Text Montage in the Formation of Robert Sturua’s Theatrical Language

The Georgia had a very strong generation in the Art of 60s such as E. Sturua, T. Chkheidze, G. Khancheli, G. Meskhishvili, O. Ioseliani, M. Kobakhidze and others. At the same time, there were A. Tarksovsky, I. Lubimov in Moscow as the theatrical director and others. Artists used to address to the art to demonstrate their outlook and express their protest. This is key point, because Sturua actually starts to establish the political theatre by Salem Witch Trials. The political theatre equally existed in various European countries that time. Once the state system has emerged in human history then a great number of ugly forms of state system existed in different forms. Artists were expressing the protest in their work. Robert Sturua continued the traditions of Georgian theatrical school (Marjanishvili, Akhmeteli, and Tumanishvili) and expressed his protest by using a symbolic metaphorical language in his plays. He exposed inhuman essence of tyranny in his plays by using metaphorical, symbolic theatre language. These issues were acutely revealed in the plays of 70s at the end of 1960. If we say that Sturua is a typical representative of the events in 1960 then that means he is the participant of these processes, worked in the Rustaveli State Theatre, created a particular direction which we could call underground of that period. It can be called the experimental searches and revolt. Revolt of young artist against the existing events. My interest isn’t a search of whom we earlier met the directing or theatrical method during the searches of “Theatre Model” or “Theatre Language” of Robert Sturua. In the background of historical preconditions, theatrical aesthetics, theatre model and art searches in general: The searches of Marjanishvili, Akhmeteli, Brecht, Streller, Lubimov, Tumanishvili and the others – Robert Sturua’s “Theatrical Language” was revealed what defined the formation of the phenomenon what we call the theatre language of Robert Sturua.