Marianna Gevorgyan, the laureate of international and republican competitions, played the Japanese koto instrument on the stage of the Hrachya Ghaplanyan Drama Theater in Yerevan in the play "Hamlet" directed by director Grigor Khachatryan. As the Japanese recorded, the Koto, a traditional Japanese musical instrument, gave the play a mesmerizing touch. In a conversation with Radar Armenia, the ruler spoke about the Japanese koto instrument, her "role" in the "Hamlet" performance, and the similarities and differences between the Armenian rule and the Japanese Koto.

- You played the Japanese koto instrument in the performance of Shakespeare's "Hamlet" staged by director Grigor Khachatryan. How did Marianna Gevorgyan become a part of "Hamlet" after winning first place in international competitions?

- After a 17-year hiatus, Shakespeare's Hamlet was staged in Yerevan's Hrachya Ghaplanyan Drama Theater, this time with Grigor Khachatryan's unique directorial solutions. As Grigor Khachatryan says, my participation in this masterpiece is providence.

- I know that Koto is an entirely unfamiliar instrument for you. Did you have any fears and anxieties that you might be unable to play? How did you make the responsible decision?

- As we know, there was no koto instrument in Armenia, but I had the opportunity to play with the Japanese koto player Nobutaka. I was also familiar with the Makoto instrument. It was the trust of those around me that made me make such a decision. They all said unanimously that I could; it's not a problem. Well, I also overcame this stage with love and responsibility. Before Koto came to Armenia, thanks to the management of the Drama Theater, I regularly played in the rehearsals. And already today, I am playing the first and only Koto on the stage of the drama theater. What a pleasure it is.