The Armenian Weekly. Araksya Melikyan is a celebrated Armenian actress known for her roles in Once Upon a Time in the School (2021), Big Story in a Small City (2006) and Revival. She has been a prominent figure at the Gabriel Sundukyan National Academic Theater in Yerevan since 2005, where she has portrayed numerous memorable characters.
This year, Melikyan was honored with the prestigious Best Actress award at the Artavazd ceremony for her role in the Armenian State Song Theater’s production of The Chain. Her remarkable performances include iconic roles such as Ruzan in Ruzan, Satenik in Our Share of Happiness, Grusha in The Caucasian Chalk Circle, Margarit in For Honor and countless others, showcasing her versatility and depth as an actress.
In this interview, we delve into her journey in theater and cinema, her thoughts on balancing a demanding career with her personal life and her hopes for the future of Armenian theater.
Milena Baghdasaryan (M.B.): What brought you to the theater? Do you remember your first performance on stage?
Araksya Melikyan (A.M.): I attended the Hayordyats Toun youth center and participated in various clubs. I first joined the piano club, then moved on to painting. I attended several other clubs one after another until I heard there was a theater club. You could say that was my final destination. Of course, I didn’t stop attending clubs afterward; I continued going just out of interest, even to this day. But theater captivated me instantly. As for my first stage performance, if we don’t count going on stage in the theater club and my other performances in various theaters through KVN (a comedy competition format), my first professional role was probably during my coursework at the Gabriel Sundukyan State Academic Theater, where I played the role of Ruzan in Ruzan.
M.B.: Recently, you were named the winner in the Best Actress category at the Artavazd awards. Did you expect this award, and in general, how important are awards and titles to you? Has anything changed for you since receiving the Artavazd award?
A.M.: The feeling was terrifying, because it was a very important role with little rehearsal time. I remember that fear felt like dying, as it was an extremely serious role in an extremely serious theater, and failure was not an option. I consider myself a perfectionist and an overachiever, and I was overwhelmed by the sense of responsibility, fearing that it might turn out poorly. But, thank God, everything went well and has been going well so far.
I received an award, but I absolutely did not expect it. I’m not saying this out of formality; I truly didn’t know. The performance I was in was one that my colleague asked me to join, requesting my help to revive it so that his performance could be solid. After watching the performance, the committee suggested I be nominated as well, meaning I was “slipped into” the list. I believe that this award came too late for me, because such awards are usually given when you’re young, back when I played roles like Ruzan, The Caucasian Chalk Circle and others. At that time, I was 24 or 25 years old, and I had been suggested for the Best Actress nomination. The theater felt it was too early, but I don’t think so; I believe that’s exactly when you should encourage actresses who are doing their job well. Such awards are very motivating. In my case, I had already played so many great roles that it didn’t matter to me anymore. Winning the title of “Best Actress” was not my life’s goal, especially when I had already secured my place in people’s hearts.
I don’t say this out of arrogance, as if I didn’t need the award. Of course, gratitude arises regardless of everything. Being appreciated is pleasant. To put it in perspective, many talented people can perform for years without receiving any awards. In that sense, I am grateful and thankful for the recognition. Even if it was late, maybe it was meant to happen exactly around this time, exactly with this role. I am simply speaking from my heart and sharing my honest opinion on how it happened. Before this recognition, I had received other awards from the municipality or various organizations. I have never felt overlooked. I have always worked to the best of my ability, and most importantly, without involving any connections or relatives. If you know a little about the system, you’ll understand that these things do exist. I have always considered myself independent, successful and in control of my work. As the saying goes, it’s just me and my God. That’s why I take pride in the little warrior inside me who works persistently and receives what she deserves without expecting anything in return. I quietly do my work. If they notice it, great; if not, that’s their issue, not mine.
Nothing really changed. I continue to work with the same enthusiasm. The only difference is that there’s now an additional picture at home and a new certificate. But following the award, I received so much feedback from people. That was the most interesting part for me. The level of public attention I received hadn’t happened before. Theater doesn’t usually have such mass appeal. Unfortunately, TV projects tend to receive more attention. But people were so interested, and you can still see it today. Just yesterday, a lovely girl hugged me, saying, “Congratulations on your award.” Can you imagine, nearly a year has passed, and people still congratulate me? I am immensely grateful and thankful to the audience for such attention and love, and I truly appreciate every person’s attitude toward me. I also send them my love in return. As they say, may this honor be passed on to my good friends who work quietly and have long deserved recognition. It’s important because someone might feel encouraged, knowing their work hasn’t been overlooked and has been appreciated.
M.B.: In one of your interviews, you mentioned that you live a fast-paced and intense life. How do you find the time to fully immerse yourself into a character and adapt to the tempo and rhythm of each role within this busy pace?
A.M.: Recently, by chance, I came across the meaning of my name. It turns out my name, Araks, means “fast [arak].” It’s quite an interesting thing. My name is truly fitting for me. Some of my friends even jokingly call me “arak Araks.” I’m not sure why; maybe it’s the way my brain is wired, but I can quickly switch from one situation to another. It’s all about being well-organized. To this day, I have a notebook. I’ve had it since childhood. In this era of gadgets, you could do everything on your phone, but not me — I still write things down. When I schedule a meeting or an appointment, I say, “If I don’t have my notebook, I can’t confirm; I’ll check with my notebook and let you know.” It’s like my trusted companion. In my opinion, everything comes down to proper organization, even in daily household tasks. I’m always surprised when people say they don’t have time. I manage everything: cleaning the house, cooking, taking care of the dog, the parrot and the kids — everything is manageable for me, including sleep. Sometimes, close family members might feel neglected, because while I genuinely want to see them and visit, work time has completely taken over. I always tell them, “Please understand me.” It’s just a phase where work has taken over my life, and as it came, it will pass. Life follows the boomerang principle: what comes will go, and I don’t mean this as a negative prediction. You have to make the most of that time.
When it comes to transitioning between characters, it’s all about concentration. I always explain to my students that concentration doesn’t mean sitting in a chair for three hours, repeating, “I’m going to play this very important role now.” No, that can even be intimidating and anxiety-inducing, because you start to realize just how responsible that work is. You just need to truly be able to focus. And let me tell you, if there’s a main role I’m preparing to play in the evening, it doesn’t matter if I have a recording in the morning or if I’m going to a shoot. That role is subconsciously with me; I live with it, understand it and gather myself so I can go and deliver results.
There have also been challenging moments. There have been times when I have indeed overestimated my abilities and given performances that weren’t optimal, presenting myself a bit imperfectly. However, as a rule, the audience didn’t particularly notice, because my years of professionalism saved me. But deep down, I realized that I had overstepped my limits and needed to gather myself more. It’s all about properly managing your strengths. Like in sports, right? You need to assess your capabilities when you’re about to lift those challenging elements. Then, you learn to accurately evaluate the weight. The same applies to art.
M.B.: Many people know you not from the theater but from television screens. Which of these platforms feels closer to your heart, and where do you feel more fulfilled and realized?
A.M.: Yes, television indeed has a significant impact, and my participation in popular TV projects brought me recognition (but when joining, I didn’t know these projects would become so popular). However, I believe that fame comes in stages; it doesn’t happen instantly. Before reaching this stage, I worked for many years to present myself in a professional and convincing manner. My work in theater and participation in lesser-known projects in the past played an essential role. Everything unfolds in its own time, like a flower blooming at the right moment.
In my younger years, theater felt more natural to me, and I felt calm and fulfilled there. At first, the camera intimidated me, but now I miss all these forms equally. When I’m away from them, I have a desire to fill that void, because these passions are deeply rooted in me. For me, these passions have three components: theater, television and the world of voice work. I really love dubbing and recording. It just came to my mind that this combination is the holy trinity of my work — theater, television and voice recordings.
M.B.: Since 2005, you have worked at the Gabriel Sundukyan National Academic Theater. What has been the most important professional lesson you’ve learned over these years, and who has been your greatest teacher — be it a director, a character you’ve portrayed, a colleague, an audience member or any other mentor figure?
A.M.: Yes, you are right, I’ve been performing since that age. Back then, I was just a 23-year-old girl who believed that being in leading roles was the norm, as since my very first days in the theater I had been receiving the leading roles. However, when times changed and my roles began to be secondary, it was stressful for me at first. But then I realized that it doesn’t matter whether you are playing a leading role or not. It’s when you don’t get the leading role that you start to understand whether you liked the theater itself or your own pride. The great lesson I learned in theater is that you can make any role valuable if you fully dedicate yourself to it. Love for art surpasses pride, and what truly matters is how much love you put into your work.
My teacher, Vahe Shahverdyan, who is dearly remembered, has had a significant influence on me. I can’t say that I learned everything only from him, but his strictness and unwavering love for art shaped my mindset and skills. I appreciate all the directors I have worked with and have learned a lot from all of them, but I need to note that a large part of my vision is formed through Vahe Shahverdyan’s perspective. I also have very good friends who are actors and actresses from the older generation, and they have helped me a lot. Whenever I felt like I was experiencing a downfall, because I can be a bit impulsive and make quick decisions, they have always supported me. I love them a lot and am grateful that they selflessly share their experiences and skills with me as well.
M.B.: As an actor, have you reached the goals you set for yourself, or is there a role that, after playing it, you’ll be able to take a deep breath and say, “I did it”?
A.M.: No, I haven’t reached that benchmark. I constantly set new standards, reach them and then move on, saying, “Yeah, we did that, it was fun,” but while I’m doing that, I’ve already set a different benchmark. What seemed like a benchmark at that moment was already replaced by another one during the work process, and to put it bluntly, I never enjoy the final result. My mind is always moving forward. I don’t know, maybe that’s a bad thing. People say you should also know how to pause and enjoy. That’s true, but if I start enjoying it and suddenly I like the enjoyment process too much, maybe that’s where I’ll stop, and now I don’t have the mindset to stop. I want to keep moving forward.
Right now, I have very different benchmarks, which are also connected to international work, with different directors and different platforms. My dream benchmarks are somewhat less connected to Armenia now. Moving forward, God willing, I’m working in that direction — whether it’s about language, appearance, my internal stat or the roles I envision in my mind. There is ongoing internal work, and I am grateful to God that I still have that energy for that work.
M.B.: Every profession has its advantages and challenges. What attracted you the most to the acting profession, and what do you find to be its biggest challenge?
A.M.: Unfortunately, acting is often associated with mockery, and I don’t know where this idea comes from. In reality, it’s a very serious profession, because you use your entire self — your body, your voice, your soul, your mind, everything, to create a character that someone else has written. It’s about making that character real and convincing others that this character is authentic, even though it looks through the same eyes and speaks with the same voice as Araksya.
I truly love being an actor, and I admire the craft itself. When I see fantastic performances, whether in professional films or a wild theater monologue, I say, “God made this.” I feel its power and fall in love with this profession all over again. However, I get offended when acting is casually dismissed as silliness or merely about delivering lines and making fun of things. People say, “Ah yes, you’re an actor, you cry well,” while I actually cry quite poorly. My late master used to say, “It doesn’t matter how you cry; what matters is that the audience cries.” The same applies to laughter.
Now I also play in a comedy and understand how difficult it is to convey that humor to the audience and make them laugh. I think one of the most crucial aspects of this profession is absolute mental stability, which starts to scare me, because my emotional life shouldn’t interfere with my roles. One might start feeling worn out mentally and physically. That’s why an actor needs to be healthy, both physically and mentally. It’s very important; I’m not saying anything false, because you put your body and soul into serving the roles you play.
I cannot find any downsides to this profession. I still have time to find out. Perhaps one downside is the lack of a schedule. For example, when working on films, you might have to work late into the night for days. Also, acting throws you into shocking situations, which gives you a sense of vitality. I personally enjoy even those shocking states.
Another downside is related to our country specifically, meaning in financial terms. This country doesn’t take our profession seriously. But this is only relevant to Armenia or countries similar to ours. In more developed countries, when you go there, you realize that acting is regarded as a very serious profession, and people treat it with great respect.
M.B.: Motherhood is a profession even more demanding than any other. How do you manage to balance your career with your personal life? Are there sacrifices being made?
A.M.: Yes, being a mother is a title, not a profession or a lifestyle. A mother who gives birth to a child must also care for and nurture them. There are thousands of cases where one is not the child’s biological mother, yet she mothers wonderfully. My inner critic sometimes tells me that I’m failing in this role. I can’t say for sure, but I try to do everything possible to provide care.
I can’t predict what will happen. I know it’s a serious matter. In my case, after I was nine, I lost my mother and didn’t have much time to understand how motherhood works and what exactly that is. But thankfully, God sowed the wisdom in me, and through my children, I realized that it’s all about love, care and forgiveness. My children sometimes complain about how little time I spend with them, but I later understand that there are parents who are home every day, yet their children still complain. Complaining seems to be inherent in a child’s nature.
M.B.: What projects are you currently involved in, and what new things can Araksya Melikyan’s audience look forward to?
A.M.: Currently, we are preparing a performance of Rhinoceros at the Sundukyan Theater. As part of the project Break, I will embody the character of an Artsakh woman. Alongside this, we are also working on a New Year’s performance. There’s always work to be done — rehearsals, recordings and new projects. I thrive on this constant activity; if there’s no work, that’s when my anxiety begins to creep in. I always need to have something new to focus on — without it, I know I’d face serious stress. Thankfully, I’ve never found myself in such a situation yet.
M.B.: If you were given a magic wand to change something in Armenian theater, what would it be?
A.M.: This is an excellent question. I must say, our actors are truly remarkable. Having worked with international theaters and actors from various backgrounds, I’ve come to realize just how strong our acting tradition is. Our actors possess a unique presence — a depth of experience and emotion that many foreign actors must work hard to achieve. While foreign actors often rely on technique to reach this level, for us, it seems to come naturally, almost genetically — perhaps a gift passed down through the centuries. If I had a magic wand, I would use it to touch the higher circles — our authorities — and inspire them to pay more attention to theater and the arts as a whole.
In countries like Russia and Germany, significant budgets are allocated to theaters, because they are seen as vital cultural and educational institutions. Unfortunately, we don’t have that here. Our actors often struggle to make a living, running from one job to another, sometimes appearing in low-quality soap operas just to sustain themselves. Many actors find themselves saying, “Good or bad, I’ll take it, because I have no other choice.” An actor should never have to think like a businessman. Their focus should be on their craft — on embodying their role and connecting with the audience. That’s why we have producers, managers and other specialists — to handle the financial and promotional aspects. But today, actors are often left to fend for themselves. They pay for their costumes, hair, makeup and other essentials out of pocket. How much do they earn to cover all this? It’s a tragedy. I truly hope something can change in this regard.
