ვასაძე, მარინე (მაკა)მარინე (მაკა)ვასაძეVasadze, Marina (Maka)Marina (Maka)Vasadze2025-03-142025-03-142016https://openscience.ge/handle/1/8214https://artsmediajournal.tafu.edu.ge/wp-content/uploads/2023/12/N6.2016_tradition-and-innovation.pdfRobert Sturua’s staging of the Georgian classical plays in Rustaveli theatre gained more or less success. Anyway it caused the fierce discussion in our society. The reason might be the classical works what was read and carried out by director absolutely in a different way. This time I refer sturua’s interpretations of the plays of Polikarpe Kakabadze – “Kvarkvare Tutaberi” and “Three Virgins”. Maintaining the basic essence, internal structure, concept and generic characteristics of the work is very difficult during the re-interpretation of dramatic work. The best example is the concepts of Kakabadze’s plays’ with the method of Sturua. There are some places where the text is inserted in “Kvarkvare” and also in “Virgins” or sequence of actions is violated. In short, Robert Sturua offers us the new installation of Georgian classical works. In “Kvarkvare” there is extracted quotations from the other plays of Polikarpe Kakabadze where are given variation of faces. Moreover the director added a scene “The Career of Arturo Ui” from the play of Bertolt Brecht. The director used the play “Three Virgins” in “Virgins” as a base but for aggravation of the idea he used the excerpts from “Kakhaberi’s Sword” and “Kvarkvare”. Meticulous working on dramaturgical material is characteristic for the theatre language of Robert Sturua. First of all, director is working on text and then he is doing some compilation from the text. He creates his text from the existing work. In “Kvarkvare” Robert Sturua exposed not only Kvarkvare but a society what allows and stand the existence of Kvarkvare. Perhaps that is why director showed us Kvarkvare’s metamorphoses in the play and the different imitations of his masks. “Virgins” is fairy-scene allegory of our unfortunate country and of the people living in and becoming the flattening mass. We could perceive the performance as another warning or another plea for awakening. The artist tell us: Living in constant fear and obedience is impossible when the authorities don’t care about the state, motherland or people and they think only for their own glory or how to gain the power. We of our slavish obedience encourage them to enforce their criminal intentions. Transformation what was undergone by Polikarpe Kakabadze’s characters gave more publicist sonority to their faces. As I already mentioned unusual dynamics of scenic narration is one of the signs of Robert Sturua’s theatrical language. Unification of the different theatrical genres or direction in one play is characteristic for Robert Sturua’s directing language. The best example is “Kvarkvare and “Virgins”. “Virgins” is synthetic play staged with the modern post-modernistic methods. Physical, verbal, dramatic, musical theatre elements are combined in the play. Despite having such changes of plays in both performances Robert Sturua hasn’t violated the main dramaturgical essence of Polikarpe Kakabadze because itself Polikarpe Kakabadze always used to expose the negative parts of public life in his creation. Characters of his comedies expertly use a different masks. Director raised exactly one of the main topics in the foreground from the creativity of Kakabadze.kaპოლიკარპე კაკაბაძეკლასიკური პიესებისტურუას ინტერპრეტაცია-კონცეფციებიPolikarpe Kakabadzeclassical playsSturua's interpretation-conceptstext::journal::journal article