Interpretation of Shakespeare’s Tragedies in Contemporary Georgian Theater
Keywords:
Tragedy, jealousy, dignity, passion, catharsis.Abstract
Georgian theater of the 21st century is considered to be a continuation of the tradition of the diversity of interpretations of Shakespeare. This paper will discuss the two most recent productions of Tbilisi, stage directors of which - Levan Tsuladze and Davit Doiashvili belong to the outstanding authors of modern Georgian theater.
Levan Tsuladze's "Workshop Theater 42" is a new theater space in a non-theatrical building, in the former "Coca-Cola" factory. A modern hall was opened here, which meets all standards.
What is interesting about the process leading up to the murder of the evil Iago and the jealous Moor and the result of the revenge for the director of the 21st century? How do the performers involve the audience in this process? I will try to explain this in this paper.
White "Moor" in black clothes - shirt and trousers, as well as other male characters, act on stage in modern clothes. From the Middle Ages, only accented detail has been attached to them - long daggers or swords - this shining and repeatedly exposed objects has a great load in the show – suitable to a Shakespearean tragedy. The clothes of the women participating in the performance are completely different. It is as if they are nymphs or goddesses taken from ancient Greek sculpture. This outfit brings out the beauty of the beautiful young graceful actresses. Their movements make the performance a truly impressive sight. Desdemona (Anuka Grigolia), a victim who is smothered by Othello (Nika Kuchava), who is extremely in love with her and is himself a victim of infidelity. The intensity of passions, complicity in an involuntary crime, great pain and equally great love, perhaps carnal - Emilia - perhaps the best among the roles performed by Ana Vasadze. A little confused, gentle and soft-spoken Bianka - Mariam Gvinianidze). Female leads take such a path in representation.
In Levan Tsuladze's play, the number of characters in Shakespeare's “Othello” is almost halved. Obviously, the text has undergone a significant change accordingly. I think such decisions are completely justified in modern theater - a 5-act tragedy would be difficult to watch.
“Othello” by Levan Tsuladze leaves no one indifferent. I think that portraying the performance in the predominantly psychological aspect made the tragedy more understandable and close to the modern audience, and characters emotionally acceptable. After all, pathos is no longer considered trendy in the theater of the 21st century.
Davit Doiashvili first produced "King Lear" in 1995, in Marjanishvili Theater. At that time, the director was 24 years old, and Otar Megvinetukhutsesi, a true star of the Georgian theater, played Lear. In general, the list of performers of Lear in the Georgian theater is quite impressive - only Sergo Zakariadze, Akaki Vasadze and Ramaz Chkhikvadze would be enough name. King Lear has another incomparable performer, also a real star, Zurab Kipshidze. Why did the director decide to re-stage "King Lear" in such a non-competitive environment and give this role to an actor - Davit Beshitaishvili, who does not belong to the above mentioned stars rank for this role? How is the performance of the new theater named after Vaso Abashidze really a new reading of one of Shakespeare's most popular tragedies? The research deals with a combination of these topics.
Georgian plays of the 21st century can be thought of as "cinematic" to some extent. Video installation got incorporated into modern Georgian theater under the influence of European performances. The interpretations of Levan Tsuladze and Davit Doiashvili represent Shakespeare's passions as modern versions. In halls full with viewers, where you can hardly buy a ticket even a month in advance, the tragedies of four hundred years ago still bring the audience to catharsis.
References:
Bukhrikidze, D. Levan Tsuladze's third appearance inspired by "Othello" https://argacherde.bog.ge/lifestyle/solo/recenzia-levan-culadzis-mesamed-mosvla-otelos-shtagonebit-2
Vasadze,M. (2023) “Otello”, Love Sacrificed to Revenge and Doubts, Theatre N5
Chkhartishvili,L. Issues in the Stage Interpretations of “King Lear” (by the example of creative works of Peter Brook, Giorgio Strehler and Robert Sturua), https://www.theatrelife.ge/_files/ugd/0fb0d1_13fdc729272a495b9a022050835791c0.pdf?fbclid=IwZXh0bgNhZW0CMTAAAR2wcv8Y6muoiJZ5RA7v4JGpLQRL4UPWuEskJayOmsWPJmmVSZPbNf1- 5dQ_aem_ATwgHUvCWSVWueZHzNAE_0TqRweLl9EGJlXs1kO3v539BrGgQI1luWkthi7Q9WVZkRIZ3l23PhUQukFfdv0fXu9L
Chernetsova, A. The World Has Turned Into a Cheap Show, Theatre N6
