ვასაძე, მარინე (მაკა)მარინე (მაკა)ვასაძეVasadze, Marina (Maka)Marina (Maka)Vasadze2025-03-122025-03-122008https://dziebani2.tafu.edu.ge/wp-content/uploads/2023/06/Art-Sciene-Studies-3-36-2008.pdfhttps://openscience.ge/handle/1/8151It is widely known that each important drama piece can be variously interpreted. When interpreting a work from a different perspective, it’s utterly important to preserve the main idea, inner structure, concept and specifics of a genre. Plays staged by Robert Sturua in Rustaveli Theatre are good example of this. Still, where does Robert Sturua’s theatrical language formation begin? He himself claims that he wanted to become a movie director, however, due to several reasons, he became a theater director. A play represents a rough material for Robert Sturua, in which he can portray his personal conception. In this part of the article I am discussing Robert Sturua’s plays: “Khanuma” (1968) by Tsagareli, “Step-mother of Samanishvili” (1969) by Kldiashvili (with Chkheidze), “Kvarkvare Tutaberi” (1974) by Kakabadze, “Betrayal” (1975) by Sumbatashvil-Iuzhin. Robert Sturua’s Georgian classical plays set in the Rustaveli theater have had relative success. Nevertheless, they have become the subject of active discussions among the society. Probably reason for this was a completely new approach by the director. “Khanuma” played an exceptional role in of Robert Sturua’s further stylistical formation. Exactly “Khanuma” bears the first trace of Sturua’s exceptional vision. In this play the director has discovered visual forms that would help him to define the direction of his future work. Maybe falsely, but I have identified these forms as “Sturua’s Eclectic Theater”.kaთეატრიკლასიკური დრამატურგიანოვატორული დადგმაTheaterclassical dramaturgyinnovative stagingtext::journal::journal article