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{{persont|ID=899|img=no|dcreate=26.04.2006|dmodify=16.05.2006 20:06:47}}{{Персона| ФИОname-ru-01 main = Шант Левон | ФИОname-ru-02 01 = Сегбосян Левон | ФИОname-ru-03 02 = Сехбосян Левон| ФИОname-ru-03 = | name-04 lat = Chanth Levon | ФИОname-05 en = Shant Levon| состояние общее name-am = | состояние фотографий name-fr =Chanth Levon| состояние тэгов текста =4| состояние структуры поиска =1| состояние текста тэгов =1| состояние ссылок = 1| флаг чистовик =ё7| портрет = 899_1.png| дата рождения = 1869| место рождения = Константинополь, Турция| дата смерти = 29.11.1951| место смерти = Бейрут, Ливан| краткая информация = Писатель, педагог, общественный деятель| тэг01 = писатель| тэг02 = общественный деятель| тэг03 = педагог

==Сочинения(выборочно)== 

=Библиографические ссылки=Разное==*Степан Лисициан и Ованес Туманян совместно с Шантом издавали букварь и учебники армянского языка для I—V классов «Лусабер» («Рассвет»). Редактировал же и издавал их непосредственно Ст. Лисициан. Он издавался в Тифлисе с 1907 по 1922 гг. и был в тот период фактически единственным учебником армянского языка в Закавказье.*Ст. Лисициан совместно с Шантом осуществил издание и другого варианта «Лусабера» — на западноармянском диалекте. Полагая, что публикуемый в Тифлисе учебник невозможно механически переиздавать для зарубежных армян, Ст. Лисициан в конце 1910 г. поехал в Константинополь, где в это время жил Шант, чтобы на месте провести с ним всю необходимую работу.Совместный труд Лисициана и Шанта увенчался успехом: в том же 1911 г. новый вариант «Лусабера» был не только завершен, но и там издан.*Ст. Лисициан, высоко ценя не только творчество, но и личностные качества Шанта, всячески морально и материально поддерживал его. И тот отвечал ему той же взаимностью и любовью, делился творческими замыслами, подробно посвящал в процесс создания своих произведений, доверял от своего имени финансовые операции, связанные с публикацией, распространением и театральными постановками своих литературных трудов и т.д. Об этой светлой удивительной дружбе свидетельствует их более чем 20-летняя переписка, хранящаяся ныне в Национальном архиве Армении, в Фонде семьи Лисициан.

=Библиография=*Большая Советская Энциклопедия. советская энциклопедия, 3-е издание. - М., 1970-771974

*Ноев Ковчег. Информационно-аналитическая газета армянской диаспоры стран СНГ. N 06 (75) Июнь 2004 года http://www.noev-kovcheg.ru/index.asp?n=75

 Шант Левон . Aрмянская биографическая энциклопедия . Шант Левон(псевдоним, настоящее имя -Левон Сегбосян), (1869 г., Константинополь - 29 ноября 1951 г., Бейрут) -армянский писатель.  Окончил духовное училище в Ускюдаре, учился в Эчмиадзинской духовной академии, в 1892-99гг. - в университетах Лейпцига, Йены, Мюнхена, после чего вернулся в Армению.  Печатался с 1891г. Главный герой ранних произведений - поэмы "Девушка с гор" (1893г.), повести "Чужие" (1896г.), драм "Эгоист" (1901г.), "На дороге" (1904г.) - личность, стремящаяся найти свободу в мире иллюзий. Более позднее творчество отмечено поисками тем большего исторического звучания.После поражения Революции 1905-07гг. пишет драму "Старые боги" (1909г., русский перевод 1912г.), во время 1-й мировой войны 1914-18гг. - драму "Император" (1916). Впоследствии сближается с партией "Дашнакцутюн", в его творчестве начинают преобладать чисто национальные мотивы и темы. В 1921 г., после ввода Красной армии в Армению, эмигрировал, жил в Европе, Азии, Северной Америке. С 1949 г. - в Бейруте(Ливан). Писал на темы далекого прошлого армянского народа: трагедия "Ошинпайл" (1932 г.), роман "Жаждущие души" (1941). с течением времени Шант и его герои все больше отходят от общественных интересов; в произведениях писателя начинает преобладать символистское восприятие действительности.     Источники: Большая советская энциклопедия, 3-е издание. - М.,1974. ==============================================Фильм==Шант Л. (Сехбосян) (1869-1951), самый яркий представитель символизма в армянской литературе. Его герои искали свободу в светлых далях иллюзий, в стороне от социаль-ных противоречий. Разочарование в буржуазном обществе, в котором он не видел под-линных сил для освободительной борьбы, побудили его отойти от современности и ис-кать идеалы красоты в глубине истории. Его лучшее произведение – драма «Старые бо-ги» (1909) была своеобразным откликом на трагическое положение западных армян, отчаянным протестом против бесчеловечной действительности. Герой драмы после му-чительной борьбы, отвергнув христианских богов, обращается к богам языческим, оли-цетворяющим солнце, жизнь, свободу, любовь. Ерканян В.С. Армянская культура в 1800-1917 гг. / Пер. с арм. К.С. Худавердяна. Ер., 1985.  By Varant Yessayan A young orphan. A devout humanist. A cultural icon.  http://www.levonshant.org/common/levon_shant.jpg These words only begin to describe Levon Shant, the man whose name our chapter bears.The early years Born Levon Nahashbedian, in Constantinople *Ancient gods (Bolis) in 1869, Levon Shant lost his father when only a toddler. By the time he'd reached the famed Eskeudar Jemaran, he no longer had parents, having lost his mother at age six. Relatives took care of his upbringing from thereon. As it turned out, Shant was a precocious youngster. In 1884, at age 13, he was chosen among thirty children to study at the esteemed St-Etchmiadzin Kevorkian Jemaran. Interestingly, among his classmates was Soghomon Soghomonian, later known as Komidas Vartabed, the man credited with cataloguing and preserving the Armenian Divine Liturgy.The work Perhaps because of the difficulties he'd known already as a youth, Shant's writing started out as brash as his convictions were. He was anti-conformist and confrontational, and somewhat of an instigator. He earned the nickname "Shant" (meaning "thunderbolt") after his first poem, "Akh, Devek Ints!" was published in Hayrenik magazine on Nov. 21, 1891. In it, he wrote about how he wished he'd be given the strength of the skies, to shoot out like lightning at the complacence around him and break through the intellectual darkness that it created. Although overwrought romantic fare by today's standards, it had a passion and focus that forbore what was to come. And what came was titanic. In 1909, he wrote a play entitled Hin Asdvadzner, which was finally published in Constantinople, in 1913. In short, it was a dramatic masterpiece. A literary tour de force that pit mankind's raw instincts and emotions against learned rationale and logic, and was peppered by the author's symbolist subtexts. The play was seen the world over. In 1923, Shant settled down to teach. He began to contemplate the great questions of the day affecting his people. He wrote of the stripped rights of the Armenians under Bolshevik rule and the changing reality of the Diaspora. Three noteworthy essays were spawned from his ponderings, entitled "Mer Angakhutiune," "Inch e azkutiune?" and "Joghovourt yev Medavoraganutiun." Finally, on May 28th, 1928 came Shant's greatest achievement. A committee consisting of Armenian intellectuals such as Nigol Aghpalian, Dr. Hamo Ohantchanian, Shant and others, founded the first major Diasporan Armenian cultural and literary institution-the "Hay Gertagan yev Hradaragtchagan Hamazkayin Engerutiun." Two years later, on March 3rd, 1930, Aghpalian and Shant would in turn found what would later become a major Diasporan Armenian educational institution, Beyrouth's Hamazkayin Jemaran. After over a quarter century of work and dedication in the cultural and educational realms, and a lifetime of definitive and thought-provoking authorship, Levon Shant took the longest well-deserved break he could have on November 29th, 1951. He was 82 years old.The beliefs The social commentary he made early in his career-among others in an 1891 piece entitled "Mnak Parovi Irigoune"-came with acumen to spare. Shant's views in today's increasingly politically correct world would've been considered harshly discriminatory and even virulent. He abhorred the self-indulgent mores of the so-called elite. He also fostered a particular aversion to those who viewed life with a complacent, shapeless and vulgar indifference. His highest esteem went to those who sought knowledge with an unquenchable thirst, who treaded uncharted territory to perhaps find a more substantial existence. As Shant's craft became refined, so did his convictions. While still a young adult, Shant became conscious of two things. As a man, he felt he had a mission to enflame the masses and lead them to intellectual elevation, to the realization of a cause. As an artist and intellectual, he felt a social and ideological duty to stray from the beaten path of the status quo and seek out new purposes and outlooks. For the rest of his life, Shant's core conviction would be that life without a struggle, without devotion and self-sacrifice was no life at all. Though heartbreak and suffering would inevitably occur, Shant firmly held that the endless pursuit of an ideal and a goal was quintessential to life, that it defined life itself, and that the chase, rather than the accession to the ideal, elevated the individual to a higher plane of existence. His favourite thinkers and authors, all renowned for their epic quality, formed these fundamental beliefs: Friedrich Nietzsche, Henrik Ibsen and Johann Goethe. But as much as he was a thinker, the heart of a patriot and revolutionary beat within him. He believed that any revolution, whether tranquil or explosive, could succeed given that the individual or the individuals at the helm fully assume their role, fight against preconceptions, escape the banal and struggle tooth and nail against all and any obstacles that would stand in their way. In 1890, the liberation movement, embodied by the Dashnakstsutiun, gave life to those ideals. In May of 1918, while the renewed hope of an independent republic was fuelling public emotion, Shant returned from Europe to the Caucasus (GovgasAstvatzner), and became politically involved. By 1919, he was hard at work. First within Boghos Noubar's Azkayin Badvirakoutiun, and later that year, Avedis Aharonian's Hayasdani Hanrabedutian Badvirakutiun, Shant was included in both delegations being sent to negotiate the treacherous Sevres Treaty of 1920. Due to the Turko-Bolshevik machinations surrounding Sevres, Armenia's independence became stillborn. After the inking of the treaty, the newfound political verve slowed down considerably, and came to a complete halt when the Bolsheviks came knocking in December of 1920. Despite treaty agreements, persecution of Armenian intellectuals by the Bolsheviks led to many great minds being exiled to Siberia's glacial work fields. In 1921, just as the sickle was about to land on Shant, the Pedarvarian Absdamputiun exploded. Shant escaped to Marseille and stayed there. After those tumultuous few years in the Caucasus, Levon Shant became principally devoted to thinking about revolution and the Armenian nation, and teaching the new generation about the history that preceded it. What Levon Shant believed and preached still rings true for any Dashnakstagan or A.R.F. youth out there: there is nothing worth living for if there is no ideal. There is no hope without a pursuit, and there is no victory without a purpose.   About Us The Levon Shant chapter is the A.R.F.Y.O.C.'s chapter in Montreal. Armenian youth aged 16 to 25, and possessing a good moral character can become members of this chapter. The A.R.F.Y.O.C.'s goal is to gather the youth around the Armenian Revolutionary Federation (A.R.F.), and to provide them with a cultural, ideological and political education. The organization readies its members to become active components within the Armenian community, and especially within its political life. The organization's primary aim is to prepare capable youths to join the A.R.F. party ranks. Levon Shant's members engage in political activities pertaining to the Armenian cause—picketing, April 24 commemoration, postcard campaigns, etc. Outside the realm of politics, members also organize social, educational or humanitarian events in the form of parties, demonstrations, lectures and telethons. The Levon Shant chapter requires its members's regular presence at meetings where lectures are given and other organizational issues are discussed. Members partake in chapter or pan-canadian educational seminars, and work within the chapter's many sub-committees. For further inquiries, contact us at executive@levonshant.org. To become a member, click here.    http://www.armeniapedia.org/index.php?title=Levon_Shant Levon Shant   http://armeniandrama.org/people.php?p=levon-shant&a=1Home Manifesto About Us   Playwrights  Screenwriters Theatre    Film   Spotlight Directory Books/DVDs Links Texts Contribute Oral Histories 19th Century Playwrights >> Levon Shant Levon Shant is regarded by many as the greatest Armenian playwright. His plays The Emperor and Ancient Gods remain among the most frequently staged Armenian dramas. Born in 1869 into the wealthy Seghbosian family of Constantinople, Levon was orphaned at the age of six. He made his debut as a writer in 1891, writing essays and poetry at first and then short stories and novels, adopting Shant (lightning bolt) as his pen-name. After attending various universities in Germany, he moved to Paris in 1899 where he got a job as the business manager of a theatre and first began to write plays. Returning to the Caucasus, he joined Vernatun (Upper Room), an Armenian literary group in Tiflis, with whose support his first plays were published and performed. His symbolist drama Ancient Gods (1908) revolutionized the Armenian literary world when it made its debut in Tiflis in 1913. Translated into German, Italian, French, and Russian, it was directed by Stanislavksy in 1917. Shant’s royalties from Ancient Gods allowed him to return to Europe in 1913, thus escaping the fate of his colleagues who were killed in the Armenian genocide of 1915. Remaining in Europe for most of the next five years, Shant returned to Yerevan to serve as a Member of Parliament in the short-lived Armenian Republic (1918-20), and was imprisoned following the establishment of the Soviet regime in Armenia. When he was freed by an underground movement that liberated hundreds of prisoners in 1921, he fled to Teheran. Subsequently Shant wrote only two more plays, including The Princess of the Fallen Castle, and devoted his energies to founding the Hamazkayin Cultural Foundation and the Armenian Academy of Beirut, where he was the principal until his death in 1951. Meanwhile Shant’s plays had been banned by the Soviets. But since the dissolution of the U.S.S.R. in 1991 and Armenian independence, his plays have returned to the boards with the acclaim that is their due. PLAYSTHE “I” MAN (Esi marde), 1901 FOR SOMEONE ELSE (Urishi hamar), 1903 ON THE ROAD (Chambun vray), 1904 ANCIENT GODS (Hin astuatsner), 1908 THE PRINCESS OF THE FALLEN CASTLE (Inkats berdi ishkhanuhin) THE EMPEROR THE CHAINED (Shghayuatse), 1918 BAILEY OSHIN (Oshin Payl) FILMSANCIENT GODS (Hin Astvatzner) 1993, produced by Mitre, drama (based on L. Shant’s play of the same name), 92min. (2539m), color. Prod. S.Arakelov, E.Grigoryan, A.Khachatryan, Scr./Dir. A.Kajvoryan   powered by techFusion.com © Armenian Dramatic Arts Alliance, 2005. All rights reserved.  Levon Shant  http://www.armenian-history.com/Nyuter/BIOGRAPHY/levon_shant.htm