The latest stage interpretations of several playsby Davit Kldiashvili and García Lorca

Abstract

Modern Georgian theater art is radically different from the previous period. Today, people often talk about the crisis that has set in in the Georgian theater. I have a dual attitude towards this opinion, that is, I share it and I do not share it. We often hear the second opinion: what did Robert Sturua's plays teach society?.. This opinion is thought-provoking and I will try to answer it. Unlike the achievements of the famous Georgian theater of the last century (which we are all proud of), the Georgian theater of the latest period, that is, from the 90s of the 20th century to the present, is very close to all strata of society. This fact often causes the so-called rebellion of adults, because "serving" an audience of different tastes naturally leads to adaptation to the demands and tastes of each of them. In addition, the number of theaters and directors in Georgia is growing almost daily (plays are staged by actors and representatives of other related professions), there are interesting trends in regional theaters, where, unlike the communist era, directors travel with pleasure. It is also worth noting that the “Academic Theater” of the Shota Rustaveli Theater and Film University of Georgia is also working almost at full capacity. It can be said that the student “theater” is often not inferior to the quality of the repertoire performances of the main theaters of the capital. Based on all this, competition is growing and each of them is trying not to lose its audience. In this regard, the main vector of stage interpretations of classical dramaturgy carried out by directors is extremely interesting, which is mainly still focused on the interests of a diverse audience and the most pressing existing problems. For discussion, I have selected stage interpretations of classical plays that are performed with particular frequency. In particular, the object of my attention is the interpretation of plays by Georgian and Spanish classics David Kldiashvili and Garcia Lorca.

      David Kldiashvili's dramaturgy has been actively staged on the Georgian stage since its creation, and not only the word but also the genre is undergoing changes. The attitude of Georgian directors towards Garcia Lorca's plays is similar. His main plays - "The House of Bernarda Alba" and "Blood Wedding" - have appeared on the Georgian stage since the 70s of the last century, although later interest in them stagnated (no noteworthy performances were created), and since the 90s, interest in them has been growing unusually, and accordingly, the process of adapting the text in accordance with the events taking place in our country has been going on. As a result, we have completely different interpretations from the early productions, taking into account new theatrical trends, staged by directors of different generations. They are massively characterized by such an extremely free approach to the text that in 2011, Robert Sturua's staging of "The Troubles of Darispan" was considered an unforgivable sin by theater critics, and the attack on the director took such extreme forms that the maestro had to fend off criticism for a long time. This time, however, we have an abundance of free interpretation of the text, interference in it, and forms of extreme modernity. It is in this regard that we offer to understand the interesting stage text of the classical dramaturgy text staged in the recent period and its interpretations in the teaching theater of the Shota Rustaveli Theater and Film University of Georgia and other theaters. Namely:

1. David Kldiashvili's "Misfortune" (directed by Saba Aslamazishvili, (the performance was performed outdoors, in an artificially arranged landfill and swamp, 2021),
2. David Kldiashvili's "Samanishvili's Stepmother" (directed by Giorgi Margvelashvili, Free Theatre, 2021),
3. David Kldiashvili's "Samanishvili's Stepmother" (directed by Giorgi Kashia, Zugdidi Theatre, 2024),
4. David Kldiashvili's "Irene's Happiness" (directed by Giorgi Kashia, Shota Rustaveli Theatre and Film University of Georgia "Teaching Theatre", 2022),
5. Garcia Lorca's "The House of Bernarda Alba" (directed by Maia Doborjginidze, Shota Rustaveli Theatre and Film University "Teaching Theatre", 2022),
6. Garcia Lorca's "The House of Bernarda Alba" (directed by Giorgi Kashia, Shota Rustaveli Theatre and Film University of Georgia "Teaching Theatre" (2023).

References:

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