This is a radio discussion program embracing a large variety of topics. It focuses on the problems of Christian perception of the world, such as the laws of spiritual life, the mysteries and regularities of creation, the rites and messages of the Christian Church, and the Christian understanding of historic development and human thought. The program participants are seeking to find answers to the so-called “eternal” questions that have been posed by great thinkers of the mankind. At the same time, they try to understand those who haven’t seen the light of Christianity throughout their quest for the meaning of life.
Visions and prophesies are a dangerous area even inside the Bible when one is focused on them, trying to guess the times and historical events. While our guest has gathered the visions and prophesies of our Church Fathers and published them in one volume. What is the purpose of the visions and prophesies generally? How must we use them? For the former commander, was it more difficult in the battle field or in peaceful conditions? Once he acted in the political field but now he does not. Should a Christian have expectations from policy? You'll get the answers to these and other questions in the portrait of the author of "Visions and Prophesies among Armenians," Ashot Hunanyan.
Why and how does information service become modern people's circulatory system and the god of modern society? What does a journalist feel when the assassination attempt toward his own person remains unresolved? Was it easier for him to work at BBC or in Armenia? To what extent is Charents's Nayiri Land related to today's Nayiri Land, according to our guest? Doesn't the heir of the Ter-Grigoryan family of priests intend to restore the historical justice by restoring his real family name? What are the fundamental questions of his life? You'll get the answers to these and other questions in the portrait of the Executive Director of the Public Radio of Armenia, journalist Mark Grigoryan.
When he was a child, listening to a very non-professional performance of Moonlight Sonata was sufficient for him to dream of writing such a music. Today he already has his own “Missa de lumine" or “The Liturgy of Light.” But not only this. Is he satisfied with this? Generally, what deficiency or need induces a worker in arts field to create? Why does he think that the light is the homeland of all homeless ones? Who are the homeless? For the author of the Cantata “And There was a Man Called Mashtots,” what phenomenon is that man in culturological aspect? Is his work with spiritual texts a spiritual experience of a Christian for him, communication with God, or just a musical theme that needs a certain kind of music? You’ll get the answers to these and other questions in the portrait of composer, conductor and musicologist Davit Halajyan.
Why does he call Glendale Khashatagh? How is it related to khash, the traditional Armenian dish? Why do the representatives of traditional Armenian political parties silently leave the hall when he reads his humoristic stories about those parties? How did it happen that the Soviet newspaper "Komunizmi ughiov" published an article signed by his name but not authored by him? Why did he change his Keshishyan family name that means "of priests," and why hasn't he been in good relations with Christianity to this day? You'll get the answers to these questions in the portrait of writer, dramatist Khoren Aramuni.
"At least when I write a poem, I like to tell the truth, while many people choose poetry in order to lie," says she. What is truth for her, and how does she change it to poetry? March 1, 2008: What do people feel when they have a family member (in her case her father) on one or the other side of the barricade? Is the triangle Yerevan-Montpellier-Paris a love triangle in her life, and why is she convinced that cities belong to those who also own all the dawns of those cities? She believes in God though she still argues with Him. In whose field is the ball, and what is the score of the match? You'll get the answers of these questions in the portrait of young writer Tsovinar Banuchyan.
"I can't be translated. The napping scent of incense in the cemetery of my village can't be translated; the lizards running up the walls of the monastery can't be translated, and Khcho's duduk can't be translated either," says he. What can be translated then in this world according to him, and does he himself need to be translated? Why does he consider himself a story-teller and artist but not an animator, though on international stages it is his animation movies that get awards? Does he manage to keep the balance between the earth and the heaven, and what is the guide map drawn by him for the Great Return to Home? You'll get the answers to these questions in the portrait of animator Hayk Sayadyan.
She has performed the sixth combat with the paper in the form of book but she confesses that it is hard to be a female writer. How does she manage to create on the treadmill of everyday life? Heaven is a serious presence and character in her poetry. Isn't it difficult to live carrying always a piece of heaven? Does she think a new flood is necessary to destroy the world? What is the reason that, unlike many of her fellow writers, she does not fight with God and has good relations with him? You'll get the answers to these questions in the portrait of writer Armenuhi Sisyan.
Why did his parents send him to a Russian school, and why do the Armenians that have always lived in an Armenian environment but have received Russian education have problems with their mother tongue until the end of their lives? How did he find himself in the education field? What has changed in contemporary education, and what is education today? What can pass from teachers to students through the air, and how can information grow into knowledge? What platform is Wikimedia as an educational tool, and how is information continually updated on that platform? What is, according to him, the formula for salvation of humans and of the Armenian nation? You'll get the answers to these questions in the portrait of education management specialist Artur Khalatyan.
Always with a short stylish haircut, in stylish clothes and adornments, very modern and at the same time having an image of a strict businesswoman. When we also add her work experience as an assistant to Ardshininvestbank's staff leader and as a secretary for the Board's sessions as well as a Chairwoman of the Youth Union at St. Mariane Church of Ashtarak, a very interesting picture is formed. How does she manage to keep harmony in this range of roles that at first sight seem to be contradicting? From Krishnaism to Buddhism, from Protestantism to the Armenian Apostolic Church. She passed this road while searching God. It is interesting if she found Him at last. You'll get the answers to these and other questions in the portrait of Head of Dialog NGO Almast Muradyan.
Life coach and couching. These are English terms that do not have their Armenian equivalents. He is that life couch not comprehensible for many who conducts couching. How does he present this in Armenian? Why does he think that the ideal human being is the falsest human type, and what system of personal growth does he suggest? What relates his "Alarm Clock" to angels, and how one could wake up to the voice of his alarm clock? How does he manage to prove with mathematical precision that one human can do more than a whole country? How does the negative inertia of the entire humanity become positive with the Coming of Jesus, according to him? What love model does he suggest when citing Jesus's words "Become like children"?
He is a psychiatrist, and the people whom he helps are not like others. What happened that they began to differ from others? What is the borderline between what is mentally healthy and what is unhealthy? Doesn't he fear that one day he himself will cross that line after spending a long time with them? How to love a person with mental disorder as your friend? Is there another means, except love, to cure such people? He considers himself a theist, not an atheist. What does it change in his life by and large and particularly in his communication with his patients? You'll get the answers to these questions in the portrait of psychiatrist Gagik Tadevosyan.
Why does she visit our radio station with most unexpected flowers, and what clues do flowers offer her as a philosopher in her life? Why does she believe her childhood was happy? The department that she graduated from admits usually students who get there by accident. Doesn't that affect the quality of education? Her profession would soon or later make her choose between atheistic or theistic approaches to existential issues. Why does she consider talking about belief in God a private issue, in spite of the fact that Plato, Aristotle and her other great predecessors approached that issue publicly and considered it the issue of issues? You'll get the answers to these questions in the portrait of philosopher Hayarpi Sahakyan.
He wanders from one church to another. What has bound his feet and hands that he is not able to depart from the house of God? How did it happen that being a strong atheist he became a Christian? As a believer now, can he see any difference between himself then and himself now? What took him to an orphanage, especially an orphanage for mentally disabled children, and why did that work become fatal in his life? How does he imagine the spiritual Armenia? "Humans must change," says he; does he know the ways for changing? Why has he begun to more remain silent than speak? You'll get the answers to these questions in the portrait of physicist, founder and director of the Goy Charitable Foundation Sedrak Hovhannisyan.
When she was a child, she used to ask God to make her authentic. Did she become authentic when she grew up? She dreamed of becoming a singer and started to work at a theater; she dreamed of having serious roles in cinema but had them in theater. Why was the wooden floor of the theater stage so attractive, and what did the height of the stage symbolize for her? Who appeared in her dream, holding a pot of matsun, and whose "soil and water" was that person? What is experimentation in arts for her? What had happened to her that her 7-year-old daughter looked after her? Is it not difficult for a believer to work in the theater world with its coulisse intrigues and bohemian lifestyle? You'll get the answers to these questions in the portrait of Karine Janjughazyan.
What is the origin of all the dishes prepared in clay pots? And what about any dish prepared with bulgur, what about vodka and pounded meat? How to save Armenian kitchen from centuries-long oblivion? Why are we, the Armenians, ashamed of our identity and why do we so easily hand in what we have to others? Why did our guest never oppose his father, and how did this affect his later life? What do ritual dishes symbolize, and what is the spiritual meaning of Easter dishes? You'll get the answers to these questions in the portrait of the expert of cuisine Sedrak Mamulyan.
Why does a computer hang when it is asked: "What's out there," and what is its philosophical substantiation? When the first birth and death anniversaries coincide, does this always result in a birth of a philosopher, as it happened to our guest? Why does he notice with sadness that the path Armenia is going on is not European at all, and why doesn't he believe in historian Spengler's prediction made in the beginning of the past century about Europe's decline? Why does he, despite being a philosopher, attach a modest importance to philosophy? Is it really impossible to prove the existence of God and all those scientists who try to do this with scientific substantiations appear as believers, not scientists? Why isn't the definition of knowledge in Bible scientific, according to him? And, finally, isn't it difficult to live without believing in God? You'll get the answers to these questions in the portrait of philosopher Ashot Voskanyan.
This Yerevan-based man was born in Sari Tagh. How did it happen that from that Yerevan district of artisans he came out as a man of literature? Did his mother's credo, "It is necessary to work, it is necessary to keep up with neighbors," also become his own credo in life? Why are our writers always dissatisfied with the head of the Union of Writers no matter who he or she is? Why does literature have little interest for literary critics nowadays? Whether he will receive the award of the world best writer for teenagers in 2018 will be decided by the jury. Are biblical themes in his works simply aesthetic means or do they reflect his inner world? Why won't he say anything when he meets God? You'll get the answers to these questions in the portrait of Head of the Writers Union of Armenia, poet Edvard Militonyan.
What did communication with the two great figures of culture give him? From worker of stage to assistant of director, to actor and carpenter — this is the path of his life. How is steel tempered, passing this path? There is a saying that behind each great man there is a great woman. Looking at him, can one see that woman behind him? Why is he more like a listening ear than a speaking mouth, and why does a lock hang from the mouth of one of his wooden works and a key from its brain? Is there an innermost corner in his heart that only belongs to God? You'll get the answers to these questions in the portrait of Sergey Tovmasyan.
Why did he decide to offer his candidacy to be the guest of our program? He was engaged in science when a God-rejecting empire collapsed. What did he feel in terms of revaluing the life? Why did his prayer sound in Russian in the midst of life and death? How did it happen that his offer of photo session to an unknown girl brought and established him in St. Hovhannes Church? Why didn't he deem himself worthy to receive Holy Communion; why is he satisfied with taking the blessed bread only? How does he "sum up" Lent inside himself? You'll get the answers to these questions in the portrait of Rudik Saribekyan, one of our regular radio listeners.
Does literature need advertisement and how should this advertisement differ from that of, say, diapers? How does the "death" of an author give birth to reader authors. How similar are the ceremonies of writing and oil melting? If she agrees with the thought of Philip Roth that "Writing is hell," then why does she write and voluntarily enter into that hell? How does she try with her literature to lighten the burden of the humanity that has been expelled from the Paradise? Which will be the only question she will ask God when she sees Him? You'll get the answers to these questions in the portrait of prose writer, translator Diana Hambardzumyan.
Who is he: a representative of a lost generation, a man of pen or someone who had great fellow writers and broad relations and who now misses and votes for those that have departed and left the intellectual and cultural field empty after themselves? Why wasn't Hrant Matevosyan voted for by any of his fellow Armenian writers in one of important voting events? How did it happen that in the far Philippines a Georgian writer dared to shout behind William Saroyan in the Armenian dialect of Georgia: "Where are you going, hey!"? How did the village of Odzun regain its name? What occasions of the Soviet period brought him to God? Finally, what has made this good Armenian and Christian so upset and concerned? You'll get the answers to these questions in the portrait of prose writer Vanush Shermazanyan.
How can she manage, on the one hand, to be a mature woman who masters the female artillery, and a non-growing child on the other hand who even during interviews keeps her hands on her back like a child on a kindergarten chair? Why doesn't she set her childhood free from within herself? Does she collect her various roles of a street whore, noble woman, queen or coquette from outside or from inside? Whatever she speaks is about love. How to explain this? And what does she think about the One who performed the greatest act of Love? You'll get the answers to these questions in the portrait of actress and director Narine Grigoryan.
He was invited to the USA together with his family to work with a salary of 10,000 dollars a month but he refused to go. Why? How did he manage to build a factory with sustainable income from a post-Soviet factory that was destroyed and plundered? How has he managed to pay his workers on the same day of the month and at the same hour during all these years? Why does he interrupt any interview or a talk with an important official as soon as one of his workers enters his office room? What does a former Communist think about God, and what is his advice to the modern generation? You'll get the answers to these questions in the portrait of founding director of Shaber tool-making plant Lyudvig Mikayelyan.
Why are two people from the arts sphere redundant under the same roof? How did she experience the separation of those two who were her closest people? Why didn't the "Juliette" dreamed of by many young men choose one of them and why did she choose a man older than her for more than 30 years? What happened that all of a sudden she started to attend Divine Liturgies? How should Christians reveal themselves? Why didn't Tumanyan become a priest, in her opinion? What would be her "Confession" to the public? You'll get the answers to these questions in the portrait of Narine Tukhikyan, director of the Tumanyan House-Museum.