MA and Ph.D Students IV International Research Conference Art

ილიას სახელმწიფო უნივერსიტეტის ხელოვნების
სამეცნიერო-კვლევითი ინსტიტუტი
Arts Research Institute of Ilia State University
მაგისტრანტთა და დოქტორანტთა IV საერთაშორისო
სამეცნიერო კონფერენცია
„სახელოვნებო მეცნიერება, პრაქტიკა, მენეჯმენტი“
MA and Ph.D Students IV International
Research Conference
Art Science, Practice, Management
30. 04. 2013 - 2. 05. 2013
MA AND PHD STUDENTS 4th
INTERNATIONAL
RESEARCH CONFERENCE
ARTS SCIENCE,
PRACTICE,
MANAGEMENT
30 April – 2 May 2013
Tbilisi
This year international MA and PhD student conference is taking place for the fourth time. Conference
is organized by Arts Research Institute of Ilia State University. Science conference is a precondition for
training of young scholars and a great way for their future professional advancement. International
format of the conference supports cultural dialogue.
International academic and organizational council of the conference:
Dr. Levan Khetaguri, Arts Research Institute – Chair of the Council
Dr. Iuri Mgebrishvili, Arts Research Institute
Dr. Nino Mkheidze, Arts Research Institute
Dr. Manana Itonishvili, Arts Research Institute
Dr. Teona Kakhidze, Arts Research Institute
Dr. Hip Haggort, professor of Utrecht University, the Netherlands
Dr. Emil Ershakhovsky, professor of Yagiellonian Univesity, Poland
Dr. Brian Sinlgton, Professor of Trinity College, Ireland
Conference Supported by:
Ilia State University
European League of Institutes of the Arts (ELIA)
Stitching Caucasus Foundation (NL)
Tumanishvili Film Actors Theatre (Georgia)
Company “Gurieli”
ISBN 978-9941-18-201-3
© Arts Research Institute of Iliai State Univertity
© SCF
ILIA STATE UNIVERSITY PRESS
3/5 Cholokashvili Ave, Tbilisi, 0162, Georgia
CONTENTS
Preface 5
Efva Lilja (Keynote Speaker)................................................................................................. 6
Performing Lecture “Chew at the edge of Worries”.......................................................... 6
Schelte van Ruiten.................................................................................................................... 7
Conference program............................................................................................................... 8
Art Science
Lizaveta German
Strategies and concepts of curatorial practice in Ukraine:
“the story of surrender”........................................................................................................ 11
Meri Iskakova
Creative road of MoseToidze............................................................................................... 18
Magomet Khadziev
The difficulty of studying
Ingushetia’s Medieval architecture..................................................................................... 19
Guram Kokaia
Lessons in Art for Secondary School................................................................................. 25
Irina Mania
Tbilisi Caravanserais of 19th and Early 20th Centuries............................................... 32
Nino Mgaloblishvili
Deconstruction and semiotic analysis of fashion signs................................................. 41
Natia Natsvlishvili
Architecture and Identity: Catholic Church in Ude....................................................... 55
Silvia Alexandra Pintile
The Functional Object in Visual Arts, from Traditional
Circumstances, to Contemporary Senses......................................................................... 63
Zuzana Sebekova
The Role of Textile Designer in the Transforming
Industrial Production........................................................................................................... 68
Siavash Tayeb Taher
A Study of Experessionistic Movies of Germa
ny in the 1920s, with Especial Reference to the Movie
Dr. Caligari.............................................................................................................................. 76
3
Ani Tugushi
Peter Shaffer’s play Amadeus in theatre
and its film adaptations........................................................................................................ 99
Performing Arts / Media
Kate ina Jebavá
Tandem theater – way to equality..................................................................................... 107
Davit Mghebrishvili,
Scenography in theatre directors education................................................................... 113
David Sakvarelidze
Review of Opera and Drama Directing During Last 10 Years.................................... 118
Benjamin M. Wheeler
Mountains of Music: The Phenomena of Musical Dialects and Hybridisms
in the South Caucasus......................................................................................................... 122
Cultural Management, Cultural Policy, Cultural Tourism
Ketevan Chkhikvadze
The way of development related servicein Georgian museums.................................. 127
Conference Participants .................................................................................................... 132
Scientific Academic Board Conference and Publication .................................... 148
Participate Universities ...................................................................................................... 155
Arts Research Institute of Ilia State University.............................................................. 156
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Preface
MA and PhD International Student Conference in Arts Theory, Practice
and Management is taking place for the fourth time now. Every year we see
emerging new scholars researching the arts.
It is important to note that regardless of economic obstacles, unstable
markets, and decrease in subsidies in the field of culture scholarly research
into the arts continues. New scholars, theoreticians as well as practitioners
are interested in arts research. Even more, there are initiatives for new programs especially on a PhD level.
The young generation is much more pragmatic and motivated. Their
choice implies will, opportunity and necessity. Only through the balance of
all three will they be able to make a decision as to which field they are going
to work in next. This is the reason why the young scholars see the absolute
necessity for scholarly research.
In twenty-first century it goes without saying that scholarly research
is instrumental in every area. Historic as well as contemporary experience
in the arts requires a thorough study and this study should be undertaken
within the mutual exchange, cultural dialogue and interdisciplinary context.
These are the aspects that reinforce the issue of joint research for international conferences. New scholars are in drastic need of new professional networks and teamwork.
It has been two years since the conference has initiated annual digital
edition (http://www.iliauni.edu.ge/index.php?sec_id=935&lang_id=ENG)
which encompasses full presentations of the conference available to everyone.
This year the conference’s main highlight is its partner organization
ELIA (http://www.elia-artschools.org/) which itself is one of the most authoritative organizations in arts education. It is a great honor to be its member and copartner. It is also a great opportunity for participating students to
link their professional achievements with hundreds of universities in Europe
and beyond.
The conference geography varies from year to year. It encompasses
scholars of every age and university background. It is my hope that this year’s
conference will be equally successful for its participants.
Dr. Levan Khetaguri
Professor. Director Arts Research Institute of Ilia State University
Head of the Conference Academic Council
5
Keynote Speaker
Efva Lilja – Choreographer, Professor and Vice-Chancellor at DOCH,
University of Dance and Circus in Stockholm, Sweden
Efva Lilja has produced works that have been staged in more than thirty
countries around the world. She has written several books on dance, directed
films, exhibited her own visual art, set a world record, danced on the North
Pole and received a number of prizes and awards. Since late 1990s she has
worked with artistic research and been an active force nationally and internationally working to create conditions for artists to do research in their arts.
She is engaged in the boards of the Swedish National Research School in the
Arts, ELIA, SAR and PEEK. She is a member of SHARE and other professional networks. She writes and lectures frequently on the topic of her art as
well as of artistic research.
Efva Lilja is working for the development of higher artistic education,
research and leadership. She is also an activist in cultural politics, for instance on the EU level in Team Culture 2012. She has among other things
promoted the establishment of higher education and research within circus,
master programmes and research programme in choreography, thereby putting DOCH on the world map.
www.efvalilja.se
www.doch.se
Performing Lecture „Chew at the edge of
Worries“
All my life I have observed and studied how and why people move. As
a choreographer I use my observations and try out different expressions.
I fashion and reshape reality in favour of my interpretation, my images and
everything I desire and crave. This I do with the hope of being able to make
visible some of the possibilities and new interpretative directions we would
otherwise neither be aware of nor recognize.
I do not want to express myself in order to be understood. I want to
express what I do not understand myself. Dance is created in the instance
when the onlooker affords the movement such meaning that it is legitimized
6
as dance. I point out conventions and make us aware of the shortcomings
we cannot avoid. I am testing and searching my way forward using the art of
dance as a resistance movementand I do research.
Through artistic research I develop knowledge in, on and for the arts.
Artists produce research where artistic quality values through artistic representation. The Swedish “Higher Education Act” mandates that all education
and research shall take place on an artistic or scholarly basis. We have a fully
developed educational path with a BA, MA and PhD on an artistic basis.
We have free education, pay salaries to doctoral students, have financing for
artistic research, accept students through auditions and appoint teachers,
professors and examiners based on their artistic qualifications. This provides
artists with opportunities and a context for discussions, critical reflection,
presentations, documentations and distribution of artistic research.Through
dance, text and imagery I invite you into a loveful moment of action. In this
lecture I will chew at the edge of my worries and think up new shortcuts over
the wilderness, amidst smells of fear and struggle, discussing the ideas of
artistic research. And I will dance.
Schelte van Ruiten
Schelte van Ruiten is a designer by origin, holds a bachelor in Corporate
Communication and a master in Organizational Science. He has run a design agency for several years and has worked as a manager for a literature and
film organization. Schelte van Ruiten has been the Managing Director of the
renowned modern dance company Emio Greco| PC and the International
Choreographic Arts Centre Amsterdam, and was the Managing Director of
the Haute Couture brand of Dutch fashion designer JANTAMINIAU.
Schelte van Ruiten is Deputy Director of the European League of Institutes of the Arts since 2010.
7
CONFERENCE PROGRAM
Tuesday, 30 of April
10.00-11.00 Registration of participants
Tumanishvili Film Actor Theater
Address: Agmashenebeli Ave. N 164
11.00 Official Opening. Welcome Speech
Prof. Dr. Gigi Tevzadze – Rector, Ilia State University
Prof. Dr. Lela Khomeriki – Dean of the Faculty
Mr. Zurab Gestadze -Tumanishvili Film Actors Theatre; General Manager
Prof.Dr. Levan Khetaguri – Director of the Arts Research Institute of Ilia
State University
11.30 – 11.40 Technical Break
11.40 – 13.00 Key note speaker Prof. Efva Lilja – Chew at the edge of
Worries; Vice-Chancellor of DOCH, University of Dance and Circus in
Stockholm/Sweden
13.00 – 14.00 Lunch
14.00 – 15.30 Session I Working Language-English
Moderator Prof.Dr. Levan Khetaguri Ilia State University
Katerina Jebava – Tandem theater – way to equality, Janáček Academy of
Music and Performing Arts Brno; Brno/Check Republic
Benjamin M. Wheeler – Mountains of Music: The Phenomena of Musical
Dialects and Hybridisms in the South Caucasus; Independent Researcher; Tbilisi
State Conservatory; Georgia/USA
Salome Joglidze – Performance as a scientific research (example: Liubimovs
“10 Days that Shock the World”) MA Student; Ilia State University; Georgia
Silvia – Alexandra Pintilie – The Functional Object in Visual Arts, from
Traditional Circumstances, to Contemporary Senses; PhD Student, Universitatea
de Arte “George Enescu” Iasi, Romania Questions
15.30 – 16.00 Break, Coffee, Tea
16.00 – 17.30 Session II Working Language-English
Moderator Prof.Dr. Rezo Marsagishvili, Ilia State University
Zuzana Sebekova – The Role of Textile Design(er) in the tra­ns­forming Industrial Production; PhD Student, Academy of Fine Arts and Design (AFAD)
Bratislava/Slovakia
Lizaveta German – Strategies and concepts of curatorial practice in Ukraine:
“The story of surrender”; National Academy of Fine Arts and Architecture; Kyiv/
Ukraine
Guram Kokaia – Lessons in Art for Secondary School; Role of Art in
Harmonious Development of Child; Independent Researcher; Tbilisi/Georgia
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Siavash Tayher Taher – A Study of Experessionistic Movies of Germany in
the 1920s, with Especial Reference to the Movie Dr. Caligari; Bushehr branch;
Islamic Azad University; Iran
Questions
Cultural Program
Wednesday, 1 of May
10.00 -11.20 Session III Working Language-English/Georgian
Moderator Prof.Dr. Iuri Mgebrishvili; Ilia State University
Mohamed Khajievi – The difficulty of studying Ingushetia’s Medieval
architecture, PhD Student; Tbilisi State Academy of Arts; Georgia
Natia Nacvlishvili – Architecture and Identity: Catholic Church in Ude
PhD Student; Ilia State University; Tbilisi/Georgia
Nino Chekezishvili – Paris Debate Theatre; PhD Student, Ilia State
University. Tbilisi/Georgia
Tamar Mukeria – Operatic Production of Giorgio Strehler; PhD Student,
Ilia State University; Tbilisi/Georgia
Questions
11.20 -11.40 Break
11.40 – 13.00 Session IV Working Language-Georgian
Moderator Prof.Dr. Teona Kakhidze; Ilia State University
Ani Tugushi – Peter Shaffer’s play Amadeus in theatre and its film
adaptations, MA Student, Ilia state University;Tbilisi
Tamar Kiknavelidze – Georgian Interpretation of Eugene O’Neill’s plays;
PhD Student, Ilia state University, Tbilisi/Georgia
Nino Mgaloblishvili – Deconstruction and semiotic analysis of fashion
signs; PhD Student, Tbilisi State Academy of Arts, Tbilisi/Georgia
David Sakvarelidze – Opera and Drama directorship during last 10 years,
PhD Student; Ilia State University, Tbilisi/Georgia
Questions
13.00 Cultural Program
Mtskheta, Old Capital of Georgia. Later lunch in the countryside.
Thursday, 2 of May
10.00 -11.40 Session V Working Language-Georgian
Moderators Prof.Dr. Nino Mkheidze and Prof.Dr. Manana Itonishvili,
Ilia State University
David Mgebrishvili – Scenography in theatre directors education, PhD
Student, Ilia State University, Tbilisi/Georgia
Irina Mania – Tbilisi Caravanserais of 19th and Early 20th Centuries,
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Independent Researcher. Iv. Javakhishvili State University; Tbilisi/Georgia
Ketevan Chkhikvadze – The way of development related service in Georgian
museums; MA Student, Ilia state University; Tbilisi/Georgia
Meri Iskakova – Creative Road of MoseToidze; PhD Student,Technical
University of Georgia; Tbilisi/Georgia
Mariam Kobakhidze – Logo-neurosis in children and ways of its
Improvement; PhD Student, Ilia State University, Tbilisi/Georgia
Nino Azmaifarashvili – The Impact of Globalization on Cultural Identity
in Cultural Policy and Cultural Management; PhD Student, Ilia State University,
Tbilisi/Georgia
Questions
11.40 – 12.00 Break
12.00-13.00 Session VI Working Language-English
Moderator Prof. Dr. Levan Khetaguri; Ilia State University
Schelte van Ruiten- Deputy Director of Elia – Presentation of ELIA
Conclusion of the Conference
Questions
13.00-14.00 Lunch
Conference working languages: Georgian, English
For paper presentation time-limit: 10-15 Min
10
Lizaveta German
PhD Student
National academy of fine arts and architecture
Kiev/Ukraine
Strategies and concepts of curatorial and
exhibition-making practice in Ukraine:
“a story of surrender”
If taking a closer look at a history of Ukrainian art from late 1980’s-early
1990’s through today, one faces the dramatically big number of gaps, blanks
and blind spots. Being insufficiently described and documented, this history
is based mostly on personal memories and selective archives, usually contradictory and biased. As a possible way to distance from such a subjective
storyline (which, though, certainly deserves careful further study) I suggest
to focus on art’s representation acts – exhibitions of various scale and format. As a reference point for chosen research methodology I take known
and often-quoted statement of Reesa Greenberg, Bruce Ferguson, and Sandy
Nairne:
“Exhibitions are the primary site of exchange in the political economy
of art, where signification is constructed, maintained, and occasionally deconstructed.”
This statement is taken from an introduction of Thinking about Exhibitions, a very symptomatic publication of its time, which gave a start to further
intensive attention to curatorship and exhibition-making as independent
research subjects. It was published in 1996 and thus almost coincides with
chronological start of our following discussion. The way Ukrainian art has
been displayed, received and placed in a certain public context (according
to artists’ or curator’s intention or by adjusting to given circumstances) in
course of recent 20 years may offer a more critical insight of how the notion
of what is called “The Ukrainian contemporary art” has been constructed.
The “the story of surrender” in paper’s title refers to Alchemical Surrender exhibition (1994), the inaugural event of Soros Centre for Contemporary
Art, which had started its activities in Ukraine a year before. The exhibition
was curated by Marta Kuzma, American curator of Ukrainian origin, and
took a form of artistic residency followed by 2-days open-air show on real
11
battleship of Ukrainian fleet, based in military harbour of Sevastopol city,
Crimea peninsula. This project was by no doubts significant – not only it
gathered the most important artists of their generation (including worldcelebrated photographer Boris Michailov, who rarely exhibited in Ukraine
afterwards), but it also provided a profound reflection, both artistic and curatorial, on social and political realities of early 1990’s.
The exhibition can be also regarded as the first example of professional curating at local art scene, performed by formerly New-York-based Ms.
Kuzma. While the first Ukrainian exhibition-organizers usually haven’t qualified themselves as curators, the established notion of curating from the
very beginning has been associated with foreign professionals. Most of them
were engaged in abovementioned Soros CCA programme as hired directors
(Marta Kuzma and her successor, Polish artists and curator Jerzy Onuch)
or guest-lectures (Nicolas Bourriaud, Achille Bonito Oliva). Another case
of curatorial impact was one-time project of Christoph Wiedemann. After
almost accidental visit to exhibition of Paris Commune artistic circle in Kiev,
he proceeded with first group shows of emerging Ukrainian art abroad –
Dialogues with Kiev (Munich, 1992) and sequential Post-Anaesthesia (Munich-Leipzig, 1992-1993).
As Olesia Ostrovska-Lyuta points out observing the nature of local curating, in Ukraine it has always been understood as an “imported” practice.
Local curators, she argues, were usually treated mostly as technical coordinators, with a certain suspicion, as someone who lack “initiation from the
West”.
What actually distinguishes the figure of Marta Kuzma and places her
practice to a starting point of Ukrainian curating history is that she’s been
probably the very first one to complete an extensive and careful research of
Ukrainian contemporary art and its background. The conclusions of this research were put in the heart of her curatorial text for Alchemical Surrender
catalogue Kuzma’s theoretical output expands far beyond the exceptional
problematic of artistic field and provides deep and keen analyse of political
and social climate of newly born independent state. Discussing individual
projects of participant artists, Kuzma reveals the sharpest and most disturbing issues inherent to Ukraine in 1990’s. To name just a few of them: new
understanding of citizen and voter role in new independent society, yet going
12
hand-in-hand with old paranoia of surveillance (Olexandr Gnilitski’s installation ‘Direct line to the President’); power relations inherent in language,
heated in debates around Ukrainian as a single officially proclaimed state
language (‘Box with Three letters’ by Boris Michailov and Sergey Bratkov);
transformations of role models and relations of individual to an institutional
framework within new social order (‘Voices of Love’, video and installation
by Arsen Savadov and Georgii Senchenko) etc.
The way Kuzma approached, in both theoretical and practical way, the
art of emerging (but not the young – most of participants were in their thirties) Ukrainian artists in conjunction with given political preconditions enabled her to unveil the most symptomatic features of Ukrainian art scene in
its potentiality and progress. Referring to Michel Foucault’s ideas concerning
institution control of aesthetic categories, she claims that in terms of institutional support absence artists find themselves in a most challenging and thus
efficient position:
“The artists became part of an art process, which stood outside critical consequence on one hand or available opportunity for national or international integration on the other. Participants of their own incongruous
socio-political and cultural transformation, the experimental artists in PostSoviet Ukraine were inclined toward subversive provocation, deferring from
aggression and opting for the argument and rebuttal. […] Creative initiative
was enhanced rather than inhibited by the lack of an infrastructure available
for alternative artists, motivating a collective rendering of work reflecting
camaraderie of activism aimed to cajole existing institutions to consider the
viability of their work located outside the categories of tradition aesthetic.”
The final appearance of Alchemical Surrender show serves perfect illustration to Kuzma’s observations. Whilst the show itself lasted only 2 days
and took more a performative form, the preceding artistic work directly on
the battleship constituted its main and most sufficient part. All the works
were created in situ, on the deck or cabins. Moreover, some of participant
artists (like Savadov and Senchenko) lived right on the battleship and interrelated with sailors from the crew, who, in turn, were commanded to follow
all artists’ instructions and requests on daily basis. The venue itself was probably the strongest curatorial gesture – the battleship disengaged from its
13
military context and occupied by provocative art-works became a symbol of
replacing the old state of things with new mode.
From today’s perspective Alchemical Surrender is seen as certain turning point in general understanding of what an art exhibition might look
like and how the art can and must deal with a social context (not to say that
it seems to be completely unrealistic to acquire such a venue for an art show
today). But what may seem, according to Kuzma’s reasoning, as the end of
surrender to regime of the past (“the exhibition […] approached transmutation of the act of surrender into act of revealment”), in fact appears to be the
beginning of another surrender, the one of a brand new kind. By paraphrasing the title of 1994 exhibition, I assume that the further history of Ukrainian exhibition-making is the history, or, if retrospectively take it as narrative
with its inner logic, the story of surrender. If we look at art process not as
a complex of more or less successful individual artistic (or artistic groups)
careers, but as a complex of representation acts, it may look as a sequence
of surrenders – reactions to given circumstances and attempts to overcome
them, raises and falls in search of domain of its own. These are surrenders to
official state policy (traditionally intolerant to contemporary art aesthetic),
surrenders to frames implied by private capital, which entered the art scene with established private-funded institutions or corporate sponsorship, or,
most commonly, simply surrenders to low-budgets and absence of any kind
of support.
In her recent text for “Report on the Condition of Culture and NGOs
in Ukraine” Kateryna Botanova notes two main issues which designate longlasted problematic relationship between state and art sphere. First one might
be summarized as a complete separation of the artistic and political fields,
which manifests itself in the lack of any sort of state policy with regard to
culture in general, and visual arts in particular. This results in total public
invisibility of art production.
The second issue Botanova points out is a substitution of the private for
the public, being the actual principles of cultural policy in Ukraine, followed
by lack of public pressure or participation in the creation of local and national policies, the absence of public control or any potential mechanism that
would enable this control behind decision making and implementation at
every level. Practical part of this kind of policy is one-side decision-making
14
by responsible officials who rely exceptionally on his or her personal opinion
and taste, which sometimes results in censorship and unconditioned closings
of exhibitions.
One of the earliest and somewhat bizarre stories of surrender is the one
to accidental forces, by default approved by “higher power”. This is the case
of 1994 exhibition Kyiv Art Meetings (curated by Valerii Sakharuk), staged
in the monumental building of former Lenin Museum, oddly enough renamed in 1993 to Cultural Centre Ukrainian House. The group show of prominent Ukrainian, Russian and Polish artists was adventitiously dismantled
by cadets in parade uniforms from the National Guard, who had some kind
of celebration event nearby and who appeared to outraged by art pieces presented.
Another example of one-side decision is the case of New History show
(2009), curated by SOSka group. The show was held (according to preliminary agreement) in exhibition space of Kharkiv Art Museum. The project
was based on a dialogue between two cultural formations, the one of critical realism practiced by artists of late 19th century (represented by pieces
from permanent museum collection) and the other of invited contemporary
artists from Eastern Europe, reflecting on Post-Soviet social reality with various forms of documentation and artistic interventions. On a day after the
opening museum director Valentyna Myzgina closed the exhibition down as
indecent and unworthy of the museum.
As a separate line of exhibition-making strategy, an antithetic reaction
to surrender mode one should consider the practice of artistic self-organization. This practice manifests itself today mostly in a form of artist-run spaces
(and squatting as its predecessor) and independent curatorial collectives, acting beyond any established institutional frame.
Tradition of self-organization in Ukraine should be traced back to 196070’s, times of first private shows held in artists houses – so-called Apartment
exhibitions, an extremely important part of Soviet-times underground artistic scene. Apartment shows find its roots in Moscow, where the so-called
Apt-Art movement constituted major line of unofficial artistic formation of
1960-80’s. In Ukraine practice of apartment shows was especially cultivated
in Odessa. The first event of this kind happened in Odessa in 1961, when artist Viktor Marinyuk showed his abstract paintings to a close circle of mates
and colleagues in apartment of his fellow-artists Alexander and Rita Anufriev. Despite the strong and close-knot underground (also called nonconformist) artistic and cultural community, the practice of apartment exhibition
wasn’t established in Kiev.
The first and the most significant case of artistic self-organization in Independent Ukraine was the squatting movement of late 1980’s-early 1990’s.
In search of shared studio space group of young artists occupied several
abandoned buildings in the city centre. The most famous squat, key spot of
artistic and party life in Kiev of 1990’s was the Paris Commune (1990-1994).
The first case of artist-curated show was the Space Research (1993), held
in half-ruined 17th century building belonged to Kyiv-Mohyla Academy
complex. The show was curated by artist Anatol Stepanenko (who, nevertheless, prefer to call himself today not a curator, but an author of the exhibition
concept). It is important to mention here, that this beautiful building in 1995
had become headquarter of Soros CCA and after centre’s closing served as a
gallery space until 2012.
Important cases of self-organization among the 2000’s generation are
the projects of Kharkiv-based SOSka artistic group (founded in 2005) and
HudRada curatorial collective (founded in 2009). Constant curatorial and
organizational activity of SOSka group includes independent laboratorygallery (founded in 2005), educational programme Class (2009) and series of
apartment exhibitions in Kharkiv (2010-11). The Hudrada (an abbreviation
for Creative committee – Художня Рада or Худрада in Ukrainian) works
as curatorial and activist interdisciplinary group, which includes artists, architects, political activists, writers, translators and designers. Projects of HudRada (by now there’s been 4 major projects realized) expand the meaning
of exhibition as spectacle representation space and act rather as platforms for
theoretical work and public discussions, touching some cutting-edge political issues and encouraging critical discourse.
The example of permanent exhibition space run entirely by artists is Detenpyla gallery in Lviv, started as a small display room in a private apartment
kitchen space. Since its opening in 2011 the gallery has held numerous exhibitions and recently acquired a bigger space, again in a private property offered by a sympathetic friend.
The very recent example of major group show of Ukrainian art whe16
re the line of self-organization practices was more or less comprehensively
represented is the Ukrainian News show, opened on March 16th at CCA
Zamek Ujazdowski in Warsaw. Despite some complaining about the organization mess, participants received the show in a very positive way. In their
comments for Korydor magazine, some of the artists (Nikita Kadan, Mykola
Ridnyi) stressed upon the keen curatorial approach of Marek Goździewski,
who built the exhibition up not as a show-case of separate works or individual practises, but as representation of artistic reflections and reactions on
political and social background in Ukraine.
Another popular Ukrainian web-magazine posted a brief announcement of this show under the title “Все украинское современное искусство
в Варшаве” , stylistically incorrect Russian sentence, which can be interpreted both as “In Warsaw there’s all Ukrainian contemporary art [on display]“
or, if translate it literally, “All Ukrainian art is in Warsaw”. (after numerous
critical remarks in facebook the title was slightly changed). This example of
journalist’s light-mindedness and simply bad-writing might be also regarded
as another unconscious assessment about surrender mode we discuss here.
The reason for “all Ukrainian art being abroad” is not because important
Ukrainian artists live abroad (a few of them do, though), as it used to be, for
example, in the early 20th century, when artists like Olexander Archipenko,
Olexandra Ekster or masters of so-called Paris school had to move to European countries in search of favourable conditions for professional practice
or political safety. Here we talk foremost about the lack of established representation policy and institutional demand for comprehensive and researchbased retrospectives. One can think of Mystetskyi Arsenal National museum
complex as of the most obvious venue for this sort of projects. But the last
major group shows organised there (Cosmic Odyssey and Independent, both
2011) appeared to be just another gigantic mix of works without any visible
conceptual basis behind the selection and received lots of reasonable critic
from professional community.
Indeed, the most successful group shows of Ukrainian contemporary
art happened beyond the national borders. Here we can mention just a few
of them: Steppes of Europe (Zamek Ujazdowski CCA, Warsaw, 1993, curated
by Jerzy Onuch); PostOrange (Kunsthalle Wien Karlsplatz, 2006, curated by
Hedwig Saxenhuber); Якщo/Если/If. Ukrainian Art in Transition (PERMM
17
Museum for Contemporary Art, 2010, curated by Ekaterina Degot).
As a successful exception I would like to mention Myth “Ukrainian
Baroque” show held in National Arts Museum of Ukraine in 2012, curated
by art-historians Oksana Barshynova and Galyna Skliarenko. The show represented quite a diverse body of Ukrainian visual culture in course of last
400 years, based on museum collection and pieces by contemporary artists.
Curatorial concept rested upon the idea of Baroque ideology and aesthetics
being the principle distinctive feature of Ukrainian culture since 17th century.
If to look retrospectively at this uneven and patchy timeline of exhibitions, one can notice a certain consistent pattern in its development. Just as
Alchemical Surrender once appeared to be a diagnosis which led to no cure,
so can the promising initiatives of today get stuck where they are without any
certainty for perspectives. The “story of surrender” hasn’t come to its “happy
end” yet, if we can imagine any desirable results at all when talking about
art. But it certainly gives some fruitful conclusions for avoiding sharp angles
experienced by predecessors.
Meri Iskakova
Independent Researcher
Faculty of Humanities and Social sciences
Georgian Technical University
Georgia
Creative road of MoseToidze
The thesis foresees to study the creative work and biography of the well
known painter MoseToidze. We tried to analyze his creative work and public
merit without adorning socialist slogans and communist ideology, moderality
foreseeing his social-political situation. His biographical information is based
on painters autobiography which are protected at the central archive of Georgia’s art and literature, besides there were used and studied the materials of that
period, which gave us the public evaluation of MoseToidze ‘s creative work and
public merit.
The painter’s biographical information isn’t perfectly given in any publication. Due to this there was necessary to use different sources for perfect
18
biographical information. We tried perfectly represent the real picture of
painter’s life
We divided Toidze’s creative works in five periods. It was considered the
Toidze’s creativeness had been reached to rise after the socialist revolution,
but due to our studies it becomes apparent that the most interesting and
diverse progress in his work he had until the socialist governance.The revolutionary ideology had thematically closed painter and forced him to wok
under his dogmas.
This thesis consists of IV chapters.
Chapter I consists of biography and creative works, where as it was mentioned above, is revealed and accurate the unknown dates and some biographical details of MoseToidze’s life.
Chapter II foresees putting in order MoseToidze’s creative periods, to
appear and reveal his worth works, which was conditioned by different ideological signs until this time, it was accentuated on his creative works’ last
periods.
Chapter III describes facsimile, which is changing in accordance with
his periods.
In chapter IV is formed the research result in accordance with the thesis.
where is registered the account about the painter’s biography.
Magomet Khadziev
PhD Student
Faculty of Restoration, Art History and Theory
Tbilisi State Academy of Arts
Georgia
Medieval architecture of Ingushetia: complexity in research
The mountainous part of Ingushetia is a picturesque region located on
the northern slopes of the Greater Caucasus Mountain Range, where in a
small area there is a high concentration of cultural and historical monuments
dating from the Bronze Age to the middle Ages. In the gorges of the rivers
Armkhi and Assa and in the adjoining lateral canyons there have been
preserved unique archaeological and architectural monuments – these are
different stone fortifications (megalithic houses, castles, towers), religious
buildings (sanctuaries, temples, etc.), funeral monuments (vaults, Christian
and Muslim cemeteries, etc.). Defensive towers, reaching up to 30 meters
in height and having a pyramidal shape, like skyward needles, are amazing.
The difficulties associated with the study of Ingush culture have been
caused by endless historical cataclysms in the Caucasus: during all historical
epochs this region was an arena of their actions which led to the destruction
of architectural monuments. Especially strong influence had the Caucasian
war (1817-1864), during which in 1830-32 were held punitive expeditions
under the leadership of General I.N. Abkhazov to mountainous Ingushetia,
resulting in the destruction of several tower complexes, such as Eban,
Khairakh, Tskhori etc.
The 20th century was no less destructive: in 1944 the Ingush people
was deported to Kazakhstan, during the deportation many monuments were
destroyed, the towers were exploded, and one of their walls was undermined
for their self-destruction with the lapse of time. This state vandalism has
brought to the loss of unique architectural models of the region.
The Ingush have risen to eminence in architecture. Extant architectural
structures are the proof of it: towers, vaults, temples, sanctuaries. This activity
of the Ingush people was of interest to many researchers, such as to Vakhushti
Bagrationi, the Georgian researcher of the XVIII century, who repeatedly
mentioned it. Describing Kistetia, Vakhushti reported that in Jerakh “there
is a large tower surrounded by a wall like a fortress”. Vakhushti reported on
the ability of the Ingush “to build of stone on lime and to erect houses, towers
and fortification of it…”1
According to most legends of both the Ingush and their neighbors, we
can unmistakably state that in ancient times some of the Ingush families
were considered to be the best professional masters- builders of towers who
were invited for this purpose in Ossetia, Chechnya, Khevsureti etc.
Evidences of some researchers are given in confirmation of it. According to the professor Yakovlev: “Ancient time in mountains there were families engaged in, for example, construction of stone towers, such as the surname Barkhanoevs, residents of vil. Barkhin, who were masters- masons from
1 L.P. Semenov “Archeological and ethnographic researches in Ingushetia in 19251932”. Grozny 1963
generation to generation”.2
Thereupon, painter Scheblykin wrote that jerakhians – Ingush were
tower-builders in Ossetia: “In Furtoug we were told about two famous builders of towers and burial grounds: Dugo Akhriev and Khazbi Tsurov… Local residents (vil. Furtoug) said that he (D. Akhriev) was the builder of the
Mamsurovs’ towers in Dargavs (Ossetia), and told about some details of the
construction. As far back as 1924 we were told the same story by local old
residents – Ossetians in villages of Dargavs and Kobani”.3
L.P. Semenov wrote the same about the Mamsurovs’ towers of Ossetia.
Furthermore he reported that “in the Ossetian village of Saniba population
calls some aboveground crypts the Ingush”.4
The study of the architectural heritage of the Ingush was the subject of
many researches, some authors of which considered that not the indigenous
people (Ippolitov A.P., Maximov E.I., Vertepov G.A., V.F. Miller) but the alien
conquerors with higher culture were the builders of the towers. Generally,
these researches only relatively considered the architecture of Ingushetia.
However, only the proceeding of Professor L.P. Semenov and painter
I.P. Scheblykin were especially dedicated to the towers and vault buildings of
the Ingush. The authors have created a typology of buildings, described the
functional value of dwelling and defensive structures and their individual
stories, and dated the architectural objects. Proceeding of L.P. Semenov and
I.P. Scheblykin, written in the 1930-40s, still have a scientific significance.
After them, the Ingush architecture was studied a little. In 1968 there was
published the article of A.I. Robakidze5 mainly devoted to the dwellings and
settlements of the Ingush. But for the author of this proceeding the architecture is studied only in terms of ethnography. Another approach characterizes
the study of M.B. Muzhukhoev6, in his work published in 1977 the Ingush
2 N. Yakovlev “The Ingush. Popular essay” Moscow 1925
3 I.P. Scheblikin “Art of the Ingush in artifacts” Proceedings of Ingush Research Institute
of local history, geography and culture. Issue I. Vladikavkaz 1928
4 L.P. Semenov “Archeological and ethnographic researches in Ingushetia in 19251932”. Grozny 1963
5 CEC: Caucasian ethnographic collection. Ethnographic essay of mountainous Ingushetia. V. II Tbilisi 1968
6 M.B. Muzhukhoev “Medieval material culture of the mountainous Ingushetia”
(XIII-XVII centuries) Grozny 1977
21
architectural monuments were examined typologically, their chronology (taking into account an archaeological material) was grounded, and some of the
features of local tower and vault constructions were identified. However, the
small details of architectural objects in this proceeding are almost undescribed. In the proceeding of the historian of architecture A.F. Goldstein7 there
has been raised a number of interesting questions, but he used mostly old,
not always competent measurements and sketches. The author is inclined to
consider the appearance of Caucasian tower architecture as a result of the
influence of the Near East and offers to look for archaic type of the North
Caucasus architecture in non-extant wooden structures - dwellings. In this
connection, according to M.B. Muzhukhoev, we should note the possible influence of a​ ncient stone houses, so-called cyclopean buildings known in the
mountainous area, on medieval stone architecture.
V.I. Markovin8, the author of the term “semi-combat towers”9 – intermediate type between dwelling and combat towers, professionally examined the
architecture of mountainous Ingushetia. He studied separate architectural
details of Ingush architecture and it enabled him to talk on differences and
similarities with other Caucasian architectural heritage.
From among the last proceeding on Ingush architecture we should
mentioned a two-volume edition of D.Yu.Chakhkiev “Antiquity of mountainous Ingushetia”10 (the third volume is being prepared for publication), the
proceeding is devoted to the whole architectural heritage of the Ingush and
has encyclopedic character.
7 A.F. Goldstein “Medieval architecture of Checheno-Ingushetia and Northern Ossetia”
Moscow 1975
8 V.I. Markovin “Some peculiarities of medieval Ingush architecture”. Architectural heritage. Issue 23 Moscow 1975; “Notes on Ingush architecture”. BRIA - Brief Reports
of the Institute of Archaeology, Issue 172 Moscow 1982.
9 “Semi-combat tower- the term used by Markovin for the first time for descrip-
tion of transitive type of a tower between dwelling and combat, though as it
seems to me, it would be more preferable to use the name “the house - fortress” that more answers to functional features and would give us a larger
area for the comparative analysis of such constructions, as, for example
mountainous areas of East Georgia.
10 D.Yu. Chakhkiev “Antiquities of mountainous Ingushetia” V.1 Nazran 2003, V. 2 Nalchik 2009
22
However, despite the conducted work of the abovementioned researchers, the considered theme is an underexplored, it requires the further
studying. Still there are used the data obtained in the Soviet period which
are subject to criticism. Dating of the monuments requires specification, and
typology – the sorting.
The result of our recent research is detection of the architectural school operated in the mountains of Ingushetia, and possibly beyond it, it will
be shown by the further research. Our supposition is based on a preliminary examination of several tower complexes - Moeller, Gershki, Dakkhl and
Byalgan11.
Considered tower structures are located in the gorge of the river Guloyhi, they are joined by a common way of walling - the original masonry, which
is not observed in other monuments of Ingushetia. These villages are located
relatively near to each other and are separated by hilly slopes of the rocky
ridge Tsey-Lam, maybe it was the area of one master or architectural school.
Without going into the study of floors delimitations and functional characteristics, we only note the similarities of these structures.
Medieval tower complex Meller, which consists of several dwelling, semi-combat and combat towers is located on a spur of the hill of rocky ridge
Tsey -Lam. Semi-combat and dwelling towers located in the central part are
of the utmost interest. Even though these structures are different by all signs
typical for both types of towers, but they are similar in planning and have
identically masonries. At first glance it is difficult to distinguish that these towers are different by the typology, except some details peculiar to the
dwelling tower distinguish them (stone support post, the absence of machicolations, a vast area of t​​ he base). A stone fence, built in the same way of masonry as the towers, around each tower increases their similarity. It should
be noted that the fence is a single composition with the tower; the tower and
fence are seen as unity.
Masonry is ordinal, rectangular gray rocky stone squares alternate with
elongated, reminiscent of brick, dark stone. This technique gives the correct
distribution of the dominant gray and brown colors. Use of elongated stone
in masonry makes it possible to periodically align the masonry and to stick
11however, we have to judge the interested tower of the last complex Byalgan by extant
photography dated 1921
23
to the horizontal lines. This is clearly seen in areas where the masonry approaches the slabs of window and door openings. Thanks to this method of walling, masonry comes out very expressive and renders an aesthetic outward
appearance of the tower. Master - builder paid great attention to the exterior
of the structure.
Structures of the villages of Gershki and Dakkhl have a strong resemblance with Meller towers. Here, as in the complex Meller the structures were
built in the same manner of laying.
At this stage, the material studied gives us the opportunity to outline
the area of ​​the medieval architectural style distribution, characterized by
the construction of the towers in the form of estates where the tower is the
center around which the estate is formed. Base area resembles a rectangle
with the sizes – 15x17 and 15x13 mm in Meller or 20x16, 25h18 in Gershki.
Also there are few defensive items (vaulted loopholes and hinged balconies
“machicolation”) on these towers as compared with other constructions in
mountainous Ingushetia, which have an emphasized defensive line.
Arched ceilings of door openings in most towers of Meller were made of
a single monolithic stone, carved in the same stone. According to the typology of Markovin they fall under the first type A12. However, it is difficult to
agree with Markovin that arches of this type are most primitive and archaic.
Perhaps the use of such complex arches carved in a monolith can be attributed to the plan of master or customer - creation of an aesthetic exterior of
construction.
But, undoubtedly, the distinctive feature of these structures is a walling
method. This masonry is similar to the temple Tsirkoli in Ksani Gorge, where
in the same way “low rows of flat slabs of stone alternate with high squares set
up mainly vertical, in a certain rhythm…there is a certain art-deco approach
taking into account the windows location”13.
From all has been said it follows that the study of the architectural heritage of the mountainous Ingushetia should be conducted against the broad
background of the whole Caucasian architecture, taking into account the local features; focused on the study of the architectural details, to show tower
12According to the typology of door and window spans developed by V.I. Markovin, type
A is the most primitive.
13 G.N. Chubinashvili “Landmarks of the VIII-IX centuries in Ksani Gorge” Tbilisi 1942
24
architecture as a general phenomenon of the medieval Caucasian culturalhistorical community, explaining it by particular historical and cultural development and the processes of cultural interaction of the Caucasian peoples. Tower culture of the Ingush should be considered as a heritage of the
world culture and upon studying to subject it to the methods established in
the world today.
Literature
A.F. Goldstein “Medieval architecture of Checheno-Ingushetia and Northern Ossetia”
Moscow 1975 CEC: Caucasian ethnographic collection. Ethnographic essay of
mountainous Ingushetia. V. II Tbilisi 1968
V.I. Markovin “Some peculiarities of Ingush medieval architecture” Architectural heritage, Issue. 23 Moscow 1975; “Notes on Ingush architecture, BRIA - Brief Reports
of the Institute of Archaeology “ Issue 172 Moscow 1982
M.B. Muzhukhoev “Medieval material culture of the mountainous Ingushetia” (XIIIXVII centuries) Grozny 1977
L.P. Semenov “Archeological and ethnographic researches in Ingushetia in 1925 – 1932”.
Grozny 1963
D.Yu. Chakhkiev “Antiquities of the mountainous Ingushetia” V. 1 Nazran 2003 Vol.2,
Nalchik 2009
G.N. Chubinashvili “Landmarks of the VIII-IX centuries in Ksani Gorge” Tbilisi 1942
I.P. Scheblykin “Art of the Ingush in artifacts” Proceeding of Ingush Research Institute of
local history, geography and culture. Issue I. Vladikavkaz 1928 N. Yakovlev “The
Ingush. Popular essay” Moscow 1925
Guram Kokaia
Independent researcher
Humanitarian Sciences
Supervisor: Dr. Levan Khetaguri
Shota Rustaveli Theatre and Film
Georgian State University
Georgia
Lessons in Art for Secondary School
Role of Art in Harmonious Development of Child
Humanity has always paid a lot of attention to the education. The first
educational system is described in the Samuel Noah Kramer’s book “Histo25
ry Begins at Sumer” (1956 University of Pennsylvania Press. ISBN 0-81227812-7.) Sumerians had first secondary educational system with all components, classes, teachers, books, etc. Art has been always part of the system.
Besides the basic sciences painting, sculpturing, drawing, singing, arts were
taught to pupils too. In the beginning schools weren’t open for everyone. In a
lot of civilizations sacral knowledge was for only chosen people. During the
centuries this situation has changed and education has become civil.
Nowadays a lot of people are working for improving the educational
system. They work out different theories, views, possibilities. All new technologies have become part of lessons. Teachers are interested in making their
lessons more interesting for their pupils.
The educational system has a great history of development in Georgia.
At first schools were organized near the churches. Priests and monks taught
children native language, the Bible, math, church songs, poems, painting,
knitting and etc. Princes employed teachers from European countries. In this
period education wasn’t systematic. One of the our great king David The
Builder in XI A.D. established the first academy, Gelaty. It was the first kind
of university in Georgia. Ruins of this academy are survived. The king knew
that only educated people can survive. David the Builder after several great
wars and battles united Georgia. The head of Gelaty academy set next to the
king. King pointed out that knowledge is the most important. In 1918 the
first Georgian University was established. During the USSR Georgia was locked in the union. The USSR used German educational system. This system
was used in Georgia too. Today we are trying to rebuild our educational system on Anglo-Saxon model.
The process of rebuilding began about 10 years ago. Georgia became
part of the Bologna Process. We organized 3 leveled higher education, B.A,
M.A, Ph.D. On secondary education level we are using contemporary views,
theories. We have created a new National Education Plan. A lot of psychological researches were made on child’s psychology. Founder of Georgian
Psychological School, Dimitri Uznadze created “Theory of Attitude and
Set”. This theory is basic of our contemporary education system. Works of
Benjamin Bloom, Howard Gardner, Jean Piaget, Lev Semyonovich Vygotsky,
Burrhus Frederic Skinner and other sciences are used to build our educational system.
26
After kindergarten, secondary education is the most important level.
On this level we form human with values, knowledge, character. Democratic, humanity, liberal values should be developed in our future citizen. Ministry of Education and Science of Georgia has created the document National Aims of Secondary Education (NASE). This document contains 8 aims
which should be achieved after graduating.
These aims are: a) Increase sense of responsibility on traditions, values
and interests of the country;
b) Keeping and protecting natural environment;
c) Using effective technical and intellectual achievements; getting, processing and analyzing information;
d) Living independently, making up decisions;
e) Being creative, creating new values, not using only existing ones;
f) Developing own possibilities and interests for all the lifetime, realizing himself in own country and abroad;
g) Communicating with groups and individuals;
h) Being law-abiding and tolerant;
For achieving these aims a new National Educational Plan (NEP) was
created in 2011. All subjects are divided into grades. There are goals for all
subjects which should be reached after graduating the grade. For example
Native Language in 1st grade has got aims, resources, indicators. In 2nd grade Native Language has got different aims, resources and indicators. NEP
contained 2 types of subject: mandatory and elective. Mandatory subjects
are: Native Language, Math, Foreign Languages, History of Georgia, World
History, Geography of Georgia, World Geography, Civil Education, Traffic Rules, Biology, Physics, Chemistry, IT Technologies, Fine and Essential
Art, Music, Georgian Dance, Sports. Elective subjects are: History of USA,
Geographic Research, State and Economy, Theatre Art, Film Art, Business
Basics, IT Science, World Culture, Computer Musical Program, Multimedia
and Design, Health and Medical Biology, Fine and Essential Art, Folk and
Mythology, Physic Basics, Art History, Drawing, Western Literature of XIXXX Centuries, Chemical Technologies, State and Law, Georgian Martial Art
History, Astronomy, Monument Protection, Folk Ansamble, Environment
and Development, Georgian Ethnography, Basics of Conservation Biology.
Elective subjects are held neither public nor private schools. The main re27
ason is money for teachers. Schools don’t want to pay salary teachers for
elective subjects. Besides length of mandatory subject Fine and Essential Art
is shortened. In NEP there are 2 academic hours per week. In reality only 1
academic hour is held both in public and private schools. I think the reason
is money again.
There are several serious and important problems in implementing the
new NEP. As I mentioned above art has been one of the main parts of the
education system for ages. Today it hasn’t paid any attention. Lesson of art
has become a lesson of painting. Painting is one part of Fine and Essential
Art teaching plan. Besides the painting the plan contains history of art, little
stories about artists and period of time. In most cases in elementary classes (except 1st and 2nd) pupils don’t study verbal material. This causes problems with basic level grades (7th-9th). In my opinion Theatre Art, Film Art,
Foreign Literature should be taught on arts lesson. Only Fine and Essential
Art isn’t enough for developing values in children. This subject contains all
important themes which should be discussed among pupils. After a theatre
performance or movie debates, roundtables can be arranged. Pupils should
discuss which kind of view is right or wrong and why. They should imagine
themselves on the character’s place, what would they do if they were characters?
Aims of art lesson are too important to the whole humanity. It develops
personal skills which are useful, needful and essential for everyone. These
skills are:
a) Critical Thought;
b) Solving Problems;
c) Skill of Selfshowing;
d) Creative Thought;
e) Civil Thought;
f) Skill of Communication;
g) Skill of Research
h) Skill of Self Valuation and Leading of His Learning Process
For achieving all these aims all above mentioned activities should be
realized. Knowing own and foreign culture, examples of friendship, honesty,
bravery, love, kindness, evil, treason and etc will help future citizens make up
right and hard decisions.
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I’ve been teaching Fine and Essential Art at “AIA – GESS” private school
for a one academic year. I am observing on pupil’s behavior, interests, wishes.
Some of them wants to draw on lessons, some of them wants to get information from history, mythology, music, film, theatre, literature, painting,
biography of the artists. I’ve found out that pupils favorite period of art are
ancient Egypt, antic Greece and antic Rome. They connect art of these periods with mythology of these countries. Pupils love heroes, gods, goddesses.
Other periods of art they find a bit boring. My observation showed me that
pupils listen information about music, theatre, literature, history, film with
more interest. I am trying to use this in my lesson plans. Howard Gardner’s
theory of Multiple Intelligences is shaped for this. This theory makes possible
using native and foreign languages, drawing, IT, presentation, creative skills.
Howard Earl Gardner (born July 11, 1943) is an American developmental psychologist, who is the John H. and Elisabeth A. Hobbs Professor of
Cognition and Education at the Harvard Graduate School of Education at
Harvard University, Senior Director of Harvard Project Zero and author of
over twenty books translated into thirty languages. He is best known for his
theory of multiple intelligences, as outlined in his book Frames of Mind:
The Theory of Multiple Intelligences (1983). He received the Prince of Asturias Award 2011 in Social Sciences for the development of this theory. H.
Gardner has identified eight intelligences: linguistic, logic-mathematical,
musical, spatial, bodily-kinesthetic, interpersonal, intrapersonal, and naturalistic. Gardner is still considering a ninth, existential intelligence (the posing and pondering of “big questions”), but has not yet added it. I’m going to
tell you about all these intelligences:
Linguistic - People with high verbal-linguistic intelligence display a facility with words and languages. They are typically good at reading, writing,
telling stories and memorizing words along with dates;
Logic-Mathematics - This area has to do with logic, abstractions, reasoning and numbers and critical thinking. This also has to do with having
the capacity to understand the underlying principles of any kind of causal
system;
Musical - This area has to do with sensitivity to sounds, rhythms, tones,
and music. People with a high musical intelligence normally have good pitch
and may even have absolute pitch, and are able to sing, play musical instru29
ments, and compose music;
Spatial - This area deals with spatial judgment and the ability to visualize
with the mind’s eye;
Bodily-Kinesthetic - The core elements of the bodily-kinesthetic intelligence are control of one’s bodily motions and the capacity to handle objects
skillfully People who have bodily-kinesthetic intelligence should learn better
by involving muscular movement and be generally good at physical activities
such as sports, dance, acting, and making things;
Interpersonal - In theory, individuals who have high interpersonal intelligence are characterized by their sensitivity to others’ moods, feelings, temperaments and motivations, and their ability to cooperate in order to work
as part of a group. Those with this intelligence communicate effectively and
empathize easily with others, and may be either leaders or followers. They
typically learn best by working with others and often enjoy discussion and
debate;
Intrapersonal - This refers to having a deep understanding of the self;
what your strengths/ weaknesses are, what makes you unique, being able to
predict your own reactions/emotions;
Naturalistic - This area has to do with nurturing and relating information to one’s natural surroundings. Examples include classifying natural
forms such as animal and plant species and rocks and mountain types. This
ability was clearly of value in our evolutionary past as hunters, gatherers, and
farmers; it continues to be central in such roles as a botanist or chef;
Existential – People with this intelligence are interested in existential
questions: why do they exist? What is their mission and etc.
Some proponents of multiple intelligence theory proposed spiritual or
religious intelligence as a possible additional type. Gardner did not want to
commit to a spiritual intelligence, but suggested that an “existential” intelligence may be a useful construct.
I consider this theory the most important one. Talents of different persons are discussed in it. The teacher must find different ways for all kinds of
pupils. This theory can be used in all subjects. I used multiple intelligence
theory very often. In my lessons I use linguistic, musical, spatial, bodily-kinesthetic and interpersonal intelligences. In 6th grade we are learning different countries, he Netherlands, Spain, Greece, Great Britain, Italy, the USA,
30
Germany, China. According the handbook there are several units for each
country. Pupils choose one of the topics. Topics were: Great Britain, Druids,
England, London, Charlie Chaplin, James Bond, Ian Fleming, Rolling Stones, the Beatles, Maroon 5, Harry Potter, Manchester United, Liverpool (football team), J. K. Rowling, Charles Darwin, Rediard Kipling, Jungle Book,
Sherlock Holmes, Sir Arthur Conan Doyle, Oscar Wild, William Shakespeare, Elton John, Sting, Sean Conner, Edgar Alan PO. Pupils should prepare topic on one A4 paper. They should provide information, pictures about
the theme. They could use drawing, computer for presentation. Presentation
should be in a native Georgian language and besides that they should make
half of the information in foreign English languages. It was multidisciplinary
project. It was interesting for my pupils. They got new information. They
transferred verbal information in visual sources. They improved knowledge
of languages. I corrected them all mistakes both in Georgian and English.
For these mistakes they didn’t lose points, because I am not language teacher.
The results of this project were very interesting. They are introduced to world
culture. They have a choice. They are addicting making decisions and solving
problems. After this introducing project they continue research on their topics. They listen composers, bands, read novels, poems, plays, watch movies,
performances, shows and etc.
Such kind of tasks grows pupils basic knowledge. It’s the pleasant way
of studying.
Bibliography:
•http://en.wikipedia.org/wiki/Howard_Gardner
•http://en.wikipedia.org/wiki/Theory_of_multiple_intelligences
•National Education Plan of Georgia http://mes.gov.ge/content.
php?id=3923&lang=eng
•National Aims of Secondary Education http://www.kiketischool.ge/
upload/file/zogadi-ganatlebis-erovnuli-miznebi.pdf
•http://tpdc.ge/images/stories/pdf/ganvitarswavlteor.pdf
31
Irina Mania
Independent researcher
Department of Art History
Ivane Javakhishvili Tbilisi State University
Georgia
Tbilisi Caravanserais of 19th and
Early 20th Centuries
Tbilisi, one of the ancient cities is located in the heart of the Caucasus at
the crossroads of Europe and Asia. The city has been exposed to a transmission of influences from East and West. The city has many times been destroyed and rebuilt. However, its specific location allowed this original city to
retain its dominant features that create the image of the whole city.
Spread on the both sides of the river Mtkvari, the urban fabric of Tbilisi,
was created by domed baths and caravanserais, different religious buildings
and residential quarters built either on the hilly or lowland terrain.
Caravanserai buildings are one of the most important architectural
components of historical Tbilisi urban structure. Existence of this architectural type in Georgia was a result of developed trade relationships. As it is
known, Georgia and Tbilisi, in particular were located on a large trade-caravan route, between the East and the West. Tbilisi was an important cultural,
economic and strategic center of the entire Caucasus.
Construction of caravanserais in Georgia has long history. As it is
known, in Medieval times, funduqs (building of commercial function) were
built in Georgia. Noteworthy, is Queen Tamar’s funduq in Tavparavani village in Meskheti-Javakheti. The ruins of todays site show that the plan of the
very funduq (with its inner courtyard) hasn’t changed during the centuries.
Caravanserais were built in Gremi, Kahketi, as well. The ruins caravanserai
still are preserved in the vicinity of the Gremi church of Archangels.
The king of Kartli, Rostom (1632-1658) has also commissioned caravanserais. One of them was located at the border of Georgia and Azerbaijan
and functioned as bridge and caravanserai simultaneously.
All the old caravanserais of Tbilisi were located in the oldest residential
districts of Tbilisi - Kala and Seidabadi. The caravanserai buildings are preserved in the largest residential district of Kala. The Majority of caravanserai
32
edifices are situated around Sioni and former Shuabazari (today Leselidze )
Streets and near Metekhi bridge.
Tbilisi caravanserais, like their eastern prototypes have the similar planning: usually unroofed inner courtyard surrounded by trading and dwelling
rooms. Traditionally cells at the first floor of the building were for trading
purposes, while the second floor was to lodge the travelers.
Large number of buildings of commercial function in Tbilisi was natural as long as Tbilisi except being a royal city, was an important transit and
trading place. As the French consul in Tiflis Jacques François Gamba (17631833) noted : “This town is regarded to be in a key location between Europe
and Asia”. In a setting Tbilisi became a melting pot of western and eastern
cultures. Such intercultural atmosphere left significant mark on all aspects
of the life of this city.
As it is known, caravanserais served both- as trading and dwelling place. Merchants coming from different directions stayed and kept their goods
here.
In 1795 caravanserais were damaged during the Persian invasion in Tbilisi. In the XIX century some of the caravanserais were restored or rebuilt and
new caravanserais were built as well.
Majority of preserved caravanserai buildings of Tbilisi are dating back
to the second half of the 19th century. Several caravanserais were built in
early 20th century. Nearly all caravanserais of Tbilisi include old layers of
previous caravanserai buildings.
After the annexation of Georgia by the Russian Empire in 1801, a new
stage in the development of Georgian Architecture started. Tbilisi Architecture of the 19th century combined elements of European styles like Neo
Classicism, Renaissance and Baroque eclecticisms, Gothic and Islamic stylization. At the turn of 20th century, features of many buildings were designed
in Art Nouveau style. This process became evident not only in dwelling houses and public buildings, but also in Tbilisi caravanserais.
Therefore, Tbilisi caravanserais of 19th and beginning of 20th century
had the planning of eastern caravanserais and were adorned with European
architectural elements.
Caravanserai buildings of Kala have the characteristic features of the
XIX century Tbilisi architecture and include earlier layers. They form the si33
gnificant part of the historical fabric of the built environment of the old city.
Nine former caravanserai buildings are preserved today in Tbilisi. None
of them have the previous function. Some serve as public or dwelling place,
some as a college and some are damaged or have no function currently.
All caravanserais significantly determine the artistic image of the city
structure even today.
Former caravanserai building at 8 Sioni St. is one of the most multi-layered building in Tbilisi (Pic. 1). In 1650 the earliest caravanserai was build on
this site by King Rostom of Kartli (1632-1658). Caravanserai changed many
owners during the centuries (Tbileli, Artstruni etc.) and each of them left
their traces on the architecture of the building. Noteworthy is the basement
of the building built by King Rostom (the earliest part ) which is of very high
artistic and architectural value and resembles Persian structures of the same
period. It has almost square plan, articulated into 20, uneven, square groined
vaulted compartments by means of pointed arches supported by 12 columns.
Tbileli caravanserai holds a significant place in the district of Kala and
has an urban value. The riverside Neo Classical facade of the building is distiguished from the Art Nouveau facade from the Sioni Street side. Having
undergone much alterations, building still plays a very important role in the
adjacent quarter of Sioni street and from the river side.
34
In the XVIII century King’s funduq was build at Sioni st. 13/40 (Pic.2).
Later, in the beginning of 19th century Tekle Batonishvili (a daughter of the
King Irakli II, 1744-1798) built a new caravanserai here. The contemporary
Building dates back to the 1870-s. Of special note is the inner courtyard of
the building with Islamic features and wrought iron balconies. Courtyard
space is distinguished from both facades overlooking Sioni and Leselidze
(former Middle Bazaar) streets. The basement of the building, which most
probably is the survived part of the previous caravanserai, is of special artistic
and architectural value.
Inner courtyard-vestibule of Caravanserai building at 8/10 Erekle II
St.(Pic. 3) is encircled by wooden balconies. Stucco ornament of islamic
design is the characteristic feature of the couryard interior and is of high
artistic value. The building is one of the rare survived examples of the stucco
decorations in Tbilisi.
Former caravanserai building at 36 Leselidze St is situated in the heart of
historical district of Kala(Pic. 4). . Unlike other caravanserais, dwelling houses and public buildings in this area, this very caravanserai stands separately
35
in the space and can be seen from all sides. According to the project, which
dates back to the 1893, the owners of the caravanserai were Iagor Maisuradze
and Alexander Khojaporukhov.
The narrow elevation onto the intersection of the three streets is of special importance. In clearly Islamic facades Georgian Medieval architectural
adornments (such as ornament of square niches, 2 cone forms and so on) are
evident.
Caravanserai building at 22 Leselidze St. is the largest among Tbilisi caravanserai buildings (Pic. 5). It occupies the huge area between Leselidze and
Shavteli streets. Building was built at the end of 19th century by architect A.
Ozerov and was owned by Merchant Mantashev. The facades as well as the
interior of the building is characterized by Neo classical forms.
The courtyard interior embraced by iron balconies of former caravanserai building at 29 Leselidze St. contrasts with the facades adorned with
plastered capitals, corbels and garlands characteristic of European elements
typical for the end of 19th century Baroque eclecctisism (Pic. 6).
36
Greek church was located on the site of caravanserai building at 1 Gorgasali St. The church can be seen on several archival photos. The exact date
of the construction of the caravanserai is unknown. Most probably it was
built in 1910. But the small Art Deco decorations (stone medallions of the
ground floor decoration from the courtyard and at the main facade side) and
the simplicity of the structure speaks about the epoch. It could be dated to
1916-1924 (Pic 7).
The prominent location, fine proportions of the building and the simplicity of architectural adornment defines an important place of the edifice
in the historical environments.
The inner courtyard of caravanserai at 27 Leselidze St. unlike other above mentioned caravanserais , is created by the caravanseray building from
one side and by side elevations of the surrounding buildings from other sides
(Pic. 8).
37
The Cotton Row known as Mantashev’s Row (also in Kala) was built by
an Armenian engineer Ghazar Sarqisian (Pic. 9). The structure which consists of two edifices doesnot represent the type of caravanserai. But its commercial function, large scale and prominent location in Old Tbilisi makes it
inseparable from the buildings of commercial function. Both buildings are
one of the earliest and finest examples of Art-Nouveau style in Tbilisi. Mantashev Rows, with its curved outline connecting Sioni street with highway
and Metekhi Bridge is of special urban importance and is essential part of
the whole area.
Noteworthy are unexisted caravanserais of Tbilisi as well. Their location, rich history, architecture are very important for the study of Tbilisi
caravanserai buildings and for determining their role in creating of artistic
image of the old city.
Shadinov’s Caravanserai building didn’t have inner courtyard and can
be regarded as an exception among other Caravanserais. While Zubalashvili
Caravanserai building was the only domed caravanserai. It was encircled
by long balcony from the riverside facades. Architectural adornment of the
facades was classicistic.
Caravanserai of Gabriel Tamamshev which included theater was built by
an Italien Architect Giovanni Scudieri (1847-1851). The theater was located
in the center of the building. Shops and storages were build for commercial
purpose and surrounded the core of the building. Interior was designe by a
well-known Russian artists G. Gagarin. Stylistically building was a synthesis
38
of European Architectural forms (in the exterior ) and Islamic stylization (in
the interior).
Mention must be made of the caravanserais of Davit Tamamshev (1853),
Khalatov, Usta-Mekhti Husein Ogli and others. (1858).
Generally, unroofed inner courtyard is compositional center of all
the eastern caravanserais. Where trading and dwelling rooms are facing the
inner courtyard, while the exterior walls are blank, sometimes provided with
airholes near the base.
The architecture of Tbilisi Caravanserais gained different and distinctive
image on the local basis. Architectural adornment of 19th century Tbilisi caravanserais have facades and interiors inspired by European as well as
Islamic architectural forms. Sometimes in clearly Islamic facades Georgian
Medieval architectural adornments are evident (the narrow elevation of the
caravanserai at Leselidze St#36). Study shows that, some of the Tbilisi caravanserais could have been inspired by exact prototypes (for example: Iron
columns in the courtyard of Tbileli Caravanserai finds analogy with the embracing Iron columns of the courtyards of one of Istanbul Hans).
Significant distinctive feature of Tbilisi caravansaries of that of Eastern
structures is spatial arrangement of inner courtyard.
Despite diverse chronology, Tbilisi caravanserais of 19th century make
a sharp contrast with commercial buildings of the same types of buildings
in Persia or Turkey. In Tbilisi examples, exteriors are not closed, but they
are opened by means of dukhans (shops) and openings situated on the outer
perimeter of the building. Moreover, there were caravanserais in Tbilisi sur39
rounded by the rows of wooden over hanging balconies (for example. Former caravanserai building at 6 Iron Row).
Building at 6 Iron Row is the only former caravanserai building without
inner courtyard (Pic. 10). The second floor of the building is surrounded by
protruding wooden balconies. This is characteristic feature for Tbilisi caravanserais and distinguishes it from Eastern examples of the same type.
Stable political situation in Tbilisi played an essential role in the structure and image of the caravanserai buildings. Communication with the streets was not dangerous, openings of so called duhkans were exposed to the
exteriors. Furthermore, caravanserais had overhanging balconies that find
parallel with Tbilisi dwelling houses.
Slope, complex relief of Tbilisi had a great impact on the architecture of
caravanserais. Caravanserai buildings have different stores on different sides
of the streets. Therefore, special structure of Tbilisi caravanserais have more
dynamic character rather then Eastern examples.
The peculiarity of space arrangement distinguishes Tbilisi caravansaries from its eastern examples. Moreover, caravanserais in Kala are the buildings of special artistic value. Each of the building is based on the individual
project. Synthesis of Islamic and European architectural elements, together
with overhanging wooden or iron balconies is an essential distinctive feature of Tbilisi caravanserais.
Caravanserais of Kala are one of the most important component of the
artistic image and context of Old Tbilisi. This is the value which has to be
preserved.
Bibliographical sources:
Beridze,V., Tbilisi Architecture 1801-1917, Volume II, Tbilisi, 1963, p.202
Berdznishvili, M., Image of Tbilisi in the 18th century, Tbilisi, 1965
Hillenbrand, R., Islamic Architecture: Form, Function and Meaning, NewYork, Columbia University Press, 1994, 670p.
Mania, M., To the History of One Caravanserai in Tbilisi “Shuabazari”, “Georgian Antiquities” , 2005, №7-8, p.337-353
Mania, M., To The History of Tbileli’s Caravanserai, “Georgian Antiquities”,
2007, №10, p .148–189
40
Nino Mgaloblishvili
PhD Student
Faculty of Humanities, Doctoral program “Cultural sciences
Ivane Javakhishvili Tbilisi State University
Georgia
Deconstruction and semiotic
analysis of fashion signs
Among the various definitions of fashion the most optimal one is that
which considers the fashion as a specific regulation that determines the periodic shift and cyclical nature of development of mass behavioral patterns
(Durkheim, 2006). At the same time,the fashion is not only a powerful social
regulator. It is an important cultural phenomenon, the study of which has just
started. Considering the complexity of the study phenomenon, it is unlikely
to expect to develop the concept of a perfect and comprehensive interpretation. This seems to be precisely the case when, according to Sosiur’s opinion,
the point of view creates the object itself. The first fashion theories (G. Tard
(1843 -1904), G. Zimmel (1858-1918), V. Zombart (1863-1941)) represent the
contemporary epoch and are the basis for the modern theories. There are three
main dominating explanations for the fashion phenomenon: 1. Intrerpretation
of fashion, as “Kingdom of pure signs” based on the(fashion) the universality
absolutization of its(fashion) language (R. Barthes, J. Baudrillard). In this direction, the book by Rich Sennett is of great interest. “The Fall of Public Man”
(1977), but here this work will not be discussed; 2. Fashion, as the integral form
of ephemeral public “modern - hedonist culture, which responds to the needs
of individual self-realization and aesthetic pleasure (Lipovetsky G.L ‘empire de
l’ephemere: La mode et son destin dans les societes modernes, 1987); 3. The
fashion is as a catalyst for a market economy.
In a more narrow sense, the essence of fashion is suitable for the notion
of clothing , as the fashion trends are most clearly seen in the clothing. The
well- known scientists, postmodernist Roland Bart and Jean Bodriar discuss
the fashion process in the frames of the French structuralism.In their works,
the fashion is manifested as the mystified system of communication existed
between clothing and lifestyle, looks, the signs and work. Clothes are considered as the semantic code-language.
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It is noteworthy that the single semiotic
approach to the fashion is also found in some
earlier authors. In particular, the attempts to
discuss the symbolism of clothing are detected
in T. Vebleny’s (1857-1929) explanations. However, the most prominent representatives of
this theory undoubtedly are D. Barthes and
J. Baudrillard. They consider the use; including the culture of apparel use in general as
the “systematic act of manipulation using the
symbols” R. Bart described the fashion of the
French public of the massive industry in the
1960s and revealed the implicit system of signs
(Барт : 2003).. The researcher believes that the
interpretation of the text does not mean that
we attach some specific ideas to it (to some
extent correct, or to some extent voluntary). On the contrary, it means, we
should share it, as embodied multitude “(Барт: 1994, 14-15). The research
field of Baudrillard is post-massive informational society, where the fashion
signs are not sent to any references (Бодрийяр: 2000, 10).
In this study, we discuss the process of fashion semiotic analysis and
the discourse deconstruction in the works of these researchers and various
manifestations of symbolic forms. Traditionally for the semiotic approach,
as a rule, it is characteristic to perceive fashion as the combination of signs
and signatory emphasis, while deconstruction is defined as: the manifestation of implicit artifacts and concepts; the unexpected original explanation,
paraphrasing; destroying the integrity in order to reveal implicit differences;
identify the importance of the context in order to assign the semantics. It
is necessary to clarify that we consider the discourse from the structuralsemiotic position, like R. Bart, who regarded creation of discourse semiotics
as his main goal. (Барт: 2003, 461). For example, in the conclusion of the
program article - («La linguistique du discourse», 1970) Bart suggests to discuss discourse as the highest level of the linguistic unit integration which
allows us to describe “ semiotic concepts at that particular moment when the
system becomes united with socio - historical practice” (Барт: 2003,462).
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The discourse for Bart is a system of symbols, which is considered as verbal
(speech, text), as well as non-verbal (music, fashion, architecture, road signs,
trademarks, etc.) systems of signs. The discourse is presented mainly in two
plans in the system of signs: 1. Visible – plans of representations, i.e., the visual external manifestation of ideas and importance. 2. Mental interpretants,
i.e. decoding plan for opinions and importance.
The representants are shown in the form of various culture languages,
which are called the cultural codes. The well-known writer and semanticist Umberto Eco prefers the term ‘cultural code “who declared that the
notion of code means transition from the world of signals to the world of
notions “(Эко: 1998,47). R. Bart called the culture of the languagethe Empire of Symbols. In his opinion, the sign - it is the association of designator
and designee (in this case: Clothes and outer world, apparel and fashion)
(Барт: 2003,248). The researcher in his works perceived the objects such as
food preparation rituals, housing interior design, urban planning, stations
arrangement and other types of packaging as the representants of cultural
symbols. These particular trans linguistic systems of signs together with the
verbal signs systems created the notion ”discourse” (Барт: 2003, 457).
The works of the famous French critic, the semiologist and culturologist
Roland Bart (1915-1980) is comprehensive; however, the books “Mythologies” (1957) and “Le System de la Mode” (1967) are dedicated to discussion
of fashion as the system of symbols. These works consider the fashion as a
symbolic body moment or the aspect-myth of culture - the myth that the
media industry is full with (if considered not the contents but for its notification). The myth in the modern culture does not disappear; on the contrary, it functions far more effectively. In the foreword of,, Mythologies “R.
Bart while explaining his thoughts, declares :” when I think, most often as a
starting point I have the feeling that I cannot achieve the ‘naturalness’ with
which the press, art and common sense wrap the reality .. . I wanted to reveal the ideological lie behind this implied brilliant exhibition which, in my
opinion, was hiding in it” (Барт:1996,55). Bart encourages us, at first glance,
into quite simple subjects such as ads,food, photos, to see secret handwriting
of modern myths.The task of humanitarian disciplines today is toidentify
the hidden thoughts and, if necessary, deactivate them. In the mid of the
1960s such views about every day life was novelty. As for ideology, in its ma43
nifestations there was the most primary target for structuralism. Moreover,
Baudrillard thinks that the fashion is one of the instruments, which is able
to reconstruct more efficiently and establish inequality and social discrimination, but he flatteringly declares that they are dedicated to eliminate the
inequality (Baudrillard: 2000, 78 ).
The particular object of our interest is the fundamental work by R.Bart
“System of the fashion “. It is a classic work on semiotics of fashion and contains, as mentioned above the views on fashion as thesystem of signs by R.
Bart. 40 years have passed since the publication of the work. R. Bart (19151980) started writing the “System in 1957 and finished it in 1963.It was published in 1967. Since then a lot of things have changed. It is clear that fashion
has changed too. Nowadays, nobody thinks that in the late afternoon they
should wear draped dresses as the ”Vogue 58,, advised its readers. But, of
course, this is not the main point. “The fashion system” talks not only about
fashionable clothes, but the clothes, as a system of symbols (Барт: 2003,
178). In his studies Bart rises from the principles of structural linguistics, the
founder of which is Ferdinand de Sosiur. During the semiotic analysis of the
apparel and fashion R. Bart uses the linguistic systems. Thus, he suggests a
new method to the fashionresearchers. According to R. Bart’s point of views,
each object corresponds to a language code type that allows to express it
through thelanguage (“dress for cocktail,” “for the holiday in Tahiti” and so
on). So, in this case, Bart’s “secular designee” is a kind of doubling phenomenon for designator: on the one hand, the description of clothing itself, and
on the other hand, the direct naming (e.g, for “cocktail”). According to the
scholar, in the modern society the language dictates over the reality . The
same is in the fashion world when the language declares some accessories as
old-fashioned, while the others as symbol of moral health and social success.
Despite a lot of advantages,the structural analysis with the complex differentiated terminology, charts, tables, functions and matrix make R. Bart’s
work very hard anddifficult to understand and the book too challenging to
read.While demonstrating a simple idea that mass culture creates accurately organized, but empty systems, devoted to subordinate the customers,
the work includes the complex semiotic methodology. The author calls the
book, “hard to understand , the useless thing. “ Moreover, R. Bart felt discouraged about the claims of semiotics to perform the role of absolute meta
44
language. But, as it turned out, life has proved the opposite. The method of
semiotics has been successfully pursuing the critical coding of the Sociocultural world. Nowadays, semiotics does not always occupy the central part
in social- culture and sociology (at least in its early, structural form), but it
is necessary and essential for any specialist. Each scholar undoubtedly has to
assess – whether the semiotics will help to solve the problem. It is important
to take into account that the term << Semiology >> by Sosiur is widely used,
as the generalized term for all directions (“umbrella”) (Noth: 1990,14).
With the view to solving his issue, “in the fashion system” Bart refers to
the French fashion magazines: “Elle”,” Jardin des Modes”, “Vogue” and “ Le
Petit Echo de la Mode, as well as some of the French daily newspaper fashion
columns.The magazines, “Fashion producing machines”. “(Барт: 2003, 85),
form the signs and the knowledge about them through ascribing the various
contents to the photographs and the “real” objects. It should be noted that
the R.Barth - was one of the first who studied the fashion magazines that
had successfully spread the notion about fashionable clothes in different
groups of society. It should also be noted that R. Bart does not discuss how
the fashion system works against the “real” dress. He also does not consider
the problem of fashion spread. Meanwhile the sociologist A.B. Hoffman says
“there is a great distance between the fashion shown by the fashion magazines and what people “wear” at home, at work and in the streets” (Гофман:
2010,7). However, R. Bart writes that fashionspread through the magazines
into the modern French culture has come to a mass scale (Барт: 2003, 41)
and offers a tool that can help to create a certain notion about the formation and structure of fashion. Through the Fashion discourse spread by the
magazines R. Bart identifies a number of structural components, which are
incorporated into two main groups: I. linguistic codes and II. Rhetoric of
fashion or the rhetoric system of the fashion. In the coding (first) group
he identifies three structural components: 1. Iconic structure (fashionable
clothing expressed with drawings, a photo etc….. Clothing - face) 2. The
verbal structure (the oral description of fashionable clothes,“clothing - Description “), and 3. Technological structure (real, tangible clothes, as the
technical product of pattern and sew). ,, These structures”, R. Bart writes, “
have non-homogenous mode of spread. The technological structure is the
starting language - code, where the real objects based on it are only “speech”
45
elements. The other two structures (iconic and verbal) represent the “speech
“ linguistic codes, but these codes are essentially derived languages: in the
process of distribution they occupy the initial transient positions between
the starting language and the elements of “speech” elements (the real things).
For R. Bart, studying the fashionable clothing means “to describe each of these three structures separately and exhaustively” (Bart: 2003, 26). However,
while studyng the fashion discourse R. Bartfocuses his attention primarily
on the verbal structures and is less interested in the iconic codes. 3. Dissemination of fashion discourse inthe society, according to R. Bart is performed
through transition of the technological structure into the verbal and iconic
one. Such shifts are done by shifters (i.e by the switchers or operators who
switch from one code to another). R. Bart identifies three types of shifters: 1.
switchers from the technical structures (template)to iconic image (pictures
and sketches of clothes and models); 2. switchers of the real things (clothes)
to verbal codes (instructions, instructions for sewing); 3. Switches from face
to language and back, from the clothing image to its description. Here the
anaphoral elements of language are shifters (“this” suit, “that” dress) which
incorporate e.g. the image and the text in the magazine.
There are two components in the rhetorical private system (the second
group): 1.Fashion writing and 2. Fashion ideology. As mentioned above, R.
Bart stresses the second (verbal) system - clothing - Description “, (written),
the language of fashion” (Барт: 2003,28), which is characterized by a complex sign arrangement. The first and the third systems (iconic and technology) includes only a visual image or theinstruction for practical work . The
System, “clothing - description” (verbal) is saturated with connotations. It
is between the words and thethings (Bart: 2003, 62), linking fashion with
the outside world, but also provides the trendy deformation of this world.
It is the structuralanalysis that R. Bart suggests in his monograph. He notes that “... any real fashion statement, independent from its input words is
the system of symbols: it includes the designator in itself (the outside world,
created with discrete, tangible and obvious elements - clothing) and the
intangiblе designee(fashion). We, according to Sosiur’s terminology, call the
ratio of these two members- vestimentary designatorand secular, i.e, “fashionable “designee ... as the “sign” (Барт: 2003,36). Then R. Bart explains,” for
example, the phrase - coloured fabricswin the horse race – create the sign, in
46
which the “coloured fabrics “ is a designator (vestimentary), and, “horse racing” – designeе (secular);a collar with a knot similar to scarf “,,a child’s shirt
with completely closed back “- it is the designor of the implicit designee (in
fashion), and, therefore, total sign is, as it is in the language” (Барт: 2003,36).
Thus, the signs indicate the fashion system or the real world of clothing system or point to their “trendiness” . Bart believes in the combination of designee (items, clothing items) and designator (the words, both written and
oral reference of designator) a word creates denotation sign. The designee of
the denotation sign is notably doubled: on the one hand it is the “meaning”
of the primary sign while on the other hand, creates a form which defines
connotation sign. Bart claims that this system of connotation and denotation
signs forms the fashion rhetorics. In this system (fashion rhetorics) each sign
has certain characteristics. The sign is not stable, voluntary, does not represent the result of evolution or the collective work. It is born at each season
at the same time, as well as in the integrity-“under instructions”. The sign
production is not carried out by masses which use the signs. The sign is produced by the exclusive groups (if it deals with real clothing) or by the fashion
magazine editors (“clothing –description” case). The producers of the signs
therefore have the authority to impose and subject the other groups to their
opinions (Барт: 2003, 249-250). R. Bart consideres that fashionable sign is
indifferent to the objects.
The Industry creates the design virtually not as a thing but as a character.
Each item is potentially trendy and it may be given different properties (to be
fashionable; signify social status, personal characteristics and Etc...). Fashion
writing - it’s a rhetorical denotes in which are considered the clothes description methods: metaphors (for example: “accessories, romantic ballet “), paratacsis, which creates a certain mood, stereotyped phrases, stories building
and other types. The other name - “Clothes Poetics” The Ideology of fashion
is explained as a rhetorical celebrate, i.e., as a Socio-cultural purposeful, functions, ideas, motives, myths, values and discourse falls within the mental
creation systems. Thus, for D. Bart the fashion is only an ideal model for the
formation of opinions. Actually Barthes describes the function of clothes as
a sign of cultural expectations, mainly for women. How the fashion system
acts against the “Real” clothes. Behind Bart’s definition remains the fashion
prevalence problem. In accordance Bart’s opinion the absolutely ephemeral,
47
isolated from the fashion reality and function is no more then just rhetoric,
ideology and apotheosis. In addition, it should be noted that Bart for the
analysis chooses none-real clothes, or even the fashion scene, but the spelling
system as it is described in trendy fashion magazines. As a result, it appears
that the word has powerful right to make accents, subjugate costume detail, one accessory announce as an old-fashioned and name another one as a
symbol of moral health and social success symbol. The Language – concludes
R. Bart – carries out absolute dictate on the reality of modern society (Bart:
2003, 78). Just in the demonstration of this fact is reflected “The Supreme
Goal” of fashion system. We do not have any claim to exhaustively discuss
the Bart’s merit in the study and analysis of fashion. It is impossible to fully represent fashion discourse analysis in a single article scope, which was
presented by Bart in his work. But we consider that fashionable woman is
so specific in Bart’s description it is impossible not to note how Bart describes the fashionable woman, as a special object. For R. Bart the fashionable
woman “this is the whole collection of separate small essences, very similar
with “a Chester” in the classical theater. This similarity is not accidental because the demonstration of fashionable women is carried out as well as in
the Stage Performance. “Imperatively feminine, very young, very distinctive
identity and at the same time with the contradictory character “.... “She works as a secretary for Director, which does not prevent her to attend every
celebration throughout the year. From morning till evening ... and with all
these she loves Pascal and Cool - Jazz “... In R. Bart’s view, modern fashion,
as the mass production of culture, he suggests the identity model by using
the following rhetorical formulas: “be original” “Be like us”, where “we” is
common face of fashionable clothes wearers. According to Bart’s opinion a
well-known symbol of fashion clothes wearer are models, photo models, film
actors, which have become a brand. In fashion business is revealed identity
motivation also there is the myth of personal transformation through the
multiple changes of visual image. For example, strict – this is you; soft –this
is you again, thanks to the fashion masters, you discover that you can be
multiform and can live with bifurcated life. Fashion enslaves people through
the fiction, and this is the great truth of our days, notes R. Barth (Barth: 2003,
295-296).
Similarly describes this situation another French scientist, Postmoder48
nists Jean Baudrillard (1929-2007), when he is talking about models priority
with respect of reality. Baudrillard believes that in the modern fashion world
the distribution process of samples by the reference groups is becoming simulated. The magazines and TV advertisements offer models not only merely
some size, but also color, texture objects, social status, personal relationships
and the desired look. Photographers and designers are thinking about not so
much the models reveal but about creation the virtual environment around
them. They are involved in the process of changing fashion designs, people
will not buy and use things, but the social reality of the models indicate.
J.Baudrillard also considers that the following to the fashion provoke individuality of faith, in other words creates false individualization, as far as we are
faced with the detection of non-individual taste, but the appropriation of the
existing system of fashion signs. When the hairstyle a - la Brigitte Bardot was
in fashion all young fashionable woman in her own eyes considered herself
unique because she didn’t look like the thousands of the similar women as
she was, but she thought that she looked like a really excellent examples of
the original source of Brigitte Bardot (Бодрийяр: 1995,199). Madonna has
become an industry, as far as we are faced with the reality of social reproduction process of the simulation.
Fashion loses one - one of his qualities to unite individuals in classes
and groups (about which speaks one of fashion early theorist G. Zimel) J.
Baudrillard thinks fashion to those who follow him, transfers into one dimension the less distinctive mass. The fashion an individual as a fashion
subject transfers while the subject makes forms it into object. The people
will become passive users of fashionable objects, those objects which creates
their image. But this image is false, because it is not linked with personal contents. J. Baudrillard is sure that with the loss of the traditional function the
modern fashion terminates the contact between people and property. Thus,
J. Baudrillard deprives previously assigned social features to fashion, thus, he
believes that fashion no longer unites people in groups, as it considered G.
Zimel. His (fashion’s) feature (in accordance with G. Zimel and J. Baudrillard
opinion) is to differentiate and distinguish as it seems, is only an illusion.
The fashion does not hold any signs of resources (as R. Barth considers), in
order to fulfill its symbolic function. At the same time, all is leaning toward
him and is ready to follow him (Бодрийяр: 1995, 179-182). J. Baudrillard in
49
his work often refers to R. Barth. Barth’s influence on his work is very clear.
About this indicates the first book of Baudrillard with the title “Le Système
des Objets” (1968) which sounds like R. Barth last work name for that time
(“Fashion System”) In addition, both studies are close to each other by methodology. Authors are busy by description of phenomenon of systematic,
rigorous consumers’ slapdash way of life, descriptions are busy. Among them
were observed much more significant similarities - a fundamental intuitions,
world baseline feeling, which is the basis for further scientific and philosophical mentality. For example, as R. Barth also J. Baudrillard has tendency of
world’s non-truth, its parasitic, secondary ideological ideas infection sense.
As it is well known, R. Barth gives a semiotic interpretation to this fact. Namely, he shows us how are going on the mythologism of the universe, i.e.,
the inclusion of cultural signs connotative symbolic systems). In the works
of J. Baudrillard the main driving force became distrust of illusions of genuineness “and naturalness. But the interpretation of J. Baudrillard is different, more radical than R. Barth Zh. Bodriia thinks that the only possible
method is hipitesis radicalization. Baudrillard comes from the “radicalism”
of fashion concepts and reaches its deconstruction. In his theory, it simply
disappears (Гофман: 2010, 8). Ideas about fashion line runs through the entire creativity of Baudrillard, but their detailed discussion is given in essay
– fashion i.e. code color is 1976 “(Бодрийяр, 2000). The objects of study in
his works we can meet consumer society. Researchers’ conception in France
was developed by the influence of traveling in America. Features of modern
consumption, in his opinion lies on the fact that it would not be defined in
purchasing practical, functional objects i.e. “signs”. The contemporary usage
of theses objects losses its function. Instead, of this he (consumption) has
gained a deep psychological process feature. This process represents a strong
passion to achieve to design - ideal, which is always very difficult and elusive.
Such aspiration makes changes in object system: some of them becomes to
design - ideals, i.e. is coming in fashion, some of them are losing this feature
(Бодрийяр:1995, 3).
As well as R. Barth, J. Baudrillard fashion marks system considers the
different characteristics signs alteration system. But specificity of J. Baudrillard approach lies in the fact that, in his opinion, in fashion signs are lost its
characteristic internal connection of peculiarity (items, clothing items) and
50
the designation (words, written or oral interpreter) which is fixed by Barth. J.
Baudrillard writes that the signs involved in the process of communication,
which are messages from someone to someone with certain programs, which
transfers from someone to someone certain remittance, on the way others
might “capture” them and infect foreign remittance. By the way in our opinion, Barth also excluded the possibility of this fact when he noticed that the
fashion system was full with such non decrypted codes: “In the fashion those
who are remarkable are elusive and denoting lead us nowhere” (Бодрийяр:
1995,169)
J. Baudrillard thought that the “exemption” of sign and the transformation of fashion phenomenon is caused because of the industry development.
It must be emphasized that Baudrillard does not deny the class movement
in industrial society. By his opinion in industrialized societies items field
represents the social indicators (Бодрийяр: 1995,164). However, with the
transition from the limited number of signs into the mass circulation i.e. the
transition from a separate model into the mass output dies mandatory class,
cast signs. It is available to any social group representative (Бодрийяр: 2000,
114). If we follow up Baudrillard ideas it turns out that the people involved
in the prestigious usage just are playing the raising of their social status codes indicator (as it seems they sincerely believe it). J. Baudrillard thinks that
the value of this game is neutralizing after some time because certain codes
“do not speak «as before. As for the game, almost everyone knows about it
everything. To find out how to perform the function of the object code, we
can use jeans as an example, at the dawn of young civilization of America
conceived Jeans became a symbol of freedom of the rebellious youth of 60s.
And finally Jeans were established in modern culture not only as “a symbol
of young civilization”, but also as a “visible” sign of the ongoing globalization
process in the world. They now represent universal clothes. “Even when people are hostile towards fashion secret messages following up to fashion dictation they dress it up easily, without pressure, and impunity “(Davis: 1992,
72). This indicates that the Jeans as a sign are not bearing any mark except of
the fact that they are fashionable clothes. It does not “notify” us that its owner
belongs to the labour class, as it once was. Even the label which provides information about its owner material welfare can cheat us. So it is not a carrier
of symbolic importance. The difficulty arises, - believes J. Baudrillard. For
51
him the symbols for the system are losing the function as an indicator. The
fashionable objects of post-mass period do not provide information about
people, as it was before. But it is possible that memory will save this information. In the extreme cases all this can be saved in the latest generation memory that live to see this era. Therefore, the question as to where the signs are
lost which were functioning in the last cultural system remains open. Hence,
J. Baudrillard discusses Socio-cultural realities that gain ambiguous false character. In his works semiotic problems changes into ontological, philosophical one. Accordingly, Barth’s false, fraudulent content term “the myth” that
functioned in culture, Baudrillard changes into the term having philosophical traditional “Simulacra” (Бодрийяр:1995,28; 66). The expression which
became a kind of symbol of J. Baudrillard thinking, for the first time meet us
in “the subject system” however only in work “L’ECHANGE SYMBOLIQUE
ET LA MORT” the term “simulacra” got not quite strict definition but in
any case, maintain its position the internal structure of the system to among
other concepts. In the postmodernist media - century half designating are
“simulacrs” - says scientist (Бодрийяр: 2000, 55). By Baudrillard’s opinion
“simulacr” is designating which is based on other designating and which,
most likely, does not have its own designation. This is a kind of mirror of the
corridor, behind which hides the lack of reality. An exact copy of missing
original” (Бодрийяр: 2000, 57). Thus, simulacr is a sign or symbol, which
exists itself. It does not express reality, it is its simulation. For J. Baudrillard is
simulation theory directly relates to the fashion theory - the first is the basis
for the next. According to the scientist’s opinion the fashion which is modern to political economy is a universal form itself. “Thousands of signs are
alternating to each other... Fashion is the only symbolic system, which assumes the universalization. Therefore, it absorbs everything, as well as market
avoids all exchange means” (Бодрийяр: 2000, 176). By J. Baudrillard’s view,
the fashion is not a position of dreif , but it is a position of swimming of
signs.... In it the symbolic systems replace each other, combined, contaminated, create temporary equilibrium. Its form rapidly falls apart, and the aim
of symbolic systems is nowhere (Бодрийяр: 2000, 177). In accordance to
researcher’s view the fashion signs are absurd, formally useless, and willful.
At the same time, the fashionable sign is absolutely sequential and apply to
other signs, which generate its transmitted power and collective pleasure. J.
52
Baudrillard considers that the “Fashion aspiration” which is clearly expressed
tendency of modern culture, is caused because of mankind’s wish to cancel
opinion, to sink in to net symbols, primitive, sociality. Fashion endlessly manipulates with communications and involves it into senseless signification
games. ”From it comes fashion aesthetic pleasure, which has nothing to do
with beauty and with ugliness” (Бодрийяр: 2000, 181). By Baudrillard’s view
in fashion, as well as in code, we loose significant while the ranks of donating
the leads us nowhere. It should be also noted that, according to J. Baudrillard
the fashion is able, to evolve any forms into endless environment. According
to the fashion dictation time is divided into scrappily cycles. The fashion
never is modern. It plays a rerun of the late forms so that, they are kept in the
form of a kind of time in the empty Reserve. (Is preserved J. Baudrillard style,
N.M.). So the fashion is equipped with the greatest combinative freedom,
for years it carries out “already existed fabrication”, (Бодрийяр: 2000,169170). J. Baudrillard believes that fashion is one of those institutions which
provides effective reconstruction and promotes establishment social discrimination and promote, but they declare that they are against discrimination.
(Бодрийяр: 2000, 78).
Thus, our work is an attempt to discuss fashion system symbols as the
text of the main components of postmodernist discourse of research and review by Barth and Baudrillard’s works. In the researches is discussed opportunities of the semiotics and fashion (costume) is symbolic side, as a cultural phenomenon; The attention is paid on the fashion specifics through the
different levels of analysis of semiotics; Fashion is considered as an ideology,
which is broadcasted through the fashion journals; At the same time, it is
regarded as an industry, which is producing within the frames by the efforts
of the various agents of the (fashion) industry, establishment and spread. We
think it is important to remind you that fashion structuralists considered
fashion one of the most Conspicuous myth. They were establishing fashion
functioning principles by the means of stimulating buy new clothes, but not
because the old one was obsolete (the system of signs), but because the new
models were created (the second system of signs). We believe that fashion,
as the signs system research is very perspective for semiotic suit. By the view
of culture theory, costume semiotics and fashion semiotic development the
works presented in the materials, provisions, and the results have theoretical
53
and methodological importance.
Bibliographical sources:
1. Barthes R. Systeme de la Mode / Ed. du Seul. Paris, 1967.
2.Baudrillard J. Le Système des Objets. Gallimard, 1968, 1991
3. Davis F. Fashion, Culture and Identity. Chicago: The University of Chicago
Press. 1992.
4. Durkheim E. The Rules of Sociological Method. 8th ed. Edited by George
E. G. Catlin. Glencoe, III.: Free Press. → First published in French,1895
English-language translation by John Irons,British Library Cataloguing in Pablication Data 2006.
5. Lipovetsky G. L’empire de l’ephemere: La mode et son destin dans les societes modernes. - P., 1987
6. Noth, W. Handbook of Semiotics. Indiana University Press, Bloomington
& Indianapolis,1990
7. Барт Р. Система моды. Статьи по семиотике культуры / Пер.с фр. С.
Зенкина. - М.: Изд-во им. Сабашниковых, 2003.
8. Барт Р. Мифологии. М.,1996. Перевод с французского, вступительная
статья и комментарии С.Зенкина. М. Издательство им. Сабаш­
никовых. 1996.
9. Барт Р. S/Z. М.,1994.
10. Бодрийяр Ж. Символический обмен и смерть. - М.: Добросвет, 2000.
11. Бодрийяр Ж. Система вещей, М., Рудомино, 1995.
12. Гофман А. Б. Мода и люди. Новая теория модного поведения. М.:
КДУ, 2010.
13. Эко Э. Отсутствующая структура. Введение в семиологию.
«Петрополис», 1998.
54
Natia Natsvlishvili
PhD Student
College of Arts and Sciences
Ilia State University
Georgia
Architecture and Identity:
Catholic Church in Ude14
The history of the Roman Catholicism in Georgia goes back to the 13th
century. Dominican and Franciscan missionaries first appeared there during
the reign of the Queen Rusudan (1223-1240). In 1240, Dominican monks
founded their monastery in Tbilisi15. In 1328, by the order of Pope John
XXII (1316-1334) an episcopal see was moved from Smyrna to Tbilisi, which
was followed by the construction of St John the Baptist Cathedral16. After
1370, missionaries ceased their activity in Georgia; however the Roman Catholic Diocese of Tbilisi existed until the early 16th century17. From the
17th century, Capuchin and Theatine monks arrived in east and west Georgia. They developed vigorous activity in Kartli, Imereti, Samegrelo, and
Guria, being received mostly favourably by local kings and dukes18.
The situation was different in south-west Georgia (Meskheti) conquered by the Ottoman Empire between 1551 and 1578. By the 18th century,
all churches in the region were closed and the once flourishing monasteries
were abandoned. Georgian Orthodox Christian population of Meskheti was
undergoing a rapid process of Islamization. In the situation of the breakdown
of the Orthodox Church organization and the absence of Georgian priests,
many locals found a shelter for their Christian faith in Catholicism. Since
the West-European missioners were not allowed on the territory of the Ottoman Empire, the only way for local Georgians to convert to Catholicism
was to join the Armenian Catholic Church that used the Armenian Rite and
the Armenian language in its liturgy. Armenians were relatively privileged
14This paper was prepared by financial support from the Shota Rustaveli National Science
Foundation.
15 M. Tamarashvili, Istoria Katolikobisa Kartvelta Shoris, Tbilisi, 2011, p. 17.
16 M. Papashvili, Sakartvelo-Romis Urtiertoba, Tbilisi, 1995, p. 94.
17 ibid, p. 110.
18 M. Tamarashvili, op. cit., p. 97.
55
in the Ottoman Empire having their own church organizations and being
granted tax remissions19. Ottoman authorities subordinated Georgian Catholics, according to their own desire, to the Armenian Catholic Archdiocese
of Constantinople20. They adopted the Armenian Rite, but mainly preserved
Georgian language in writing and speaking.
Isolation from rest of the country became a decisive factor in shaping
Meskhetian Catholicism as a particular phenomenon. After 1828, when two
southwestern Georgian provinces, Samtskhe and Javakheti were ceded by
the Ottomans to the Russian Empire, local Georgian Catholics encountered problems related to their confessional and ethnical self-determination.
When taking the census of the population in the newly acquired regions,
the Russian authorities assumed the language and order of service as a basis
for ethnic identification. Consequently, they did not recognize ethnic Georgian Catholics of the Armenian rite as a distinct ethnoreligious group and
officially registered them as Armenians21. This problem did not affect Latin
rite Georgian Catholics of Tbilisi, Gori and Kutaisi, who never had to prove
their ancestry.
Determination of ethnicity in accordance with the language of the rite
was a deliberate political decision of the Russian authorities that led to the
confusion of ethnic and confessional belonging. It undermined the stability
of relations within the Catholic communities and increased tensions between Georgian and Armenian Catholics, which previously had lived in relative harmony22. It also provoked a discussion among Georgian Catholics
themselves. From 1840s, there have been two opposing groups in Akhaltsikhe, the major town of the Samtskhe-Javakheti region. One group whose
leader was Pavle Shahkulian, an Armenized Georgian priest, believed the
Georgian Catholics had to keep Armenian rite, while the others led by the
pro-Western priest Petre Kharischirashvili stated that church service ought
to have been conducted in native language or in Latin at least23. Attitude
towards the Latin rite and Western missions which were to be founded in
19 ibid., p. 411.
20 Sh. Lomsadze, Gviani Shuasaukuneebis Sakartvelos Istoriidan Akhaltsikhuri Kronikebi,
Tbilisi, 1979, p. 48.
21 ibid., p. 65.
22 Al. Phroneli, Didebuli Meskheti, Tb., 1991, p. 42.
23 Sh. Lomsadze, op. cit., p. 65.
56
Akhaltsikhe became the subject of a heated controversy. Unlike Georgians,
Armenian Catholic clergy sharply opposed the Western missions and the Latin rite considering them as a challenge to their ethnic interests. They exerted
every effort to persuade their Georgian parishioners to support local church
leadership. Alexander Araratian, an Armenian priest, stated in his address to
his parish written in Georgian in 1846 and entitled “The Things Our Ecclesiastical and Lay Persons Should Know”: “we know very well that our future generation will not stay without spiritual leader, so we must take care of
choosing him from our race, since he will be as good as true mother to us
because of his ancestral obligations, no matter how cruel he would be; but if
we have coreligionist leader from other race, no matter how good he is to us,
he will still have a step-mother’s heart and eye on us.24”
The conflict between Georgian and Armenian Catholics became more
acute since 1890s, following the growth of nationalism in the southern Caucasus. National ideas attracted wide sections of the Georgian and Armenian
population in the late nineteenth and early twentieth centuries, and led to the
situation when national identity began prevailing above confessional identity. Catholic intellectuals including the priests educated in the Fery-Quoa
(Ferikoy) congregation of Georgian Catholics in Istanbul25 were actively
involved in the debate about national self-consciousness and identity. This
debate had a strong impact on both architecture and social context of Catholic church building in Samtskhe and Javakheti. The aim of this paper is
to illustrate these processes on the example of the Catholic Church in Ude, a
large village located 20 km from Akhaltsikhe.
We know when and by whom the church was built owing to the inscriptions made on its south and north façades. There are two stone blocks set into
the gables of each façade that are sunken about 10 cm into the facing ashlar.
The inscriptions are engraved around the carved crosses on the upper stones
and on the whole surface of the lower ones. The inscription on the north
façade of the church says: “The Pope Pius X, the bishop Kessler, the priest of
Ude Simon, 1909; was built 1901-1909 by 272 Catholic inhabitants of Ude,
Meskhetian Georgians of Samtskhe-Saatabago”. On the south façade, one can
read: “in the reign of the R(ussian) E(mperor) Nicholas II in Russia, at the
24 National Centre of Manuscripts, Archive of M. Tamarashvili, case #4159.
25 Sh. Putkaradze, Kartuli Stambolis Savane, Tbilisi, 2012, p. 15.
57
time of the General Governor of the Caucasus I. G. Vorontsov-Dashkov, there are 2120 Catholics in Ude, builders of this church, and 520 Muslims, both
Georgians by race. Mother of the God, we donate our labour to you”. Thus,
the Catholic Church in Ude was built between 1901 and 1909 by local ethnic
Georgian Catholics. The persons mentioned in the inscriptions are: the Pope
Pius X (1903-1914), the Archbishop of Tiraspol (Russia) Josef Alois Kessler
(1904-1918), the initiator of the construction the priest Simon Chilashvili,
the last Emperor of Russia Nicholas II (1894-1917), and the General Governor of Caucasus Illarion Vorontsov-Dashkov26 (1904-1916).
Catholic Church in Ude
As we can see, there are some of the most important religious and political figures of that time named in the inscriptions; but who was the priest
Simon Chilashvili who is mentioned among these people and how did local
Catholics contribute to the church construction? Personal correspondence
of Catholic priests sheds more light on these issues.
26 Apparently, there is a mistake in the inscription regarding the General
Governor’s title or the name of his father. The letters I. G. set before
his name might designate General of Infantry, but Vorontsov-Dashkov
did not bear this title, he was the General of Cavalry. His paternal name
was Ivan, so one of the letters in the combination I. G is mismatched.
58
Cathilic Church in Kutaisi as in 1890s
Photo archive of Kutaisi State Museum
In 1901, Simon Chilashvili became ordained a priest on the recommendation of Michel Tamarashvili, an eminent Roman Catholic priest and historian. In a letter addressed to Tamarashvili in 1905, Simon thanks him for
helping and informs that the church construction has already begun: “we
started building a new church immediately after I had taken holy orders,
about three or four years ago. The church is precious and its plan resembles
that of the church in Kutaisi being even larger. Red building stone is donated
by Pio Khojovanov ... even after centuries the surface (of the stone – N. N.)
will remain very durable.”27 As we learn from the same letter, 12 000 Rubles
were spent since the beginning of the church construction. The local people
took on themselves to supply the construction with sand, lime, and timber,
which would be quite burdensome for the poor village. When the material
resources of the church and the local people were exhausted, Simon Chilashvili presumably collected voluntary donations in Europe28.
After the construction had been completed, the main concern of the
Georgian Catholic parish was to obtain the right to hold a service in the
church in their native language. They worried about possible claims of Armenian Catholics for the ownership of the church. In 1908, the inhabitant of
Ude Ivane Merabishvili wrote to Michel Tamarashvili: “We have constructed
a new church, the largest and the most beautiful in the whole Caucasus ... We
do not want the church to be consecrated by Armenians and them to be the
owners ... the whole high society (i. e. Georgian noblemen – N. N.) advised
27 National Centre of Manuscripts, Archive of M. Tamarashvili, case #3666.
28 ibid.
59
us that we should change the typikon in order to prevent Armenians from
appropriating the fruit of our work.”29 This letter as well as the inscriptions
of the church is evidence of the fact that in the early 20th century the ethnic
self-consciousness – being “Georgian by race” and accordingly being “Armenian by race” – was more crucial in shaping the identity of the Catholics in
South Georgia than the confessional factor. This tendency might be expressed in both architectural form of the church and some details of its façade
decoration.
The church in the name of the Mother of God stands in the middle of
the village on a specially built substructure and is the only landmark of the
countryside. It is as large as Catholic churches in Tbilisi, Kutaisi, and Batumi. Its plan is elongated along the east-west axis and consists of a nave, two
side aisles, and a transept. The nave has a pentagonally projecting apse at its
east end. The dome rests on two pairs of piers at the intersection of the nave
and the transept. This plan was used worldwide in the nineteenth- and early
twentieth-century Catholic church architecture. Churches of SS. Peter and
Paul in Tbilisi30 and of the Immaculate Conception in Kutaisi31 follow the
same layout. The design of the church in Ude with its semi-circular arches,
massive quality, and large surfaces of plain walls has a remote likeness to the
Neo-Romanesque architecture, however this features should be explained by
the strength of the local building traditions rather than by the interest in the
Romanesque Revival.
29National Centre of Manuscripts, Archive of M. Tamarashvili, case #2381.
30Sakartvelos Dzveli Kalakebi, Tbilisi, the book was prepared and published by M. Janjalia
and M. Bulia, annotations by D. Khoshtaria, Tbilisi, 2006, p. 113, the annotation #6.
31Sakartvelos Dzveli Kalakebi, Kutaisi, the book was prepared and published by M. Janjalia and M. Bulia, annotations by D. Khoshtaria, Tbilisi, 2006, p. 155, the annotation #139.
60
Catholic Church in Ude A scheme of the plan
Two elevated bell towers are erected above the corner rooms adjacent
to the sanctuary. Similar arrangement occurs in the churches of Kutaisi and
Gori as well, but in Ude towers are higher consisting of the lower arched
storey and the light belfry above it. This type of two-storeyed bell tower is
common in the Catholic architecture of Samtskhe region. In simple singlenave churches, they usually stand above the southern or western entrance
porch of the building. Its examples can be seen in the churches of St Joseph
in Arali (1860), of the Holy Cross in Akhaltsikhe (1881), of the Sacred Heart
of Jesus in Khizabavra (1898-1900), and of the Mother of God in Skhvilisi
(around 1900).
Catholic Church in Ude
61
Some elements of the façade decoration of the church in Ude may have
originated from the Medieval architecture of Georgia.
The façades of the church faced with smoothly hewn reddish stone
blocks are plain. The design is limited to pilasters, which articulate the facades, and semicircular blind arches above double and triple windows. The
pilasters are divided into two parts by capitals, which are set on a level with
the springers of the decorative arches so that they make an impression of a
horizontal belt surrounding the façades. If one can see the articulating pilasters on the façades of the Catholic churches in Kutaisi, Tbilisi and Batumi32,
double windows decorated with blind arches are uncommon in the Catholic
architecture of Georgia. They might be borrowed from the Georgian architecture of tenth and eleventh centuries. The west window of the church in
Oshki (963-973)33, the south windows of the churches in Khakhuli (about
960)34 and Yeni-Rabat (about 1000)35 follow the same design.
The west façade of the church in Ude is decorated in a different way. It
has three arched doors, the middle of which is wider and higher than two
others. This central door is framed with double baguettes that form a stepped top. This decoration has analogues in the eighteenth- and nineteenthcentury Georgian churches the closest of which is the west door frame of the
church of St George in Sujuna36.
Architectural drawings of the project of the church in Ude have been
lost. We do not know the name of its author. Neither the initiators of the
construction nor he himself considered it necessary to mention his name in
the letters or in the inscriptions. Definitely, he was not among those leading
architects (Albert Salzmann, Leopold Bielfeld, Simon Kldiashvili, etc) who
in the late nineteenth and early twentieth centuries developed the so-called
"Georgian Style" as a response to the growing interest of Georgians in their
32Religiuri Datsesebulebebi Adcharashi (dokumentebis krebuli), prepared by K. Surguladze, T. Putkaradze, M. Megrelishvili, Batumi, 2010, p. 48.
33V. Jobadze, Adreuli Shua saukuneebis Kartuli Monastrebi Istoriul Taoshi, Klarjetsa da
Shavshetshi, Tbilisi, 2006, p. 146, fig. 122.
34ibid, pp. 171-172, fig. 201.
35ibid, p. 94, fig. 98; D. Khoshtaria, Klarjetis Eklesia Monastrebi, Tbilisi, 2005, p. 149, fig.
31.
36 V. Beridze, XVI-XVIII Saukuneebis Kartuli Saeklesio Khurotmodzgvreba, Tbilisi, 1994,
p. 205, fig. 209.
62
history and cultural heritage. Nevertheless, he tried to respond to the aspirations of local people who on one hand wanted to assert that they were inheritors of Latin Catholicism instead of Armenian Catholicism and on the other
hand to express their ethnic identity in architectural forms of the church.
The west doors in Ude and Sujuna Churches
Silvia Alexandra Pintilie
PhD Student
Visual Arts Doctoral School
University of Arts” George Enescu” Iasi
Romania
THE FUNCTIONAL OBJECT IN VISUAL ARTS,
FROM TRADITIONAL CIRCUMSTANCES,
TO CONTEMPORARY SENSES
In our daily visual reflections, we have more or less expected encounters
with ancestral signs and symbols. It is already known that almost nothing in
this world is brand new, but, in the end, how far can we go in tracking the
images that govern our life?
Placed at the crossroads between creative industries, art research and
cultural studies, the project hereby attempts to search for the arguments and
expectations of current Romanian interpretations in the visual field. The
study is also trying to establish borders between the tradition – as cultural
paradigm, and its use as resort for “same old” artistic or “meta”-artistic icons.
63
Iconic visual vocabulary
In the research field, the “ancient European” practices and beliefs were
rebuilt through the analysis of archeological proofs, aligning temple patterns,
caves and tombs, figurines, masks, worship vases, along with signs and
symbols engraved or painted on objects.
The Lithuanian researcher Marija Gimbutas, when writing about
Ancient Europe’s culture and civilization (namely the European cultural
complex of Neolithic age), before the appearance of indo-European people,
explains that images and graphic symbols of Ancient Europe represent the
grammar and syntax of a sort of meta-language where through we received a
whole mythical ideation system.37
The depiction elements which the author catalogued, transcribed from
usual objects or from the sanctuaries’ walls, are sometimes abstract, very far
from the graphical realism of the rupestral drawings, but always keeping a
strong link with nature.
Aspects of the cultural and religious traditions of people that lived later on Romanian territory, especially the Getic and Dacian people, are to be
found in the artisanal products, some of them perpetuated until the present
time.
In the Romanian Medieval Age, for example, folk sculpture reflects ancient themes and designs, such as sky column, trinity cross, oversized gates
of the houses in certain regions, anthropomorphic pillars of the fences, grave
crosses, grave pillars imagining the soul bird, etcetera.
Dumitru Paciurea and Constantin Brâncuşi, important sculptors of the
XXth century, approached themes inspired by the Greek, Romanian and
Universal mythology in which stylized motifs of folk sculpture can be retrieved. Famous masterpieces, such as The Cosmic Egg, Bird in space, the
Infinite Column, propose a personal interpretation of the cosmological themes, along with the Romanian folk myths, wherein ancestral symbols can be
found: Earth’s regeneration force, the aspiration towards infinite, the flight,
the Sun and the Moon, birth and death.(fig. 1)
Ancient themes and patterns are also to be found in decorative painting,
folk ceramics, and eggs painting, carpet weaving, glass painting and so forth.
Ornaments painted on ceramics – continuously practiced until today- recall
the ritual insignias of the Dacian ceramics: circle, coil, zigzag, anfractuous
37Gimbutas, Marija, Civilizaţie şi cultură, Meridiane, Bucureşti, 1989, p. 78;
64
line, sun, star and snake.
All over the country, rugs and towels manually woven contain stylized
geometrical forms: the X, zigzag, rhomb, birds flying, women in round dance, etc. The tree of life- a derivation of the cosmic tree -, usually the pine-tree,
is a common element, accommodating birds on his branches and wearing
the sun or a star on the top of it.(fig. 2)
Few premises of the actual cultural context in tradition-inspired art
Ethnographic art unavoidably passed through the period of discourse of
national identity, and then the period of the discourse of communist ideology.
As an instrument of memory, this art was certainly subjected to ideological
manipulation in order to serve various political ends.
An understanding
of the past, of the truth of the past, is always a thorny problem, an eternal
debate about the truth of memory or history. Nothing is harder to establish,
to agree upon; everything becomes a narrative at a certain level, a discourse
of a certain type. There is no memory, but rather memories, just as there are
not merely facts, but also interpretations, the lived meanings of experiences
and events38. Modern Romanian culture was constructed on precisely such
a debate about the authenticity and value of traditional peasant culture. After
1848, Romanian culture and art sought a foundation for the future that had
to be built. Modernism was always accompanied and rivaled by a massive
nationalist and metaphysical investment in the authenticity of the nation’s
cultural expression. Postmodernism has the peculiar gift of interrogating or
accusing any intellectual enterprise in the name of relativism that belongs to
post-history, the end of all universal hopes, hypotheses and values. From this
viewpoint, anything can become suspect or laughable, in the first place the
nation, in the second place history, and in the third place memory.
Meta-tradition in the communist period – a case study
In Romania, the traditional handicraft production – possessing invaluable artistic qualities – was fairly limited from a quantitative point of view,
due to the perishable quality of objects. Authentic folk art exponents are to
be found in several ethnographic museums all over the country, indicating
38 Gheorhiu, Mihai, Mateoniu, Maria, coord. Muzeul ţãranului roman. Muzeul memoriei
reinstaurate, Litera, Bucureşti, 2012, p. 18-19;
65
the integer character of traditional motifs and symbols; concurrently, every region owns specific elements, especially in the composition of the folk
outfit: the predominance over a certain color, stitches’ motifs, the tailoring
of a certain garment from the traditional costume, all adding up to express
authentic artisans’ variety and originality.
The period between 1945 and 1989 is marked, when talking about applied traditional art, by the abundant tendency of visual branding through
stylization of the traditional signs. From architecture to clothing design,
from printmaking to monumental works, we could observe how most of the
art forms (not always recognized as art, however) had subtle signs of traditional connotation, either if we are talking about geometrized decorations or
descriptive images. (fig. 3)
In the communist period, the exploitation of the folk set of symbols
was a locution and a valorization of the nationalism and so-called Romanian
patriotism. Producing on an industrial scale clothing, folk products, objects
made out of woods or pottery, cheap and deprived of artistic qualities(in
certain cases almost artless) conducted to over-filling specialized shops and
serving as decoration elements for restaurants, bars and state agencies.
As in any totalitarian regime, the figure of the artist appeared in very
few cases, most of the time remaining anonymous, forth the cases in which
his personal image sustained the praise of the regime. However, despite of
the political and social issues, the decorative arts didn’t suffer so much of
censorship, and, capitalizing on the advantage offered by the monumental
art trend and the increased taste for constructing new edifices in the country,
amplified, totalizing at the end of the regime a diversified palette of artistic
practices.
Furthermore, in clothing design and printmaking, the absence of alternatives concerning daily adornment of everyday assets empowered the
talented people to create personalized goods.
In a country where sixty percent of the population was coming from
rural regions and without means of cult inspiration (or with difficult access
to them), the most familiar type of inspiration in the 70’s and 80’s came from
traditional founts. In this manner, cordons sewed on grandmothers and mother’s traditional clothing appeared, in a sometimes clumpy, sometimes overstudied way on granddaughter’s hippie blouse. Paradoxically, this fashion
66
was somehow overlap by the folk trend that circulated in that period all over
the world. Renowned designers such as Oscar de la Renta, Yves Saint Laurent
(1981) were promoting the Romanian ie, the traditional woman blouse, as
the iconic piece of their fashion collections. Movie stars and singers39 (Ali
McGraw, Raquel Welch, Marion Ravenwood, Jane Birkin, Anni-Frid Synni
Lyngstad from ABBA or Brigitte Bardot) also wore the blouse and whilst in
Occidental Europe this outfit was considered a season trend, communists
rediscovered this rather ignored piece of history and empowered it with nationalism and socialist attributes.
While certain directions of applied art were struggling between authentic and responding to social and political trends, there were few domains
in which art based on folk heritage emerged.
Without being declared as
appreciated values but treasured nowadays, the paintings and installations of
Horia Bernea or, later, Ilie Boca and Zidaru family recall a heritage in which
the sacred visuals fusion with the decorative vocabulary, creating images that
describe the traditional space as a cultural matrix.
A domain of great abundance and fantastic decorative richness was also
the one of children’s storybooks. Illustrating the Romanian legends or tales,
visual artists or sometimes, the writers themselves, drew a universe built on
ancient symbols and beliefs. Here, the traditional signs mix with cult techniques, while constructing a colorful imagery, described to be understood by
every child, and introducing diverse folk elements in the meantime. (fig. 4)
It’s not to be wondered that, in present times, artists like Madalina Andronic, Una ca Luna and Ciprian Vrabie illustrate children’s books and auxiliary materials with that natural fluency and the imaginative vocabulary of
the precursors.
Folk heritage in contemporary creative industries
In the established sense, we refer to creative industries when talking
about a range of economic activities which are concerned with the genera39 In present days, designers such as Jean Paul Gaultier, Emilio Pucci, Isabel
Marant, Carolina Herrera and Tom Ford, and artists like Adele, Rita Wilson, Halle Berry or Jennifer Garner are wearing folk garments in their daily
appearances.
67
tion or exploitation of knowledge and information. They may variously also
be referred to as the cultural industries40 (especially in Europe) or the creative economy41. Howkins’ creative economy comprises advertising, architecture, art, crafts, design, fashion, film, music, performing arts, publishing,
R&D, software, toys and games, TV and radio, and video games.
Nowadays, in Romania we can talk about folk inspired unique and serial production, which roots, most of the time, in a rational design and effective forms, equally following functional appropriateness and valorization of
the authentic folk element.
In fashion, the visual creation has a double availability – a practical one
– of material protection, and a social communication one, on the spiritual
level. The costume uses all the visual arts’ expression means, occupying an
important place among the other arms of decorative ambient arts such as
furniture, textile, ceramics, glass, and so on42. In order to understand human appearance as an artistic creation, the viewer is asked to concentrate on
the image whose acceptances he is looking for, but-in the same time- to look
for his own inner feelings, participating this way in the dialogue which is the
essence of art itself.
It is interesting to observe that a new wave of designers, starting from the
second half of the 90’s, eventually considered the relation between viewer’s
cultural heritage and the cult clothing creation. The path was opened by creators like Unda Popp and Liza Panait, with their stylized traditional-based
creations presented in performances and scenographic shows.
Currently, we can talk about multiple approaches of the discussed theme: designers Adrian Oianu, Valentina Vidrascu(fig. 5) and la Blouse Roumaine -Demetria, for example, stylize either or both the form and the decorative content of traditional clothing, creating original fusions between folk
and punk or folk and expressionist painting. Others, like Andra Clitan, clean
the forms to the point where only some subtle hints recall the folk costume.
A different approach can be found in the work of Lana Dumitru – who
40Hesmondhalgh, David , The Cultural Industries, Sage, London, 2002, p. 14;
41Howkins, John Anthony, The Creative Economy: How People Make Money from
Ideas, Penguin Global, 2002, pp. 88–117;
42Nanu, Adina, Art ape om, look-ul şi înţelesul semnelor vestimentare, Compania, 2001,
p. 17;
68
drops out the conventional techniques for the modern means – textile laser
printing on synthetic materials specific for the 70’s, in an effort of recalling
the omnipresence of ethnic-inspired images in communist period(fig. 6).
Continuing on the part ironic, part time-fetcher powerful image industry,
Mândra Chic uses patches of traditional garments attached to contemporary
clothing and elevating them with phrases or words definitive for the villages
of the Apuseni Mountains.
In product design, studios like 11AM Architects, Arhip&Mândrişcanu
(fig. 7), Zulu Project, Lemps by Daniela Crãciunoiu, Cai verzi pe pereţi/Green horses on the walls(fig. 8) or individuals like Ruxandra Secalis and Ioana
Corduneanu(fig. 9) propose works based on the traditional heritage, hence
everyone departs on their original path: special materials, innovative techniques, old techniques packaged for new jobs, oversimplification, stylization
and extracting the essential out of a functional object. Arch. Ioana Corduneanu is also documenting a library-blog which provides vector sewed signs.
In contemporary ceramics, artists such as Una ca Luna (fig. 10) and
Irina Wagner work sometimes descriptive, sometimes geometric but
always in a colorful manner. This newfolk style, named this way by Ciprian
Vrabie(designer and illustrator), is characterized by repetitive patterns, in
which the traditional symbols are barely recognized, being moreover an universal essential graphic language, that can be shared by many cultures all
over Europe.
Whether we talk about fashion design products or decorative elements,
they satisfy, in a greater or smaller amount, the esthetical requirements of
consumers, asserting through the purity of forms and details, through units’
proportions and expressive-functional qualities of the materials, as they go
on in being representative when referring to an ancient tradition.
It is clear therefore, that revaluation of the folk tradition continues also
in XXI century Romania, contributing to niche industries’ dynamics and
contemporary cultures through diverse forms: production of unique pieces,
adapting established folk models and using them in interior and exterior design, producing pieces that caricature in an ironical and original manner the
objects inspired by the folk culture, and series of products that don’t cross the
level of kitsch and pastiche.
The diverse levels of understanding Romanian traditional culture may
69
never be completely free of failures in the visual field, however, further studies to identify potential problems and solutions, as well as better training in
interdisciplinary studies such as visual arts, ethnology, sociology and sustainable resource management should result in a much more understanding
and creative approach of the traditional visual assets.
List of figures
Fig. 1, Constantin Brâncuşi’s Studio in Paris, digital image, Paris, N.D.
Web. < http://www.fotomagazin.ro/ftm20/archives/2010/08/atelierele_brancusi.html> ©Florin Angelescu, 2010;
70
Fig. 2, Textile Document, approx. 100 years old, digital image, N.D.
Web. < http://dianacalin.blogspot.ro/2011/06/slow-life.html> ©Diana
Calin, 2011;
Fig. 3, Ceramic decorative border on Unirea Hotel in Iasi, Romania,
1964. ©Silvia Pintilie, personal collection, 2013;
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Fig. 4, Storybook covers of Petre Ispirescu’s “Basmele Romanilor”, digital
image, ©Silvia Pintilie, personal collection, 2013;
Fig. 5, Valentina Vidraşcu, La Blouse Roumaine – Natalia dress, digital
image, N.D. ©valentinavidrascu.ro
72
Fig. 6, Lana Dumitru, Romanian Apparel, digital image, 2011, N.D. Web
< http://artrebels.com/blog/lana-dumitru-fusing-tradition-technology/>
Fig. 7, Arhip & Mândrişcanu Architecture Studio, Lighting Design, digital
image, 2012, N.D. Web <https://www.facebook.com/dizainar/photos_stream>
73
Fig. 8, Cai Verzi pe Pereţi Studio, Romanian Border, digital image, 2012, N.D.
Web<https://www.caiverzipepereti.com>
Fig. 9, Ioana Corduneanu, Romanian Furniture Family in Berlin, DMY design
event, June 2011, digital image, N.A. Web <http://www.ioana-corduneanu.
com/interest.html>
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Fig. 10, Una ca Luna (Anca Vintila), Romanian Rhapsody, digital image,
2012, N.A. Web. <http://unacaluna.ro/>
Bibliography:
•Gimbutas, Marija, Civilizaţie și cultură, Meridiane, București, 1989;
•Gheorhiu, Mihai, Mateoniu, Maria, coord. Muzeul ţãranului roman.
Muzeul memoriei reinstaurate, Litera, Bucureşti, 2012;
•Hesmondhalgh, David , The Cultural Industries, Sage, London, 2002;
•Howkins, John Anthony, The Creative Economy: How People Make Money from Ideas, Penguin Global, 2002;
•Nanu, Adina, Art ape om, look-ul şi înţelesul semnelor vestimentare,
Compania, 2001;
75
Siavash Tayeb Taher
MA Student
Department of Dramatic Literature
Bushehr branch, Islamic Azad University
Iran
A Study of Experessionistic Movies of Germany
in the 1920s, with Especial Reference to the
Movie
Dr. Caligari
Expressionism is a style-processing description of modern art which refers to the description of certain art movements in Germany in 1905-1920.
This article aims to find the structural foundation of Expressionism Cinema
and its growth manner by assessing "Dr Caligary" film as an example. Expressionism Cinema of Germany was from between the two world wars and
before Hitler. This article tries to deal with the concept of Expressionism
Cinema by analyzing "Dr Caligary’s Office" movie.
Keywords: Expressionism, Cinema, Germany before Hitler, Dr Caligary, Modern Cinema.
Introduction
Expressionism is rooted in history of Northern Europe nations that flattened black and dense north forests to obtain suitable lands for farming and
living. Fear of these very dense forests was the cause of creating myths of
peculiar and extraordinary beings that these tribes thought were living in the
darkness of these forests.
Expressionism is deeply influenced by trends that generally are called
romantic. Thus, many Expressionist works have been created during all
historical periods and in various countries. But Expressionism as a styleprocessing description of modern art refers to the description of certain art
movements in Germany in 1905-1920.
In Expressionism, internal feelings are expressed and transferred to
others. In this style, personality, mental situation or sensational conditions
of artist are represented like living creature. But in history and criticism of
art, this term is referred such that naturalistic traditions and contracts are
abandoned and instead there is much more stress on creating tortuosity and
exaggeration in form and color for instant expression of artist›s feeling.
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In this article, the Expressionism school and its influence on Germany
in 1990s is described. To this end, different aspects of Expressionism cinema
are discussed by examining the 'Dr. Caligary' movie as one of the complete
Expressionistic examples.
Expressionism:
The word Expression consists of two parts: part 'ex' which is prefix meaning 'outside' and part 'pression' meaning pressure and compression. This
word has numerous meanings in European languages: it both means phrase, term and look and expressing internal states as well as compressing like
compressing a fruit such that its juice extracts. The title "Expressionism" in
fact refers to the last two meanings. In the French Dictionary "Litere" we
read: sweating due expression refers to the sweat drops appearing on the
face of person who is suffering from pain and particularly those who are
in the deathbed. This is the main advent stage of Expressionism that find
support from qualm and agony. Then due to exaggeration in style, it becomes more startling: the body is created to collapse and crash. Heartrending
scenes are constantly seen. In this "imaginary museum" are society realities
to Gotfridben bodies. (SeyedHosseini, Reza, 2005, pp. 702-703).
Scream Portrait by Edward Monk
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August Strindberg and Expressionism
Expressionism is attributed to August Strindberg who certainly is one of
the most valid and dexterous playwrights of the last 100 years.
Strindberg basically was up to reconstitute two things on the scene: pain
and suffer of soul in searching God or a sort of spiritual support and the feverish and manic experience of dream. In fact his most famous play is 'Dream'.
In this play, events occur seemingly irrelevant and irrational or dream-like
and as Strindberg states in the introduction of this play, the events only relate
to each other through the self-conscious of the person dreaming. Identities
of play characters change. For example, one of the main characters occasionally becomes official, lawyer or poet and even once he returns to the
classroom and experiences the torture of the very exams that he had given in
the childhood. Time collapses or stretches randomly. Scene moves from one
place to another and changes without any formal logic and symbols appear,
disappear and reappear suddenly.
Constant theme that repeats throughout the plat
The main help of Strindberg to the theater was his efforts to visualize internal and subjective reality rather than external and objective reality.
Symbolists were trying to do this by creating mysterious and intangible state.
Strindberg did this by involving audience into the main character and making them see the world from his perspective.
Strindberg's style is frequently apparent in the movies of Ingmar Bergman including wild strawberries, seventh cachet, magician, and twilight
hour.
Influence of Strindberg on theater and plays of 20th decade is particularly powerful and intense. He and a German named Frank Wodkind basically were responsible for initiating a movement in theater that was called
Expressionism. Germany Expressionism was started post war years and survived as a pure form until 1942. Like Strindberg, the Expressionists of Germany were interested in representing torturous, sick and insane states of the
main characters and made audience participate in their internal states. But
Germany movement divided into two branches: one emphasized on religious
and spiritual themes following Strindberg and the other stressed social, political and economical protest themes. A number of Expressionists especially from the second group were imprisoned, killed or exiled from Germany
78
when Hitler obtained power in 1930s (Holton, Urly, 1997, pp. 218-220).
In France, Expressionism was long abandoned as a sort of German tragedy. In a text that refers to the influence and attraction of French literature
in the world, Paul Moran writes: "London and New York ….had stared at
us… I don’t talk about Berlin that was struggling with the dread of inflation,
hunger and Expressionism." (Seyed Hoseini, Reza, 2005, p 699).
Expressionist Portrait
Therefore, from the French point of view, Expressionism was others’
hell or at least a kind of aesthetic downfall following military, political and
global failure. Its convulsive and premature effects suggested historical insolvency of the nation and authorities of Germany and interestingly, although
the French did not know Expressionism, they had no scruples sentencing it.
They didn’t know that not only by the advent of Expressionism, Germany
literature no more wanted to follow and imitate foreign literature, but also
the influence of this literal revolution that was performed by artists of one
generation and lasted no more than ten years, would stay both in Germany
and in the literature and art of the world even after it disappeared. Explosion
history of Expressionism – since this trend, unlike Fotorism and Sourrealism, was neither a chaste movement nor a founded school- began in 1907 and
ended some years after failure of Germany in the First World War. However,
this short period is a very turbulent and messy period in the world history. In
this very short period, October Revolution occurred in Russia and Germany
Empire ceased. In USA, between the two world wars, Yojin Enil worked on
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Expressionism style by two plays named "Brown, furry ape" and "Grand
God". (Brackt, Oscar, 1996, p 180).
Expressionism is in fact the product of a new attitude to life. In other
words, it is prediction of disaster. In a rude and dominant Capitalist society,
the majority believed that proletariat had triumphed over Imperialism, but
the results of this triumph were war, failure and instable republic of Waimar
(Seyed Hosseini, Reza, 2005, p 700).
In summary, Expressionism is not the aesthetic result of a bunch of various disasters, but a revolt against them. As Malaparte described in his book
"Coup Technique", the Expressionist poets and painters defined the boredom
and torture of today civilization and modernity. In this mentality, art goes
beyond aesthetic framework and inserts its roots in depth of religion, philosophy and society. It obtains its constituent elements from these areas by
integrating philosophical, cosmic, idealistic and moral aspects, in the hope
of social revolution. Therefore, Expressionism wants to express "essential"
feelings and "human status" as they are.
This new need for expression is not satisfied only by historical events
such as war and revolution. Expressionism was formed and founded totally
in 1910s. Expressionist artists believe that this need for expression has emerged since war and revolution are results of very older mistakes of Capitalist
society. Protest of Expressionists was particularly against the ever-increasing
dominance of technique on life and a sort of Positivistic ideology and alienation that dominated human relationships. Expressionists abandoned these
dominant values and reinforced their individual powers. Their anti-naturalistic, inconsistent and anarchic inference terrified capitalists of prewar years.
Most of their contemporaries could not notice that how much delirious scream in art represents crises and disorders in future.
Expressionism is revolt and prediction of disaster. Declination experience and civilization crisis and, according to J.van Hoddis, feeling before
occurrence of apocalypse caused these artists to consider changing current
state. Vigor, change, return, freedom and revolution were common words in
works of these artists.
Despite denial of tradition, it can be said that Expressionism is in a historical line of currents like Barook and “Storm and Vigor” and has inspirers
and pioneers (including Claist, Holderline, Bushner, Kerkegor, Budler, Vit80
man and Nietche). Nevertheless, it denies traditional forms and defends a
literature that does not remain literature. Protest against available contracts
of artistic forms is both denial of the face of bourgeoisie society and revolt
against current order.
Analysis and determination of types of Expressionists´ artistic trends is
difficult. Among them, we see innocence dream beside disaster prediction
and religion verve beside angry yells of class war. And finally, we see cold
burlesque and clinical precision of analysis beside disappointment explosion
and Dadaistic demolition beside sever prejudice. The only common trait
between them is tendency towards extravagance and inversion of values.
In fact, a work that was created before the advent of Expressionism and
is considered its symbol is a picture by Edward Monch named “Scream”
that shows a person mad of anger, shaking by stairs over sea. He presses his
cheeks by his hands and screams under bloody sky. Far from him, two tall
persons are walking away.
These screams of the fear of life appeared in Scandinavian society which
was a reformer, puritan and bourgeois society.
Principles of Expressionism School in Dramatic Arts
Expressionists present images of subjective realities and evaluate, describe and interpret events and actions of play from the view, mind and conscience of a specific mind and thought, generally playwright or protagonist
and interpret them as an interpreter.
Expressionists provide an interpretation of events and actions that is
recorded and then manifested from a single mentality.
Regarding performance style and practice, face designing, clothing,
light and scenery, acting and directing were performed by these very Expressionist presumptions.
Performance design of Expressionist play is surprising, acrid and terrible, mysterious, large-scale and without lighting and characterized by frequent use of darkness.
Regarding acting and directing, Expressionism uses rhythm very often
and this rhythm is obtained from repetition of letters, words, sounds, vowels
and consonants.
When a playwright interprets facts based on mentalities of a protagonist, he is inclining to Expressionism school.
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Basically, it can be said that Expressionism in drama art refers to a school that wants to express thoughts, mentalities, unconscious view, feelings and
emotions, struggles and abstract and inner realities of its characters. This
expression is done through methods like Expressionistic interpretive representation of realities as well as symbolism and abstraction methods.
Jack E Van describes Expressionism in drama literature as follows:
“Expressionists didn’t have realists´ trends and didn’t want to show
external realities. They wanted to objectify subjective image of these realities
from view of a protagonist. Expressionism in drama art considered realism as expressing superficial reality and so made a stand against it. Because
the Expressionists believed that superficial reality is not representing truth
as unconscious mind defines it. They believe that truth is a subjective and
inner matter. Advocates of this drama school were not satisfied by presenting external and objective realities. They tended to objectify these realities
from mentalities of play protagonist. In other words, Expressionists objectify
external facts through mentality of protagonists and represent them once
more (Nazerzade Kermani, Farhad, 1996, p 57).
Expressionism and Germany Cinema
Caligari
Hans Yanvits, one of the two writers of “The Cabinet of Dr Caligari”
play, was raised in Prague- a city where realities are integrated into dreams
and dreams become terrible scenes. One night in October 1913, this young
poet was walking in a carnival in Hamburg and was looking for a girl whose
beauty and movements attracted him. Reeperbahn- a place that sailors knew
as one of major hedonism places- was covered by carnival tents. Huge Bismarck statue made by Lederer was standing nearby and was guarding ships
anchored in the wharf. Yanvits, looking for the girl, followed laugh sounds
into a dark park nearby. The laughing sound, which seemingly was for attracting the young man, was lost within bushes. Then, when the young man
was leaving there, another shadow that was hiding in bushes suddenly came
out and moved. As if this shadow was snuffing the odor of laughter. When
Yanvits passed this strange terrible shadow, he saw it for a moment: his face
was like a typical bourgeois. Darkness swallowed the man and following him
became impossible. Next day the big title of local newspapers was: ‘Terrible
Sexual Crime…. In Holshtnol! Young Gertrode is Murdered’. Yanvits thou82
ght that Gertrode might be the very girl he saw in carnival, so he went to
the funeral of the victim. During the ceremony, he suddenly felt that he had
recognized the murderer who was not arrested yet. The man recognized him
too. He was the very bourgeois- the shadow that Yanvits saw in the bushes
in park.
Karl Mayer- who wrote scenario of Caligari along with Yanvits- was
born in Graz, Austria. His father was a rich merchant and if he didn’t think
that he could become a ‘scientific’ gambler, he could develop in that city and
succeed in business. He sold all of his properties in the best time of his life,
went to Monte Carlo equipped with a completely reliable ‘system’, and returned to Graz penniless months later. Due to the pressure of this disaster,
Myer´s father, who was crazy about gambling, threw 16-year old Carl and his
three younger brothers out of home and finally suicide. Carl Mayer, who was
just a kid, now had responsibility of his brothers. Carl travelled throughout
Austria, sold barometers, sang in chorus and acted as extra in rural theaters
and during this time he increasingly became interested in theater. During
those years of vagrancy, he tried all parts of theater production.
These years were full of experiences that were useful for his future carrier as a poet of cinema. At the beginning of World War I, this teenager made
a living by drawing images of Hindburg on postal card and selling them.
Sometime later, in war time, Yanvits reports that he had to perform mental
83
inspection. Carl hated military psychologist responsible for his case- who
had high rank.
War ended. Yanvits, who was officer of a route march regiment during
war, returned with acrid experiences. He was pacific and was motivated by
hatred of the powerful that send millions of persons to death. Yanvits believed that power is inherently bad. He stayed in Berlin and there he visited
Carl Mayer. Soon he found out that this peculiar person, who had never written even a line, agreed with his revolutionary beliefs. Why these feelings and
beliefs had not been expressed on the screen? Yanvits, ecstatic by movies of
Paul Vegner, believed that this new media should serve powerful revelation
of poets. These friends made long discussions about story of Yanvits in park
and mental duel of Mayer with the psychologist. It seemed that these stories were reminiscent and complement of each other. After these discussions,
they walked in night while inevitably attracted by a shiny and noisy carnival.
This carnival, which was a shiny forest, resembled hell more than paradise,
but for those who experience fear of war, it was a paradise.
One night, Mayer took his company to one of the shows of carnival that
had impressed him. This theater named ‘man or machine’ showed a tough
man who achieved some miracles of physics power. He behaved as if he was
hypnotized. The most strange and incredible thing was that he said things
while performing his peculiar moves that seemed to be predictions for surprised audience (Cracaer, Zigfrid, pp 72-73).
Creation of Work: Caligari
Each creative process reaches to a point that only one more experience
is needed to integrate all components and convert them into a coherent whole. Mysterious face of this man provided this experience. These two friends
visualized the initial story of Caligari in the night they saw this theater and
wrote the scenario six weeks later. In describing roles each played in creation
of this work, Yanvits calls himself ‘father who sowed the seed’ and calls Mayer ‘mother who grew it’. At the end there was a little problem: they were to
decide on the name of their protagonist that was created based on the number one enemy of Mayer during war.
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A scene from Caligari Movie
A rare book named ‘Eshtendhal´s nameless letters’ solved this problem.
When Yanvits was studying this book, he found that Eshtendhal after returning from field visited an officer named Caligari in Milan. They liked this
name.
Their story occurs in a city in north of Germany, near Netherlands
boundary of which important name is Holshtenval. One day a carnival enters
city with leather and various shows. One of shows is Dr Caligari, a strange
spectacled man who advertizes for the sleepwalker Caesar.
Caligari goes to municipality to take permission but a selfish boss shows
a disdainful behavior to him. Next morning, body of this boss who was murdered is found in his room. This event does not inhibit people from enjoying
carnival. Among numberless spectators, Francis and Allen- two students
who are in love with Jane, daughter of a doctor- enter tent of Dr Caligari and
see Caesar stepping out calmly from an upright casket.
Caligari says to the excited audience that this sleepwalker can reply to
questions concerning future. Allen asks excitedly how many years have been
left from his life. Caesar opens his mouth. It seems that he is influenced by
the extraordinary hypnotic power of his master. He replies: ‘until dawn’. Next
morning, Francis finds out that his friend was murdered by knife just like
the municipality boss. This student that was suspicious of Caligari persuades
Jane´s father to help him in investigations. They break in to the showman´s
wagon and ordered him to end sleep of his stooge, Caesar. But at the moment
they are called to police station to attend inquiry of a murderer who was
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arrested while killing a woman and now denies vociferously that he is the
murderer of sequential murders.
Francis continues investigating Caligari and in night, stares secretly at
wagon from the window. But at the moment he presumes that he is watching
Caesar lying in his casket, the true Caesar enters Jane´ bedroom and raises
a dagger to kill the girl. But he stares at her, put the dagger aside and runs
on roofs while she is screaming in his hands. Her father follows him, Caesar
leaves her. The girl is escorted to home but the lonely kidnapper dies from
tiredness. As Jane, unlike Francis, insists that she has recognized Caesar,
Francis again goes to Caligari to solve this torturous enigma. Two cops capture casket-like box and Francis pulls out a killer like the sleepwalker from
it. Caligari can escape because of negligence of police. He goes to a mental
hospital. The student follows him, visits the head of hospital and shocks by
fear: the head of hospital is Caligari himself.
Next night- after hospital head falls asleep- Francis and three members
of medical board of hospital, to whom he has said the story, search head´s office and find evidences that prove Caligari´s guilt in mental matters. Among
a pile of books, they find an old book about showmanship named ‘Caligari’
who travelled through north Italy in 18th century and made his stooge, Caesar, kill lonely persons and when Caesar was not there, he put a mummy
statue in the casket to misguide police. The main evidence is medical file
of hospital head which shows that he wanted to prove hypnotic power of
Caligari. His tendency became madness and when a sleepwalker person was
influenced by his power, he couldn’t resist the temptation of repeating terrible game of Caligari. He assumed the identity of Caligari. To make the head
confess his crimes, Francis goes to him by body of sleepwalker Caesar. As
soon as this monster discovers Caesar´s death, begins to yell. The experienced watchmen of hospital dressed him with a special costume that tightens
hands behind.
This terrible story had the style of E.T.A. Hoffmann which is an aggressive revolutionary story. As Yanvits says, in this story he and Carl Mayer
implicitly reveal dictatorship of government that self-asserted through recruitment and announcing world war. From the two writers´point of view,
the government of Germany during war time was a cross section of such a
greedy power. These two who were from military imperial country of Hun86
gary, were in better position for understanding deadly trends in Germany
system than other citizens. The character of Caligari has these trends. He is
the symbol of unlimited dominion that makes idol from power and worships
it and violates all human rights and values ruthlessly to satisfy its own imperious expectations.
Caesar, that only plays role of a stooge, is innocent victim of Caligari.
The writers of the scenario saw him like that. As pacific Yanvits says, they created Caesar based on pale sketch of regular persons who are impelled to kill
and be killed under pressure of mandatory military service. By introducing
Caligari as a psychologist at the end of movie, the revolutionary sense of the
story exhibits itself:
The logic overcomes irrational power and the mad powerful is destroyed symbolically. Similar ideas were also expressed in contemporary theater, but the writers of ‘Caligari’ transferred these ideas to the screen without
adding laments of ‘modern human’ unbound of dominion, in which many
Expressionist plays indulge. But apart from form related considerations, use
of symbols and image features of Dr Caligar Office are of domestic technical
quality and uncomplicated by that initial decorate painting and exaggerated
features (Alizadeh, Ali Akbar, 2003, p 85).
A miracle happened: Erick Poumer, the head of Decla Bioscop Company, accepted this unusual scenario proponent of regime downfall. Was this
a miracle? As in first days of postwar period it was dominantly believed that
foreign markets can only be conquered by artistic achievements, movie industry of Germany was eager to obtain some experience in an aesthetically
suitable area. Art guaranteed exports and exports meant redemption.
Poumer who was an ardent partisan of this theory, had a unique talent
for understanding cinematic values and desires of the public. Despite the
question that wheather Poumer understood the importance of this peculiar
story or not, he certainly felt the readiness of atmosphere and interesting
graphic capabilities of this scenario. He was a congenital proponent that dealt with business and cinematic matters equally simply. And most importantly, he developed by provoking creative energies of the director and actors. In
1913, Ufa Company gave him the responsibility of all its productions and his
offstage activities influenced cinemas of pre-Hitler period.
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Robert Vine and Caligari
Poumer chose Fritz Long for directing Caligari. Broadcasters of this
movie insistently wanted its completion. Dr Robert Vine replaced Long. As
his father was an actor in Dresden and was once famous and had become
mad at deathbed, Vine was not totally unready for wrestling with Dr Caligari. He suggested an essential change in original story, in accordance with
what Long intended- a change that both writers of scenario protested against
strongly, but no one paid attention to them.
The original story suggested real fears. The Vine version transforms this
story to fantasies that are created and expressed by Francis. To do this transformation, the body of original story is put in another story that introduces
Francis as mad. Caligari movie starts with first part of the two parts constituent of this form: we see Francis sitting on a bench in park at hospital,
listening to muddy and senseless words of his companion. One of female
residents of hospital passes by them quietly like a ghost: she is Jane. Francis
tells the one sitting by his side: ‘what happened to me and that poor girl is
stranger than what happened to you. Do you want me to describe it?’ the
image fades out gradually. Then image of a scene of Holshtenval fades in
gently on the screen and the original story begins and as we saw it ends with
identification of Caligari. The image fades out again and the second and last
part of story, that is the frame of original story, begins. Having described the
story, Francis returns to the hospital with his company and there joins to the
other pathetic characters- including Caesar who is caressing a little flower
while he seems to be in another world. The head of hospital joins them with
a quiet and kind look. Francis, lost in twist of his fantasies, confuses the head
with the terrible character he has made and accuses this imaginary devil of
dangerous madness. He fights with hospital crew excitedly and howling. The
scene changes to examination room. The head puts on other glasses that
change his look immediately: it seems that this is Caligari who examines
tired Francis. Then he takes his glasses off and says to his assistants that Francis thinks he is Caligari. The head concludes that now that he has understood
patient's problem, he can heal him. And with this delighting message, the
audience is dismissed.
Yanvits and Mayer knew why they were angry of this change in story:
because it averted their internal goals, if not invert them. The original story
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revealed madness in dominion nature, but version of Vine revered power and
accused its enemy of madness. This way, by following frequently used model
of introducing a normal but troublesome person as mad and sending him
to mental hospital, a revolutionary movie is converted in a compromising
movie. This change was undoubtedly due to Vine´s instinctive obedience of
screen requirements rather than his personal trends and desires. Movies, or
at least commercial movies, should response to the expectations of people.
In its changed form, Caligari was no more the product that in its best state
is suggestive of specific feelings of the open-minded, but it was a movie that
supposed to conform to what less-literate people felt and liked.
If it is true that, in postwar years, most Germans withdrew eagerly from
violent external world to the intangible area of isolation, Vine´s version was
more consistent with their mind-set than original story, since by putting original story in a frame, this version reflects their withdrawal faithfully. In Caligari (and most of other movies of this time), using a story as a framework
for the main story not only was an aesthetic form, but also had symbolic
content. It is worth noting that Vine avoided impairing the original story.
Although Caligari was made a compromising movie, but maintained and
stressed this revolutionary story- as imagination of a mad man. Now, failure
of Caligari occurred in the limits of mental experiences. This way, Vine says
that the German, in retreating to their inner world, were stimulated to review
their traditional belief in power. All avoided revolutionary movements, even
the majority of socio-democrat workers. But at the same time, it seemed that
a mental revolution was preparing itself in depth of their collective souls.
Caligari reflects this dual aspect of the German´s life by representing reality in which Caligari power wins with delusions in which the very power is
destroyed. For this rising against tendency toward complete obedience of
power that occurred under the cover of anti-rising behavior, there couldn’t
be better set of symbols.
Yanvits suggested that Caligari decors be drawn by the designer and
painter Alfred Kobin. He was one of the pioneers of Surrealists and led strange ghosts to safe scenes and caused mental image of torture come out of
unconscious mind. Vine liked the idea of decors consisted of canvases but
preferred three other Expressionist painters to Kobin: Herman Warm, Walter Rohring and Walter Rayman. They were members of ‘Eshtorm’ group in
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Berlin that was a proponent of Expressionism in all artistic areas through a
magazine with the same name.
Although Expressionistic painting and literature had been emerged
some years before war, they didn’t obtain advocates until 1918. In this respect, Germany was similar to Soviet where different currents of abstract
art were really prosperous during the short period of war Communism. It
seemed to this revolutionary people that Expressionism integrated negation
of bourgeois traditions with faith in human power for freely shaping society and nature. Perhaps it was for these positive points that this school (Expressionism) enchanted many Germans who were upset for shatter of their
world.
‘Movie should be live sketches’, it was Herman Warm´s formula when
he two was busy shaping Caligari´s world with his coworkers. According to
Herman Warm´s opinion, canvases of Caligari were full of long sharp shapes that were strongly reminiscent of the paintings of Gothic period. Except
for some case of error or harmony, some of backgrounds contrasted directly
to customary things but others maintained them- these decors transformed
material objects in sensuous ornaments. Holshtenval, with its atilt chimneys
which were on steep gable roofs, with its kite- or arrow-like windows and
with its tree-like eastern schemes- which were threatening rather than similar to tree- was similar to imaginary images of unseen and unheard cities
that Lionel Finiger created with his irritating transparent edging. In addition, scene design system of Caligari movie is extended in space and fades
out its conventional aspects through painted shades inconsistent with light
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direction and zigzag lines which were designed to blur all perspective rules
of designing. Space was reduced to a flat plate and sometimes extended its
dimensions and, as a writer says, became ‘stroboscopic (3D) world’.
In this movie, line was introduced as one of the main constituents of
décor. Given the close relationship between line and designing, this application of line was sufficiently relevant. In one scene, desire of the psychologist
to imitate Caligari is shown by trembling words ‘I must become Caligari’.
Clouds appear over trees. Among all actors, only the two protagonist of play
seem to be created by imagination of a designer. The face of Werner Crows
in role of Caligari was like a wizard soul who himself weaved the lines and
shades through which he was walking. And when Kenrad White in the role
of Caesar sneaked by wall, it seemed as if he came out of the wall. Shape of
an old dwarf and old fashioned clothes of crowd helped diverting crowd in
streets between rows of carnival tents from truth and sharing strange life of
abstract forms with them.
If Decla decided to leave the original story of Yanvits and Mayer unchanged, these ‘live sketches’ could represent it in the best way. As Expressionistic abstracts, they would move by the very revolutionary that made
scriptwriters accuse power- the kind of power respected in Germany- of
inhuman indulgence. But Vine´s version negates this revolutionary concept
of Expressionistic scenery or at least puts it in parenthesis just like the original story. In Caligari movie, Expressionism is seemingly nothing but suitable
visual translation of fantasies of an insane person. Many contemporary critics of Germany understand these decors and expression modes this way and
enjoy them. One of the critics has said with his sure negligence: ‘the idea of
presenting thoughts of a sick mind… through Expressionistic scenes is not
only well-reflected but also well-performed. This style has right of being here
and is product of stable logic’.
These narrow-minded have ignored an important fact in their triumph:
although Caligari movie introduced atilt chimneys as pertaining to madness
world, it never represents vertical chimneys as normal. The last chapter of
the movie, which, according to these narrow-minded, should characterize
returning to conventional facts, is also full of Expressionistic ornaments. As
a result, style of ‘Caligari’ was not only far from providing revolutionary messages but also from drawing madness. What role did this style actually play?
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During postwar years of World War I, Expressionism was generally considered as shaping primal experiences and feelings. Carl, Gerhurt
Howpetman´s brother, accepted this definition and then asked how it was
possible that dribbles of a deeply muddy mind be formulated in the best
form. He said while modern language is too deviated to serve this goal, movie- or, according to him, bioscope- gives a rare chance for external reflection
of dissolution of inner life. But he said bioscope should represent only those
states of objects and humans that are really full of deep feelings.
It should be expected that opposite pole of dictatorship be freedom:
since it was undoubtedly passion for freedom that made Yanvits and Mayer
reveal nature of dictatorship. Now this opposite pole is the meeting center
of Germans concerning carnival- carnival with its tents, perplexed crowd
that occupy them and its various amusements. Here, Francis and Allen join
the audience happily. Here, place of achieving his triumphs, Dr Caligari is
finally trapped. In describing carnival, literal sources refer frequently to city
and tower of Babylon. In a script describing carnival sound pertaining to
18th century, it is said ‘it is such dizzying sound that could not be compared to Babylon tower’. Nearly 200 years later, a young poet said: ‘Babylon,
city of pavilions and carnivals’. These biblical descriptions draw carnivals as
turmoil-dominated places. The reason of eternal charm of carnivals is that
people from all classes and ages enjoy losing themselves in wild collection
of bright colors and screaming sounds, which is an atmosphere full of devils
and bodily pleasures, from sever and sudden shocks to unbelievable taste of
sweets. For adults, carnival is a retreat to childhood days when games were
not different from serious relationships. Real and imaginary things are integrated and aimless anarchistic desires test infinite facilities. By this retreat,
the adult escapes from civilization that wants to surmount absolute turmoil
of instincts and destroy it by hunger. He escapes to rebuild complete turmoil
on which civilization is mounted. Carnival is not freedom, but it is anarchy
that results in absolute turmoil (Krakaer, Zigfrid, 1998, pp 78-90).
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Complete Anarchy
It should be noted that most scenes of carnival in ‘Caligari’ movie start
with a little circle in the center of screen that shows a person with a handcart
whose hand is continuously rotating the shank and there is a merry-goround behind him that never stops rotating. Here, circle is symbol of complete anarchy. Freedom is like a river but anarchy resemble vortex. By oblivion, human can jump into anarchy, he can´t go inside it quietly. Choosing
carnival with its freedoms as the opposite point of Caligari´s dictatorship by
the two scriptwriters reveals deficiency of their revolutionary ideals. In spite
of their desire for freedom, they were incapable of visualizing its visual form.
There was an obscure thing in their thought. It seemed that their thought
instead of being a real discovery, was product of some naïve idealism. But
it can be said that carnival reflects complete anarchic situation of postwar
Germany faithfully.
Whether it was intentional or not, Caligari is indicative of a soul wandering between anarchy and dictatorship and faces a situation that has no loopholes: any escape from dictatorship throws him inside absolute wandering.
In a completely logical way, this movie extends an epidemic terror. Caligari´s
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world, like the Nazi´s world, is full of terrible signs, terrible actions and explosion of sudden fears. Equation of terror and despair peaks at the final
chapter of movie that pretends to re-establish regular life. Except for delusive look of hospital head and his suspicious employees, the regular world
is represented by madmen who were moving in their strange environment.
A madhouse is represented as normal world: being in trouble could not be
drawn as ultimately as this. Like ‘Homonclous’ movie, there is a strong sadism and a thirst for destruction. Recrudescence of these features on cinema
screen is evidence of their dominance in common soul of the Germans.
Technical Characteristics
Technical characteristics reveal conceptual properties. In Caligari movie, methods begin to exhibit that belong to specific characteristics of technique of Germany cinema. Caligari is the starter of a long chain of movies
that are completely produced inside studio. While, for example, the Swedish
tolerated many difficulties to hunt a real view of a snowstorm or a tree, German directors, at least until 1924, were so fond of effects inside studio that
regenerated all scenes inside studio. They preferred complete control of artificial world to dependence on external unpredictable world. Their recession
to studio was part of general recession to inner world. Now that Germans
decided to retreat to their souls, they could not allow screen reveal the very
reality that they had abandoned. This point explains prominent role of architecture after Caligari- the role that drew attention of many observers. In an
analysis of postwar period, Paul Roa says: ‘the most important matter is that
we understand the important role architecture found in Germany cinema’.
How different it could be? Rooms and buildings facades made by the architect were not just backgrounds, but graphic signs that transferred messages.
These expressed soul structure by space language.
‘Caligari’ has made lighting dynamic too. This is a lighting technique
that allows audience watch Allen´s murder without seeing it. What is seen
on the wall of the student´s room is shade of Caesar that hits Allen´s shade
by dagger. Using such an instrument became special skill of German studios.
Jean Cassou gives prestige of inventing a ‘laboratory-made fantasy lighting’
to Germans and Harry Potemkin considers application of light in German
movies as ‘their major service to cinema’. From this emphasis on light we
can reach to an examination that Max Rainhurt performed on theater scene
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some time before Caligari. Instead of usual décor, he used imaginary decors
that were generated by lighting effects (pp 93-95).
Undoubtedly, Rainhhurt did this for fulfilling his commitment to the
Expressionistic style of his play. Similarity of this film to postwar movies is
obvious: it was the Expressionistic nature of German screen directors that
made them produce as many shades as weeds and drown quintessence ghosts
with arabesque shapes or faces with unearthly lightings and make them ghost
decors. Rodoulf Courtz says in his book about Expressionist cinema: ‘Light
has enlivened Expressionistic movies’. The opposite is exactly true: in those
movies, ghost was the real source of light. Duty of illustrating this light was
somewhat facilitated by strong romantic traditions.
Attempts done for coordinating decors, actors, lighting and moves in
Caligari suggest organic structure sense that shows itself in Germany screen
from this movie on. Roa invented term ‘studio constructivism’ to describe
‘complete curiosity sense and ultimateness that involves all productions of
Germany studios’. But perfection of organization is only achieved when materials that should be organized do not object to it. Ability of Germans in
self-organization owes strongly to their tendency toward obedience. Since
truth is basically unpredictable, and, as a result, requires to be observed instead of being under control, Realism on screen and complete organization
exempt each other. German movies showed through their ‘studio constructivism’ that they dealt with events that were represented in a totally uncontrollable space.
About six years after first staging of Caligari, Yanvits went to the old
house of Cont En Dobomon- where he lived between furniture of16th Louis
and Picasso works- to visit him during a trip to Paris. Cont praised Caligari
and called it as fascinating and complicated as German soul. He added: ‘Now
the time arrived for German soul to speak, sir. French soul spoke over one
century ago in the revolution, and you have been dumb… Now we are waiting for matter you have for benefiting us and world. Expectation of Cont
didn’t last too much.
Autocrats´ Parade
Caligari was too open-minded to become popular in Germany. But its
main theme, namely opposition of soul to unavoidable alternative of autocracy or absolute anarchy, exhibited extraordinary attraction. Between 1920
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and 1924, numerous German movies repeated this theme insistently and developed it in different ways.
One group specialized in drawing autocrats. In this kind of movies, Germans of the time- people still out of balance and still free to choose their
regime- had no imagination about what might result from autocracy. Conversely, they indulged in showing details of crimes and pains autocracy had
imposed to them. Did fear of Bolshevism of fantasies provoke them? Or they
chose these terrible mental images to remove impulses that they felt belonged to them but now threatened to control them. Anyway, it is a strange
event that over a decade later, Nazi Germany performed the mixture of mental and physical torture that Germany cinema had drew.
Nosferatu
Among movies of this group, Nosferatu- which was screened in 1922
and was start of vampires- became particularly famous. This film was an
adaptation of the novel ‘Dracula’ by Bram Stocker. But Henrick Galin, the
scriptwriter, could fertilize it with his own believes.
A real estate company in Bermen sends a newly-wed clerk to Nosferatu
who lives in remote woods of Capart and is going to resolve some of his commercial issues. Passage of the clerk from this foggy forest- which is terrifying
by its frightened horses, wolves and strange birds- is nothing but an innocent
precursor of events waiting for him in the castle of Nosferatu. The day after
his arrival, he looks for his host in rooms and obsolete basements and finally
finds him. He is lying in a stone casket with wide-open eyes and pale face
that resembles ghost. Nosferatu is a vampire and vampires sleep daytime.
That night, the monster goes to the clerk to suck his blood. At this moment,
Nina- the clerk´s wife in Bermen- wakes up whispering her husband´s name
and consequently Nosferatu leaves his victim and goes. It was Galin´s idea to
represent supernatural power of love through this telepathic phenomenon.
After riddance of the clerk, the vampire that resemble to the manifestation of
murrain, leaves his castle to annoy the world. Every where he arrives, rattles
rush and people die. He gets on a moving sailboat: the crew die, but the boat
continues breaking waves and progressing per sea. finally, Nosferatu enters
Bermen and there he visits Nina. This part suggests this belief of Galin that
lethal vices that Nosferatu symbolizes cannot defeat those who fight them
bravely. Instead of escaping from the vampire, Nina embraces him in her
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room. While she is doing this, a huge miracle happens: sun shines inside
the room and the vampire decomposes in the air. F.W. Mornaeo, the director of Nosferatu, had produced some movies before- including ‘Janus-faced’
(1920), a version of ‘Dr Jackil and Mr. Hide (Woglude Castle, 1921), a criminal film that is obviously influenced by the Swedish, and the Realistic dram
‘Brennender Ack’ (burning soil, 1922)- in which he enriched movements by
close-ups of face expression. In ‘Woglude Castle’, he also used faces intentionally to show sensuous internal events and to lead suspension sense. This old
movie also proves rare talent of Mornaeo in removing borders between truth
and untruth. In his movies, truth is covered by cloud of dreams and dreads
and audience may see a concrete human as a fancy.
Bella Balazs, Hungarian writer of Germany cinema, wrote in 1924: ‘it
seemed that a cold wind from doomsday passed through Nosferatu scenes.
To obtain this effect, Mornaeo and his cameraman, F.A. Wagner, used every
possible maneuver. Pieces of negative showed Capart Forest like a curvy place full of ghost-like white trees in front of black sky, views which were taken
as ‘one-turn-one-picture’ showed the clerk´s wagon as a ghost-like vehicle
that moved with sudden strokes. The most attractive part was the ghostly
boat that moved on luminescent water with its terrible passenger. It is noteworthy that all this graphic emotion and technical ingenuity was used to
represent terrors. However, such emotions don’t last very long. At the end of
1928, movie community revived it by saying that this movie integrates ridiculous thing with terrible things (Krakaer, Zigfrid, 1998. Pp 95-97).
A scene from ‘Caligari’ movie
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When talking about Nosferatu, critics insisted more on explaining E.T.
Hoffman than Caligari. But refering to romantic backgrounds of movie does
not explain its specific meaning. Terrors which Nosferatu spreads are created
by a vampire whose identity is identical to murrain. Is this murrain in his
entity although its image is called for definition of his personality? If he was
just visualization of destructive nature, intervention of Nina was nothing but
magic and was meaningless in this regard. Like Attila, Nosferatu is a ‘divine
punishment’ and only this way it is synonym to murrain. He is a savage autocratic character that appears through clouds where myths and legends meet.
It is an important point that during this period, German personality- as if
under the pressure of hatred/love- regardless of its starting point, is always
attracted to this kind of character. This notion that love may make autocracy
to retreat- which is represented by triumph of Nina over Nosferatu- will be
discussed latter.
Final words
Expressionism can considered reaction and sign of romantic desires of
artists who lived in the industrial and developing society of early 20th century. Indifference of that society to their artistic values provoked them to find
new methods and apply different forms of artistic expression. Particularly,
at that time, Freud´s views that excavate depth of human mind, made artists
report precisely on inner aspects of human beings.
The period of Expressionism literary movement was very short and lasted from 1915 to 1925. In Germany, Expressionistic poetry started in 1910
and continued to mid-1920s when Surrealism replaced it and influenced theater more than other literary forms.
Expressionism negates traditional forms and defends a literature will
not remain literature, but becomes a protest against current contracts of artistic form and denial of the face of bourgeois society and a revolt against
current order.
Expressionistic cinema began and flourished in Germany and after a
while, terror cinema, as the popular branch of society, ramified from this
very open-minded and sophisticated cinema.
Expressionism school vanished in 1925 but the effect of this literary revolution artists of which appeared only in one generation, will remain both
98
in Germany and World´s literature. Today, Expressionism is a collection of
techniques and trends rather than a coherent and organized movement.
Notes
German sculptor
Eshtorm Endrang means storm, turmoil, attributed to Romantic school.
References
Seyed Hosseini, Reza (2005), Literary Schools, Negah
Krakaer, Zigfrid (1998), From Caligari to Hitler, translated by Jafari Jouzani,
Hoze Honari.
Bracket, Oscar (1996), Theater History of World, translated by Houshang
Azadivar, Negah
Alizadeh, Ali Akbar (2003), Approaches to Performance Theory, Makan
Holton, Urly (1997), Introduction to Theater, translated by Mahboobe Mohajer, Soroush
Nazerzadeh Kermani, Farhaad (1996), Basics and Principles of Interpretation in Drama Art, Ghalam
Ani Tugushi
MA Student
Collage of Art and Science
Supervisor: Dr. Levan Khetaguri
Ilia State University
Georgia
Peter Shaffer’s play Amadeus in theatre
and its film adaptations
Peter Shaffer’s play Amadeus in theatre and its film adaptations
There are many interpretations of the legends about Mozart and Salieri.
One of the most popular versions is a play “Amadeus” by Peter Shaffer.
Peter Shaffer is an English playwright and screenwriter. He was born in
Liverpool in 1926. He was educated at St Paul’s School, London and subsequently he gained a scholarship to Trinity College, Cambridge, to study history. Shaffer’s first play was presented on the BBC. Encouraged by this suc99
cess, Shaffer wrote a play “Five Finger Exercise”, which opened in London
under the direction of John Gielgud and won the Evening Standard Drama
Award. His following plays are The Royal Hunt of the Sun, Black Comedy,
Equus, Amadeus and others.
Plays by Peter Shaffer often show relationship between man and God.
All of his plays display the clash between a rational and irrational personality. Music has always been an important part of Peter Shaffer’s life. He plays
the piano and for several years he worked as a music critic for the magazine.
Music plays important role in Shaffer’s works, but most of all music is important in Amadeus, as it determines the dramatic structure of the play. Six of
Shaffer’s plays have been made into films.
“Amadeus” was first performed in 1979 at the National Theatre of London (dir. Peter Hall), where Salieri was played by Paul Scofield. Later it has
been translated into twenty-two languages and became known all over the
world. The story became more popular when film version was released in
1984 directed by Milos Forman. Film has received eight Academy Awards
including best picture, best director, best writing, screenplay based on material from another medium and F. Murray Abraham for best actor in a leading
role.
Before I go to the analysis of the play, theatre performances and film
adaptation, I’d like to talk briefly about the legend:
The legend is based on an unproved rumor about Mozarts poisoning by
Antonio Salieri. Rumor has appeared because of the mysterious death circumstances of Mozart. There is written a lot of medical researches analyzing
the illness of Mozart. There are many theories as to why he might have died,
including a version of a poisoning. Despite the fact that everybody denied
this version rumor did not disappear. 30 years later after Mozart’s death, appeared version that it was Salieri who killed Mozart. At that time Salieri was
an old and sick man. He has never admitted his guilt.
It is possible that Pushkin took the story from the rumors and created a
legend. There is no historical evidence that there was a conflict between the
two composers. There are documentations that Salieri responded enthusiastically about the Mozart’s operas. Salieri had no reason to envy, he himself
created works in the genre of opera, he had success in this and at that time he
had a better position than Mozart. It is not known why he was accused. He
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denied the fact until his death. 200 years after there was a trial against Salieri,
but the rumor was not confirmed and the court found him not guilty.
In art this story first appeared in Pushkin’s tragedy - “Mozart and Salieri”. It was written in 1830. Perhaps it should be noted that the work first
was called “Envy”. Art has a huge impact on the history. Using the names of
Mozart and Salieri, it can be said that Pushkin, with his play, has changed
the history. Many years later, the story became even more popular and the
image of these people has changed forever. For many people Mozart will stay
childish slacker and Salieri - envious evil murderer.
There are a number of theater performances of Pushkin’s creation Mozart and Salieri. It was first staged in 1832 in the theater of St. Petersburg.
N.Rimsky-Korsakov wrote his opera - Mozart and Salieri. In 1962, Vladimir
Gorikker made the television film based on the Rimsky-Korsakov’s opera
with I.Smoktunovsky as Mozart. It is interesting that Smoktunovsky also
performed in Michael Schweitzer film - Little Tragedies, but this time he
played Salieri. I think, that the characters in this film are very close to the
characters which later have been created by Milos Forman.
Peter Shaffer’s play is an unconventional interpretation of the legend.
If in Pushkin’s story Salieri literally poisoned Mozart, in Shaffer’s story he
kills him in a figurative sense - he destroys all the tools for survival. When
someone mentions the name of Antonio Salieri, there appears association of
untalented person that destroyed a genius. Mozart-Salieri story is a model of
life situation and it doesn’t have anything common with real history. This is
the story about the conflict between two composers, about a talented man
who is in the shadow of a genius and in this story there arises a very fair
question to God: Why? (I sincerely serve you, why do you love someone else
more than me?).
Despite the fact that the play is called Amadeus the main character is
Antonio Salieri. At the very beginning we see the main theme and the conflict of the play. The main rival of Salieri is God. There is concluded a kind
of a contract between Salieri and God: Salieri will serve God, he will praise
him and God will give him the recognition and the glory. Here appears a
question: do our dreams correspond to our real wishes? Salieri has got glory and recognition but God looks at their contract ironically. He gives him
everything what he has asked for, but not what he really wants. Even the
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name of the play is ironic, because the word “Amadeus” itself means “love of
god”. Salieri tries to get the love of God but the only thing where he sees this
love is Mozart’s music.
In art there is often a conflict between human beings and God. In Peter Shaffer’s play there appear the theological problems. The main subject in
“Amadeus” is the theme of divine justice (or maybe injustice?) and man’s incomprehension of God’s ways. Some critics think that “Amadeus” is another
interpretation of the theme of Cain and Abel. In fact there are many common
issues such as injustice, rivalry, envy and the mystery of God’s preference for
one man over the other. Salieri realizes that the deal did not take place. God
did not accept the gift from Cain as well as he denied Salieri’s gift. Just like
Cain decided to kill Abel after his gift has been rejected, Salieri, from his side,
decides to destroy God’s creation - Wolfgang Amadeus Mozart.
There is another important theme in the play - the phenomenon of genius. Antonio Salieri is very talented composer and he is a really good musician. He is a royal composer but compared with Mozart he is insignificant.
The play also shows us the tragedy of a talented man who lived along with a
genius.
In Shaffer’s play Salieri is not the only tragic character. In addition we
can see tragedy of Mozart’s life. It seems that the problem is in a relationship
between artist and the society. Mozart’s music is ahead of its time, his music is perfect, but the society does not recognize Mozart’s genius. The only
one who can appreciate it is Salieri. He must admit to himself that Mozart’s
work is perfect and that he could never create something even close to it. His
music is dull and empty. Despite the fact that Mozart is God’s favorite, he is
not happy. He cannot accomplish his abilities in the society which he lives
in. One of the greatest geniuses of a mankind is dying from starvation and
poverty. Here we can see God’s irony. Nobody gets what they want.
MOZART: Did you really like it, Sire?
JOSEPH: I thought it was most interesting. Yes, indeed. A trifle − how shall
one say? [To ORSINI-ROSENBERG] How shall one say, Director?
ROSENBERG [subserviently]: Too many notes, Your Majesty?
JOSEPH: Very well put. Too many notes. (Play, 37)
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Another conflict in the play is between Mozart and his father Leopold.
He is a strong and strict person and Mozart in contrast is a childish and irresponsible one and he is not able to free himself from his fathers influence.
In Amadeus two very different personalities face each other. Salieri is
balanced, calm and rational person who is driven by specific life goals and
Mozart − irresponsible, childish and funny, who is not thinking about the
consequences. The childlike Mozart is the incarnation of everything that
Salieri has banished from his mind: instinct, chaos and humor. He can see
that Mozart gets everything what he wants, violates the doctrine of God,
and is still his chosen. By Mozart’s character Shaffer brings paradox in the
play- creator of the most sublime music is shown as the low being. For
reader instead of compassion, there is a feeling of protest: how can such a
man be voice of God? The main driving force of Salieri is not envy, but a
sense of injustice.
The narrative style of the play is interesting. Audience subjectively
perceives the story. Audience looks at it through the eyes of Salieri and has
possibility to completely absorb and see the tragedy of the artist. The whole
play is a kind of confession, which the old man makes to the audience. Like
Herostratus seeking notoriety in the beginning of the play he says: “Mozart!
Forgive your assassin! I confess - I killed you…” In history Salieri’s name will
stay only in pair with the name of Mozart. It can be said that art, like life, is
very ironic. Although he wrote many good operas, he is still not popular as a
composer and his works are rarely performed.
“Amadeus” was first performed in 1979 at the National Theatre of London, directed by Peter Hall and starring Paul Scofield as Salieri, Simon Callow as Mozart and Felicity Kendal as Constanze. Paul Scofield created image
of Salieri, which influenced a lot other performances and film adaptations.
Unfortunately from the recording of performance available is only a small
fragment with Paul Scofield’s monologue. Performance was later transferred
in modified form to the West End, starring Frank Finlay as Salieri.
The play premiered on Broadway in 1980 with Ian Mckellen as Salieri,
Tim Curry as Mozart and Jane Seymour as Constanze. It ran for 1181 performances and was nominated for seven Tony Awards (best actor for both
Mckellen and Curry, best director Peter Hall, best play, best costume design,
lighting and set design for John Bury) five of which it had won.
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Adam Redfield and Terry Finn appeared as Mozart and Constanze in
the 1984 at the Wells Theatre performance, the drama was directed by Charles Towers.
The play was revived in 1999 at the Music Box Theatre, directed again by
Peter Hall. It received Tony Award nominations for the Best Revival and Best
Actor in a Play (David Suchet, who played Salieri). Also in the cast there were
Michael Sheen as Mozart, Cindy Katz as Constanze and David Mccallum as
Joseph II.
In Georgia “Amadeus” was performed in 1995, directed by Zaza Sikharulidze. In Russia this play was first performed at the Moscow Art Theatre in
1998. It is still in the repertoire, starring Oleg Tabakov as Salieri and Sergei
Bezrukov as Mozart.
The exceptional popularity to Peter Shaffers “Amadeus” was brought by
the film adaptation. As already mentioned, it was directed by famous director Milos Forman in 1984.
The film adaptation of literature is almost always accompanied by certain problems. This two fields of art have a very different language and
specifics. The play is closer to the film script than the conventional literature; therefore adaptation of the play should be easier, because both have
a similar structure of the narration. Both use an actor to get through the
dramatic action of dialogues. However, there are often the difficulties associated with it. It is probably connected with the space. Play is adapted for
the stage, in the limited space, but the movie, we can say, is free from the
confines. Of course, beyond the dialogue in both - theater and cinema, is
hidden the action, but cinema is more visual art and images can convey
dialogue and action. Therefore, shootinga film based on the play, in fact, is
very difficult and requires the skills of a great director. Only the great director can transform one kind of art into another and keep the idea, concept
and wholeness of the play.
We can say that Czech director Milos Forman is master of film adaptations. His career started in Czechoslovakia. His first film was a short film
- “Contest” (1963), this was followed by full-length movies - “Black Peter”
(Cerni Petr, 1964), “Loves of a Blonde” (Lasky Jedne Plavovlasky, 1965) and
“The Firemen’s ball” (Hori Ma Panenko, 1967). In August 1968, the Soviet
army invaded Prague, thus Forman left the homeland and moved to Ameri104
ca. Forman’s first success in America was film adaptation “One Flew over the
Cuckoo’s Nest”, based on the novel written by Ken Kesey in 1962.
Six of Peter Shaffer’s plays have been turned into films; however Amadeus is the most successful adaptation. Forman and Shaffer worked together
on the script and created completely new piece.
Amadeus was filmed in Prague and Vienna, the castle scenes were shot
in Czechoslovakia. This fact, of course, has an impact on the atmosphere of
the film. In Prague some scenes were shot in Tyl Theatre, in which Mozart
conducted the premiere of Don Giovanni 200 years earlier.
As I’ve already mentioned, the script is significantly different from the
play. The film begins with Salieri’s suicide attempt. Old Salieri tells his story
to the priest, this way it is delivered to the audience. The scene, where Salieri
reminds the priest his compositions is very impressive. The priest does not
know any of them. He is only familiar with the melody, when Salieri plays the
music of Mozart. This scene is sort of an overture to the film.
There is a different idea between scenario and the play. Salieri asks God
in the play: “Give me a chance to become a composer, to be popular and give
me the glory,” but in the film he asks God for immortality, he wants his music
to live after his death.
If Mozart’s face rarely appears in the play, in the movie, in contrary, main
attention is on him. It is shown more clearly the reason of Salieri’s suffering.
In the play Venticelli take the function of chorus. In the film, such a device is
not necessary as the camera can simply show the described scenes.
In the play Masons accept Mozart as a fellow brother and support him
financially when he is bankrupt. Salieri uses this fact to his own benefit.
Advised by Salieri, Mozart puts Masonic elements into Magic Flute and thereby arouses the wrath of his fellow Masons. This scene has been completely
removed from the film.
The father-son relationship is more developed in the film than on stage.
In the play the reader gets information about their relationship from Venticelli but in the film everything is shown. The audience sees what a huge
influence Mozart’s father has on him. For Mozart his father’s face is identified
with the masked man’s face, which was later used by Salieri. Salieri knows,
that Mozart tries to be independent. He wants to get out from his influence.
That is why reminder of his father irritates Mozart. In the play Salieri takes
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off his mask and tells Mozart that he murdered him. This scene is removed
from the movie. Instead of this in film is shown the most interesting scene,
where two rivals -Mozart and Salieri write Requiem together. In this scene it
is most clearly shown the difference between these two composers, Mozart’s
genius and hopelessness and despair of Salieri. In the movie Mozart and Salieri seemed to have a better relationship. Salieri tries to help him, he adores
Mozart’s music, and therefore there is a duality of character. Mozart dies without knowing that Salieri was the reason of his misfortunes.
In the movie there is very interesting set of actors. It starred F. Murray
Abraham as Salieri, Tom Hulce as Mozart and Elizabeth Berridge as Constanze. The cinematography was done by Miroslav Ondricek. He has worked
in almost all of Forman’s films.
Costuming and make-up of the actors are also very carefully designed
that fully conveys the mood of the eighteenth century. The most remarkable
achievement is the make-up that transformed the forty-year-old Salieri into
doddery, wrinkled and toothless old man. F. Murray Abraham’s excellent acting completes the illusion. He creates a memorable and powerful character.
In the beginning of the film Mozart is a young man full of life energy and
throughout the film transforms into a pale and ill man. It is mostly, of course,
merit of the makeup. Opera performances and musical inserts are also very
important, because of likeness of decorations and costumes from real performance design.
Amadeus has won many awards and it took an important place in the
history of cinema.
As a conclusion it can be said that Peter Shaffer created the play in which
important problems are raised. In Mozart-Salieri model he presents the universal and eternal conflict, which perhaps will always be actual and interesting for artists.
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Kateřina Jebavá
Ph.D. student
Dramatic Arts, Theatre Faculty
Janáček Academy of Music and Performing Arts Brno
Czech Republic
Tandem theater – way to equality
My name is Kateřina Jebavá, I am an actress and mother of a son with
a severe hearing impairment. The theme of my research is based on both of
these very personal facts. My experience as an actress helped me find a way
to make it easier for myself and my family to communicate with my child.
Currently, I am trying to help other parents of children with hearing impairments so that they can also find their own ways towards joy and happiness.
As the terms tandem, tandem communication, and tandem theatre are
crucial in my dissertation research, I would like to take this opportunity to
explain them briefly. The research field of my work is communication between parents and children with hearing impairments in the context of dramatherapeutic interventions.
Tandem communication is the kind of communication where the parent and the child have the same possibilities of expression, because both
parties use strategies based on body language and gestures to understand
each other. That means using language without words, so that neither party
could be advantaged or disadvantaged. Tandem theatre is a place for creativity in which two partners, the hearing one and the deaf one, cooperate and
use gesture and body language as their way of understanding between each
other. Their creative communication can be perceived as the analogy of the
communication situation between the stage and the audience in the theatre.
I have been using this approach when upbringing my severely hearingimpaired son. In order to pick up the threads of communication after his sudden loss of hearing at the age of 18 months, to re-educate his speech, to practice
speech therapy and to teach him sign language, I spontaneously created lessons and exercises using various theatre techniques. Particularly, in the period
between the 22nd and 30th month of age, when he found himself in the abyss
of “speechlessness” and “non-communication”, the elements of “mimesis” became the basis for the progress of our communication, as well as the basis for
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his cognitive, social and behavioural development, including the creation of a
mutual space for shared joy. The foundation of my research resides in my intense personal experience in this area. It also connects the experience-shaped
knowledge of two areas, both surdopaedic and drama-therapeutic.
Presently, one of my targets is employing the model of tandem communication in early-intervention projects. In my research, I prove the function
of tandem communication as a valid, helpful and necessary tool of drama in
therapy, in which both the child with a hearing impairment and the parent
are involved.
During my research, I found out that I needed to verify and record how
communication between two partners from different backgrounds could be
arranged in order to create a methodical model for therapeutic visits to families with children suffering from hearing impairments. The best way for
me as a theatre artist was to create a tandem performance with a fellow actress with hearing impairment. By creating the performance and analysing
its process, I tested the space for tandem communication between two acting
partners, the hearing one and the deaf one. Our rehearsing, sharing, expressing and playing were all as important as shaping a regular drama project
in the theatre, including its subsequent performance for the audience and
communication with them.
Preparing for the tandem theatre project
The goals of this project were to create a theatre performance in which
- children could take part in dramatic situations, even if they have problems with language and cognitive development,
- parents could see that children with hearing impairments are able to
communicate, understand and intentionally co-act,
- the worlds of the hearing and of the deaf find and use an equal means
to communicate with each other.
To reach these goals, I had to answer the following questions:
Which audience are we going to perform for?
Where are we going to play?
What is our story?
What is our language?
Which audience are we going to perform for?
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Our audience is comprised of children who could be either intact (hearing), or with a hearing impairment, or they can be the hearing children
of parents with a hearing impairment. The age of these children is approximately the same as the age of the clients of early intervention projects. They
are usually from one to seven years old. These children could be in a critical
stage of their language and communication development, with many problems in this area. Mainly, they are delayed in their linguistic and cognitive development. Children and/or parents could be, but are not necessarily,
users of Czech sign language at very different levels. The level of language
and thinking skills can vary. This depends on age, language competence, the
stage of cognitive development and family situation.
We simply cannot think about children with hearing impairments in the
same way we think about a hearing audience, because their language skills
are delayed. Their cognitive development is different not only from that of
their hearing peers, but it may also differ even among children with similar
handicaps. For example, they are not usually used to listening to bed time
stories or to understanding basic rhymes.
The result of the above-mentioned findings is as follows: I had to look for
a very simple story and use it in an uncomplicated manner. In order to make
the communication situation mutually understandable and comprehensible,
I needed to open the dramatic situations of the performance in a way which
was clear and interesting without using language, words - and even without
knowing basic, commonly known stories. Easy and clear situations could be
repeated and characters had to be simple and recognizable only by visual code.
Therefore I finally decided to use a short rhymed story about animals named
Boudo, budko (Shack, little shack) where animals are looking for a little place
to take shelter. The main characters are a mouse, butterfly, bird, squirrel and
others from the small to the big, and they act in a very simple way.
Where are we going to perform?
In the Czech Republic, families with children with hearing impairments
are used to attending educative and social activities in Early Intervention and
Special Pedagogical Centres, or Clubs for People with Hearing Impairments.
I decided to bring the performance to these centres and clubs and perform
in places which are not “theatre-like” in order to share our play with people
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who are not regular theatre-goers. For many children, it may have been their
first experience with dramatic expression, and the same goes for many of
their parents.
In order to achieve the best results for introducing this type of dramatic communication to children and families, I decided to use the principle
of Epic Theatre (role-in-role playing). The storytellers of our plot should be
dramatic persons who are commonly known to all children in the audience.
These characters should be easily recognizable by their typical behaviour,
movements and looks. By observing the everyday life of a typical school or
kindergarten, I found out that the character of the cleaning lady might be
the best hero of my stories. Every child knows and could easily recognize
what, how and why they act in their everyday life. The main supplies used
by these ladies are known from our homes, too. Every child knows what a
scrub-brush, duster, sponge, cleaning gloves etc. are. Moreover, I could use
everyday objects not only as theatre props, but also as objects to play with by
transforming them into something else through imagination and action. By
demonstrating this strategy, we shared the principles of playing with objects
which are easily available in every household. During rehearsals we created a
wide range of simple puppets using just this “prop material”.
Thus, the characters of cleaning ladies who originally came to tidy up
the room but instead of cleaning, started to play with each other and with
children, were created and put on stage as the mediators of mutual communication situations. Finally, the cleaning ladies made puppets within and
for the story Boudo, budko (Shack, little shack) and shared the plot of this
short rhymed story with children and their parents. Every child could easily
become our partner in this dramatic situation and even cooperate by transforming cleaning supplies into puppets.
What is our language?
Tandem theatre is a drama-therapeutic method, in which two partners
are involved. As indicated above, I asked a colleague of mine, an actress from
the Neslyším Theatre Company (“neslyším” meaning “I can´t hear”) to take
part in my project. We are of similar age, have a similar professional and educational background, and we are both mothers. My colleague Dagmar is Deaf,
and is raising two hearing children. I am hearing, and raising a Deaf boy. Toge110
ther, we can naturally practice the principles of tandem communication.
In everyday communication with each other we use Czech Sign Language and lip-reading, and we are perfectly used to it. When considering and discussing our project, we decided to use Czech Sign Language only before and
after rehearsal to discuss, analyze and clarify any problems or questions that
might occur. In the process of creative work we use neither words nor signs.
The dramatic situations of our performance are “speechless” for everyone,
and we do not use any music, either. The only sound we “produce” is the one
which is recognizable by sight or by touch. Our common base for understanding is “doing”, our language is our body-language and our participating
in dramatic situations. This is how we experience tandem communication.
In such a manner we created a performance which is open to the audience and in which hearing children and children with hearing disabilities
have the same chance to participate.
Results
During the rehearsals of the performance Velký úklid (Big Cleaning)
I recorded many procedures, techniques and situations which are helpful
in the process of better understanding the possibilities of communication
between the world of sounds and words on the one hand, and the world of
silence and signs on the other hand.
We performed this work for very different audiences and we were successful in reaching the goal of opening the play to the audience. Children,
and sometimes even adults, participated in our story from the beginning
until the end. Many parents reacted to our performance with surprise, because they had never before seen their children in meaningful communication with someone unfamiliar or strange, while at the same acting freely and
following the story with attention.
Conclusion
The most important conclusion of my experience-shaped research is the
irreplaceability of the phenomenon of “the play” (in the sense of spontaneous
performing and playing) in the tandem cooperation of two equal partners
from different cultural and language backgrounds. An adult, hearing-impaired actor or actress brings many qualities to both the play and dramatic
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situations. Primarily, it is an authentic experience of the play and dramatic
situations during rehearsals, improvisations and performances. He/she also
offers both children and parents in the audience a positive model, a possibility of sharing with each other despite the barrier of “disability,” as well as an
open door to genuine and mutual understanding.
In this context, let me quote the Swedish psychologist Gunilla Preissler:
“We must also learn from those who have their own personal experience of being deaf or hard of hearing. They must be given possibilities to exchange meanings with us, not only we giving them our views and ideas. We,
the hearing society, are often the handicapping condition of the deaf and
the hard of hearing. In order to make them part of our society, we are the
ones who have to change; we must start to trust that their experiences are
as valuable as ours, however different from ours, and that their language is
as valuable as ours, however different from ours. Development is a mutual
process, not only between infant and caregiver, between child and adult, but
also between you and me, between them and us.” (G. Preissler, 1999).
The issue of hearing impairment is not a unidirectional one – the coexistence or cooperation with hearing-impaired people has some noticeable
specifics. One of them is the merciless manner in which their “disability” tests
and changes our attitudes, opinions, certainties and perception of ourselves
through our relations with them. It is a journey which cannot be shared in
any other way except personal experience.
For a theatre artist, a natural manner of sharing his/her knowledge and
experience is to perform in a certain dramatic situation and to perform a
scenic situation for the audience. Tandem theatre provides a place for this
sharing for both parties: the hearing and the deaf, actors and audience, parents and children. When we think about caring for and helping people with
disabilities, theatre gives us a chance to understand, share and co-act through practical and emotional experience with “the play” (in the sense of spontaneous performing and playing), as well as with open communication.
Works Cited
Preissler, Gunilla. “The developmentof communication and language
in deaf and severely hard of hearing children:implications for the future.”
International Journal of Pediatric Otorhinolaryngology 49, no. 1 (1999): 43.
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Davit Mghebrishvili,
PhD Student
College of Arts and Sciences
Supervisor: Dr. Levan Khetaguri
Ilia State University
Georgia
Scenography in theatre directors education
As we know mission of the director in contemporary theatre is to create
reality . We build reality in theatre both with material and nonmaterial
tools. Every material product helps us to create nonmaterial energy, which
have influence on spectators and with performance’s visual side creates the
completed theatrical act - which is the final goal of the performance. Scenography skills as the tools of theatrical space creation in theatre directors education are missing. In theatre schools scenographers are teaching by painters
who never done scenographycal production in theatre. Theatre directors are
teaching by directors who have no practice in theatre and don’t obtain any
scenographycal skills. Scenography is very important part of theatrical directing skills as it represents the material side of reality creation in theatre.
Last time more and more theatre directors make scenography for their
performances themselves. This tendency is characterizes the whole contemporary theatre. I think that it impoverish theatrical process. Reason is missing of the scenography skills in theatre directors theatrical education.
The goal of my report is to fill the vacuum of scenographical skills in
theatre directors education.
I remember, when I went to Theatre University my father took me to
famous theatre painter Gogi Meskhishvili for consultation. When we finished our meeting Gogi Meskhishvili presented me the book “Painter in
Chekhov’s Theatre” by Viktor Berezkin. I thought famous painter likes me
and became very proud of it. I was reading this book for long time with big
attention. Of course I did not understand nothing. I liked pictures of decorations in the book, I liked the world which scenographers created in their
decorations and involved me in their atmosphere.. I thought that these beauty and atmosphere of decoration sketches are merit of pictorial arts. While
reading this book a saw “Don Juan” directed By Michael Tumanishvili in
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Film Actors Theatre and I understood that in relationships between director
and scenographer is not everything clear and easy... I liked performance very
much! A was attracted, but when I lived theatre I could not remember the
decoration of the performance. And suddenly I understood that decoration
was done so correct and were so intertwined with idea of director that acting
and set were as one piece.
Peter Brook begins his book “The Shifting point” with words: “ When
i begin to work on a play, i start with deep, formless hunch which is like a
smell, a colour, a shadow. That’s basis of my job, my preparation for rehersals
with any play i do... ...I start making a set, destroying it, working it out....
What kind of costumes? What kind of colour. All of those are a language for
making that hunch a little more concrete..... Out of this comes the form....”
Mr. Brooks speaks a lot of useful things, but let’s stop on birth of a form. Why
i wrote this example? Because the form begins to live from the first steps...
And if we shall analyse Mr.Peter Brooks Words more deeper we recognize
that his words are recognition that scenographer is the same director. He
also is saying in “The Shifting Point” that direction is not creation of some
kind of design at the stage. For example - It is not only how to built a room
at the stage. Scenography is a profession - how to create non material at
the stage using material tools. It is skill how to create only atmosphere and
world useful for concrete performance.....
During educational process student studies laws of theory of dramaturgy. Future director have to know his production frame, skeleton on which
he will build his performance. As I remember on Drama Directors faculty
students are studying history of art but they are not studying the main part
of their future profession – skills and laws to create new measurements on
stage. In the same situation are set designers. First lectures begins with little
acting studies, than young directors play in sketches directed by themselves
or their teachers . Only after that young director puts excerpt from a play
on stage.
Acting experience, even may be minimal gives student understanding
that his main goal is to create reality with its unique atmosphere, craves, acts
and conflicts. In this instance a think student-director have to work as set
designer to better study directing and space creating skills. You know how
important is visual content in modern theatre. Text is not so actual and
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main. Visual image, which contains all components – as physical as mental
are more important and future Director have to be ready for that.
My opponents may say that what I call Directing in Stage Design - is
only Scenography. However, I think, that like this can say only theoretician
or critic. Practicing Director knows, that reality in performance first of all lives in space. One of the important components of Decision of performance
is Space decision. Theoretically we know that we have to play performance
at the stage. But theatrical space means space of life, space of reality, it is not
only place of performance where we act. For instance address of performance is not Rustaveli Theatre but country where lives King Lear, or Veronaor
taly Iliria. To show the places where happens the story of the play calls Decision in theatre. How Decide the place and atmosphere of story. That’s the
main and most difficult part of Directors profession – to Decide the play.
Adolf Appia long times ago came to understanding and than creatin the theory about stgage space coordination with actor acting, music and lightning.
He was one of first who tried to analyse the Space Decision in theatre. I am
not speaking now how modern is today Appias theory, but speaking about
problem today. Space Decision is not enough tought in modern Georgian
Theatrical education. I want to note that many times ago, I mena Appia person came to conclusion how important is scenography, stage lightning and
space decision in Directing and it needs theary. But lets speak about practice.
I think that it’s necessary that famous Scenographers for example as Gogi
Meskishvili, Mirian Svelidze Temur Ninua have to teach young Directors.
It’s a big vacuum in tis directon in theatrical education in Georgia. Everybody knows that Director and Scenographer education is very specific. It’s not
enough two or three lessons for 45 minutes in week to teach Scenography
or Space Decision. The problem is more deeper and complex. We have to
dive into miracle world of directing and scenography. I think young directors spent a very little time with famous schenographers during educational
process. Modern theatrical performance or happening is already not only
building of theatre in its classical meaning. You can make theatre everywhere you are. And this makes more problems for schenograoher or director,
its new challenge. First impulse on subconscious which audience take from
performance is Visual impulse. And goal of director to make this impulse
strong and memorable. And achieve it without schenography is impossible.
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Schenography today is not only decoration. Its individed part are lightning and modern theatrical engineering. Everithing that with actor acting
makes miracle of the theatre – and this miracle calls reality. Lightning is olso
a powerful argument in modern performance and proofs that director and
schenographer is one whole in modern theatre. We have examples when
light at the stage works instead of actors. If directors weaves light correctly
in scenography you can achieve miracle results. Light on stage today is not
only theatrical tool it is philosophy an conception of the performance. “Light
is Philosophy!” – Federiko Fellini said. And Directing is also philosophy.
The light on Laterna magicas Lensses led Ingmar Bergman in Directing. In
modern theatre interpretation of the text, sometimes only illustrative is not
enough, sometimes it is quiet outdated. Peter Greneway in his lecture said
that images replaced the plot story in modern art.
There whould be no Andy Warhol without Marcel Duchamp, thre
would be no marcel Duchamp Without Pablo Picasso, and Picasso without
Poussin... You can never understand Meierhold without Stanislavsky e.t.c....
But in Georgian theatrical Education process we have a lot of white spots and
cuts. Very often we have go back and fill this emptiness. We sometimes discover things which where already discovered century ego but did not know
nothing about.
Big amount of directors in movies and theatre, who did a great films or
performances came from the painting. Fellini, Wilson, Greenaway.... Who
is Robert Wilson in theatre? Is he Director or Scenographer? I think both,
if only he may be neither the one nor the other he would not be great artist.
What is Robert Sturuas theatre without Gogi Meskhishvili or Mirian Shvelidze schenography?
Challenges of modern theatre are so big that Modern Georgian Theatrical Education does not have time for the process. As you know Mikhail
Tumanishvile tought Dierectors and Actors in one group and result was seccesfull. Not to lower the merit of other educators but Efficiency of Tumanishvili teaching method was higher. To teach actors and directors in one
group is very effective. Today, I think we have to go further and we have
create groups with actors, directos, schenographers, playwriter, and musicans. We should teach these students through theatrical specific skills. One
of centaral grains in this process is scenography. Director in modern theatre
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is manager of space, so scenography skills in this case are most important.
Visibility in Theatrical education is powerful tool. It’s impossible in dry lecture explain to director how to create reality on the stage. Young director
should work as scenografer himself. He should himself explore the rools
of art. Very difficult task teach diurecting. Becouse you teach nonmaterial,
mental rools, which are not so easy to explain. There is only one way- Practice. Directing is the craft which contains such meanings as act, think, listen,
see, feel, affect. It is craft to make harmony from these meaning. But Peter
Greenaway says that: “The ceiling, walls, even your underwear, eventually, at
least makes an artist.”
One scenografer told me that directors want to rob their job if they
should study scenography. I don’t know is it truth or not but I know that
problem of space decision I modern Georgian Theatre is quiet painful. We
have good, intersting performances but main tendencies are not consolatory.
Last times I note that youg scenografers who in modern theatre in the world
came in theatre from architecture. It’s very important. Mentality of directors
oriented on visual engeneering build theatre and it makes modern theatre
more flaqsible and reach.
To me today, is very difficult to say hoq many hours should student work
as scenographer in a week. But the need of this is obviously. Logic of the process is simple. Theatre have to go further in future. But very often we go to
theatre we come and see performances like we see in 70-80 years of last century. For example I visited 25 minute performance festival in Royal-District
Theatre in Tbilisi, and saw a big amount performances directed by young
directors. I did not see even one interesting space decision. Very important
to explain to young director meaning and importance os this process.
When I decided to write about this problem I thought that everyone
already know about it. But then I understood that nothing was done to resolve problem. We spaek bud do nothing. It’s necessary to make complex
groups complected with directors, scenographers, actors, playwriters and it
is not very difficult problem. If there is a will we can do it, and I am shure
process in theatre will be more active, live, interesting and deep. We have to
sit and write very accurate programe which will contain all skills an problebs
we discussed above.
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David Sakvarelidze
Ph.D Student
College of Arts and Sciences
Supervisor: Dr. Levan Khetaguri
Ilia State University
Georgia
Review of Opera and Drama Directing
During Last 10 Years
This is my short massage for directors. The young directors, beginners,
who have already installed at least one play, concert, performance or had
experienced another form of theatrical touch.
This is the article for young artists who already felt the difficulty of reviving of literary characters on the stage.
It’s almost impossible to explain the real theatrical process with words.
There are thousand books, articles and researches in the history of theatre literature, but none of them could describe entirely the sense of theatre magic.
Every new beginning on new play starts with one question that I am
asking to myself: what kind of theatre you love?
I am asking also to you!!!
Please tell me in one word, what kind of theatre (performance) you love?
I am sure you have a lot of words coming to your mind:
1.Interesting
2.Tasty
3.Beautiful
4.Figurative
5. Entertaining and dozen of other words…
But tell me any of these words can be useful in staging a play? I cannot
find these words in the "seeds" that will help you create a good performance.
Maybe the question is not asked correctly?
Maybe we should ask the question in another form?
Let’s formulate the correct question together.
It’s very important to recall your first meeting with theatre world!
Before you had decided to work in there!
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… As a child,
… Playing in the yard
… While listening tales...
It’s easy to remember and necessary.
When you first time felt love to theatre?
Why did you go to the theater?
Why did you choose this very crazy life?
Maybe audience and we both love theatre for same reason?
Maybe spectators and we have the same reason being in theatre? Justfor
few hours at least?
I think we came to point of formulating the correct question. One thing
I know for sure, Peter Brook named the process “Living” Theatre.
People come to the theater for live sensations. For a sense of passions
come alive again. To - hear the ‘live’ word. To - watch live love, hate, jealousy
and greed.
To be more precise - ‘feel’ and not ‘watch’.
How to create a true ‘life’ on stage? How do we have to start working on
literature or on music scores? What kind of ‘invisible wind’ we have to blow
to bring material in life?
Nowadays there are plenty of various systems: Contemporary linguistic,
Semiotic, Psychological and other studies. All of them can be useful for the
first part of the works.
Second part is works to be done with actors. Here can be used psycho,
physical studies, based on human body development, movements, dance,
and voice trainees. It has to be done to understand “fabric” of the new material, For Feeling the Nature of the author, for adoption.
Contemporary Theatre Directorship became a kind of anthropological
science. This has already granted to directors other functions in theatre. Also
gave other role to audience in the theatrical process. It is absolutely necessary for young directors to get acquainted with Grotovski’s works. He just few
decades ago refused from spectators, audience. That was result of his long
studies, experiments and every young theatre maker has to experience his
theatre. It will help them to find their own method and ‘artistic language’.
We can talk about very interesting theatre experience, but today I would
like to talk about 2 contemporary very well known theatre makers. Analyzing
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their biographies I’ve noticed that both of them were born in 1957. Both of
them appeared almost simultaneously on world’s opera stages. I will talk on
interesting points of there career, about their recent works and present video
extracts of there performances, which clearly express the concepts.
Peter Sellars and Robert Lepage are the names of the artist that I really
want to talk about.
Peter Sellars – world acclaimed director, who is well known with his
uniquetechnique transposing timeless tragedies to present days. He is one of
the most innovative powerful forces in performing art. A visionary artist Peter Sellars is known for his groundbreaking interpretations of classic works.
Robert Lepage –inventor. He is one of the foremost stage directors today and leading figure in Canadian AvantGarde, attracting particular attention for his multimedia-rich theatrical presentations as well as his innovative
work with drama and opera.
Place of birth: Peter Sellars in US Pennsylvania, Robert Lepage is Canada Quebek.
Their art is significantly different from each other, but they are definitely
most desirable and attractive stage directors for every theatre in the world.
Their performances are always beloved topic of worlds leading mass media.
Peter Sellars graduated from Harvard in 1981. Now he is a professor
and teacher. His first staging of “Antonius and Cleopatra” became top public
interest that time. It was performed in swimming pool. He made several feature movies, including black white films. He was co-author of movie “King
Lear” with Jean-Luc Goddar in 1980-ies. He was artistic and head of various
Theatres and International Theatre Festivals in United States.
I was lucky to work with his team especially with his lighting designer
Jim Ingals in New York.
I would like to show you his early work Mozart’s opera “Don Giovanni”.
I think this is very clear example of the technique that is dominating in
his works. He transposed 17century story into 1970-ies Brooklyn. Seventies
Brooklyn full of violence, rape, drugs and blood is very organic environment
for Lorenzo Da Ponte’s libretto. Watching the performance you are amazed
not feeling at all the time distance between 1970-ies and Mozart period.
Transposing the period music looses the time frame and amazes, surprises
the audience with urgency. The effect of transposing the period is doubled
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with the effect of role distribution made by Sellars. He gave Don Giovanni’s
and Leporello’s roles to twin black brothers. During the performance sometimes spectators are mistaken Lepporello with Don Giovanni and it gives additional attraction to the storytelling. Old medieval comedy trick, often used
in “Comedia Dell Arte” was brought into life very strongly and emotionally.
Not every Peter Sellars work was received with delightfully. There were
a lot of critics about his technique. For example in 1997 Peter Sellars was
directing “Le Grand Macabre” by Georg Ligetti.
Ligetti immediately started complaining about Peters work during the
rehearsals. Composer was disappointed and started international criticism
of Peter Sellars. The method of transposing the time period is not always
successful, but I’ve seen Heandel’s “Theodora” directed by Peter Sellars in
Glyndebourne Opera Festival Hall, which is truly masterpiece, especially the
final scene, where lovers are dying with injection.
I do not want you to copy the method, but always useful for young theatre makers experience it for the own benefit…
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Benjamin M. Wheeler
Independent Researcher
Tbilisi State Conservatory
Georgia
Mountains of Music:
The Phenomena of Musical Dialects
and Hybridisms in the South Caucasus
Much of the existing work concerning the folk music of the South Caucasus has been concerned with the study of musical traditions on a national
scale, focusing on the attributes that make it distinctly Georgian, Azerbaijani, or Armenian. These three nations all have rich and distinctive folk traditions: the elaborate and regionally diverse polyphonic singing of Georgia,
the expressive and pensive practice of instrumental duduk playing in Armenia, and the ornate and refined music of mugam in Azerbaijan. Of course,
each of these musics merit intensive research and currently there are many
excellent scholars and organizations dedicated their study. But this focus on
the national, or the music of the majority, needs to be supplemented with a
parallel focus on that of the minority: smaller ethnic groups and musical traditions that are an integral part of the cultural mosaic of the South Caucasus.
In September of 2012, I started an independent project with the aim of
researching and recording these lesser known musical traditions. Working
together with an anthropologist and a historian, I've made field recordings
and conducted interviews under the aegis of “The Sayat Nova Project.” My
colleagues and I chose to name our project after Sayat Nova for multiple reasons. Considered by many to be the unofficial “bard of the Caucasus,” Sayat
Nova lived in both Tbilisi and Armenia, wrote poetry in Azeri, Armenian,
and Georgian, and played multiple instruments including the kamancha,
chonguri, and tar. His linguistic and musical legacy encapsulates the incredible richness of culture in the South Caucasus and his story is a great symbol
of the complex identities of the people who live there.
Conducting research in a region as ethnically diverse and politically
turbulent as the South Caucasus requires the implementation of certain methodological phrases. I decided to use the term “musical dialects,” as opposed to “music of ethnic minorities” because the former is more general and
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inclusive; capable of encompassing the study of lesser known instrumental
traditions of the Georgian people as well as, for example, songs sung in the
Bats language by residents of Tusheti. The term musical dialects also helps
to draw the parallel between linguistic and musical diversity and in doing so
shifts the focus from the national to the regional. Early Arab travelers to the
Caucasus mountains referred to them as “mountains of tongues,” due to the
high density and diversity of languages they encountered there. For each of
these linguistic mountains, there are musical mountains as well. While they
vary in size, these musical mountains should be surveyed in order to create a
holistic picture of musical culture in the South Caucasus. In this paper I want
to make a case for this approach by presenting you with a brief introduction
to some of the groups I've encountered in my research so far. These groups
have distinctive musical traditions that are in danger of falling through the
cracks under nationality based ethnomusicological studies.
My own process of musical cartography started in a very flat place: an
Azeri village in southeastern Georgia called Algeti. My colleagues and I visited this village on two occasions to interview and record “Ashigs,” a minstrel
or bard tradition now closely associated with the music of Azerbaijan but
what was at one time, a pan-Caucasian musical tradition:
“...in the 17th-18th centuries, professional multilingual ashiqs circled
through urban centers such as Gence, Shemaxi, Yerevan, Tbilisi, and Derbend, serving as conduits for news, ideas, music, and culture. As ashiqs settled in the mountains of the lower Caucasus, distinct regional schools developed which absorbed a great deal of local musical and verbal lore...”
This perfectly illustrates the phenomenon of the ashig tradition in the
region surrounding Algeti. While recording saz players, we made an indispensable contact, one of the region's oldest and most venerated ashigs. Ashig
Garib is 75 years old, was born and raised in Algeti, and has been performing
since he was in his late teens. Not only is he an incredible musician and a
custodian of the region's musical history, he has also succeeded in singlehandedly replacing the region’s only music school, acting as mentor and teacher to all of the region’s many aspiring ashigs. We discussed the nature of the
ashig tradition in Algeti with Garib, who explained that the subject matter of
songs performed in this region is different from those in Azerbaijan, tending
to engage with more serious subjects and be more melancholic in character.
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The Algeti example raises some interesting questions and could allow for the
exploration of many musical and cultural phenomena. What are the specific
differences between ashig traditions throughout the Caucasus and how have
they been affected by various linguistic, political, social, and geographic factors? What is the relationship between an ethnic minority living within close
proximity to the nation of its ethnic majority and does musical tradition have
a divisive or cohesive effect on these identities? What are the musical attributes that distinguish the Algeti musical dialect from others?
Another lesser known musical dialect is that of the Caucasian Kurds. In
the South Caucasus there are different Kurdish communities, one in urban
Tbilisi and another in rural North-Western Armenia. Within these communities exist two different ethnoreligous groups, Muslim Kurds and the Yezidis, who practice a religion that incorporates local Kurdish beliefs, Zoroastrian elements, and some Islamic Sufi doctrine. The Sayat Nova Project has
been working with the Union of Kurdish Youth of Georgia to record and
interview different Kurdish musicians throughout the Caucasus. Due to the
international diversity of the Kurdish population, with large numbers also
living in Iraq, Iran, Syria,and Turkey, the Caucasian Kurds have a variety
of songs and musical styles they could possibly call their own. We recently recorded two Kurdish musicians, a drummer and singer, who performed
songs with origins in Iraq, Turkey, Armenia, and Georgia. This experience
led to an interesting question: do the Caucasian Kurds have their own musical dialect? Some evidence of a distinctive musical dialect comes from song
lyrics that narrate a young couple's struggle to be together due to the fact
that one is a Muslim Kurd and the other a Yezidi. This dilemma is unique to
the Caucasian Kurds who have a mix of religions within their communities,
unlike the Kurds in Turkey or Iraq. To define the distinctive musical features
of the Kurdish dialect will take a great deal more time and research but will
become increasingly difficult as these traditions are quickly dying out. The
duo we recorded began to perform together because of the encouragement
of the Center for Kurdish Youth, who is also concerned with the loss of these
important traditions.
The issue of dying musical traditions is particularly relevant to the case
of the Avar and Udi people living in villages in North-Eastern Georgia. There
are approximately 2,000 Avar people (natives of Dagestan) who live in three
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small villages outside of the Georgian town of Kvareli. These people used to
travel the 45 kilometers over the mountains each year to visit Dagestan but
due to the political situation in both Georgia and Russia this practice has
become increasingly difficult. The Udi people, who live in just one village
across the road, are one of the most ancient tribes of the Caucasus. There are
just over 200 people living in the small village of Zinobiani and even though
there are larger populations of Udi living in Azerbaijan and Russia, their total
number is still under 10,000. Both musical traditions, but especially that of
the Udi people, have received very little academic attention. It was a struggle
for our project to find members of these communities who still remembered
songs in their native languages and to find individuals who could perform on
traditional instruments. In the case of the Avar people, there is only one kumuz ( a two stringed instrument resembling an elongated Georgian Panduri)
left in these three villages and it's broken. We had to work with a teacher at
the local school to fashion a new bridge out of scrap wood so that it could be
played again. Luckily, we were successful in recording multiple instrumental
songs on kumuz and accordion as well as vocal songs in different dialects of
the Avar and Udi languages. All of these collected materials could be used
to research and study the musical dialects of the Avar and Udi people but
unfortunately the years left before these musical traditions disappear could
be counted on one hand.
A similar realization about the music of the Pankisi Gorge has led to an
interesting phenomena. A new ensemble has been formed that is working
to keep these different musical traditions alive and is creating something distinct and new during that process. The Pankisi Gorge is located in Northern
Georgia, close to the border with Chechnya. Currently living in this region
are the Kist people, who's ancestors migrated from Chechnya in the 1830's
and a large influx of Chechen refugees who fled from their homeland during
the wars in the 1990's. The Pankisi Ensemble consists of its leader Bela who
plays garmon, her husband and son, who play balalaika, a drummer, and
four female singers. Bela is Bats (another minority group from the region),
her husband is Kist, and the rest of the members of the ensemble are a mix of
both Chechen and Kist. Bela studied Chechen folklore in Grozny and moved
back to Georgia with her husband just before the start of the first Chechen
war. French doctors who were in Pankisi giving medical assistance to re125
fugees encouraged different members of the community to start a musical
group and the ensemble was formed. The Pankisi ensemble performs songs
in Chechen and Georgian language, but musically they have created a kind
of hybridization of folk traditions. The songs are not just bi-lingual, they contain elements of both Chechen and Georgian musical traditions. This was a
conscious decision made by Bela who thought the variety of folk traditions
would make for a more entertaining performance and also reflect the demographics of the ensemble. This hybridization (or, to continue the linguistic
parallel, “polyglot dialect”) of folk music is not only an exciting phenomenon; it is a symbol of the different ways in which tradition can evolve while
still maintaining elements of its past.
For each example I've given of a lesser known musical dialect, there are
sure to be many more. The main issue is that these traditions do not fit under the categorization of “national music” and therefore tend not to receive
the same amount of attention from conservatories or academics. The main
goal of the Sayat Nova Project is to raise awareness of these traditions, many
of which are in danger of extinction. It is my opinion that one of the most
unique qualities of the South Caucasus is the abundance of different peoples
with their own cultures sharing components of a common history. If we can
elevate these musical dialects to the same level as the various national musics, the resulting map will be richer, more detailed, and a better representation of musical culture in the South Caucasus.
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Ketevan Chkhikvadze
Ma Student
Ilia State University
Georgia
The way of development related service
in Georgian museums
In the modern, rapidly changing worldit’s very difficult to catch up and
keep pace with technology and current events, but as in all fields, the culture
is trying the same.
Any museum would try to make a desire to return the visitor again in
the museum, it is therefore important to create the related product in the
museum, in order to do this, many activities can carry out or available. The
museum would properly plan any program/event, which will be oriented towards the society.
It’s true, that they must manage to identify the needs of the society,
which isn’t so easy, because it includes different groups, which have different
intellectual, social and special needs and interests. The museum should try
to cooperate closely with the society. It’s necessary to create an engagement
process in the products (main and related) of the museum.
Based on a research conducted (Five museum of Tbilisi) museum must
think such the programs and activities, which will develop this process.
The development of the society is in the environment where the importance of market is constantly growing in all spheres of life. Also museum
activity sphere is not the exemption. The classical understanding of Museum
meaning – this is to fill, describe and storage of a collection, but it isn’t only
confined to modern understanding of the museum. It must become an enterprise, where everything is possible and flexible. Modern perception must
be established in the museums and traditional flame should be removed. In
the society it must be the executor of the scientific, cultural, correctional and
education role.
In the modern stage development of the society requires constant improvement of the museum organizing. This is due the development of the
scientific- social progress, the transformation of the social-ecumenical
conditions of the human’s life, world culture integration, media, tourism
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development and education level increases. So, it should be removed the
traditional frameworks and museum must become the artistic and cultural
development and educational center, where visitor can not only learn the
exhibits, but also actively concern in this area and take part in various programs. Modern perceptions should be strengthened in the museums.
According to the ICOM Statutes, the definition of a museum has
evolved, in line with developments in society:“A museum is a non-profit,
permanent institution in the service of society and its development, open to
the public, which acquires, conserves, researches, communicates and exhibits the tangible and intangible heritage of humanity and its environment for
the purposes of education, study and enjoyment.This definition is a reference
in the international community.”
It must be implemented in a variety of programs to carry out its mission
of a museum. It must be using a wide range of social activities, and constantly stay in the communication with the target groups. For this purpose is
a variety of projects. But unfortunately their one-time projects, for financial
problems.
All existed museums in Georgia has state financing, but it is a small sum
of money for the museum. Unfortunately a lack of money is an objective
reality and it’s necessary to seek additionalfunding.
Professional museums associations are helping with the solution of the
problems, those are: association of Georgian museums; a Georgian national
committee of ICOM; but not all Georgianmuseums take part in the activities
of associations, but for those, who are members of these organizations area
good help.
Museums had to think about how to find additional revenues, through
which many other activities may be done not only for the museum development, but also future plans, projects and programs.
For museum fundraising has vital importance:
•State subsidies;
•Grant support;
•Donations;
•Sponsorship;
This list actually determinesbudget income for most of the museums.
Any museum would try to make a desire to return the visitor again in
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the museum, it is therefore important to create the related product in the
museum, in order to do this, many activities can carry out or available. The
museum would properly plan any program/event, which will be oriented
towards the society. The main is that, the museum should plan communityoriented program or event.It is true that they must manage identified needs
of this community, which isn’t easy, because it involves manydifferent groups
with their different intellectual, social, special needs and interests. The museum should try to cooperate closely with the society. It is necessary to establish anengagement process (main andrelated)in the museum. Based on the
research in the five museums of Tbilisi: history, literature, and two art type
museum as administrative as technical sphere.
According the research, all five museums need training for their staff
in both administrative and technical spheres. Muslims should have clearly
defined vision. Inthis casethey will be able to define their mission and goal.
Developing of relatedservices is one of the best tools for attracting
visitors.Exhibition, excursion, lecture, seminar, workshop, corporate events,
library, visitors‘ service, computer service, educational activities, exchange
program, guide and etc. will encourage development of relatedservices.
What can a visitor find out during visiting Georgia’s museums ?
Convenient time, interesting exhibition, exhibits, shop, cafe, guide service, educational and other programs and etc. This is a short list of expected
things by visitors from the museum.Unfortunately a lot of things are missing in museums mentioned above.That’s why the amount of visitors doesn’t
grow.
Creating the relatedservices can significantly grow the profit of the museum. In the beginning little resources and expanses are needed for creating
the related services.At first we should think about creating volunteer program. Volunteers are the group of free, motivated and purposeful people.
This group of motivated and interested people can bring a great benefit to
the organization.
Let’s discuss the relatedservices. Let’s start with the simplest one.
Inquiry Bureau - bank of information. This information database will
be used by service or volunteer in answering visitors’ questions.
The library – Visitor will be able to access and use this library.
Exhibitions –Organizing thematic exhibitions for a concrete segment of
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society will be interesting. Cognitive and educational exhibitions will cause
interest in pupils and students.
Computers – Every museum should use contemporary IT technologies.
The visitor will get concrete information about the concrete exhibit by using
the computers.
Excursion, lecture, seminar, workshop–these tools help visitors to get
more and full information on exhibits.
CorporateEvents - It’s a good tool to get additional profits for the museum. This product is accounted on a great segment. People can arrange cultural evenings, meetings, discussions with workshops, performances, movie
shows, video installation, live music, Dj, food and drink. Corporative Event
is a possibility for organizing a lot of interesting, actual and creative events.
Evening working hours will give a great opportunity to busy people to visit
a museum after the work and see the exhibition.Unfortunately museums’
working hours aren’t convenient for everyone.
Looking for the partners and cooperate with partner cultural organizations will encourage creating new contacts, relations, coproductions, different programs and etc.
Internet is considered as the most convenient, fast and free source for
getting information.On the websites of museums from all over the world
full information about basic and accompanying services, projects and programs is published. The part of Georgia’s museumdoesn’t havewebsites and
they’ve got only Facebook wall and the full information isn’t published there.
Existing museum’s website is essential. It can be used for attracting a group
of interested people.Interesting and useful information for research can be
found on the website too. For example,for Georgian student living abroador
for the person who is interested in museum the only source of information
is the museum’s website.
The most of Georgia’sexisting museumsit should be noted that Georgia’s
museums are on state subsidy and are funded from the state budget. This
amount of budget covers salaries and taxes. Budget decreases little by little.
The rest of the money isn’t enough for museum’s functioning.That’s why existing and creating marketing department in the museum is essential. The
marketing department will care about solving these problems.
Cultural marketing as a business marketing fights for getting the cus130
tomer. Marketing helps museum to survive in this contemporary, competitive environment. Competitors for the museum are movie theatres, theatres,
cafes, restaurants, enjoying centers, sport events, different multimedia programs and internet. For keeping and attracting visitors museums should improve quality and should make advertisements, notices and commercials on
its exhibitions. Marketing is the tool which helps the museum to achieve
their goals and aims.It’stightly connected with enlarging the audience.
An existing market and potential segment is educed/effective worked
out using marketing. Marketing is used in supporting customers’ satisfaction
and attracting new customers too.It is the part of marketing research need.
Market study, needs satisfaction, dividingthe marketinto segments, organizing segment oriented activities are done by using marketing research.
In this way the museum can increase the levels of visitorsatisfaction and interest. In the end this causes the growth of audience.
Let’s take a look on the projects’ list of 2012 years organized by ICOM
Georgia’s National Committee
International Conference “Interpretation of Nonmaterial Cultural Heritage in Museums”
The 5th workshop for south Caucasian regional museums’ managers on
the topic “Interpretation of Nonmaterial Cultural Heritage in Museums”
National Trainings for Georgia’s Regional Museums’ Staff. Tbilisi State
Art Academy,
Cultural-Educational Action” Night in Museum”, Georgia’s Museum,
National Gallery.
Projects for the one time aren’t effective for achieving museum’s goals.
Our museums need projects which will cause development of their regular
occupation. For example permanent programs for children and students.
This will support the development of the museum, upbringing and involving the new generation in museum’s occupation.
Developerrelatedservices always causes positive and useful results as in
financial as in the sphere.
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CONFERENCE PARTICIPANTS :
Ketevan Chkhikvadze
Ilia state university, MA Student of Culture management. She works in Arts
Research Institute of Ilia State University.
2006-2010 years she studied in Shota Rustaveli Theatre and Films University,
Culture Management (Bachelor degree).
2010-2011 years she worked in youth Organization “Pirvelebi” – Pr Manager.
She was a producer of Short film Fictions. She was a participant of youth
exchange programs.
Lizaveta German
Born 1988, Kyiv, Ukraine
Lives and works in Kyiv, Ukraine
Art-critic, curator, PhD student at National academy
of fine arts and architecture.
Contributor to Korydor online magazine, life.pravda.
com.ua, Art Ukraine magazine.
Through 2008-2011 collaborated with a number of
Ukrainian art institutions (Ludmila Bereznitska gallery, EIDOS arts development foundation, Art Management agency, Kyiv Sculpture Project festival).
Since January 2012 – participant of Curatorial Platform, an educational
program of PinchukArtCentre (Kyiv, Ukraine).
In June 2012 participated in Young Curators workshop within the Berlin Biennial 7.
In 2009-2012 organized several small independent projects.
The area of research interests includes history of exhibitions and Ukrainian contemporary art of 1990-2010’s in general, as well as Ukrainian underground art scene of 1960s.
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Meri Iskakova
PERSONAL INFORMATION
Citizenship: Georgian
Date of Birth:November 29, 1984
Marital Status:Married
WORK EXPERIENCE
2012-2013Business School – Teacher of History
of Art and World Culture
2011-2012 N111 Public school – Teacher of Art
History
2010 February-August
2009-2010ST Company – Everything About Real Estate / Tbilisi, Georgia
Sale Manager, Marjanishvili Branch Manager
ST Company – Everything About Real Estate / Tbilisi, Georgia
Realtor
2006“Art Mission” – Association of Georgian Young Artists / Tbilisi,
Georgia
Director
2003-2006LTD “Tamarioni” / Tbilisi, Georgia
Office Manager
EDUCATION
2010
2006 - 2009Association of Banks of Georgia / Georgian Banking Education Centre
Special Training Course in Banking
Course in Banking Management
Certificate
Georgian Technical University - Tbilisi, Georgia
Faculty of Humanities and Social sciences. Specialty: Art-Expert
Diploma (MA)
2002 - 2006Shota Rustaveli Theatre and Film University - Tbilisi, Georgia
Faculty of Cultural Studies
Diploma (BA) (with honors) Major in Humanitarian Science
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TECHNICAL SKILLS
Computer: Windows XP Professional; Microsoft Office; Outlook; Internet; PowerPoint; PageMaker and etc.
Languages: Georgian-native, Russian-fluent, English-good.
Interests: World Art, Painting, Travelling, Music, Theatre and etc.
Kateřina Jebavá
Education
1995-1999 Janáček Academy of Music and Performing
Arts in Brno, Theatre faculty, master degree: dramatic
acting
from 2010 doctoral program Theory of Artistic Creation
Experience
• actress in Theatre Goose on the String, Brno, taking part in most of theatre projects as an actress
from 1999
• Theater company Neslyším, project Hollywood calling!, script and direction
2012
• Co-working with Drama education for Deaf department, JAMU
from 2010
Festivals
• Theatre festival Villeneuve-lez-Avignon, France, project Le Cirque Havel,
director: Vladimir Morávek, actress
July 2012
• Deaf theatre festival ARBOS Vienna, Austria, project Das GoldeneSpinnrad, director: ZojaMikotová, actress
May 2012
• International culture festival of the Deaf of st.Francis of Sales in Nitra,
Slovakia, project Das GoldeneSpinnrad, director: ZojaMikotová, actress
November 2012
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Magomed Khadziev
I was born in 1985 in the village Kurtat (Galgay - yurt on Ingush) the
Suburb of Vladikavkaz. I have three brothers and one sister, my parents are
pensioners, mother was a housewife, and father was engaged in different trade affairs in different parts of Russia
After ethnic cleansing of Ingushs in 1992 in part of Vladikavkaz and the
Prigorodnyi district, my family moved to Nazran where still we live
In 2003 I graduated school, and in 2004 passed the exams on faculty of
history in the Ingushian state university (IngSU) which I graduated in 2009.
At the university I was interested of studying of architecture of the
mountain region of Ingushetia, I couldn’t look without admiration at harmonious and high towers, ancient megalithic constructions, the heritage of my
people,theingushnation. Taking the degree after university I went to work in
the archaeological center in Nazran city.
However in my republic I had no opportunity to study a subject I was
interested in and I decided to move to Georgia where there is the same architecture and more opportunitites to study.Nowadays I am a student of Academy of Art and History of Tbilisi
Guram Kokaia
Master of Art Criticism in Theatre Studies field.
Bachelor of Humanitarian Sciences. Graduated faculty of Humanitarian, Social Sciences, Business and
Management at Shota Rustaveli Theatre and Film State University of Georgia. M.A. thesis was “Oriental
Culture Elements in European Avangard Researches”.
B.A. thesis was “Searching Integration Forms of Western and Oriental Theatre”. Has got several diplomas
for participating in conferences. Has published several articles in different
newspapers and magazines. Has published scientific article: “Directing researches of Vsevolod Meyerhold in 1902-1909”(„Art Science Studies“ #2 (47),
2011, pg. 80-90, “Kentavri”, Tbilisi, 2011)
Works as Assistant Researcher at Arts Research Institute of Ilia State
University. He has been working as an Arts teacher at AIA-GESS private
school since September 2012. In 2011-2012 participated in the project “Ge135
orgian Language for Future Success”, created by the Ministry of Education
and Science of Georgia. Within this project worked as Georgian language
teacher at Azerbaijanian Jandara village public school.
Irina Mania
PERSONAL INFORMATION:
EDUCATION: 5.10.2009-14.07. 2011 Tbilisi State University. Department of Art History, Master’s Program: Cultural Heritage and Modernity: Research and Governance. 15.01.08-15.11.08
Participant of ErasmusMundus Lot 5 project in Greece. Alexander Technological Institute of
Thessaloniki. Department of Tourism Management, Studying Cultural Heritage and Museum Management 2004-2009 Ivane Javakhishvili Tbilisi State
University; Faculty of Humanities, Department of Art History and Theory
1993-2004 Tbilisi Secondary School N 55
PROFESSIONAL EXPERIENCE
01.02.2012 –up today Creative Industries Development Manager at the
EU funded action “Strengthening Creative Industries in Armenia, Azerbaijan,
Georgia: Heritage Crafts - Common Platform for Development” 02.01.2012
– up today Officer of the European Union project “OLKAS:“From the
Aegean to the Black Sea” – Medieval Ports in the Maritime Routs of the East”
30.09.2010 - up today School of Byron – Teaching History of Art in English
2009 – up today G. Chubinashvili National Research Centre for Georgian
Art History and Heritage Preservation ( Currently working on the caravansaries of Tbilisi) 30.11.2009 - May 2010
Travel Agency “Visit Georgia”
- Guide 01-12.2008- 01.02.2009
Ministry of Culture, Monuments protection and Sport of Georgia- Intern 15.01.08 - 15.06.08 Project “10 cultural
Visits” Thessaloniki, Greece- coordinator
ACTIVITIES
3-5. November.2011- Workshop for Contemporary Art Curators, Curating Georgian Visual Art by Beral Madra (Curator, art critic, director of the
BM Contemporary Art Center) and Hakan Gürsoytrak (artist). 28- 31October 2010- Workshop- “Technical arrangement and service of Exhibition
on the sample of Georg Bazelitz Exhibition “ - referent Lutz Birkholz 4-6
June, Tbilisi 2010 - International Conference – Identity and Spirit of Old
Tbilisi 20-23 April , Tbilisi - “Degree and Profession”, International Confe136
rence, project “Life beyond Tourism- countries, history, cultural tourism“.
9-17 May, 2010- Summer School, Tunisia,Interactions in the Mediterranean Basin: The Case of Late Classical, Aghlabid and Fatimid Tunisia (Tunis/
Mahdiyya/Qayrawan/Sousse/Monastir) organized by Max-Planck institute
of Florence 9-13 September 2009 - Summer School - “New Approaches to
Medieval Art” Seminars by Art History Institute in Florence, Max-PlanckInstitute and Basel University. In G. Chubinashvili National Centre for Georgian Art History and Heritage Preservation (Georgia). 15/01/08-15/11/08European Union Scholarship program Erasmus Mundus Lot 5 participant
, Greece, Thessaloniki May. 2008 - Amadeus-Central Reservation Systems
-5day Basic course – Organized by A.T.E.I of Thessaloniki in Greece
SCIENTIFIC INTERESTS:
My Master Thesis and interest of the following two years was Tbilisi
and architecture of caravanserais in particular. I was studing peculiarities
of Tbilisi caravanserais and their place in the historic fabric of Old City.
Based on my interests I am planning to continue my research about Tbilisi
as a city located on a crossroad of East and West. Studing the basic features
characteristic for the local architecture and culture.
Nino Mgaloblishvili Fashion design on Faculty
of Designs. Academy of Arts.
Member of the Union of artists
The associated professor
I. Javakhishvili Tbilisi State University
(TSU), Faculty of Humanities, Doctoral program
“Cultural sciences (individual)”
Research and educational and methodical
work
Research work
2013 – scientific work: “Features of classical concepts of the theory of
fashion”. It is published in the magazine “Civilization Searches” (UNESCO)
2013 – scientific work: “Esthetic pluralism in design of modern clothes”.
2nd international conference. Collection of scientific works. Kutaisi. State
university.
2013 – magazine “Mediator”. Informative and educational article. “
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Fashion-Industriya:realiya and perspeqtives”
2012 – magaz.”Style,,Informative and educational article,,Fashion-merchandising in Georgia
2012 – magaz.”Style,,Informative and educational article ,,Georgian
Fashion Week-2011
2011 – magaz.,,F Fase,, Informative and educational article. “Dummies,
from where they go”
2011 – magaz.,,F Fase,, Informative and educational article About the
Georgian design Educational and methodical work – Initiator and head
of the joint educational project of Academy of Arts and “Dante Alighieri
Society”(Comitato di tbilisi della società Dante Alighieri).Tbilisi,Kostava
st. 77. mail:info@dantetbilisi.ge; facebook: – The author of the innovative author’s approved programs (13). From here a Fashion-merchandising –
the first training program in Georgia in the direction of Fashion-education
Management of bachelor degree and magistracy works – Systematically I
direct academic year and degree projects. – The head of the “Georgian reminiscences” project, which has won on “Be Next 2011” (1-2 places – Manager of projects of Newcomer (2011-2012) Participation in master classes,
workshops, festivals, conferences and competitions Trainer of a master class:
2013 – „Fashion-merchandising” Training and Management Consultation
Center “VIPR” – The international trainings in Georgia and Malta. ”Technology of origami” (“K-Studio Malta Limited).
2011-2012 – “Technology of origami”. Dantes School of Art .Comitato
di Tbilisi della Societa’ Dante Alighieri (tel.: 294 59 53, 599 764 030).
2011-2012 – “Technology of origami”. Studio of children’s art of “Gala”.
Tel.: 239 24 80.
2011 – “Technology of origami”- “Ivane Javakhishvilis mediateka”Fund “open society – Georgia”. Kaspis area, village to Hovle, 599 50 94 13
Participation in master classes: 2011-2012 – Lecture course of one semester:
”Textiles in Antiquity:Production, Trade, Social Questions: dresses from
the 2nd mill-BCto the 2nd millenium AD. Head professor Habil. Annegret
Plontke-Luning 2012 – British Counsil Re-Construction:Cultural Heritage
and the making of Contemporary Fashion exhibition ( CERTIFICATE) Participation in competitions:
138
2007 – Republican competition (poster). program of development of
the UN (the 2nd place)
1997 – As a result of a victory at competition, the invitation to Moscow
in Yudashkin’s workshop, the artist.
Participation at the international and republican exhibitions international 2011 – The communications manager with designers of Georgian Fashin
Week-2011 republican 2011 – For the first time in Georgia in the Show-room
format the project “Georgian Reminiscences”, author and curator. State theater of a name Shota Rustaveli.
2009 – “Art gene”, painting and graphics exhibition. Tbilisi, Park to
Vake, tel.: 2917078 2009 – For the first time in Georgia. The “reserve in the
Art” – Art-project directed against ill treatment of animals, author and curator. Academy of Arts. the personal 2011 – For the first time in Georgia. The
conceptual Art project “Eidos emanation in origami” executed in equipment
of origami and kirigami. Academy of Arts.
2006 – The “Podium in a frame” exhibition – Royal theater, Tbilisi.
David Mghebrishvili
Education:
1988-1993 Shota rustaveli Theatre and Film Georgian State University − Drama Director
1993-1999 Shota Rustaveli Theatre and Film Georgian State University − Film and Tv Director
Work experience:
From February 2013 − Performing Arts Teacher – Ilia
State University, Tbilisi, Georgia.
Since 2010 − up today, Assistant of Acting Teatcher Shota rustaveli Theatre
and Film Georgian State University
2007-2009 − Chief Manager and Artistic Director in Vaja-Pshavela Tealavi
nState Drama Theatre
2002-2004 − Assistant of Acting Teatcher Shota rustaveli Theatre and Film
Georgian State University Directed Performances:
2012 − “Romeo and Juliet” W. Sehakspeare, Music and Drama State Theatre,
Tbilsi, Geoargia
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2012 − “Confession” G.Tsiklauri, Valerian Gunia Poti State drama Theatre,
Poti, Georgia
2011 − “Yellow Days” D.Janjic , Valerian Gunia Poti State drama Theatre,
Poti, Georgia
2010 − “Theatre” L.Bughadze, Chiatura State Drama Theatre, Chiatura, georgia
2009 − “The Star-Childe” O.Wilde, Shota Rustraveli State Drama Theatre,
Tbilisi, Georgia
2008 − “Theatre” l.Bughadze, Vaja-Pshavela Telavi State Drama Theatre, Telavi, Geaorgia
2007 − “Khanuma” A.Cagareli, Vaja-Pshavela Telavi State Drama Theatre,
Telavi, Geaorgia
2006 − “My Friend Hitler” U. MIshima, The Royal District Theatre, Tbilisi,
Georgia
2004 − “Suicide” N.Erdman, Griboedov Russian State Drama Theatre, Tbilisi, Georgia
2002 − “Mary Stuart” L.Razumovkaya, Meskhisvili Kutaisi State Drama Theatre, Kutaisi, Georgia
2000 − “Hoaxer” I.Garuchava,P.Khotianovky, Griboediv Russian State Drama Theatre, Tbilisi Georgia
1997 − “Midsummer Night Dream” W.Shakspeare, Medical Universuty Theatre, Tbilisi, Georgia
1996 − “This Holly Butterflies” L.Gersh, Channel Tv1, Tbilisi, Georgia
1995 − “This Holly Butterflies” L.Gersh, Shota Rustaveli State Drama Theatre, Tbilisi, Georgia
1993 − “Les Caprises de Marianne” A.de Miusset, Shota Rustaveli Theatre
and Film Georgian State University
1992 − “The Bear” A.Chekhov, Assistant of Acting Teatcher Shota rustaveli
Theatre and Film Georgian State University
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Natia Natsvlishvili
Date of Birth January 21, 1984
Nationality Georgian
Sex Female
Education:
2001-2006 Faculty of Conservation, Art History
and Theory, Tbilisi State Academy of Fine Arts
2008 Faculty of Hotel Trade and Tourism Marketing,
San Sebastian Institute of Zubiri Manteo. The Basque
Country, Spain
Present PHD (Social Sciences)
Ilia State University, Tbilisi, Georgia
Academic Degree MA (Art History).
Trainings
September 9-13, 2009
“Medieval Art between East and West:
New Approaches”. George Chubinashvili National Research Centre,
Kunsthistorisches Institut in Florenz - Max-Planck-Institut, and the
University of Basel. Tbilisi, Georgia
December 1-2, 2007 Urban Cultural Heritage Conservation. Old City
Rehabilitation and Development Fund. Tbilisi, Georgia
Employment
2009 - Present
Researcher. Medieval Department, George Chubinashvili
National Research Centre for Georgian Art History and Heritage Preservation
2010-2012 Cultural Heritage Expert. Tbilisi Development Fund
2006-2008
Cultural Heritage Expert. Old City Rehabilitation and
Development Fund
Publications
Master Builders in Medieval Georgia, Tbilisi, 2012 (Joint authorship with D.
Khoshtaria and D. Tumanishvili)
“An Episode from the History of the Catholic Community of Tbilisi (Sololaki
Cemetery)”, Academia, No 2, 2011.
Research Projects
2012-2013Research Project “Architecture and Identity: Catholic churches
in South Georgia”. Supported by the Shota Rustaveli National Science
Foundation
141
2010-2011 Member of Research Team. Research Project “Architects and
Masons in Medieval Georgia”. Supported by the Shota Rustaveli National
Science Foundation
Other Projects
From March 2012 “OLKAS: From the Aegean to the Black Sea – Medieval
Ports in the Maritime Routs of the East”, International Project supported by
the European Union
Workshops and Grants
September 21, 2011 “Catholic Churches in Georgia”. First JapaneseGeorgian Workshop of Architectural and Urban Historians. George
Chubinashvili National Research Centre and Tokyo Institute of Technology.
Tbilisi, Georgia
July 13-August 19 Academic Swiss Caucasus Net, Short-term Grant
Programme Friburg, Switzerland
142
Silvia Pintilie
Curriculum Vitae
Studies :
2010 - Ph. D. Student in the Doctoral School of
“G. Enescu” University of Arts in Iasi, Romania, thesis
conductor: Prof. J.M. Bartos;
2008 – 2010
MA studies and Diploma – Public Art Dept. – National
University of Arts in Bucharest, Faculty of Decorative Arts
and Design, Prof. Ion Stendl;
2008 – 2010
MA studies and Diploma – Applied Philosophy and Cultural Management – University“Al. I. Cuza” Iasi, Faculty of
Philosophy and Political Studies;
2004 – 2008
Undergraduate studies completed with Diploma -National
University of Arts in Bucharest, Faculty of Decorative Arts
and Design, Mural Arts Dept.Prof. Ion Stendl;
Scholarships:
2007
2007 –2008
Erasmus mobility at Accademia di Belle Arti di Macerata,
Italy;
Romanian and Italian Government joint scholarship at Accademia Albertina di Belle Arti di Torino, Italy;
Professional experience:
2012- rt consultant at artclue.net art network;
2010- 2012 Editor-in-chief of the ArtClue Contemporary Art Magazine- www.artclue.net
2009- Founder of Inland Projects Studio –Mural Art and Interior Designin Iasi, Romania;
Prizes:
2011 st Prize at the International Pulbic Art Contest Forma Viva, Maribor, Slovenia;
Personal Ehibitions:
2011 Tradition and Respresentation – Interactive Shreds - Itinerant
Exhibition at MAEDS National Museum of Etnography and Etnology,
143
Setúbal, Gallery of Cultural Romanian Institute, Lisbon, Sines Art Center,
Colorida Gallery, Lisbon, Portugal;
2007 “Angels” (project of arh. Mario Botta), Abbazia di Rambona, Italy;
Workshops:
2011 Forma Viva International Symposium, Maribor, Slovenia;
2009
Summer University “Intelligent Architecture –inovative concepts
for future’s architecture”Sibiu, Romania;
2008
Real Presence Workshop, Belgrade, Serbia;
Interviews in ArtClue Magazine:
•“Curating Causes” interview with Dobrila DeNegri, director and curator of Torun Institute for Contemporary Art, Torun, Poland;
•“Trenspassing the Past, Conceptualising the Present, Arousing the Future” interview with Romanian video artist Patricia Teodorescu;
•“Re-enactment of a Subjective History”, interview with Romanian video artist Irina Botea;
•Other articles: “Teresa Huertas and affective memory in performance”,
“Susanne Junker: sex, art and chinese rolls”
Selection of studies published or presented in Conferences:
•Autonomy and independence in 21st Century Romanian Art, at the International “D. Cantemir” Symposium and Publication, in volume Amici
Picturae”, Ed. Spiru Haret, ISBN 9-789735-792015 Iasi, Romania, December 2012;
•Components of traditional space and influences of the vernacular architecture in contemporary Romanian art in National Symposium “Art and Tradition in Europe” organized by Professor’s Asemblee, Iasi, Romania, 2012;
•Public art –site-specific projecting and artistic cartography, in Conference and International Interdisciplinary Summer University, Sibiu, Romania;
144
Siavash Tayeb Taher
I was born in 18 dec 1988
Im MA Dramatic Litrature of Islamic Azad University my directed: for freedom (2008) in 11th Iran
international festival of University theatre.
Geranium (2009) in 12th Iran international festival of University theatre and 29th Fadjr international Theatre festival.
Adventures of Vladimir and estragon (2010) in
13th Iran international festival of University theatre and 30th Fadjr international Theatre festival.
DOCTOR FAUSTUS (2011) in 14th Iran international festival of University theatre.
Two robbers (2012) in 31th Fadjr international Theatre festival.
My performance art:
Where is my grave (2009)
we are Chekhov’s characters(2011):text plays
Adventures of Vladimir and estragon
Notello
Noise, silence, motion
The man was killed with kindness
Goodbye with cherry flavor
My article
A study of the role hero in the works of Arture miller’s with Espessial
refrence to death of a sales man and a view from the Bridge .
Movie adaptation from Dramatic literature (A study Death of a sales
man, adaptation from play Arture Miller’s ).
A study of Experssionist mavies of Germany in the 1920s, with Especial
Refrence to the movie Dr. Caligari .
A study typology in David Mamet Works with Especial refrence Glen
Gerry Glen Ross play.
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Ani Tugushi
Personal Information
•Marital status: Single
•Nationality: Georgian
•date of birth: 16/03/1990
•Place of Birth: Tbilisi
Education1996-1998 216 school
1-th experimental school Tbilisi
Lyceum of natural sciences Tbilisi
161 school
Moscow
1998-2000
2000-2003
2003-2004
Tbilisi
2004-2007 Educational Television Centre(ETVC)
Tbilisi
2007- Shota Rustaveli Theatre and Film University Tbilisi
2011- Ilia State University
Languages
Russian(native), English(fluent), German (advanced begginer)
Hobbies
•Sports (Skiing, Swimming,)
•Literature
• Music
•Movie
Ben Wheeler
Work Experience:
Caucascapades Blog:
Founded and wrote articles for a blog about the music, culture, history
and literature of the South Caucasus. Caucascapades was listed as a resource
for new English volunteers. It has been viewed more than 4,000 times by
people from ninety countries.
Tbilisi, Georgia, 2012- present
English Language Instructor:
Responsibilities included instructing grades 1-6 in English, working
with Georgian co-teachers to create lessons for each unique class, assigning
and leading extra-curricular activities. Constructed personalized syllabi for,
146
and met three times a week with sales manager at GRC Construction Materials, Tbilisi to practice English conversation skills. Tutored student at Tbilisi State University on elementary English using both Georgian and Russian
language skills to illustrate key concepts and increase conversational fluency.
Ministry of Education and Science of Georgia, Tbilisi. February 2012 present.
Music Teacher:
Created flexible lesson plans based on the needs of the 40 to 65 students
taught each week. Gave instruction on various instruments, Music theory,
Music History, and Musical styles to students of all ages and skill levels.
Ted Brown Music, Puyallup, Washington. 2009-2012
Education:
Tbilisi State Conservatory: March 2012- Present
B.A. in Music: University of Oregon 2009
Gig Harbor High School Class of 2004
Skills/Certifications:
Conversational Georgian- Currently receiving private lessons at the
Tbilisi State Conservatory
Conversational Russian- Graduate of Smolny University of Language
and Culture
Leadership/Teaching Experience
References available upon request
147
SCIENTIFIC ACADEMIC BOARD CONFERENCE
AND PUBLICATION
Dr. Levan Khetaguri – Professor and Director of
Arts Research Instituteof Ilia State University
Levan Khetaguri graduated from Shota Rustaveli
Theatre and Film State University in 1986. In 1990 he
graduated from Moscow GITIS high school, Foreign
Theatre Department and received PhD in Art Science.
In 1996-1997 he undertook Amsterdam Summer University courses on Cultural Management and in 2007
course in Cultural Policy at the Central European University. Member of
academic board of Ilia State University (2010-2012). He is member of different international institutions, advisers and scientific council. As practitioner
since 1990 he runs several hundreds of local and international projects as an
initiator, manager, producer or participant.
Levan Khetaguri is a president of Stichting Caucasus Foundation /The
Netherlands/. Since 1997 Secretary General of ITI Georgian National Center
and Director of the European Theatre Research Institute in Georgia. Member
of FIRT. 1997 Member of Gulliver /European Intellectuals Network/. Since
1981 author of over 80 publications /editor and translator/ in the magazines
and newspapers (Georgian, Russian, English, Azerbaijani, Slovak etc). Author of several books. In 2000 was awarded by Swedish Writers Guild. Since
2008 member of European Cultural Parliament and strategic group of Soul
for Europe movement. Since 2008 Secretary General of Georgian Regional
Theatre Network and since 2011 Secretary General of UNIMA Georgia; Secretary general of Georgian ITI National Centre.
Since 1991 organizer of various cultural programs: seminars, conferences, festivals. Since 1996 as a visiting professor he reads lectures and takes
part in different international conferences and symposiums, special courses:
World theatre history, Theory of drama, XX century theatre, History of European civilization, performing arts management, cultural policy. From 1999,
as invited expert runs workshops and master classes in the field of cultural
policy and culture management, international cooperation in the arts.
148
As visitory professor workery in NL, Poland, Germany, Sweden, UK,
Turkey, Ukrain, Armenia, Azerbaijan, Lithuania, Kazakhstan, Mongolia,
China, Iran etc.
Dr. Nino Mkheidze – Associated Professor of
Arts Research Institute of Ilia State University
Art History PhD and an Associated Professor. She was born in Tbilisi on November 19th
1962. In 1979 she graduated from 47th High
School. In 1986 she graduated from Shota Rustaveli Film and Theatre State University’s Faculty
of Film Studies. In 1988-89 she completed an Internship at Moscow State Institute of Cinematography. From 1993- 2010 she led an academic and
scholarly work at Shota Rustaveli Film and Theatre State University. From
2007-2010 she was a chair of the 196 University’s Representative Council.
From 2010 she is assotiated professor of Ilia State University’s Arts Research
Institute. In various years: An editor of “Culture” magazine; Broadcasting
company “Imedi”, an editor at broadcasting company “Channel 9”, head editor of programs at broadcasting company “Iberia”, programs: “Atalanta” and
“Georgian Film 90”. She is a member of Georgia’s Cinematographic Union
Department, a member of Georgia’s Cinematographic Union. One of the
cofounders of Georgian film newspaper “Sarkmeli”, coworker at “Film Museum”. Member of International Organization of Women Cinematographers.
Scholarly works: “System Creators at the origins of World Film”, “Contemporary Georgian Telefilm, from “Alaverdoba” to “Anemia”, “Post Soviet Georgian Film – Waiting for Hero”, “Mikheil Kalatozishvili”, From “Anemia – AtuAlaba-Hotel-California, “Certain Aspects of Editing”, “What Film is capable
of ” and others published in press and newspaper magazines. At various times
she participated in conferences: Bolshevo and Bichvinta conferences, Iurmala International Conference of Women Cinematographers, USA Lectures on
Georgian Film in Boston and Washington DC. Film Sector and Conference
on Psychology and Film organized by Institute of Psychology. Problems of
Georgian Television – Film History and Theory Research Center. Film Sector and Film Union – Thematic and Aesthetic Tendencies of Georgian Film
149
of Recent Years. Scientific Conference – Processes of Georgian Culture from
nineties of the twentieth century up to the present. Scientific Conference –
Contemporary Era and Film Process. Nino Mkheidze is one of the coauthors
of textbook: Georgian Film Directors – Part I, Part II. – Textbook Published
by Shota Rustaveli Film and Theatre University Press 2006-2007
Dr. Teona Kakhidze – Associated Professor of
Arts Research Institute of Ilia State University
(born in 1969, Tbilisi, Georgia) 1992 – She graduated from Tbilisi State Conservatory’s faculty of
music history 1994 – She finished the post-graduate
courses of the same institute 1999 – She received
PhD in Art Sciences 1989 – Till present she is a chief
of IR, PR and marketing department of Djansug
Kakhidze Tbilisi center for Music & Culture 1993
– Till present the General Manager of International Music Festival “Autumn Tbilisi”. 2010 – Till present director of Tbilisi
Music Festivals Center 1996-2005 – She work in Tbilisi State Conservatory,
member of music history chair 2005-2010 – She worked in Shota Rustaveli
Theatre and Film State University, Assistant Prof. 2010 – Till Present Associated Professor of Ilia State University, Member of Art Science Institute.
Teona Kakhidze is an author of several scientific works in the field of music
sociology and culture management.
Dr. Iuri Mgebrishvili – Professor of Arts Research Institute of Ilia State University
Leader of the Cultural Management programs on BA, MA and PHD levels. Since 1999 as
an invited expert Mr. Mgebrishvili runs training
programs in Armenia, Mongolia, Sweden, Ukraine, Russia, Kyrgyzstan and other regions of Caucasus in a field of cultural management, marketing,
sponsorship, fundraising, and networking. He is
an author of scientific works and publications at
the professional editions and magazines (in Ge150
orgian, Russian and English languages) as well as translator of study books.
Since 1998 he is director of Caucasus Spring University. 2005-2010 Professor
of Shota Rustaveli Film and Theatre State University. He is an Executive Director of International Culture Fair “Caucasus 2003”, which takes place biannually in Tbilisi (Georgia). He is an initiator and manager of various cultural
and educational projects.
Dr. Emil Orzechowski – Professor at Jagiellonian University in Krakow and Specialist of
Theatre and Culture Management. Chairman
of Culture Management course. Prof. Orzechowski is a visiting professor at Stanford
University, University of Buffalo and delivers
lectures on history and culture of Poland, Polish language and European theatre. In 1995,
he established a new academic discipline –
Culture Management. In 1996-2002, he was a
dean of the newly established Department of
Management and Social Communications. Prof. Orzechowski is an author of
eleven books and editor of the cycle of the lectures on culture policy for ambassadors. Currently, he is an editor-in-chief of the international trilingual
(English, German and Polish languages) journal “Culture Management”.
Dr. Giep Hagoort (1948) is cultural entrepreneur and professor Art and Economics of
the Utrecht University and the Utrecht School of the Arts (HKU). He is chairman of the
Utrecht Research Group Art and Economics.
Prof. Giep Hagoort is an innovator in educational practices and develops educational
strategies for the field of arts and media management. Publishes regularly in professional journals. Initiated and edited in 2000 the
Handbook Art Management Entrepreneurial
Style. Obtained his doctorate in 1998 with a thesis on strategy formation in the
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creative sector. As a researcher his main subjects are cultural entrepreneurship,
Cultural Business Modeling, strategic management, cultural and creative industries. He has been advisor and guest professor in Barcelona, Berlin, Johannesburg, Kiev, Cracow, St. Petersburg, Prague, Sofia, Tbilisi, and Zagreb. He Is
key speaker in the NYU/HKU – seminar Arts Management in Europe.
Giep Hagoort is founder-dean of the Amsterdam School of Management.
Research publications (last five years):
Hagoort, G. (2012), New Knowledge needed on Creative Growth & Development (paper, forthcoming)
Hagoort, G. (2011 – co author: Kooyman, R.), On the principles of Cultural Entrepreneurship: Balancing between Imagination and Financial Profit, in: Cristina Ortega Nuere (ed.), New challenges of cultural observatories,
University of Deusto, Bilbao. 2011.
HKU (research advisor), The Entrepreneurial Dimension of the Cultural and Creative Industries, Hogeschoolvoor de Kunsten Utrecht, Utrecht
2010.
Hagoort, G.(2009 – co author Kooyman, R.) Creative Industries; Colorful Fabric in Multiple Dimensions. Research group of Arts and Economics,
University of Applied Arts, Utrecht, and Eburon Press, The Netherlands. Hagoort, G. (2009) KulturmanagementKonkret: An Anatomy of Arts Management, Interdisciplinary Positions and Perspectives, 2009. KulturKonzepte,
Austria.
Hagoort, G.(ed.) (2008). Hello Creative World: Entrepreneurship in Art
Education, ECCE (EU funded Economic Clusters of Cultural Enterprises),
Utrecht School of the Arts, NL
Hagoort, G.(ed.) (2008). Growth and Development of Creative SMEs,
ECCE (EU funded Economic Clusters of Cultural Enterprises), Utrecht
School of the Arts, NL
Hagoort, G., Thomassen, A., Van Thiel, M. and Oostinje, A. (2007) Read
this First; Handbook of ECCE Creative European Cluster, Utrecht School of
the Arts, NL
Giep Hagoort, Cultural Entrepreneurship. On the freedom to create art
and the freedom of enterprise, Inaugural Lecture, UU/HKU, 2007.
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Brian Singleton – Director, Samuel Beckett
Chair of Drama & Theatre, Trinity College
Dublin Co-Founder & Academic Director of
The Lir – National Academy of Dramatic
Art.
He was awarded: The British Academy(1988), Arts & Social Sciences Benefaction Fund, Trinity College(1991,1994,
1995, 1997,1998, 1999-2007,) Artists Fellowship, Japan Foundation (Noh training)
(1992), Andrew W. Mellon Foundation Fellowship(1998), Trinity Long Room Hub Re-
search Award (2008) and etc.
Since 1993 he is involved in teaching activities. He reads lectures: Performance Analysis, Forms and Conventions of Theatre, European Theatre
History (from Ancient Greek to present-day), Non-Western Theatre, Movements in European Theatre, Orientalism and Performance, Twentieth-Century French Theatre, Contemporary Irish Theatre in Context, Shakespeare in
Performance, Theatre Practice, Theatre Directing, and Devising.
As a researcher and advisor he collaborated with universities, academies and schools as: University of London Goldsmiths College, University of
London, University of Lancaster, University of Hertfordshire, University of
Edinburgh, University of Hong Kong Press, National University of Ireland,
Royal Academy of Dramatic Art, Université de Paris III – Sorbonne Nouvelle, London Academy of Music and Dramatic Art and etc.
Editor of “Theatre Research International, Executive Committee Member of International Federation for Theatre Research (1997-2001), since 1999
he is a General Secretary of mentioned federation. Executive Committee
Member, American Society for Theatre Research (2000-2003).
He is the author of the books: Le Théâtre et son double (1998), Artaud
on Theatre (2001),
Oscar Asche, Orientalism and British Musical Comedy (2004), Ethnicity
& Identity: Global Performance, ed., (2005), Masculinities and the Contemporary Irish Theatre (2011).
Since 2005 he presents Series Editor of “Studies in International Per153
formance”, also he is a guest editor of several international researches. He is
author of Articles/Chapters in Books, Translations, Articles in Journals and
Conference papers.
Brian Singleton is actively reads the lectures in several universities of
the world.
Dr.Manana Itonishvili – Professor of Arts Research Institute of Ilia State University
Since 1989 Manana Itonishvili has been working at Shota Rustaveli Theatre and Film State
University. She has great experience of working
with the students of Acting. She supervised and
taught 7 generation of graduates of TV and Radio journalists. She was the Head of Author’s TV
Department, has supervised Master’s programs.
Dr. Itonishvili was also the Head of Stage Speech
Department of Batumi Art Institute. She has also
cooperated with the Department of Journalism of Javakhishvili State University, Euro Caucasian University. Manana Itonishvili delivers the trainings
at School of Justice with International Business Corporations in the field of
Communications. She is the editor of two books. Since 2000 Manana Itonishvili has been working as the media communication consultant of “Imedi
TV”, “Rustavi 2”, “Georgian Public Broadcasting”, “Georgia”, “Adjara TV”. She
runs lectures at Ilia State University – at Doctor’s and Master’s programs.
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PARTICIPANT UNIVERSITIES
1.Ilia State University (Tbilisi, Georgia);
www.iliauni.edu.ge
2.V. Sarajishvili Tbilisi State Conservatoire (Tbilisi, Georgia);
www.conservatoire.edu.ge
3.National Pedagogical Dragamanov University (Kiev, Ukraine);
http://www.npu.edu.ua/index.php?lang=en
4.Jagiellonian University (Krakow, Poland)
http://www.uj.edu.pl/en_GB/
5.National Academy of Public Administration, Office of the President Of Ukraine
http://www.academy.gov.ua/eng_new/index.html
6.National Academy of Fine Art and Architecture (Ukraine)
www.naoma.edu.ua
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ARTS RESEARCH INSTITUTE OF ILIA STATE UNIVERSITY
Institute Background
The aim of Arts Research Institute is to study Georgian as well as international art theory and practice through research projects, worldwide popularization of Georgian culture and introduction of world cultural heritage to
Georgia through conferences, round table discussions, open lectures, exhibitions, debates, festivals, various creative projects and publications.
The Institute should transform into important international center for
arts theory and practice, attract foreign colleagues, leading universities and
arts schools for participation in joint research.
The above mentioned research work implies involvement of MA and
PhD students. Research programs of Ilia State University Arts Research Institute are carried out in the following academic directions:
Theory and practice of performing arts (including drama, directing, stage design etc) Film and Media communication Culture Management, Cultural Policy
Current Research
Research of performing arts theory and practice Culture Policy, Culture Management and its developmental strategy in Georgia Interdisciplinary
scholarly research of theory and practice of performing arts; creation of practical examples (Performing Arts) Further development of Culture Policy and
Culture Management research and implementation of its applied functions
in Georgia’s development. Institute has its library and Culture Video Center
with one of the richest video archives in Caucasus /NL/. Institute works in
close cooperation with Stichting Caucasus Foundation.
Permanent projects of the Institute are:
MA and PhD Students International Research Conference;
European House for Culture /Center for Culture and Debates/
Arts theory and Practice, International Review
Theatre International Festival “Theatre +Video”
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Printed Projects
Arts theory and practice World Heritage
World Drama Library;
Institute has following functioning centers:
A/ Study Center for World Theatre and Theatre Criticism;
B/ Study Center for Film and Media Communication;
C/ Study Center for Culture Management and Culture Policy;
D/ Shakspeare Research Centre.
Director of the Institute
Dr. Levan Khetaguri, Professor
Arts Research Institute of Ilia State University,
Postal Address: Kakutsa Cholokashvili Ave 3/5
Tbilisi 0162, GEORGIA
Tel: (995 32) 222 05 74
ari@iliauni.edu.ge
www.iliauni.edu.ge
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9 789941 182013
STEP-CHANGE FOR HIGHER ARTS RESEARCH AND EDUCATION