Theater and Motherland

Abstract

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.