ხელოვნებათმცოდნეობითი ეტიუდები

არქიტექტურული სტრუქტურის მდგრადობის შესახებ ჯვარგუმბათოვან ტიპებში

ნათელა ჯაბუა — Fri, 24 Jun 2022 00:00:00 +0400

Medieval Georgian ecclesiastical architecture is characterized by a variety of architectural types. This is due to Georgia's rich local construction experience, early integration into the Christian world, and involvement in all stages of the development of architecture. The first architectural type to develop was the basilica. The domed theme has been leading since the 6th century. The types of tetraconch, triconch, free cross, and inscribed cross are united in the group of cross-domed temples. Their common feature is the representation of the cross in the plane and space. The cross is formed by arms spreading out on four sides from the square under the dome. The four sides of the dome square represent the four sides of the world, respectively, of earthly existence. The circle formed at the base of the dome crowning the building on the top of the square symbolizes eternity, infinity and the heavenly world.

The tetraconch, free cross, and triconch type simple specimens in terms of the architectural structure were built initially. Further started their transformation process, which led to the development of complex variants and provided the possibilities for the emergence of structural modification of a specific architectural type.

A review of the factual data makes it clear that the issue of sustainability of the architectural structure in cross-domed types in Georgia is multifaceted and each type has its own way of evolutionary development. The main feature remains unchanged such as the cross like solution since the cross provides the basis of the ideology and planning of these buildings.

The most important variation is observed in the triconch type, where a fundamentally new architectural and constructional approach was used in the form of supports under the dome, which created the conditions for the construction of large-scale buildings and the use of planning varieties (Oshki, Bagrati, Alaverdi).

The type of tetraconch is distinguished by the dynamic change of the structure, as a result of which the monuments with corner rooms (Mtskhetis Jvari-type monuments) and walk-around subgroups (Ishkhan, Bana) with distinctive architectural and artistic value were built. As for the type of free cross, it retained its original appearance for centuries (Eralaant-Sakdari, Samtsevrisi, Khotevi), but at the same time, a semi-free cross-type (Eni-Rabati, Ekeki, Ikvi) was formed, in which the side rooms were placed next to the sanctuary that caused ignoring the main characteristic of the type such as the Cross configuration.

A comparative analysis of these architectural types clearly reveals that there are two motivators for changing their structure: the arranging of pastophoriums and increasing the area. This factor leads to the identification of the architectural and constructional potential of each type and the formation of new subtypes.

A different picture is created by the type of the inscribed cross. It is characterized by structural resilience, as the issues characteristic for other types are resolved here from the outset and there is no need for modification. This is clearly shown by the very first cross type specimen, the Tsromi Temple, which is a typologically and architecturally distinctive monument.

კოლხური ბრინჯაოს კულტურა და "ფანტასტიკური ცხოველი“ (ტიპოლოგია, ქრონოლოგია, გავრცელება, გენეზისი)

ნინო სულავა — Fri, 24 Jun 2022 00:00:00 +0400

Of the topics related to the Colchian Bronze Culture, of particular interest is the study of the images of a “fantastic animal”, on the semantics of interpretations of which as different animals many works have been created.

The cult of the dog (that same “fantastic animal”) was widespread in various forms both in the Caucasus and in Europe. According to researchers (N. Marr, N. Abakelia), the wolfdog, as a guard and protector, is classified together with representatives of reptiles – dragon, snake, whale, that is, the inhabitants of the underground.

The “fantastic animal” has not yet been comprehensively investigated – in terms of typology, chronology, distribution and genesis.

Dynamics of the typological development of these images has shown that the “fantastic animal” is divided into two groups according to the distinctive manner of execution. More naturalistic images have been combined into group 1, and stylized, schematic and geometrized figures – into group 2. Two subgroups have been singled out in group 1, and four subgroups – in group 2.

Dynamics of the chronological development of these images has shown that the artifacts with “fantastic animals” of group 1 date back to the first half of the 8th century and the 7th century BC, and those of group 2 – to the second half of the 8th century and the beginning
of the 6th century BC.

The distribution of these images covers a fairly large area, starting from Northern Italy and the Adriatic (engraving, granulation, punson on various artifacts, made in different techniques), and directly indicates the contacts of Colchis with Europe via the sea, which is part of the route of the Argonauts’ journey to Colchis (the dragon, guarding the Golden Fleece is one of the images of the “fantastic animal”).

The data obtained as a result of the study of images of “fantastic animals”, the most significant plot of artifacts of the Colchian Bronze Culture, in terms of typology, chronology, distribution and genesis have confirmed that these images were formed within the Colchian Bronze Culture, the roots of which are in the territory of Georgia, Colchis, where even its range is outlined along with the contact and infiltration zones – starting from the territory of Turkey, adjacent to Georgia, and including the territory adjoining to Abkhazia from the north, as well as Meskheti, Shida Kartli (former South Ossetia) and part of the North Caucasus.

ორნამენტული მოტივები და მათი პრეზენტირების ხერხები ძვ. წ. II ათასწლეულის დასაწყისის ვერცხლის ჭურჭელზე

მარინე ფუთურიძე — Fri, 24 Jun 2022 00:00:00 +0400

The Trialeti Culture of Brilliant Kurgans is one of the exceptionally achieved phenomenon in South Caucasus, which, beside the other variable materials, is characterized with the numerous patterns of the toreutics. Appearance of the rich metal vessels as the distinguishable assemblages of high artistic craft coincide with the start of famous Trialeti Culture. There is not even a single case recorded of the metal vessel’s discovery in south Caucasian previous cultural units. Therefore, toreutics seems especially symptomatic from the point of view of flourishment and highest level of development of the gold working for the mentioned culture.

Presented issue is dedicated to the problem of ornamental motifs and the methods of their representation on the vessels. There are some very important special researches done by Georgian and foreign scholars but they are mainly analyses of one or some other famous items and not the various aspects of the entire silver assemblages. Currently, our attempt is to consider those characteristic motifs, stylistic features, ornamental program and technique of their representation which appears symptomatic for this item of the Trialeti culture. The precious silver items of it are a clear manifestation of a fairly developed level of gold working, which signals about the progressing interconnections with the southern neighbouring ancient civilizations.

Formation of the incomparable silver assemblages of the Trialeti Culture, beside some dominant local reasons was determined by other factors, among which we must include increasingly brisk contacts with the ancient Near East. The highly artistic and finecrafted silver items clearly show that trialetian goldsmiths were familiar with the achievements and traditions of the Near East. We assume that by adopting nearly all achievements of near eastern artistic craft, Trialetian toreutics faithfully imitated most of the innovations in technique, decorative motifs, symbols or in the manner of manufacturing patterns known in the bordering southern regions. Therefore, in Trialetian gold working different cultural traditions might be distinguished, which supposedly were the result of the merging and transformation of local and near eastern traditions of artistic craft. This development was clearly related with the political processes and the changes in socio-economical relations which took place between the end of the 3rd and the beginning of the 2nd millennium BC.

Also, it is very important to understand how Trialetian craftsmen constructed their iconographic program: did they only slightly modify those iconographic concepts which were used in the Near East or, based on them, they create a new artistic style, i.e. an original one, by themselves? In other terms, did Trialetian craftsmen create an original, “pure” local iconographic style, or was it mainly depending on what was suggested by Near Eastern traditions? This is a question which is logically posed by scholars when they consider the issue of the roots of the Trialeti Culture toreutics. The abovementioned problematic issues require continuing research of scholars but what is anyway obvious is that Trialetian craftsmen were very well aware of Near Eastern schools of artistic crafts.

The toreutic assemblage of the Trialeti Culture can be grouped into the following types: a) especially richly decorated vessels. Various designs, including complicated combinations of ritual scenes, symbolic, zoomorphic and geometrical images which are usually found on such items; b) vessels, the surface of which is only decorated by zoomorphic and geometrical designs or a limited extent of them; c) vessels with undecorated surface, where some technical methods of ornamenting are used on the handle or the base.

The stylistic programme, different motifs of decoration and their representation are discussed in the presented article.

ხატი საქტიტორო გამოსახულებით აცის მთავარანგელოზის ეკლესიიდან

ნელი ჩაკვეტაძე — Fri, 24 Jun 2022 00:00:00 +0400

The church of Atsi dedicated to St. Archangel is located in Zemo Svaneti, in the Ipari community. Around ten embossed and painted icons are kept in the small hall-type church. An icon of the Virgin Mary with a donor female figure features among them.

The icon is painted on a small wood outstretched primed canvas panel (40x28.5 cm). Two-figure composition is represented on the central part of the board. The standing figure of the Virgin Mary is represented in the central part of the icon, being before the blessing hand in the upper right corner. The small figure of the standing secular noblewoman is represented in the lower-left corner of the icon, in front of the Virgin Mary. Above the female figure is made a seven-lined supplicatory inscription. Unfortunately, the part of the inscription which would bear the name of the represented image is not readable. Based on the artistic and stylistic peculiarities, the icon might have been painted in the last quarter of the 13th century.

Attention should be paid to the iconographic type of the Virgin Mary depicted on the icon – Hagiosoritissa – praying Virgin Mary. Despite the specific tradition of worshiping the Holy Virgin in Georgia, the above-mentioned donor’s scheme was not popular and widespread in the local painting tradition.

Only some icons of historical figures are preserved in Svaneti. Among these few painted icons, one interesting work of art is the icon with the image of an unknown woman kept in the Atsi church. Proper evaluation of its place within the development of Georgian medieval icons is the subject of further study.

აჭარის ხის მეჩეთების ტრადიციული დეკორი და მხატვრული შემკულობის ფორმები

ნათია კვაჭაძე — Fri, 24 Jun 2022 00:00:00 +0400

The coexistence of pagan, Christian and Islamic symbols in Adjara was caused by the relatively late spread of Islam. Despite the difficult historical situation, the population of Adjara was able to challenge the national cultural values for the foreign ethnic element and thereby save the ethnic consciousness. The ornament preserved in the interior of the mosque can be considered as one of the expressions of the above mentioned statement.

In the decoration of the wooden mosques of Adjara, there are plant motifs with a decorative function, as well as those related to beliefs and ideas. The abundance of vine images has historical significance. In Adjara, the fact that vines are depicted on Jameh mosque indicates the continuation and preservation of the traditions of decorating Georgian Christian churches. Subject ornament is found: ship, water vessel, sword, scales. The image of the water vessel is mainly related to the plant ornament. It emphasizes the fertility of the plant. The ship on Jameh's facade is painted by Lazi masters with oil paint and is supposed to be a symbolic sign of seafaring. The images of scales and swords are symbolically related to the necessary fulfillment of the strict requirements of Muslim dogmas and culture. On the wooden Jamehs in Adjara, we see different expressions of crosses, including Borjgali, hidden crosses, bunches of vines. These signs are visualizations of the knowledge accumulated in the past.

The universality of the ornament often determined the use of Georgian carving on mosques, so that it did not cause irritation to the representatives of the Muslim religious services.

The abundance and variety of ornamental faces on Adjara Jamehs are an expression of the accumulated knowledge that the Georgian creator always had and genetically inherited.

მეღვინეობის ტრადიციები და მარან-საწნახლები აჭარაში

მაია ჭიჭილეიშვილი — Fri, 24 Jun 2022 00:00:00 +0400

Georgia is an ancient country for wine origins and its development. Viticulture and wine production take an important place in all regions of Georgia including Ajara. Upper vines were most common in Ajara because they were well adapted to strict and freezing winter. Wine production in Ajara along with vine species is confirmed by wine presses curved in cliffs and big rocks and made of limestones, stone cellars, pitchers with various volumes buried in the earth, oral narratives, terminological data, etc. Ancient and medieval wine presses are identified in lower areas of mountainous Ajara – Kobuleti, Keda and Khelvachauri municipalities (Kobuleti municipality – Zeniti village, Keda municipality – Zundaga, Kokotauri, Akho, Akutsa, Bzubzu, Ortsva, Dzentsmani, Koromkheti, Makhuntseti; Khelvachauri municipality – Zeda Chkhutuneti, Chikuneti, Tskhemlara, Khertvisi, Ked-kedi, Shushaneti, Ortabatumi, Mere, Janavra, Tchontchko, etc.). Wine presses are related to church and secular constructions. Some of them are located in forests, near cliffs, and in the vicinities of upper vineries developed on mountain slopes.

Open and closed-type wine cellars in Ajara are identified in church-monastery, residential and protective complexes. Closed cellars are characterized by rectangular planned storage located deep in the earth, the space represented with one or two storages, exterior with a flat roof, while interior constructed in a vaulted form, big pitchers in inner and outer territories of the cellar, clearer arrangement of stony walls and facades and high construction culture.

მებაღის შვილი — ქართული კულტურის სიმბოლო

ირინა ძუცოვა — Fri, 24 Jun 2022 00:00:00 +0400

L'oeuvre de l'artiste et scénographe Natalia Gontcharova (1881-1962) est connue dans le monde entier. " Tsarine " de l'avant-garde artistique russe et mondiale, elle a gagné dès 1913 sa place dans l'histoire de ce courant artistique. Son activité est également liée à la Géorgie. Elle a conçu les esquisses de costumes et les décors du ballet "Le Chevalier à la peau de panthère", mis en scène par Serge Lifar en 1944. Certains de ses dessins ont été inspirés par des fresques géorgiennes du XIIe siècle.

ქართული მოტივები ნატალია გონჩაროვას შემოქმედებაში

ირინა ძუცოვა — Fri, 24 Jun 2022 00:00:00 +0400

L'article présente des faits sur les collecteurs de données biographiques sur le peintre géorgien Niko Pirosmani, ainsi que des informations sur le lieu et la date de publication de ces données. Зour les biographes de Pirosmani, le journal des rencontres entre l'écrivain et poète Ilia Zdanevitch et Niko Pirosmani, document inestimable préservant les faits les plus authentiques sur la vie et la pensée du peintre, demeure l'une des sources les plus précieuses d'informations.

მელანქოლია როგორც ცხოვრების წესი (მეტაფიზიკური ფერწერა — 105)

რატი ჩიბურდანიძე — Fri, 24 Jun 2022 00:00:00 +0400

Metaphysical Painting (Italian “Pittura Metafisica“) originated with the painter Giorgio de Chirico in Italy during the First World War. Metaphysics (Greek “Meta ta physika’ – “beyond physics”) is the method of thinking which considers phenomena separately from each other, as the ones given once and forever. Strange stories, transformed reality suspended in coziness and immobility, images of the mysterious world existing beyond the limits of reality – all of these are the subjects of Metaphysical painting.

In 1915 Italy entered into the World War and de Chirico was enlisted into the Italian army. In 1917 he made friends with the painter Carlo Carrà, one of the founders of Futurism, at the hospital of Ferrara. On the basis of the creative ideas shared by the two painters the scuola metafisica (“Metaphysical school”) was established, the magazine “Valori Plastici“ (“plastic values“), in which the conception of the movement and the main concepts of the Metaphysical poetics – “irony“ and “ephemerality“ were formulated, was founded. The movement was joined by de Chirico’s younger brother Andrea, known by the pseudonym Alberto Savinio, Giorgio Morandi, Filippo de Pisis.

Peace and immobility reign in the enigmatic, deserted paintings of Giorgio de Chirico. Rough, voluminous, simplified forms, distinct colours, cold illumination, sharp shadows are the main pictorial devices used by the painter. This alienated environment “is settled” with lifeless mannequins and plaster casts in which the painter tries to find the reflection of some unreachable, “supersensible” world and establishes eternal aesthetic ideal of existence.

Carlo Carrà’s paintings of the “Metaphysical period” are marked by iconographic images – mannequin like figures, plaster heads, geographical maps and different geometrical objects characteristic of the movement, Futurist speed and noise are replaced by “attractive silence of forms” here.

Giorgio Morandi creates original compositions in which strange objects appear to be embodied in airless, isolated space and exist in a state of levitation. In the works of the “Metaphysical” period the artist reveals an archetypal structure of objects, studies qualities of stereometric objects in space and creates isolated, conditional environment, which is left beyond objective reality.

The development of the Metaphysical Painting proved to be short-lived. However, soon some of its general principles were revived in the realm of the new powerful movement – Surrealism. The works by the painters belonging to the group assumed significance beyond the scope of the movement, which clearly reflected tendencies characteristic of the Italian art in the first half of the 20th century.

Different Perspectives, New Focuses: An Analysis on Artists Performing Turkish Art of Ceramics

A. Feyza Çakir Özgündoḡdu — Fri, 24 Jun 2022 00:00:00 +0400

This review includes examples from ceramics artists who are known in their fields in contemporary ceramic art in Turkey. In the selection of the artists, the difference of their interests and research areas was taken into consideration. At the same time, the existence of
critical writing experiences on the works of the artists provided the formation of this selection. These artists, all of whom have PhD degrees, are at a qualified level in terms of both practical and theoretical writing. Building the theoretical infrastructure of the work of art and publishing it as a thesis, article or book is an important requirement for academic artists. For this reason, this article is supported by the statements of the artists about their own production processes and works. In art production, it is a scientific attitude to have theory, a panoramic perspective, to exhibit a critical attitude, and to be aware of different disciplines. There are many different schools, classifications and tendencies in art studies conducted in academic arts fields. Today's Turkish ceramic art studies are getting richer with theses, critical articles and papers.

Traditional Wood Carvings by Georgian Artist Vladimer Vepkhvadze

Olga Shkolna — Fri, 24 Jun 2022 00:00:00 +0400

The article is devoted to the work of the Georgian artist Vladimer Vepkhvadze. Considered are his work on the manufacture of doors for public and church buildings, furniture, primarily for liturgical needs, church utensils (from shutters, analogies to altar doors and doors of the royal row), household items (from backgammon to spiral staircases), shebeke, shushabandi, grave crosses. Particular attention is paid to the genesis of his creative handwriting, which developed at the junction of the traditions of Byzantine shaping, the Greek canon, as well as authentic Georgian ornamentation and sacred symbolism. The examples of pulpits and sofas for the highest ecclesiastical clergy of Georgia, made by the author, starting from the throne for the Catholicos of Georgia Ilya II, are considered. A review of individual restoration works of the master, including such outstanding buildings as the palace of Mirza Riza Khan and the Romanov palace in Borjomi, is carried out. The characteristic features of the author's language of V. Vepkhvadze in the field of artistic woodcarving of the late 1980s-2010s are highlighted. The circle of the main monastic orders of the master is outlined, the repertoire of his creative searches is analyzed. The features of performance of works for Tbilisi monuments are outlined.

აკადემიური სიმღერა და მსახიობის ოსტატობა. პრობლემები და მათი გადაჭრის გზები

ნინო დავითაშვილი — Fri, 24 Jun 2022 00:00:00 +0400

The art of music and drama is in harmony with the phenomenon of transformation of the singer-actor on the stage.The mechanism of interaction in operatic art – extrapolation of vocal, music and performing arts is not allowed in terms of singer, role and acting skills."Opera art considers different elements in itself, among which there is a reasonable balance, which creates a theatrical performance between spectacle on the one hand and drama on the other”.

Earlier the audience used to go to the theater to listen to the opera, now it goes to watch the opera performance. Today the audience is not satisfied with just the sound heard from the stage. It demands from a modern opera actor not only quality vocals, but also a complete transformation into a character, or "effective vocals", based on feelings – according to the stage actions. Therefore, along with the voice of the vocalist, the role and importance of acting in the opera is inevitably great.

The main distinguishing features in opera and drama acting are as follows:
1. An opera actor has a pre-defined rhythmic structure of speech.
2. The composer creates the background of emotions: happiness, excitement, joy, misfortune, etc.
3. The singer-actor is placed within a strict framework of musical
form.
4. Action arises from music, score.
5. An opera actor is looking for ways to realize a creative task. Acts not only through music, but also through the use of words ...

It is noteworthy that the problem, which is called the mastery of the actor in the operatic art, remains an eternal problem for both theatrical life and scientific thinking, and acquires a special urgency because:
1. The directorial and scenographic concept was developed.
2. Vocal art is perfected and conquers high peaks, while the actor's acting skills remain beyond the field of vision for the opera performer. Is it because there is still no clear and adapted synthetic method of raising a singer-actor, which combines dramatic and singing difficulties in itself? This issue is discussed by the director and teacher T. Abashidze: "The less effective the current method is that the elements are taught not in a complex, not collectively, not as part of the 'whole', but separately, in a combination: vocals, movement, acting skills.

Today, Georgian theatrical performance pedagogy uses the practical experience of Stanislavsky, M. Chekhov, Vs. Meyerhold, E. Vakhtangov, G. Tovstonogov, D. Aleksidze, G. Zhordania and other famous director-teachers. It is recommended to study modern musical-theatrical pedagogy, its complex analysis and create a modern methodology based on the same traditions for acting in academic singing, which will allow the student to devote appropriate time to vocal training, develop and strengthen acting skills and
successfully use operatic performances.

ყურადღება და კოორდინაცია მსახიობის აღზრდის პროცესში

თამარ ბერიძე — Fri, 24 Jun 2022 00:00:00 +0400

Scenic attention is one the most significant skills for actors. An actor’s work demands multifaceted attention, as no details should skip from his/her attention while being on stage, should lead easy and effortless communication with the stage partner or draw attention from one detail to another. At the same time, she/he should be able to control the surroundings in terms of being able to move easily within the space. Most important issue is that an actor becomes fully engaged and concentrated during the performance. All the above-mentioned demands tension of attention and efforts from an actor.

During the education process, the development of the attention support to the actor is elaboration of different skills, and one of the most significant skills a student should obtain is skill of coordination that demands the maximal mobilization of attention.

Coordination represents one basic skill of body control. Coordination is the ability of combining and integration of different independent movements and all the muscles of the body are involved in a whole process.

The coordination ability is reflexive, and in frequent cases, it is revealed automatically. During the walk we do not comprehend the motion of hands and feet, but if we become more attentive we will see that they are moving in different directions though rhythmically. If a person suffers from impaired coordination of body, he/she has difficulties not only in movement and orientation of relevant space, but in finding himself within the space.

Quite a lot of attention is dedicated to the development of coordination ability in the musical rhythmic education process. The music accompaniment of each exercise is vividly characterized with rhythmicity and big importance is devoted to the calculation of the longevity of sounds and metric size.

Thus, attention and coordination plays crucial role in actor’s creative life. The elaboration of these skills is a result of special rhythmical exercises (one of such exercise is given at the end of the paper), which serve to the generation of comprehensive skill of attention and coordination for the actors. Later these skills enable actors at the stage to control the scenic space, partner, performance tempo-rhythm, movements, speech and etc.

The paper suggests one such exercise that is intended for development of attention and coordination.

კომუნიკაციის როლი და სტრატეგიები ვერბალურ და არავერბალურ ასპექტში

თეა ცაგურია — Fri, 24 Jun 2022 00:00:00 +0400

In contemporary world and in condition of information boom, the significance of communication is increasing day by day, as the development of any activity or simply human relations depends on it.

We frequently meet the list of vacancies where among other requirements the employer demands the skill of communication as a mandatory quality. Communicational skills are important in all fields of activity (service, sales, education, etc.)

In the process of communication, people always strive for a goal, for which communication strategy and tactics are necessary. The communicative goal is the result, the consequence, on which the communicative act is oriented.

Nowadays, different concepts of communication strategies and tactics are actively used in different types of discourse.

“There are key differences between the strategy and tactics: strategy means the plan for achieving the goal, while tactics include the activities applied for achieving the goal”.

M. Kuznetsov and I. Tsikunov distinguish the following types of communication strategies: open and close, monologic-dialogic and role based (according to social role).

Open communication is a will and skill of a person for expressing his/her own opinion, readiness for listening – considering the other’s opinions. In ideal circumstances, all the type so communitarian should be open.

Close communication is absence of will and skill of expressing open’s opinion.

Consequently, “the communication code represents the complex system of principles that regulates the activities of communitarian process’s participants”.

The communication strategy is implemented through verbal and nonverbal tactics, combination of speech techniques and body language that leads to the achievement of goals.

"ვეფხისტყაოსანი" პარიზის სცენაზე

მარიამ მარჯანიშვილი — Fri, 24 Jun 2022 00:00:00 +0400

In the 1880s, the publication and illustration of The Knight in the Panther’s Skin in Georgia was initiated by Giorgi Kartvelishvili. Meanwhile in emigration, staging of this genuine work on the Paris ballet stage was funded by the tycoon emigrant Beridze, about whom Rejeb Jordania gives an interesting memory in his book "I grew up in Leville": “My mother had an idea, to stage a ballet based on the poem by the great Georgian poet of the twelfth century – Shota Rustaveli – The Knight in the Panther’s Skin. Her initiative was crowned with success”.

Finances and responsibilities were distributed and dealt with. Contracts with lead performers were signed. Soon, rehearsals started in one of the halls of the Elysian Fields. The meetings were held daily between 10 am and 4 pm. The head of the ballet, Serge Lifar, directed everything and was the choreographer himself. Among the guests was Nikolai Evreinov, a well-known theatrical critic and author of numerous plays staged on world stages, who was commissioned to write a screenplay for a ballet based on the poem by Shota Rustaveli.

Evreinov included in the script episodes from the lives of Rustaveli and Queen Tamar, as the poet dedicated his work to the latter. Russian artists Natasha Goncharova and Larionov, who created the scenery and costumes, were also invited to the ballet.

Lifar invited the old maestro of Russian ballet as a choreographic consultant, thanks to whose amazing mind he was able to present the individual details of the movement, the rhythm.

Since the ballet "Shota Rustaveli" was a new staging, Lifar had to study in depth the Russian translation of the poem by Balmont as well as the Georgian The Knight in the Panther’s Skin illustrated by the artist Mikhai Zich in order to grasp all the details. That is why Lifar invited Georgian dancer Petriashvili to the ballet to get acquainted with the ballet movements typical for Georgian dance, because including Georgian details in the performance was a necessary process.

Work on the ballet was going on at an unprecedented pace. Serge Lifar introduced a new creative method. Usually, the choreographer first chooses the music, or the music is written especially for him, according to which he stages the dances. In the ballet "Shota Rustaveli" everything happened the other way around: Lifar first staged the dances, and the composers created the music on the scheme developed by the choreographer.

After three years of rehearsals, it premiered at the Monte Carlo Opera in the spring of 1946. The ballet was performed on the Paris stage four times after the premiere. Then the ballet based on Shota Rustaveli's poem disappeared from the stage and never returned. Even today, no one knows what happened to the music, the scenery or the costumes.

Striving for something new is the first requirement of the human imagination, and finally, the truth became apparent that there was no greater pleasure for Georgian political emigrants and the ballet troupe than to enjoy creativity. Especially when it came to the most precious treasure for Georgians, Shota Rustaveli's The Knight in the Panther’s Skin.

ქართული მუსიკა დამოუკიდებლობიდან დამოუკიდებლობამდე

მარინა ქავთარაძე — Fri, 24 Jun 2022 00:00:00 +0400

Georgia gained and restored its independence twice in the past century (1918/1921 and from 1991 to this day). Over the century the two-way path from independence to independence was difficult and heterogeneous with intertwined causal connections in socio-political and cultural spheres. Freedom is like a litmus test, which reveals and catalyzes certain processes. The golden age of new Georgian music – the first republic of independent Georgia in 1918-1921 – was preceded by a long period that prepared this rise in musical culture. At a glance, similar processes preceded musical culture of the second independence. First of all, this was the path of reforms in different directions, including the sphere of education, music professionalization. Main reason for the not-so-insignificant success of the reforms was the consolidation of the political and public spectrum, active public participation in the process and a wellthought transformation of the inherited ugly system.

In this context the paper discusses: what challenges did the musical culture of the Democratic Republic face? What was the path like it took before gaining independence? What were the features of the idea of Georgian nationalism?

How did these two stages of Europeanization/globalization take place in the country, whose musical culture was based on a different type of professionalism before the 19th century? Who and what played a crucial role in this process? What does independence mean in music? What role did the “founders” play in these processes?

The crisis that began after 1991, even under freedom and independence, was at the same time a means for opening up great opportunities and horizons. It was from this period that Georgia started to position itself on the international arena, when it appeared here after gaining independence in education, creativity or any other field, because the independence we gained under the First Republic did not allow Georgian culture to enter the world arena in a short time, even though, the leaders of the time were well-aware of the need for this, especially in the field of education. The period of the second independence really provided this opportunity, the theninitiated process of renewal and exchange of experience is very
important, especially in the field of education. For art, it was a historically determined act that revealed both the expansion of the creative horizon and mastering of contemporary processes taking place in 20th century art. All this is reflected in the unique style of the new generation Georgian composers. However, under complete freedom, it clearly lacked the intensity, which probably is the driving force for true art, which had evoked interesting new concepts in Georgian music of the previous period, said what needed to be said, covertly, but still spoke using double coding, the language of proverbs and brought its sorrows to listener.

The paper, which touches upon the musical culture of two periods of Georgia’s independence, is an attempt to answer these questions and generalize the problems, based on the comparative method.

ადამიანები. ადგილები. დრო

ლელა ოჩიაური — Fri, 24 Jun 2022 00:00:00 +0400

Nothing so accurately expresses visually time, epoch, political, economic, social or cultural condition of a country as architecture. Secular. Cult. Public or private. It is both changeable and timeless over time. It forever captures events, expresses and stores them in one way or another, in a state, in a form. Forms of public administration. Peace and war. Peaceful life or dramatic alternation of events are icons in the architecture of buildings, streets, cities or villages and the history of the people living in them (sometimes only a few years, sometimes centuries).

Cinema as the most "real" field of visual art, "close to life," which, although transformed into a new artistic reality, but the existence of human beings in the real environment (even the most unreal and conditional), naturally depicts characters settled in countries, cities, villages, streets, homes. Familiar or unfamiliar, in the data depicted with "familiar" or separated characteristic signs. It preserves the traces of their existence, history and transmits them to the future.

Just like in world cinema, a place in Georgian cinema – a street, a city, a village "natural" and "inevitable" in addition to the "use" and the workload in practice, has become a necessary and important artistic expression of the director's intention, an artistic metaphor. And as in all other cases (according to the variability of the idea, theme, concurrence of problems, urgency, etc.) different functions, meanings, different and versatile ways of representation, obey the approach. Always and now too. Obey the "law" of the variability of reality and its adequate on-screen reality, based on the requirements of artistic tendencies, directions, currents.

This is how the portraits of countries, societies or individuals were created, including familiar strokes and details (like image films or album-postcards) and unfamiliar buildings or panoramas that clearly and unequivocally express the director's intentions about the human spirit at different stages of existence.

The screening of "familiar" cities and "thus" showing them in the cinema had different reasons at different times. The faces of "unknown" and "hidden" places were painted in different ways, which represented and embodied the society of "familiar" and "unknown" people.

In both cases, cities / villages / streets have evolved into one of the most distinctive and self-coded systems of cinematic expression in cinema, with ways of deciphering it over time, with demolition, with construction, with demolition again, with rediscovery and demonstration.

It is a fact and I think it is important that over time, our attitude towards both historical reality and its imprint on the screen changes.

"ძველი“ და "ახალი“ თაობა ახალი სტილის ძიებაში. 1980-იანი წლების ქართული კინო

მაია ლევანიძე — Fri, 24 Jun 2022 00:00:00 +0400

The cinematography of the 1980s can be discussed as an attempt to enrich or deepen the tendencies that were sharply observed in the 1960-70s. During this period, thinking with coded, expressive elements became important. Preference was given to ‘what’ and then ‘how’. The 1980s became the boundary point when the style of living and communicating by double standards in the Soviet society became clear. The absurdity of Soviet ideology, the sense of illusory prosperity, became more acute, which is why it became important, for both generations of filmmakers during this period, to clearly reflect on the civic positions they held in relation to the moral problems of the society. The focus was not on the analysis of the process but on the outcome. What we got under the Soviet government and what a man has become. Most of the directors were "ascertaining the facts", thus telling from the position of an external observer about the existing acute and topical problems.

The main trends in the cinema of the 1980s can be divided into two stages – before the "transformation" (1980-85) and its subsequent stage (1985-90). In the first stage, the authors tried to talk about the vicious sides of society: bureaucracy, corruption and more. In the foreground were issues of personal and public relations. During this period, such important works were created as: Eldar Shengelaia's "Blue Mountains or an Unbelievable Story", Rezo
Esadze's "Nylon Fir Tree", Merab Kokochashvili's "Three Days of Hot Summer". As for the second stage, in parallel with the old generation, a younger generation came to Georgian cinema. The socalled "80s" who had a different vision in their works.

The reflection of realism in their works lost their lyrical intonation, sense of humor, sophisticated compositional structure, tendency to build a complex spatial perspective, and so on. The gray, seemingly ugly environment, the depreciated values caused a kind of protest in them. Temur Babluani's "Flying Sparrows" (1980) Nana Jorjadze's "Journey to Sopot"(1980), Aleko Tsabidze's "Spot" (1985), Levan Zakareishvili's "Temo" (1986), etc. tell about the lower strata of society, people, who failed during adaptation to the society, who were doomed by society for the hopeless everyday and the future. Thus, the topic discusses the socio political situation of the 1980s, the main trends of Georgian cinema, the creative search of the old and new generations.

რეალური ისტორიის სიურეალისტურ მხატვრულ ფილმად ქცევა ყველაზე ანტისაბჭოთა ფილმში, თენგიზ აბულაძის „მონანიებაში“

ლელა წიფურია — Fri, 24 Jun 2022 00:00:00 +0400

Tengiz Abuladze's film "Repentance", which was completed in 1984, is still considered as the most anti-Soviet film of the twentyfirst century. The third part of the trilogy - this is what Tengiz Abuladze called a combination of films of completely different genres and styles – “Invocation”, "Tree of Wish", “Repentance". What did the director mean by the unity of the screenings of Georgian literary masterpieces and the film created with the original
script? The paper will provide an analysis on this issue.

"Repentance" was on the "shelf" for three years. The film is based on a real story – the fact that happened in Samegrelo, the deceased was exhumed for revenge. The original version of the script was also designed for narration in a completely realistic cinematic language. In the first version, the avenger, the protagonist of the film, was a man, a house painter. Tengiz Abuladze was going to choose the role of avenger between Tengiz Archvadze and Gia Peradze. In the final version, the story became the fruit of the memory and imagination of a woman who baked cakes, which was filled with seemingly completely incompatible characters, details, circumstances. What caused such changes? The paper analyzes their cause-and-effect relationships in detail. The author of the paper, was an assistant on this film and tells us about the filming, the process of creating metaphors and the formation of the film's stylistics from the position of an eyewitness and a participant in the process.

The story of making this film is directly related to the policy of the then First Secretary of the Central Committee of Georgia, Eduard Shevardnadze. Shevardnadze started the game of democracy and "Repentance" was created under his direct patronage. In the political game, Shevardnadze successfully played the role of a progressiveminded democrat, but this did not prevent him from shooting the main actor of the main role of "Repentance", Tornike Aravidze, – Gega Kobakhidze. In the paper will be analyzed the sociopolitical situation in Georgia and the Soviet Union in the eighties and the status of Tengiz Abuladze's film in this situation.

The paper also analyzes the circumstances that prevented the release of the film for 3 years and the subsequent situation when the triumph of "Repentance" took place worldwide.

The main virtue of "Repentance" is the creation of generalized artistic faces along with the position of the director. But the characters in the movie also have specific prototypes. One of the topics of research is a comparative analysis of the actions of intellectuals, real people and heroes of "repentance" in the 1930s.

The aim of the research is to analyze the symbolic-metaphorical cinema language of "Repentance" and the influence of stylistics on the artistic quality of the film.

Tengiz Abuladze stated in one of his interviews – "One of the biggest mistakes of all time is ours, and not only ours. It is a fatal crime that a very large part of the society considers the difference between good and evil, but in fact this difference is absolute. "Repentance” was the first cinematic victory in the fight against the evil empire, and it remains so in the twenty-first century. In addition, the paper analyzes the scholarly quotes and the opinions of prominent contemporary artists – Revaz Chkheidze, Giga Lortkipanidze, Robert Sturua, Akaki Bakradze, Avto Makharadze about "Repentance", memories from the working process.

ინგმარ ბერგმანი — პირობითობის რთული მოდელი

ირაკლი ფაღავა — Fri, 24 Jun 2022 00:00:00 +0400

Dramaturgical building and the meaning of the key concept of the film is one of the most important topics and a subject of research in modern cinema.

The article discusses some characteristics of Ingmar Bergman’s dramaturgy’s metaphysics, which follows the mainstream of the development of the story and nature of the characters. It is united by Psychoanalysis. Such arrangement is a part of the director’s vision and it comes from his scripts (“The Seventh Seal”, “Fanny and Alexander”, “Scenes from a Marriage”), but in each one we can find motives of existential matter changed and interpreted by Bergman.

This range is so expressive and has such an ability to bring something new to talk about in every era, that in every film we can see how Bergman found a compatible artistic face for tragedy and psychological drama. He created a scheme, which gives us similarities in every environment and character’s nature. This leaves us an unusually big space for analysis.

Therefore, Bergman’s theme of the unity of life and death, youth and old age is one complete dramaturgical structure, a model of a world, created from details, to which he dedicates his work.

Researching this subject gives us the ability to have a completely different face of expression as a tradition. Ingmar Bergman established it newly with united vision of literary and historical associations. Ancient drama and mythos come alive in psychological drama as one of the forms of the lives of Bergman’s characters, a way of displaying their nature and tragedy.

This way of thinking requires very difficult and big resources from the author – this was how Ingmar Bergman was thinking in dramaturgy, a master of psychological drama.

სატელევიზიო სერიალები და აუდიო-ვიზუალური თხრობის გავლენა საზოგადოების კულტურასა და ტრადიციებზე

ნინო გელოვანი — Fri, 24 Jun 2022 00:00:00 +0400

Television as a global system and a lifestyle phenomenon for a wide audience influences an outcome that positively or negatively shapes not only an individual or a group, but society as a whole. In modern society we can freely see what values have decreased, which have increased or has established. Man, certainly, evolves over time and his views change along with values, but television plays the biggest role in shaping the character. We receive lots of information from television and the Internet on a daily basis and at such speed that the
capabilities of the perceptual and memory phases are doubled. Television has no borders, people living in different countries of the world get to know and talk to each other through audio-visual language. Television has become an integral part of every sphere of life.

The 21st century is considered the century of TV series by many. Audio visual narration and watching a story with a TV series is the best way to spend your free time. Every day, together with the characters of the TV series, we overcome new obstacles, and it seems that we will never get bored of it, because "characters we are familiar with" are us, who are familiar with the problems often given in TV series. TV series have become a train of the collective narrative as a precondition for the creation of a new civilization. Cinema tried to create a national myth,
which was shattered by TV series. The TV series has become a form where an era without crisis is created, scattered in time and space. This is a story without a beginning and an end – in the rhythm of the beginning and end of the TV series seasons.

The TV series is a new civilization that perceives the world in a fragmented way, because “the principle of the TV series is to deviate from the path. It is not just a popular TV genre, it is primarily a form, it is aesthetically new and we know that the invention of forms is rare, deeply relevant. The symptom of the series is the world, it is structured as a world in crisis, or the world itself will be structured as a series. Mass, popular culture is an integral and widespread part of modern culture. TV series are a phenomenon of mass culture, which soon
established an honorable place in the broadcasting space. The TV series, in turn, is related to pop culture through TV channels and social networks. In Georgia, as well as around the world, there has been a real boom of TV series in recent years. Consequently, it is very difficult for any show to be particularly fascinating to the viewer, at first the viewer denied this fact, convincing himself that he had no time to watch TV series. But with the advent of the internet, the circle of addiction to the TV series has expanded, viewers can watch the TV series at any time and do not have to sit at the screen at specific times in the evenings. The dependence on the Internet and TV series, to some extent, reflects the mood of our society. People are alienated from each other. Often, a virtual image of a person is more favorable to us and to him than a real, tangible one. The viewer begins to live with the feelings of another, with the emotions of another.

TV series gives the audience a chance to travel around the world, get to know different cultures and traditions, which diversify their lives.

თეატრი და სამშობლო

თეიმურაზ კეჟერაძე — Fri, 24 Jun 2022 00:00:00 +0400

The present essay considers the general overview of the prehistory of period starting from theatre life to staging the “Motherland” by Giorgi Eristavi. The essay is focused on the contribution of Georgian patriots and representatives of the “grouping of the sixries” – a Georgian literary-social group of the 1860s, their views and opinions about the purpose of theatre.

For Georgia, then as one of the Russian governorates, it was challenging to be integrated into the European cultural process; the distinguished patriots of the colonized Georgia were dedicating many efforts for liberating the country from the colonial bonds and obtaining the independence.

Country, which was divided in two governorates (Kutaisi and Tiflisi) was governed by Russian viceroy. Sakartvelo (Georgia) was no longer mentioned as the name of the country (by this period the Georgian language was discredited, it was banned at the educational institutions, the usage of the Georgian language publicly was forbidden and even church services were conducted in Russian!).

Only, in 1850 it became possible to create a European type Georgian theater and this was an eminent event in Georgian cultural history. In Georgia, prior to the creation of Giorgi Eristavi’s Theatre, were functioning French, Russian, and even Armenian theatres.

Since the 1850s, the Georgian theatre not only delivered the cultural-educational mission, but as its main purpose it became the preacher for liberty, preservation of national identity, purity of Georgian language and the idea of national liberation.

Unfortunately, the Giorgi Eristavi’s Theatre was closed soon, in 1856. At the Georgian arena appeared young scholars and writers, and this period is characterized by the presence of strong literary movements.

The performances of stage admirers were performed in different regions of Georgia. They became most intensive in the 1870s. Among the stage admirers were A.Tsereteli, N.Avalishvili, D.Kipiani, P.Umikashvili, R.Eristavi, S.Meskhi, A.Purtseladze, B.Kherkheulidze and many others.

Stage admirers were dedicating much attention to the national phenomena in their performances. “The society was awakened enough that now the lifestyle development demanded the existence of there and on the 5th of September, 1879, the permanent stage was founded”.

The premiere of D. Eristavi’s play “Motherland” (Samshoblo) was held on 20th January 1882. Georgian theater had gone through a long difficult path to “Motherland”. If majority considered theaters previously as the amusement place, “Motherland” turned it into the
feeling of unification of all generations.

This was an eminent event in the Georgian theatre history. Of course, the "Motherland" did not unite the nation, but it was the play that awakened the idea of unity in the society, encouraged their desire for unity.

თამაში ცხოვრებაში და ცხოვრება თამაშში (ალექსანდერ ეკმანის „თამაშის“ მაგალითზე)

ლაშა ჩხარტიშვილი — Fri, 24 Jun 2022 00:00:00 +0400

“You will become an adult and say: I reached my goal! However, you won’t feel better, and this feeling will cause the frustration and you will capture that everything is the same, as it was before” – this is the quote from the text which is revealed in new masterpiece – “Play” created by Alexander Ekman, the outstanding modern choreographer. One might have an impression that the monologue is about the chorographer himself, because in his young age he already worked for leading and prestigious ballet and dance theaters of the World, cooperated with the best and well known ballet troupes and companies, as the choreographer acquired nearly all highest awards that exist in the sphere of theater of art and choreography in the World, reached the peak of the popularity, became critiques’ favorite and acquired fans from all over the World – where people have seen or even have not seen his plays (only on TV, or Internet); however, only Ekman is not concerned with the issue that he proposes in his new work. Problems, which the choreographer touches upon in his new piece is common for the modern Europe, subsequently the humanity is also facing some sort of dilemma. Play is the first creative project of the outstanding modern choreographer with the individual manuscript in the "Opéra National de Paris", which he implemented through engaging theater artists and its creative team (Composer Mikael Karlsson and Costumes design Xavier Ronze).

Theatrical language of Ekman is exceptional with its internal and sharp humor, which unites melo-dramatism, classical and modern ballet, addresses the quotes from the modern choreographers’ works, however still creates original, specific and different version, which excites the audience. Performance with its concept and artistic decisions represents an important statement, which along with the unnoticed universe will help to explore new planet of modern choreography and theater, which assures you in human phantasy without borders. Choreographer successfully achieved the goal and audience forgot real life and transferred them into another universe.

Based on the example of the main character, Ekman tells the story of the life of the modern human from birth to death. In the beginning everything is white (main character is dressed in white shorts and orange shirt), atmosphere is relaxed and filled with joy and happiness. About 35 actors on the stage create childish happiness. The main character still does not know how to walk, gets familiar with the universe and absorbs life, is treated in the system (as if he is a puppet) where he is pushed by the environment. Despite these restrictions children are free and fly like birds in this healthy, meanwhile in the environment framed by the laws. They play, play a lot and different games. In front of the audience strikes the memories about childish games which was played by everybody. Ekman created nonlinear, diagonal compositions. He created compositions, which reach asynchronous harmony. Staging looks like the bird flock during maneuver, which breaks the composition but keeps the same speed and rhythm. Actors’ movements are similar to the animal flock’s movement filmed from the crane which strives somewhere and creates united team from the top view. Consequently, the character in general represents a childish naive society that acts by psychology of mass in reaction to any type of provocation.

In the content of Play, from the beginning is emerging a strict, teacher-type expressions, which instead of teaching is remembered with her instructional, prohibitive gestures. People are going through the different stages of lives and the rules of gaming are changing but the essence of life does not change, we still play. Game becomes harder and heavier, circled environment expends and it becomes smaller and more closed… Ekman is an outstanding choreographer and thinks with great sense of humor, who builds his work based on the principles of associations, without any excessive subtext. It is simple and understandable for everybody; however, it is very original. Separate episodes are encrypted for coding and solving them delivers us to the uninterruptible chain plot. Ekman uses metaphor language in his dances, which is coming to life sometimes through costumes and sometimes through lighting.

Ekman loves cubes and surrounded, pointed-quadratic lighting. He used such technique in “cacti” and nowadays he develops such finding in “Play”. In the third act big balls are transferred in the stalls and audience gets involved in the game like in “Snow Show” by Slava Polunin. One more quote from Ekman’s “Play”: “Play” represents impressive and unforgettable creation, which makes you think, entertains, provides aesthetic pleasure and makes you forget life which you had before entering the theatre. You begin to play and don’t want to finish it. “Whole life is a theater and we all, men and women are the actors of this theater” – Ekman’s performance concept is based upon Shakespeare’s concept. Everybody plays in the universe because it provides enjoyment and everybody has to do it.

ევა ბალი და მისი საბავშვო თეატრი ბელგიაში

ანა მირიანაშვილი — Fri, 24 Jun 2022 00:00:00 +0400

Bal (1938-2021) graduated from the Utrecht School of Dramatic Art in 1960 and began her long and extensive career as a theatre maker. She went on to create numerous theatre productions at home and abroad and worked step by step on her big dream: a drama center for children and youth.

Eva Bal became a pioneer in the field of youth theatre and developed her method: ‘via improvisation to theatre’. She believed that theatre is more than text. Theatre is light. Theatre is music. From the outset, Eva opted for multidisciplinary theatre and invited professional actors, musicians, and dancers to participate in her productions. It was also her conviction that youth theatre should be close to the children, so she put children and youth on stage. The starting point in the creative process was the ‘unique voice’ of children and belief in their distinct artistry: a very innovative approach. Thematically she continually looked for what was happening in the world of children and youth, and she tried to stay in touch and talk with them as much as possible.

In 1978 she founded her Speelteater Gent, a drama center for children and youth. This marked the start of the realization of an old dream: a venue for talent at the edge of the nest, an open house for young art where theatre for and by young people is central. Eva’s goals were: to create productions for and with children and youth, set up theatre workshops, and program guest performances.

In 1993 Eva and her Speelteater moved to the KOPERGIETERY, an old copper foundry in the center of Ghent. With that, her dream was complete. Eva herself also traveled abroad. She created pieces in Singapore, Seoul, Montreal, Moscow, and Zurich, and soon after the war in Yugoslavia, she also began working with war children in Zagreb.

Speelteater/KOPERGIETERY maintained intensive contacts with schools, continued to work with children and youth in the Theatre Ateliers, welcomed fascinating artists, and made its creations. The house functioned as a laboratory, a springboard, and an established platform. As artistic director, Eva not only gave young talent opportunities but also coached actors, dancers, musicians, and directors in their work for children and youth. KOPERGIETERY (since 2001 the name for the Ghent children’s and youth theatre) became a biotope where ‘youth’ culture was given its full attention.

Over the years, the theatre studios became a hotbed of talent, where people like Lies Pauwels, Pieter-Jan De Smet, Alexander Devriendt, Nic Balthazar, Stephen and David Dewaele, and Violet Braeckman got their start. For her pioneering work in youth theatre, on 3 October 2000, Eva was officially ennobled by King Albert II and given the title of Baroness. As a motto, she chose ‘Het Kan’ [It’s possible].

In 2003, Eva Bal passed on the artistic leadership to Johan De Smet who, together with the entire KOPERGIETERY team (and soon thereafter the KOPERGIETERY STUDIOS) continued to
develop her work locally, nationally, and internationally.

Over the years, Eva Bal was awarded multiple theatre prizes, for her work or with KOPERGIETERY. She is regarded internationally as a unique pioneer in children’s arts.

ელფრიდე იელინეკის დრამატურგია

ანა კვინიკაძე — Fri, 24 Jun 2022 00:00:00 +0400

Since its foundation (between 1901-2021), the Nobel Prize in Memory of Alfred Nobel have been awarded to women 58 times. Among them is the Austrian playwright and novelist Elfriede Jelinek, who was awarded the Nobel Prize in Literature in 2004 „for her musical flow of voices and counter-voices in novels and plays that with extraordinary linguistic zeal reveal the absurdity of society's clichés and their subjugating power.” (Swedish Academy; NobelPrize.org).

Elfriede Jelinek considered being the most influential living playwright of the German language world. Jelinek's work includes novels, poetry, theatre texts, radio plays, essays, translations, screenplays, musical compositions, etc. Her texts so far have been translated into English, French, Italian, Spanish, Swedish, Portuguese, Polish, Danish, Russian, Lithuanian, Slovenian, Georgian, Romanian and many other languages. Despite her
widespread acclaim, Jelinek's work remains highly controversial to some literary and theatre critics for her visions and writing style – as she, from the very beginning, denied using the conventions of traditional literary techniques in favour of linguistic experiments. It
is in this respect that Jelinek is interesting.

In the present article, she is seen as a feminist writer whose texts often deal with gender relations, female sexuality, and popular culture (based on her most notable plays, such as „What Happened After Nora Left Her Husband; or, Pillars of Society”, „Clara S.” and „Bambiland”). In almost all of her texts, we encounter the author's uncompromising sincerity, which is often accompanied by the theme of cruelty. In terms of cruelty and sincerity, the work of Elfriede Jelinek (and at some point, her biography) reminds us of the English playwright and theatre director Sarah Kane, whose work explores similar themes: violence, cruelty, gender relations, pornography, consumer society criticism, and mental disorder.

Although Elfriede Jelinek is an internationally acclaimed playwright, it is problematic to find her theatre texts in English. It is even harder to find them in Georgian since, unlike Elfriede Jelinek's novels, her theatrical texts are not yet available in the Georgian language. Hence Georgian theatre still has a long way to go before discovering Jelinek's dramaturgy.