ვასაძე, მარინე (მაკა)მარინე (მაკა)ვასაძეVasadze, Marina (Maka)Marina (Maka)Vasadze2025-03-142025-03-142020https://dziebani2.tafu.edu.ge/wp-content/uploads/2024/08/ziebebi-4-85-2020.pdfhttps://openscience.ge/handle/1/8206By the 20s of XX century the expressionistic direction covered many areas of art, including the recently appeared cinema art, but it was more popular in German theatrical art. Expressionistic theatre is characterized by: expressing the ideas directly, abstract characters who are carriers of social functions. In dramaturgy, a person has become an addition to the profession chosen by himself/herself. A large place in the work of expressionists was given to the unconscious, the loss of inner integrity of a person, double personality. Features of expressionistic dramatic art are similar to intellectual drama, a certain thesis, an idea is given and an action spreads around it, there are no individual characters. For the German Expressionists the theater was a kind of “spiritual brotherhood” and the spectators were involved in this brotherhood as well. By this they sought to confront the theater to alienation and hostility existing in society. Marjanishvili returned to Georgia in 1922. He was asked to lead the Russian troupe and he agreed. “Fate” turned out to be decisive for the Georgian theater and Marjanishvili. The condition of the Georgian theater at that time was extremely hopeless. There were talks about closing the theater, creating a studio, etc. Marjanishvili was asked to stage a performance with a Georgian troupe. At first he refused, then he suddenly agreed and the issue of the existence or non-existence of the Georgian theatre was postponed until the premiere. Thanks to Mardjanishvili, the history of the modern Georgian theater begins on November 25, 1922 with Lope de Vega’s The Sheep Well (Fuente Ovejuna) staged by Marjanishvili. This fact is recognized by everyone. Throughout his creative career Kote Marjanishvili constantly searched for new theatrical forms and techniques. Therefore, it is not surprising that he not only staged works of expressionist playwrights first at the Rustaveli Theatre, and then at the Marjanishvili Theater, but he also used expressionist techniques of performance, scenographic searches in combination with traditional Georgian theatre art. During the 1923-24 season, he, as artistic director, invited Mikheil Koreli and Sandro (Alexander) Akhmeteli as directors to the Rustaveli Theater and began working with them on plays by German expressionist playwrights: Franz Werfel’s Mirror-Man (Spiegelmensch, 1920), Georg Kaiser’s From Morn to Midnight (Von Morgens bis Mitternachts, 1916), Gas, Ernst Toller’s Man and the Masses (Masse Mensch, 1921). Marjanishvili staged plays of different genres or forms. Most importantly, he never stopped at what he once found. He was a director in constant search. For example, he staged Toller’s plays in different theatrical forms. The form found in the Man and the masses was no longer used in Hoppla, We’re Alive! Afterwords, massive-monumental theatrical forms or techniques were developed by his disciple Sandro Akhmeteli in his performances. Marjanishvili was the first who used cinematic techniques in Georgian theater: montage, close-up, distribution of action simultaneously on different plans of a stage space, etc. And in 1928, in Toller’s Hoppla, We’re Alive! He used directly film projection. Expelled from the Rustaveli theatre Marjanishvili opened the Kutaisi-Batumi Theatre (the second Georgian theatre, later named after Marjanishvili) with this performance.kaექსპრესიონიზმიდრამატურგიაკოტე მარჯანიშვილიდადგმებიExpressionismdramaturgyKote Marjanishvilistagingtext::journal::journal article