ვასაძე, მარინე (მაკა)მარინე (მაკა)ვასაძეVasadze, Marina (Maka)Marina (Maka)Vasadze2025-03-122025-03-122010https://dziebani2.tafu.edu.ge/wp-content/uploads/2023/06/Art-Sciene-Studies-4-45-2010.pdfhttps://openscience.ge/handle/1/8163While speaking to a famous Georgian theater director Robert Sturua, there was revealed some significant aspects. First of all, we were concerned about the level of influence that theoretical works of philosophy or art have had on Robert Sturua. There exists the term “film-language,” and “theater language, or the language of a theater.” Our key interest emerged around the factors (either a person or a thing) that influnced shape of his “theater language.” Out of 37 plays of Sheakspeare, Robert Sturua implemented around 17. We became keen on understanding Sturua’s attitute towards Sheakspeare, and his approach of interpretation of a Sheakspeare play; how does he make his concept suitable and relevant, why does it happen that time by time he again gets back to the same play? In September 2010, at the Moscow Theater “Et Cetera,” Sturua talks about staging a play “The Tempest.” It was also interesting, whether which of the forms of performing art are more acceptable for Robert Sturua? Those are the issues around which our discussion was held with Mr. Robert Sturua. Below, we suggest the entire transcript of the interview to our reader.kaთეორიასათეატრო ენაგარდასახვაTheorytheatrical languagetransformationtext::journal::journal article10.48616/openscience-369