Robert Sturua’s Georgian Shakespearian Part III („Makbeth“) Part III

Struggling for power and thrown is also refl ected in the “Macbeth” too. The crown for what the ruthless struggle is unleashed, again ends for the benefi t of vicious and merciless person… The human sins and purity was revealed more sharply in this performance. Directing language of Robert Sturua in “Macbeth” is far from “existing” scenic relationships, and vital details. As if, everything here is going on the bound of utter tenseness. Performance isn’t loaded with effects, but a viewer feels director’s inexhaustible fantasy at the same time. Existing country around Macbeth is striving for the power in the performance. Now one is sinless in this Universe. Everyone is equal and all dream about the crown. In the struggle for Royal crown, sometimes one wins sometimes the other.
In the “Macbeth” of Robert Sturua – Zaza Papuashvili’s Macbeth and Nino Kasradze’s lady Macbeth are younger than they are in the play, their surrounding is rejuvenated also.
Macbeth has got heroic and famous past according to Shakespeare. There is no past in the interpretation of Robert Sturua. As if, he gets in this world without having his past, any he must get know himself by the struggle and aggression.
To go the different way is characteristic for Robert Sturua’s theatre language and theatre esthetics. At the same time he manages to describe his intention. Even in this case, Robert Sturua’s magic women are the formal art method, metaphor.
Evil and kindness aren’t sharply isolated in the performance, as there is erased bound between alive or dead. Dead people aren’t buried in the “Macbeth’. As if they are thrown on a huge landfi ll. Once killed persons again continue their life not only in the dreams of Macbeth and his wife, but also in reality. They are rising from the dead for their personal revenge; kindness and justice are far from these people. Devil of Macbeth makes once killed people being in the group of opposition. Life and death is united against Macbeth’s devil. The clowns of Shakespeare are different in Sturua’s performances. In this case the clown is an obedient, ingratiated subordinated person, who has absolutely lost his human dignity. Robert Sturua and choreographer Gia Marghania created Macbeth’s and lady Macbeth’s unusual plastic draft. They raised tragic and strange love of this couple from the death. Simultaneous spreading of several actions on the stage is characteristic for the theatre language of director Robert Sturua. It happens in Macbeth too. It is enough if we remember the episode, when Malcolm and his partners are planning conspiracy against Macbeth on one side of the stage, but on the other side of the stage there is frightened lady Macbeth’s feeling of regret and mortal agony.
Metaphorical understanding of the action of the personages is signifi cant for Robert Sturua. The talk is about the accent of so called “Evil hands” of the active persons. Hands are disclosing intentions of
the heroes in some episodes. The fact is signifi cant that in the end of the performance the director even stopped Macbeth of playing football with cut head of human. It was the metaphorical method of director.