Kokhva" (Star) newspaper editorial office in Urmia in early 1911. Probably the letter was published in one of the newspapers issues later in the same year. If that is the case, and if it did not get lost in the first world wartime by accident, then we shall have a chance to pick up the name of its author. As this letter is really unique, we decided to do a full translation keeping the original calligraphy typical of the period it was written as well as a 2-page Nestorian type fast writing skill. Here is the full translation of the letter.

“The theatrical society of Assyrians in Tiflis”

We are sending our love to our beloved "Kokhva"! It was a sheer pleasure for us to read several articles published in our Assyrian national paper full of true love feelings to our nation now so unhappy and miserable. We know that our brothers allover the world is trying to consolidate us all in a form of one national union. They all work with great zeal. Now they are busy with selection of one good representative to Teheran... All this activity just shows that our poor nation after 25 centuries of frustration and disappointment is beginning to shake it off, pick up its heart and rise again.

And as we rejoice at our brother’s activities, we just want them to rejoice as much over the little work that we have done in the theatrical life of Tiflis.

In Tiflis there is a special place where people perform drama plays or do any other artistic work. Actually it is just a house, built with the money of a rich citizen called Mr. Zubalov (now it is a Tbilisian theatre named after K. Mardjanishvilli). The idea was just that local people of different nationalities would be able to gather and do some drama pieces there. Over a short time many of them organized small theatrical clubs or societies and put it to practice. And, probably, only Assyrians were beyond this activity. But now 5 things have changed so that we are participating to this artistic project at this "Bet Umta" (the popular house).

After many complications and resentment on the part of some of our own people we set up "the Theatrical Assyrian Society of Tiflis". Our first performance was given in November 24, 1910. About 1200 spectators were present for the show. Those were basically Assyrians along with some other nationalities. The next day all newspapers in Tiflis gave it a full coverage. They were as one positive about this first step of the Assyrian national theatre. This act brought us in the ranks with the whole civilized world, indeed. This time we performed "The occasional doctor" by Moliere in the translation of priest Mushe Babil.

For the second show we chose a comedy play by one young Assyrian author Yesip Bet Bedjan. This was "Hamta Karubta" (the angry girl). We played on 25th of January 1911. Now it is going to be the third time already that we are planning a drama piece by Freidoon Atturaya called "Hisha" (The grief). The play is billed on May 2. This way we the young do what we can for our beloved nation in this alien land as it is. In our effort we have reckoned in the following way.

1. Theatre is just like a mirror that reflects the human life so that anyone can see his faults and demerits and try to learn what he never knew before.

2. Theatre is a place where Assyrians can come and socialize as if they all were one family, one household. It really draws people and turns them from badly reputed occupations like drinking, etc. In one word, theatre serves to the good of people only. This is what we see in people of the Western culture where theatre is like the first school in everything.

3. Every young man or girl of Assyrian nationality in Tiflis can be a member of this theatrical society.

4. Every youth who enters the society with a view to become an actor is subjected to admission fee of one ruble a year. Those who want to be just "honorable members" will have to pay 5 rubles a year.

5. 2% of the profits that this society makes will go to a five-year account in the bank, and nobody can ever withdraw any money from it during 5 running years. The rest of the funds also will be deposited in the bank for some needs both societal and public.

6. A majority vote by actors is needed in order for the funds to be used by individuals or Society.

7. All theatrical productions like comedies drama pieces will be gladly accepted by the Society and submitted to discussion and then probably put to the stage. As the entire Society works for the glory of the nation, so the authors, young or mellow, should bring their works to the altar of the whole nation, too. Such are the basic ideas we laid in the foundation of our theatrical society of Assyrians. We will appreciate any initiative of our brothers in other countries, especially in North America, where there are plenty of public theatres or groups of enthusiasts. And they obviously are open to people of different nationalities. Among the famous members of the Assyrian theatrical society in Tiflis:

first chairman –ShlimunBet Malik Baba

second chairman Freidoon Atturaya

Treasurer -Yesip Bet Abraham

Actually the text stops here suddenly, but the letter has a postscript somewhere on the margin. It says: "We can send our brothers a free copy of any drama piece by mail. We only ask for a 2 rubles fee for just copying of the text and 50 kopeks for the writing paper and postal charges."

Epilogue

In conclusion we just may presume that 24th of November 1910 on the Julian calendar (or 7th December, on the Gregorian calendar time) is the day when the Assyrian national theatre was born.

And the great classical comedy "The occasional doctor" by Moliere happened to be the first stage production with the newly born theatre. We wish to gather more information about the people who just stood at the foundation of this theatre, namely kasha Mushe Babil, Yesip Bet Bedjan and others.

The author of this article was lucky to get a copy of two small microfilms. It is, actually, drama plays by Freidoon Atturaya "Hisha" (The Grief) and "Balbaty Kamai" (First Sparks). And I think if these plays will be put back to the stage again even after many decades of oblivion, then that will be the best to the memory of Dr. Freidoon Atturaya. So we say, "Ars longa, Vita brevis!" or "life is short, but art is forever!"

R. Bidjamov