კულტურა პლუს 2 (20)

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2 (20) 2020 s a g a n m a n a T l e b l o - s a z o g a d o e b r i v i

J u r n a l i

sarCevi / CONTENTS raSi mWirdeba toti, romelzec ver viqanaveb?!

2

WHY WOULD I NEED A BRANCH ON WHICH I CANNOT SWING?!

makondoeli mxatvari

18

THE ARTIST FROM MACONDO

fiqrebi don kixot lamanCelze

34

THOUGHTS ABOUT DON QUIXOTE DE LA MANCHA

teleskola

44

TELESCHOOL

leqsiT gancdili harmonia

54

HARMONY EXPERIENCED THROUGH POETRY

afrindebian landebi...

62

GHOSTS WILL FLY AWAY…

Teatri morigi ganaxlebis pirispir...

66

THEATER AT THE DAWN OF A NEW RENEWAL...

maradiuli Wabuki!..

72

ETERNAL YOUTH!

qarTuli reklamis ostatebis axali misia

78

THE NEW MISSION OF THE MASTERS OF GEORGIAN ADVERTISEMENT

SedarebiTi literaturis msoflio kongresi TbilisSi

94

WORLD CONGRESS OF COMPARATIVE LITERATURE IN TBILISI

saredaqcio jgufi EDITORIAL STAFF xaTuna kereseliZe KHATUNA KERESELIDZE aleqsandre ServaSiZe ALEKSANDRE SHERVASHIDZE ekaterine CulaSvili EKATERINE CHULASHVILI ioseb feiqriSvili IOSEB PEIKRISHVILI revaz iukuriZe REVAZ IUKURIDZE

dizaineri DESIGNER nikoloz bagrationi NIKOLOZ BAGRATIONI

el-fosta: kulturaplusm@gmail.com facebook.com/kulturaplusm beWdva: Sps „sezani“ / Print: LTD Cezanne

gamodis kvartalSi erTxel JurnalSi ganTavsebuli masalis gamoyeneba SeiZleba mxolod redaqciis TanxmobiT

Issued quarterly The materials published in this magazine cannot be used without the authorization of the editorial staff

ISSN 2346-8165

garekanze: iliko fofxaZe _ „Jana ebiuterni“ qaRaldi, tuSi, fanqari, akrili, 70X50 Cover: Iliko Popkhadze – 'Jeanne Hebuterne', indian ink, crayon, acrylic on paper, 70x50

2 (20) 2020

Jurnal `kultura plus~ redaqcia madlobas uxdis ia anTaZes da saqarTvelos sazogadoebriv mauwyebels am masalis gamoqveynebis uflebisTvis. baton besik xaranaulTan Cawerili interviu, vfiqrobT, eleqtronul sivrces unda gascdes da furclebzedac daidos bina, momavali TaobisTvis...

The editorial staff of ‘Culture Plus’ wishes to express its deep gratitude to Ia Natadze and ‘Georgian Public Broadcasting’ for allowing the use of this material. We think that the interview of Mr. Besik Kharanauli should go beyond the virtual space and also be printed on paper for future generations…

besik xaranauli:

`raSi mWirdeba toti, romelzec ver viqanaveb?!~ BESIK KHARANAULI:

“WHY WOULD I NEED A BRANCH ON WHICH I CANNOT SWING?!”

_ batono besik, im cxovrebis fonze, rac Tqven ganvleT, adamianebi kidev gaoceben? Tu yvela „qaragma“ ukve amoxsnili gaqvT? _ me mgonia, rom sakvirveli adamianebSi Zalian cotaa imitom, rom imeoreben imas, rac ukve ukeTebiaT, gansakuTrebiT, CvenSi. ase ki vfiqrob, magram mkvidrad Camoyalibebuli rom mqondes romelime azri, srulebiTac ar mWirdeba. raSi mWirdeba toti, romelzec ver viqanaveb?! _ is gancda Tu gaqvT, rom Tqven TviTon kidev aocebT adamianebs? _ patara rom viyavi, beboCemi meZaxda _ ucnauri xaro. „ucnauri“ ar iyo gavrcelebuli sityva bavSvis dasaxasiaTeblad. „ucnaurs“ ar ambobdnen Cem garSemo da es damamaxsovrda. mere kidev, es kiTxvac momismenia _ egeTi rameebi saidan gafiqrdebao? _ axla? Tu ufro adreul wlebSi? _ ara, ufro adre. roca leqsebs vbeWdavdi. maSin vinme rames rom dawerda, qveyanam icoda. _ qalbatoni naira gelaSvilis werilebis cikli wavikiTxe Tqvens Semoqmedebaze, wlebis win dawerili. maSin avtori

– Mr. Besik, after the life you have lived, do people still amaze you? Or have you already experienced all of their “allegories”?

– I think that there is not much to be surprised at in humans, because they imitate what they had already been doing, especially us.

I do think like that, but I don’t actually have a clearly defined opinion about it – and I don’t need one at all. Why would I need a branch on which I cannot swing?!

– Do you have the feeling that you still amaze people yourself?

– When I was a child, my grandmother would tell me that I was strange. “Strange” was not a common word to describe children.

Other people didn’t use the word “strange” for that purpose around me, and it stayed in my memory. I have also often heard the question: “From where do such thoughts come to you?”

– Now? Or in earlier years?

– Mostly in earlier years. When I was publishing poems. Back then, when someone wrote something, the whole country knew about it.

– I read the series of articles by Mrs. Naira Gelashvili about your work, the one she wrote years ago. She raised the question of whether you would be able to develop as a writer and a poet.

Now that the public knows your new books, do you have the feeling that you can still surprise your readers?

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svamda kiTxvas _ SeZlebdiT Tu ara Tqven, rogorc mwerali, poeti, rom ganviTarebuliyaviT. axla, roca Tqvens axal wignebs ukve icnobs sazogadoeba, gaqvT Tu ara gancda, rom kidev apirebT mkiTxvelis gaocebas? _ ar vici, me maqvs erTaderTi aSkara gancda, rom sul mainteresebs, ra aris poezia. maSin ki ara, roca raRacas vwer, mere miCndeba kiTxva _ ra aris poezia? poezia erT-erTi uxilavTagania, Cemi azriT. man gana marto leqsi Seqmna? mTeli samyaro, rac aris, poeziam Seqmna. makedonelic poeziam Seqmna, tyuilad xom ar dahqonda Tan homerosis „iliada“? _ Tqven ambobT, garemos ar aqvs mniSvneloba, radgan mwerali TviTon qmnis garemoso. es ki gasagebia, magram is garemo, romelSic cxovrobT da muSaobT, Tu aris TqvenTvis komfortuli? _ me mgoni, arcerTi garemo arcerTi SemoqmedisTvis komfortuli ar aris. _ ratom? _ biologiurad aris ase. garemo Zalian mniSvnelovania, magram gadamwyveti ar aris, albaT.

– I don’t know, the only clear feeling that I have is that I am always interested in what poetry actually is. Not when I write, but when I’m finished writing, the question arises – What is poetry? I think that poetry is invisible. Poetry didn’t only create poems; this world, everything that exists has been created by poetry. Alexander the Great was also created by poetry – he wasn’t carrying Homer’s ‘Iliad’ by coincidence.

– You say that the environment doesn’t play an important role, because writers create their own environments. I understand this, but this environment in which you live and work, is it comfortable for you?

– I think that there are no comfortable environments for any creative people.

– Why? – That’s a biological given. The environment is very important, but it is probably not a decisive factor.

– You live both in your village and in the city. You need to be alone to work. Is solitude easier in the city or in your village?

– In general, the morning, dawn is the most wonderful thing I have seen in my life.

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_ Tqven sofelSic cxovrobT, qalaqSic. imisTvis, rom imuSaoT, marto yofna gWirdebaT. es marto yofna qalaqSi ufro advilia Tu sofelSi? _ saerTod, dila, gaTeneba aris yvelaze mSvenieri ram, rac ki cxovrebaSi minaxavs. _ TqvenTvis dila romeli saaTia? _ oTxi saaTidan ukve SegiZlia dauwyo lodini da aRar geSinia, rom „is“ ar Camova matarebliT (icinis). diliT viwyeb weras raRacis, rac sruliad moulodnelad modis _ es iseTi sakvirveli ramea. mejavreba wera. absoluturad ar mizidavs is momenti, roca ukve marTla unda wero da meti gza aRar gaqvs, imitom, rom iq gikidia cecxlia Tu rac jandabaa. hoda, iq ixarjebi mTlianad. amitom aris, rom uamravi xelnaweri damigrovda. _ diliT furcelze werT? _ diax, furcelze vwer. RvTis wyalobiT, adamianebi aRar iRviZeben ise adre, rom 6-7 saaTze vinme CaerTos Sens cxovrebaSi. ase mova Tormeti saaTi... mokled, axerxeb rogorRac. _ gamodis, sulerTia, qalaqSi xarT Tu sofelSi? _ diax, sulerTia. _ da es yovel diliT xdeba Tu zogjer? _ diax, yovel diliT. diliT Zalian bevrs vfiqrob. ar vici ratom xdeba, azrze ar var. furcelze rom davinaxo erTi sityva diliT, vTqvaT, weria „saxli“, xom martivi sityvaa? _ ukve daRupuli var. Tvals varideb yvelafers. _ ratom? _ imitom, rom is misamarTs maZlevs. _ ar gWirdebaT es misamarTebi? _ ara, TavisiT modis. es absoluturad TavisiT modis. garedan karnaxi ar mWirdeba. azrze ar var, rogor wamovedebi da riTi wamovedebi raRacas, romelic mere wamova da wamova. mere daRlili var, iseTi daRlili var, kai nacemiviT. da mogvianebiT, xalxi rom welSi gaimarTeba, me ukve visveneb, erTi saaTi mainc. mokled, saSineli ambavia. _ Tqven rogor aRiqvamT _ es, rac xdeba, SemTxvevaa Tu bediswera? racionaluria Tu iracionaluri? _ jer erTi, ratom unda iyos adamiani imdenad racionaluri, rom ar iyos iracionaluri? es ratom moaxvies Tavs adamians, ar vici. SemTxvevas ki did pativs vcem. urTierTobebSic, cxovrebaSic da adamianis gzazec, saerTod. pirdapir vemorCilebi. bevri epizodia, magram aseTi epizodi iyo SemTxvevasTan dakavSirebiT. erTi wigni

– What time is the morning to you?

– You can already start waiting at four o’clock, and you won’t be afraid that “it” won’t come down (laughs). In the morning, I start writing things that come to me completely unexpectedly – that’s an extraordinary thing. I don’t like writing. I absolutely don’t like the moment when you really have to write and you have no other way, because you are in a hurry or something. And you get completely exhausted in those situations. That’s also why I have gathered so many manuscripts.

– You write on paper during those mornings?

– Yes, on paper. Thank God, people do not wake up as early as before, and therefore, nobody will disturb you at six or seven in the morning. So you might be able to go until twelve… In short, you somehow manage to write.

– It works out, regardless of whether you are in a village or city?

– Yes. – And this happens every morning, or just some of them?

– Yes, every morning. I think a lot in the morning. I don’t know why this is, I have no idea. If I see a word on a paper in the morning, let us say, the word “home” – it’s a simple word, isn’t it? –, then I’m already doomed. I try to not look at anything.

– Why? – Because everything influences me, gives me a direction.

– And you don’t need those directions?

– No, they come by themselves. It comes totally by itself. I don’t need external instructions. I have no idea how I stumble upon something, which will then continue to flow and flow. Then I get tired, I am tired as if I had been beaten up. And later, when people start their day, I am already resting, at least for one hour. To be short, it’s a horrible routine.

– What do you think – is this all a coincidence or fate? Is it something rational or irrational?

– First of all, why should people be so rational as to not be irrational at all? I don’t know why this trend has appeared. And I respect coincidences very much. In relationships, in life, and more generally, in the path of humans. I abide by them right away. I have experienced many coincidences, but I will tell you an interesting one. I have a book titled ‘Epigraphs for forgotten dreams’. In all of my books, I am simultaneously a child and an older person, I am this and I am that, I am all genres. That’s why I call it “metapoetic writing”, “writing” and not “novel” or “poem”, which means that poetry pulses even beyond the form. I already wrote these epigraphs and they will be published soon. In the morning, when rereading, I see that I have written the name “Prokloviant Kato” (it’s the nickname of someone I know). I don’t

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maqvs _ „epigrafebi daviwyebul sizmrebisaTvis“. me yvela wignSi bavSvic var, im xnisac var, am xnisac var, isec var, esec var, yvela Janri var. kidevac davarqvi `metapoeturi naweri~, naweri da ara romani, an leqsi, rac niSnavs, rom poezia pulsirebs formebis iqiTac. es epigrafebi davwere da ukve unda dabeWdon. diliT vfiqrob _ proklovianT kato miweria. me saerTod xalxosnuri gamonaTqvamebi ar miyvars. unikalur sityvebs rom cvlian, ar miyvars. sityva sityvaa. mere aCemeba vici, iseT uazrobas aviCemeb mtkiced, rom veraferi ver gamaryevs da raRaca dro dadgeba, aseve mtkiced vici, rogori sisulele iyo, rasac vfiqrobdi an vakeTebdi. hoda, amoviCeme, rom unda gavvarde diliT, davaswro, rom beWdva ar daiwyon da es proklovianT kato amoviRo. TiTqmis gamomcemlobamde mivedi, quCa unda gadavWra, cota Sevuxvio da iq var ukve. quCaze rom gadavdivar, axalgazrda qals vxedav. modis da meubneba _ gamarjoba, batono besik, me proklovianT katos SviliSvili varo. warmogidgenia?! movtrialdi da wamovedi saxlSi. _ ai, amas hqvia SemTxveva.

like populistic statements in general. I don’t like it when they replace unique words. A word is a word. Then I often get obsessed, I can become so certain of something very stupid, that nothing can prove me wrong, and then the time will come when I become just as certain of the stupidity of what I thought or was doing. So in the same way, I firmly decided that I had to run out of the house in the morning and stop them from printing the book, so that I could take out this “Prokloviant Kato” from it. I had almost gotten to the publishing house, I only had to cross the street, take a turn, and I was there. And when I’m crossing the street, I see a young woman. She approaches me and tells me – “Hello, Mr. Besik, I am the Prokloviant Kato’s granddaughter.” Can you imagine?! I turned around and got back home.

– That’s a real coincidence.

– By the way, Dato Javakhishvili has a book: “Coincidences and Incidents”. It is a great and very interesting book. I have often thought about the fact that Dato Javakhishvili, Vazha Gigashvili, Erlom Akhvlediani have all passed. The only one who is left is Guram Gegeshidze. These were all Guram Rcheulishvili’s friends, whom I call “The Omitted”. At that time, there was the “Tsiskari Generation”

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(‘Tsiskari’ was a literature magazine). But the ones I named were a different, very different kind of people.

_ sxvaTa Soris, daTo javaxiSvils aqvs wigni: „damTxvevebi da SemTxvevebi“. Zalian saintereso da kargi wignia. bevrjer mifiqria, daTo javaxiSvili gardaicvala, vaJa gigaSvilic, erlom axvledianic. cocxali aris axla guram gegeSiZe. eseni iyvnen guram rCeuliSvilis megobrebi, romlebsac me varqmev „gamotovebulebs“. im dros iyo „ciskris Taoba“. magram eseni, vinc CamovTvale, sxvanairi xalxi iyo, absoluturad sxvanairi.

– They weren’t interested in anything else than writing. Is that what you mean?

– Yes, they had high ideals in everything. They have to be named something like “The True Generation”. Today, nobody knows them anymore. I lean on the good people I have met, I follow their example.

Drinking tea with them was something unforgettable.

_ araferi undodaT, weris garda. amas gulisxmobT? _ diax, maRali idealebi hqondaT yvelaferSi. maT raRac unda daerqvas _ marTali Taoba, an rame aseTi. es xalxi dRes aravin icis, maT ar icnoben. Caiara qarTulma sinamdvilem. me viRac kargi rom minaxavs, imas veyrdnobi, magaliTs maZlevs. imaTTan Cais daleva CemTvis aris dauviwyari.

– There are people who carry their problems with them.They are like a walking bunch of problems. And there is another type of people, who are good at resolving problems. To which of these categories do you think you belong?

– Everybody is supported by something, or someone. Fate has its own ways, and everybody has their own fate. But it is not divulged in front of you, you need to feel it yourself. Sometimes, you stumble upon something, you think that it is your destiny, and that it is something easy to get. But it is not, I cannot make good use of it, or I cannot preserve it. People do not have unbearable problems. Everybody has problems they can bear. Their backs were prepared for that.

_ arian adamianebi, romlebic Tavis TavSi atareben problemebs. dadis adamiani da mosiarule problemaa. da arian sxva tipis adamianebi, romlebsac, piriqiT, kargad exerxebaT problemebis gadaWra. am ori kategoriidan Tqvens Tavs romelimes Tu miakuTvnebT? _ adamians aucileblad exmareba raRac, viRac. beds aqvs Tavisi gza, es aris Seni bedi. Tvalwin ki ar gidevs SarasaviT, Sen unda grZnobde. zogjer waetanebi raRacas, Seni bedis ggonia da martivia TiTqos imis mopoveba. magram ar aris, ver Sevirge, ver SevinarCune. autaneli problema ar aqvT adamianebs. asatani problema aqvs yvelas. misi zurgi aris misTvis gamzadebuli.

– Their backs?

– Yes, backs are made to carry those problems. In this case, I am very embarrassed – am I passing a sentence against someone? It is a horrible feeling to pass a sentence against someone. I am so lucky I didn’t become a judge! (laughs).

_ zurgi? _ diax, zurgi imisTvis aris, rom is problemebi ataros. am SemTxvevaSi, marTla merideba, rom vambob _ ganaCeni xom ar gamomaqvs vinmesTvis. es saSineli grZnobaa, rom vinmes ganaCeni gamoutano. rogori gadarCenili var, mosamarTle rom ar gavxdi?! (icinis). _ rogoric aris xasiaTi, iseTia bedio, _ ingliseli diplomati da mwerali Cesterfildi werda. xasiaTi da bedi gadabmulia erTmaneTze? _ xasiaTi da bedi? (pauza) ki, veTanxmebi, axlo arian. rogorc weRan axsene, SemTxveva da bediswera. winaT xom ar iyo ase _ iracionaluri da racionaluri adamiani. axla rasac vwer, iqa var, rom adamiani yvelaferSereulia. rac ginda, yvelaferSereulia. ZaRli magaliTad, suniT eZebs, dasunsulebso, rom amboben. miliard suns inaxavs, masSi patara internetia. adamians aseTi gamokveTili rame niSani ar gaaCnia.

– English diplomat and writer Chesterfield once wrote: “The destiny of a man follows his personality”. Are the character and destiny of someone somehow linked to each other?

– Personality and destiny? (pause) Yes, I agree, they are close to each other. Incidents and destiny. It didn’t use to be like that – the irrational and rational man. In what I’m writing now, the human incorporates all aspects. Whatever you want. For instance, dogs search for things with their sense of smell. They keep millions of smells in memory, they have their own little “internet” of smells. Humans do not have such a characteristic feature.

– During your early writing period, did you ever feel that writers who were more famous or more successful were behaving towards you in a condescending way? Or did you find your place right away and did everybody already know that you were untouchable?

– I was friends with Dato Javakhishvili’s circle of friends, but I knew that I wasn’t part of it. I knew that they had their own spirit and means of expression, and I didn’t have the same. I always preserved mine. I liked these boys, but never got as close to them as I could.

_ Tqveni Semoqmedebis adreul etapze, Tu gigrZvniaT Tqven mimarT qedmaRluri damokidebuleba im mwerlebis mxridan,

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– I’m sure that group wasn’t arrogant. I meant others.

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romlebic ufro cnobilebi da karierulad warmatebulebi iyvnen? Tu Tavidanve gqondaT Tqveni adgili da yvelam icoda, rom xelSeuxebeli xarT? _ me daTo javaxiSvilis wresTanac vmegobrobdi, magram vicodi, rom imaTi Sinauri ar viyavi. vicodi, maT aqvT TavianTi saxe da im saxesTan me araferi mesaqmeba. am Cems saxes sul vicavdi. xom momwondnen eg biWebi, magram arasodes magaTTan ramdenadac SemeZlo, imdenad axlos ar vyofilvar. _ egeni arc iqnebodnen qedmaRlebi, sxvebi mainteresebs. _ magdens ver bedavdnen. pirovnulad, ici, rogor viyavi? marTlac araferi mindoda, aravis gzaze ar veRobebodi, maSinve vuTmobdi. axlac aseTi var. rom SevamCnev, rom adamians unda raRac, imasTan ukve vdistancirdebi. egeTi var, CemTvis mirCevnia yofna. _ magaTi Sinauri ar viyavio, rom TqviT, Sinauri visTan iyaviT? vici, rom daTo weredianTan megobrobdiT. _ daTo weredianTan vmegobrobdi da im periodSi magari msmeli viyavi. daTosTan ver dalevdi, TviTon ar svamda da me SemeZlo, kvirebis ganmavlobaSi mesva. _ risTvis gWirdebodaT es sasmeli? _ Camigdes xelSi, marTla geubnebi. oc wlamde daleulic ki ar mqonda. mere studqalaqSi vcxovrobdi.

Tbilisi CemTvis ucxo garemo iyo. Zalian wesieri da dakanonebuli cxovreba mqonda TianeTSi: dedaCemi, beboCemi da me. axlac magaze vwer imitom, rom es iyo Cemi wminda. da ufro wminda iyo Cemi bavSvoba, romelsac me, Tavi rom movikla, ver mivwvdebi. _ Tqvens bavSvobaSi Tu yofila iseTi ram, rac maSin saswaulad geCvenebodaT da axla, roca amdeni dro gavida, kidev ver agixsniaT, ra iyo? _ imdeni ramisTvis unda gepatrona, imdeni rame unda dagecva, Zalian saintereso iyo. mTeli dRe patara ZaRliviT iyavi. _ visgan an risgan icavdiT? _ yvelafrisgan _ Zroxebi unda dagecva, boColebi unda dagecva, Robeebi ar iyo myari, mezoblebis agresia iyo. _ deda da beboc unda dagecvaT? anu adamianebic Tqveni dasacavebi iyvnen? _ ra Tqma unda. es biWis instinqtebi iyo. dedas vutirebdi, yvelaferze viyavi wamsvleli. mamaci viyavi bavSvobaSi. Tanac iq bevri vivarjiSe diplomatiaSi. gvarebad cxovrobdnen Cem garSemo ojaxebi da amaT icodnen, gaerTiandebodnen im wuTSi Sen winaaRmdeg.

Zalian Zneli iyo.

– They couldn’t dare to be arrogant. You know what kind of individual I was? I didn’t want anything, really, I wouldn’t cross anyone’s path, I would let them go first right away. I still am like that.

When I notice that someone wants something, I take my distances.

That’s how I am, I prefer to be alone.

– You mentioned that you weren’t part of Dato Javakhishvili’s circle of friends. Which group were you part of? I know that you were friends with Dato Tserediani.

– I was friends with Dato Tserediani, and at that time, I was a heavy drinker. You couldn’t drink at Dato’s place, as he didn’t drink himself. I could drink for weeks in a row at that time.

– Why did you feel the urge to drink?

– They “recruited” me, I’m telling you. I had not even drunk alcohol until I was 20. Then I was living in the “student city” neighborhood in Tbilisi. It was a very unknown environment for me. I lived a very regular and ordered life in Tianeti: my mother, my grandmother, and myself. I still write about that, because that’s what I see as my pure, sacred life. My childhood in general was pure and sacred, and even if I kill myself, I wouldn’t be able to attain it.

– Was there something that you felt was a miracle during your childhood, and that you still didn’t manage to explain after all these years?

– You had to take care of so many things, you had to protect so many things, it was very interesting. I was like a little dog all the time.

– Protect from what or from whom?

– From everybody – you had to protect cows, calves; fences weren’t solid, there was aggression from the neighbors.

– Did you have to protect your mother and grandmother too?

Or in other words, did you have to protect people too?

– Of course. These are a boy's instincts. I would have done anything for them. I was brave in my childhood. And I also was trained quite well in diplomacy there. The families around us lived together according to their last names, and they could gather together if they had a dispute with you. It was very difficult.

– What age are we talking about?

– At that time, I didn’t know what age meant. I didn’t have anybody like a brother or a sister to understand they were younger or older than me. I know that when they killed the brigand Gogia Chichoshvili, I wasn’t ten years old yet. When they caught him, the police didn’t throw his corpse out of the car like they used to with other brigands.

– Did you see other brigands too?

– Yes, I did. They put him out of the car and buried him. I don’t know how I got that close to the scene. I can still see his moccasins and

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socks. A protest developed in me – after that scene, I wouldn’t pass in front of the police station anymore, I would take the backstreet. I don’t know what I was protesting about, but as a boy less than ten years of age, I was already quite ripe.

_ ra asakSi gulisxmobT Tqvens Tavs? _ maSin ar vicodi, asaki ras niSnavda. aravin myavda gverdze, an Zma, an da _ romelic an Cemze didi iqneboda, an patara. es vici, WiWoSvili gogia rom mokles, yaCaRi, maSin aTi wlis ar viyavi jer. is rom Camoasvenes, miliciam manqanidan ar gadmoagdo, rogorc sxva yaCaRebi gadmouyria daxocilebi.

– It turns out you felt sympathetic towards that brigand.

– There were many brigands in the woods. They were part of our lives.

_ sxvebic ginaxavT? _ sxvebic minaxavs, ki. es manqanidan Camoasvenes da daasvenes. rogor mivedi ise axlos, ar vici. misi qalmebi da windebi axlac Tvalwin midgas. protesti gamiCnda _ im SemTxvevis mere miliciis Senobis win aRar gamivlia, quCis meore mxares gadavdiodi. ras vaprotestebdi, ar vici, magram ukve momwifebuli viyavi arasruli aTi wlis bavSvi.

– Do you think they were interesting people?

– Of course they were interesting people.

– Weren’t you afraid?

– No, I wasn’t afraid at all.

– So you were afraid of your neighbors, but not of brigands?

– I wasn’t afraid of my neighbors either.

_ gamodis, am yaCaRs uTanagrZnobdiT. _ bevri yaCaRi iyo tyeSi. yaCaRobis fonze iyo cxovreba. _ Tqven aRqmaSi saintereso xalxi iyo? _ diax, saintereso xalxi iyo, aba ra.

– You mentioned that you were protecting your family.

– Whoever a person is, they defend what the place that is bordered by their fence. Men defend their territory.

– But not from brigands?

– I wasn’t afraid of brigands.

_ ar geSinodaT? _ ara, ar meSinoda srulebiT. _ ra gamodis, mezoblebis geSinodaT da yaCaRebis ar geSinodaT? _ arc mezoblebis meSinoda. _ rom ambobdiT, ojaxs vicavdio? _ adamiani, vinc ginda iyos, SemoRobili rom aqvs, im adgils icavs. kaci aris imis damcveli.

– How come?

– I had the feeling that they were not behaving like wolves towards me, and that they weren’t bad.

– But you were attentive to the people around you, so that they couldn’t hurt your mother or grandmother, right?

– Naturally!

_ eg rogor moxda? _ Cemi ganwyoba iyo aseTi, rom isini CemTvis mglebi ar iyvnen da cudebi ar iyvnen.

– Do you remember your biggest loss as a child?

– I didn’t have anything, so objectively, what could I have lost?

There was one episode about an apple tree that we had. It had very good apples, I never ate such good apples afterwards. It was a particular species of apple. And some boys would steal those apples.

But I would defend it very well. And in the end, they took away the tree’s bark.

_ magram axlo-maxlo xalxTan fxizlad iyaviT, rom dedisTvis da bebosTvis ar ewyeninebinaT. _ aba ra! aba ra!

– So that it would dry off?

– Yes. My mother very easily figured out who did it, but she didn’t complain.

_ Tqveni bavSvobisdroindeli yvelaze didi danakargi Tu gaxsovT, ra iyo? _ araferi mqonda, obieqturad ra unda damekarga? aseTi epizodi iyo, rom Cven gvedga sazafxulo vaSli. Zvirfasi vaSli iyo, mere aRarc miWamia iseTi. raRac Taviseburi jiSi iyo. imas gvparavdnen biWebi. magram Zalian magrad

– Do you remember a particular human loss?

– I grew up with the death of my uncle as a background. He was 23 when he got killed.

_ magram ara yaCaRebisgan? _ yaCaRebis SiSi ar mqonia.

– Was he killed by brigands?

– There were two words – “they” and “chaos”. They were saying

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that when “they” arrived, they killed him in a sort of “chaos”. The mystery around his death has shaped my life to an important extent.

vicavdi im vaSls. da bolos gagviqerqes, anu vaSlis xes qerqi aaTales. _ rom gamxmariyo? _ diax. dedaCemma martivad ipovna, vinc es Caidina, magram ar uCivlia. _ adamianuri danakargi Tu gaxsovT? _ me gazrdili var biZaCemis sikvdilze. 23 wlis mokles da es iyo foni. _ yaCaRebma mokles? _ ori sityva iyo _ „eseni“ da „areuloba“. anu eseni rom movidnen, areulobaSi mokleso. misi sikvdilis saidumlom bevri ram gansazRvra Cems cxovrebaSi. _ anu Svilgardacvlili bebo gzrdidaT? _ diax, magram ras mzrdida? cota xani mzrdida da mere me vzrdidi loginad Cavardnils. aseTi sayvareli aravin myolia, yvelaferma masTan gaiara. imasTan vTamaSobdi. is rom ar yofiliyo, mayurebeli ar meyoleboda. xan Teatri viyavi, xan ra viyavi, xan vin viyavi. _ vici dedis mimarT Tqveni damokidebuleba, magram mainteresebs, Tqven rom besik xaranauli xarT da vinc xarT da rogoric xarT, dedaTqvenma ra roli Seasrula amaSi? _ ici, ucnauri ra aris? dedaCems da beboCems arc gamzrdelebad vTvli, arc imad, rom ase iyo, ise iyo, damaklo, ar damaklo, momatyua, ar momatyua. es aris absoluturi erTarseba. xandaxan ise mikvirs, marto rom var da dedaCemi aq ar aris; gverdze rom dedaCemi ar midgas. _ anu ver vityviT, rom dedaTqvenis ama da am Tvisebam, an ama da am nabijma CamogayalibaT aseTi, rogoric xarT. _ ara, Cven ase davibadeT samive da ase vicxovreT. da rig-rigiT wavidnen. me viyavi bebos momvleli, romelic, magaliTad, unda gadamebrunebina sawolSi. „gamaCuCuneo“ _ metyoda. beso, beso! _ damiZaxebda. ra ari? _ vkiTxavdi, viTom ar vicodi, ra aris. gamaCuCuneo, _ ooo, wamovdgebodi. mere vkocnidi, vkocnidi, vkocnidi. is giJdeboda, ras mkocniso. ar uyvarda. me kidev vkocnidi, ver vZRebodi. magram udieric viyavi, cudic viyavi. _ raSi gamoixateboda? _ xandaxan Zalian yelSi amomividoda xolme.

– So you were raised by a grandmother who had lost her son?

– Yes, but was she really raising me? She did raise me for some time, but soon enough, I was taking care of her, as she remained confined to her bed. I never met someone so lovable, I experienced everything with her. She was my playing partner. If she hadn’t been there, I wouldn’t have had a spectator. Sometimes, I would play theather, sometimes this, sometimes that.

– I know your relationship to your mother, but I would like to know what role she played in you being Besik Kharanauli, the one you are and the way you are?

– You know what’s strange? I don’t see my mother and my grandmother as my educators, and I don’t approach them as people who were like this or like that, who made me lack something or didn’t, who lied to me or didn’t lie to me. We were absolutely consubstantial. Sometimes, I get surprised at the fact that I am alone, and that my mother isn’t here anymore; that she isn’t standing next to me.

– So we couldn’t say that this or that characteristic of your mother, or this or that decision of hers has shaped you as who you are right now.

– No, the three of us were born that way and lived that way.

And they passed one after the other. I was the caretaker of my grandmother; for instance, I was the one who would turn her sideways on her bed, to “rustle” her, as she would say. Beso, Beso! – she would call me. What is it? – I would ask, as if I didn’t know. Will you rustle me? – Ooo, I would say, and get up right away. Then I would kiss her again and again. She was surprised, wondering why I was kissing her. She didn’t like it. But I was kissing her, I couldn’t get enough of it. But I could also be rude, I wasn’t always a good boy.

– What do you mean?

– Sometimes, it was too much for me.

– Being the head of the family?

– No, the kind of life we had.

– What about your teenage years, was it difficult for them to find a common language with you? How was it for your family at that time?

– It was nothing special. There were rules there that simply stood above all that.

_ ojaxis ufrosoba? _ ara, TviTon eseTi yofa.

– What else was there apart from the rules of nature, could you

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tell us more?

– We got a character, we were already a character. We were different people, a different family, be it together or individually.

We were always different, completely different. We were keeping the blood-stained shirt of my uncle in a closed drawer of our wardrobe.

_ da rTuli asaki rom aqvT mozardebs, rodesac Znelia maTTan saerTo enis moZebna, Tqveni eg asaki rogor gaiara ojaxma? _ araferi ar yofila. iq iseTi didi kanonebi iyo, romlebic Cvenze maRla idga. _ ra iyo bunebis kanonebze meti, SegiZliaT, rom gviTxraT? _ xasiaTi miviReT, Cven ukve xasiaTi viyaviT. Cven viyaviT gansxvavebuli xalxi, gansxvavebuli ojaxi, mTlianobac da cal-calkec. sul sxvanairebi viyaviT, absoluturad sxvanairebi. Cveni tansacmlis karadis Caketil ujraSi inaxeboda biZaCemis sisxliani perangi. _ gzadagza moxda Tu yovelTvis sxvanairebi iyaviT? _ yovelTvis sxvanairebi viyaviT, yovelTvis. mixaria, rom es mkiTxeT. sxvanairebi viyaviT da arasodes vyofilvarT cudebi. _ Tqvens SvilebSi Tu xedavT dedaTqvenTan msgavsebas? _ rogor ara?! gansakuTrebiT, levani da, aseve, anac dedaCems kargad hyavda gamocdili. _ didebi iyvnen, rom gardaicvala?

– Did it happen gradually, or were you always different?

– We were always different, always. I am glad you asked this. We were always different, and we were never bad people.

– Do you see a likeness between your children and your mother?

– Of course! Especially in Levan, and Ana also spent a lot of time with my mother.

– Were they still children when she passed?

– No, they could get to know her quite well. In the end, they were taking care of her, they did really well. Everybody has a grandmother, everybody has a grandfather, but they are more than that. Of course, they are called grandmas, and I also use that term, but they are something more, something that words are too weak to describe. I carry all this with me, this is actually my talent.

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_ diax, kargad moeswrnen. bolos uvlidnen, Rirseulad moeqcnen. yvelas bebo hyavs, yvelas papa hyavs. magram amaSi ar eteva. ki, bebo hqvia da mec bebos vambob, magram raRac metia, rasac saxels ver daarqmev. amas me TviTon vatareb Zalian da Cemi niWic es aris. _ saidumlos ambavi minda vTqvaT. es Tema Tqvens SemoqmedebaSi sul aris da, albaT, cxovrebaSi _ miT ufro. _ TviTon Cven viyaviT saidumlo da es saidumlo mxolod Cven vicodiT. vTqvaT, gamixardeba rame. vTqvaT, sulelurad gamixardeba. ar maqvs ufleba, sisulele gamixardes, romelsac xval da zeg mniSvneloba ar eqneba? vTqvaT, paraskevi dRea, jer kidev sabWoTa kavSiris droa, magram viRas ainteresebs sabWoTa kavSiri?! gamovida „literaturuli gazeTi“, Cemi leqsebia. viyide kioskSi da samsaxurSi mivdivar. xom vici es leqsebi, xandaxan Cavxedav, vetrfi, ra... Cems Tavs vetrfi, leqsebs vetrfi, cxovrebas... vtkbebi, vsiamovneb, mixaria. amas axla xom vambob, ara? es vis unda vuTxra? ar yofila SemTxveva, vinmesTvis meTqva, rom Cemi leqsebia sadme dabeWdili. _ anu es sixarulic Tqveni saidumloa? _ amas mxolod dedaCemTan vambobdi, imitom, rom esec saidumlos nawilia, sixarulia saidumlos nawili. _ axla, rac dedaTqveni aRar aris, Tqven dagrCaT Tqveni saidumlo? marto xarT mag saidumlosTan? _ Cems cxovrebaSi erTaderTi marTali iqneba is, rac dedaCems gauxardeba. dedaCemma bevri laparaki ar icoda. roca vsvamdi, mxolod maSin laparakobda, ar vemetebodi sasmelisTvis. Sen sindisieri kaci xaro, sindisi gaqvs, rames Caiden da gadahyvebio, _ es iyo misi saTqmeli. erTaderTi SemTxveva iyo, roca gamomeqomaga: erTi axlobeli, Tavisiani, dedaCems eubneba mesame adamianze _ iman icis besikis fasio? dedaCems uTqvams, jer dedamiwaze adamiani ar dabadebula, besikis fasi rom icodeso. ai, ase zustad arsad miTqvams da mixaria, rom SenTan vambob am frazas, rac dedaCemisaa. es rom gavige, me vuTxari, Sen sul gagiJebulxar-meTqi, ram gaTqmevina eg sityva? ra fasi, ris fasi? me ra davuwune, ici? da dedaCemi mimixvda: ras eubnebi magas, Cems fasze ras elaparakebi sxvas. ifiqron, rom cudi var, ar mirCevnia, rom ifiqron, TiTqos, cudi var da ar icodnen Cemi fasi? _ ratom? _ ratom da imitom.

– I would like to talk about the theme of secrets. It is always present in your works, and perhaps even more in your life?

– We were a secret ourselves, and we were the only ones to know that secret. For instance, if I am happy about something, something silly. Don’t I have the right to be happy about something silly, something that won’t have any importance one or two days later?

For example, it’s Friday, it’s still soviet times, but who cares about the Soviet Union anymore?! A literary magazine was published, it has my poems in it. I bought the magazine at the kiosk and I’m heading to work. I know these poems, but sometimes, I take a look, I take pleasure in them… I take pleasure in myself, in my poems, in life… It enchants and delights me, I am happy. I am saying this right now, am I not? To whom should I tell this? There was no appropriate moment for me to tell someone that my poems were published somewhere.

– So this happiness is also your secret?

– I would only tell my mother, because it was also part of our secret, happiness was part of our secret.

– Now that your mother isn’t here anymore, you are the only one to hold this secret?

– The only true things that can happen in my life are those that would make my mother happy. My mother wouldn’t talk much.

She would only talk when I was drinking, so I would drink less.

She was saying that I was a proud man, that I had honor, and that I would do something that I wouldn’t be able to overcome. She encouraged me only once: a friend of hers told her about another person – "Does he know the value of Besik?" And my mother answered her that there was nobody on Earth who knew the value I had. I never really said that to anyone, and I am happy to say my mother’s sentence to you. When I heard that, I told her that she had gone crazy, and asked why she had said this. What value? Do you know what I was reproaching her? My mother understood it: why was she telling that to her friend, why was she talking about the value I had to someone else? They can think that I’m a bad person, shouldn’t I prefer people to think that I am a bad person and not know my value?

– Why? – Because.

– Is this also part of the secret?

– Yes, it is. Nobody should know it.

– What about the fact that they call you the most “nude” (open) poet?

– So what if I take some clothes off?

_ esec saidumlos nawilia? _ diax, saidumlos nawilia. Cveni ambavi aravin ar unda icodes.

– But is there a lot left beyond that?

– We are having a good conversation… You are making me

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_ Tqvenze rom weren, „yvelaze SiSveli“ poetiao? _ mere ra moxda, raRacas viSiSvleb. _ magram imis iqiT kidev bevri rCeba? _ kargad vlaparakobT... sworad magnebineb raRacas. me Tu vinmes movewone, ese igi, kargad movatyue. eg aris. simarTle vin icis? tyuili ki xelovnebaa. _ batono besik, rac ar unda komplimentebi da epiTetebi Tqvan Tqvenze, rom Tqveni fasi es aris, is aris, Tqvenze kargad xom aravin icis Tqveni fasi? _ Sen axla sazogadoebis azrze ambob, ara? _ diax. _ sazogadoebis azri imisTvisaa saWiro, rom TviTon sazogadoebam moixmaros. Sen raSi gexeba? araferSi ar gexeba srulebiT. _ dedaTqveni moeswro imas, roca Tqven ukve iyaviT is, vinc xarT qarTuli mwerlobisTvis? _ diax. guram asaTianis werilma Zalian bevri Secvala, guramis damokidebulebam Cemdami. _ dedaTqvenSi Secvala? Tu saerTod? _ saerTod, sazogadoebaSi. _ gviambeT, ra werili iyo. me ar wamikiTxavs, samwuxarod. _ Cemi pirveli wigni rom gamovida, moewonaT, kargad miiRes. meore wignis gamocema ki uWirdaT. vaxtang WeliZes da griSa abaSiZes vuyvardi, wignis gamocemas win raRa edga? magram am ambavs gamagreba unda. ioseb noneSvili daminiSnes redaqtorad. iosebi ra ucnauri kaci aRmoCnda, ici? miTxra _ vinmes SeiZleba hgonia, me azrze ar var, es ra ariso. me geubnebi Sen, rom es magari wignia da Tu ara, naxav, es dRe daimaxsovreo. ase miTxra iosebma. sxvaTa Soris, mere Tavis cxovrebaSi ar uxsenebia, rom Cemi wignis redaqtori iyo. egec xom Rirsebaa? _ da guram asaTiani? _ guramis werili ukavSirdeba „xeibar Tojinas“, romelic, faqtobrivad, aralegalurad gamoveciT. griSa juluxiZe iyo, poeti, romelic „meranSi“ muSaobda, is damexmara. cenzurasTan ki iman miSvela, rom Cvens sarTulze iyo mTavliti. me iseTi wesieri viyavi, yvelas vuyvardi. gana ramis gamo? ubralod, elementaruli rameebi vicodi sworad. hoda, es mTavliti wuxs _ besiks rogor vuRalatoo, magram redaqciaSi ar unda gaegoT misi ganwyoba. karlo kalaZes moswonda es wigni. mTeli tiraJi rom daibeWda, amis Semdeg ori kvira iyo wignis karantinis vada. wesia _ ori kvira unda idos gavrcelebamde, rom vinmem rame ar aRmoaCinos ukve

realize something. If someone likes me, it means that I have been good at lying to them. That’s it. Who knows the truth? Lying is an art.

– Mr. Besik, whatever compliments and laudatory words they say about you, that your works are worth this or that, nobody knows your value better than yourself, do they?

– Are you talking about the opinion of the society?

– Yes. – The opinion of the society is necessary to the extent that the society itself can use it. What does it have to do with you? It doesn’t have anything to do with me.

– Was your mother alive when you already were what you are as a Georgian writer?

– Yes. Guram Asatiani’s article has changed many things.

– For your mother? Or in general?

– In general, in the society.

– Please tell us about that article. I didn’t read it, unfortunately.

– When my first book was published, they liked it, it was well received. But the publication of the second one was more difficult.

Vakhtang Chelidze and Grisha Abashidze loved me, what obstacles could there be? But it needed more. They appointed Ioseb Noneshvili as my editor. Ioseb turned out a very strange man, you know? He told me: “Maybe someone thinks that I have no idea what this is. I am telling you, this is a great book, and you will see, remember this day.” That’s what he told me. By the way, he never mentioned that he was the editor of that book. That’s something special in itself, isn’t it?

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gavrcelebis Semdeg. eg ori kvira yvelaze mZimea. ydaze ewera: poema... poema... poema... ar ewera „xeibari Tojina“. gadaSala karlom, xedavs, SigniT „xeibari Tojina“ weria. ar uTqvams araferi. magram iq kidev mTavari redaqtori iyo, ufro metad saSiSi. griSas veubnebi: „vici, Cemi wigni win udevs, rom gadaSalos, meti ar iqneba saWiro, egreve viRupebi, unda aacalo es wigni rogorme“. me kidev karlos veubnebi: batono karlo, TianeTSi mivdivar, damiTme wigni, maTxove, rom sofelSi vaCveno. ori kvirac gavida, wigni gamoica da zafxulic dadga. wavediT zRvaze. Zalian mejavreboda sadme wasvla, magram colSvilis gamo wavedi. TbilisSi rom davbrundiT, es oxeri, vgrZnob, raRacaa momxdari, rac me mikavSirdeba da azrze ar var. vxedav, mteri da moyvare sxvanairad meqceva. amasobaSi gavida erTi Tve. mere nacnobma ise, saubarSi axsena _ guramma rom werili dawerao. warmogidgenia? aravin ar miTxra. _ etyoba, yvelas egona, rom icodiT. _ SeiZleba. yvelaze cudi ra iyo xolme, ici? rom ar ujerebdnen imas... guSindeli rogoric wavedi, iseTs aRar mijerebdnen. vatyob, rom axla _ iseTi rom var, isa var,

– What about Guram Asatiani?

– Guram’s article was about ‘Crippled Doll’, which we practically published illegally. Grisha Julukhidze was a poet who was working at ‘Merani’, he assisted me in this endeavor. About censorship, I was helped by the fact that the Main Literary (censorship) Board had an office on our floor. I was so decent that everybody loved me. Not because of anything in particular, it’s just that I was doing all the elementary things right. So this board is thinking – “how can I betray Besiki”, but at the same time, the editorial office couldn’t know his mindset. Karlo Kaladze liked this book. When all the copies were printed, the book had a quarantine period of two weeks. That was the rule – it has to be there for two weeks, so if there is something in it to discover, it doesn’t happen after it is published. Those are the two most difficult weeks. On the cover, it was written: Poem… poem… poem… and not “Crippled Doll”.

Karlo opened the book and saw that inside, the title was “Crippled Doll”. He didn’t say anything. But there was also the chief editor, who was much more dangerous. I told Grisha: “I know that he has my book on his desk, if he opens it, that’s it, I’m destroyed, you have to take this book out of his desk somehow”. And I also told Karlo: “Mr. Karlo, I’m going to Tianeti, please give me one copy so I can show it at the village.” After two weeks, the book was

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published, and it was spring. We went to the sea. I didn’t want to go anywhere, but I had to because of my wife and children. When we got back in Tbilisi, I could feel that something had happened, something related to me, but I didn’t know what. I could see that both my friends and enemies were behaving differently towards me. One month passed. And then someone I knew just told me, while we had a conversation – Guram had written an article. Could you imagine? Nobody told me.

rac viyavi, xom? magram ar aris swori Cemgan aseTi rom var. Zalian magari werili iyo guramis, „vidre is toti irxeva“ hqvia. _ da dedaTqvens moewona es werili, ara? _ guramma Zalian daatkbo. guramsac uyvarda mere dedaCemi. manamde ar vicnobdi. vinc iyo, ki vicodi... ukareba ar vyofilvar, magram mimkarebelic ar viyavi. amitom ar vicnobdi, Torem gurami Zalianac kargad vicodi, vinc iyo. _ maSin ukve Wrida misi sityva, rogorc Cans. _ gurami ukve Camoyalibebuli iyo pirvel metrad. am statiis gamoqveynebis Semdeg nodar dumbaZe Semxvda mweralTa kavSirSi. modis da mejaxeba. xumrobis Semcveli moqmedeba iyo, magram xumrobac xom unda icode, ras exeba. uceb ambobs: „ra qeni, ra qeni, xerxemali gadamitexe?!“ me Sevwuxdi _ ra vqeni-meTqi, vkiTxe. mixvda, rom ar vicodi, ras meubneba. bolos miTxra, guramma Tqvao, besikma qarTul poezias xerxemali gadautexao. _ rogorc vici, wels Tqveni poemebi germanul enaze gamoicema. _ diax, frankfurtis wignis bazrobasTan dakavSirebiT germaniaSi gamoscemen qarTvel poetebs. me araferSi monawileoba ar mimiRia, magram moxda ise, rom miTxres, Tqveni xuTi poema gamodiso. ra xuTi poema gamodis, ra sisulelea _ vfiqrob. xuTi poema niSnavs, rom xuTi kedelia gangreuli, vin gamogicems? aRmoCnda, rom ar xumrobdnen. _ germanulad Targmnes, ara? _ diax, mTargmnelma interviuc Caiwera radiosTvis, TviTon Zalian kmayofilia. germaniaSi uceb Tu ar dagitaces, mere Seni saqme cudad aris (icinis). axla vis xelSic aris es yvelaferi, gadamerivnen, rom ityvian. _ dasasrulisken mivdivarT da minda, bolos adamianze gkiTxoT _ warmavalia Tu maradiulia? _ adamiani resursebiani kvdeba. imdeni niWi aqvs, romelic ar gamoiyena. _ nebismier asakSi? _ diax, nebismier asakSi. ar vici, rogor unda vTqva, TviTdajereba ar momwons, Torem axla ufro bevri rame vici werisa, vidre vicodi. ici, ramdenia saweri? euh, gesmis? ese igi, adamiani kvdeba resursebiani. dauxarjavi midis da bunebrivia, rom roca midis, raRacis zRvars xedavs, horizontze xedavs raRacas. _ ra SeiZleba iyos?

– It seems everybody thought you knew.

– Perhaps.You know what was the worst? That they didn’t believe I was the same… They didn’t believe I was the same person who had left yesterday. I know that now – I am this person, I am that which I was, right? But it isn’t right for me to be that. Guram wrote a great article, it was called ‘Before that branch sways’.

– And your mother liked that article, didn’t she?

– Guram made her really happy. Guram also got to know and like my mother. I didn’t know him before that. I knew who he was though… I wasn’t unsociable, but I wasn’t someone who would go talk to everybody either. That’s why I didn’t know him, but I knew very well who he was.

– It seems they were already taking his words seriously back then.

– Guram was already seen as a great critic. After that article was published, Nodar Dumbadze met me at the Writers’ Union. He comes to me and bumps into me. He did it on purpose as a joke, but shouldn’t I have known what the joke was about? Suddenly, he said: “What did you do to me, what did you do?! Why did you break my backbone?!” I got troubled, and asked him what I had done. He understood that I didn’t know what he was talking about. In the end, he told me that Guram had said that Besik had broken the backbone of Georgian poetry.

– As I know, your poems will be published in German this year.

– Yes, they will publish Georgian poets in German in the framework of the Frankfurt Book Fair. I didn’t take part in it, but it so happened that five of my poems will be published. I didn’t believe it at first.

Five poems, that meant that five walls will be destroyed, who would publish them? But they weren’t joking.

– They translated them in German?

– Yes, the translator recorded an interview for the radio, he was very happy about it. In Germany, if you are not an instant success, then it’s not a good sign (laughs). The people who are looking after this endeavor have jumped on me, so to say.

– We are approaching the end of the interview, and I wanted to ask you about humans – are they temporary or eternal?

– Humans die full of resources. They have so many talents that they didn’t use.

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_ axali. erTaderTi, rac Cvensken modis, es aris axali. danarCeni yvelaferi Cvengan midis. _ maSin isev imas minda davubrunde, Tqven rom TqviT, bebo, deda da me erTni viyaviTo. axla isini arian sadRac im axalSi, Tavisi dauxarjavi resursiT, Tqven ki _ isev ZvelSi da maTTan mTlianobas Tu grZnobT? _ erTaderTi eWvi yvelaferSi miCndeba imis gamo, rom upasuxo kiTxvebi maqvs: dedaCemi ratom ar meubneba arafers? kargad aris da ar magebinebs? raSia saqme? es saidumloa. rogor SeiZleba dedaCemma ar miTxras: „Svilo, aq ici ra kargia? ar SegeSindes.“ ratom ar meubneba? _ sul ar yofila araferi? _ egeTi araferi yofila. warmogidgenia? mkvdruli dumili rom ician, beboCemic egrea gaCumebuli da dedaCemic. eseTi dumili rom aris Camovardnili, SeiZleba, Tavis dros elodeba. Tundac, adamianurad dedaCemis da beboCemis naxva imdenad saocneboa... aba, amas moayole kidev, ramdeni didebuli adamiania wasuli. magaliTad, Seqspiri rom naxo, winaaRmdegi iqnebi? _ sokrate gamaxsenda, romelic uyoymanod mzad iyo, rom homerosTan gadasaxlebuliyo imqveynad. magram axla tradiciulad unda davamTavroT Tqveni mokle komentarebiT cnobili adamianebis or gamonaTqvamze. pirveli citata ekuTvnis romael istorikoss gaius kornelius tacituss (56-117): „visac mtrebi ar hyavs, mas megobrebi Rupaven“. Tqvens wignebSi araerTxel wavawydi, rom megobrebTan urTierTobis rTuli gamocdilebac gaqvT. _ Zalian kargi naTqvamia. arc megobrebs ebrZvis, arc mtrebs. ori substanciaa, ori realobaa da rogor SeiZleba, realobas ebrZolo? sulxan saba rom Civis, romeliRac kargma, mSvenierma, RvTismosavma kacma leqsikonze rogor waSala misi gvari da sakuTari gvari daawera. sulxan-sabas 15 cali xelnaweri xom ar hqonda? cxadia, aTxova axlobels da ara ucxos. iman kidev sulxansabas gvari waSala da daawera Tavisi. _ Tqven amis gamo werT, rom mxolod maSin SeiZleba adamianTan megobroba, roca is aRar ariso? _ ar maxsovda, kinaRam vTqvi, egec sworia-meTqi. roca aRar aris, maSin mtkicdeba, maSin dasturdeba megobroba. megobroba adamians abaria. roca aRar aris, maSin aRar abaria. adamianis xelSi rac moxvdeba, xom ici, rogori saxifaToa misi mdgomareoba? _ sanam megobris xelSia, sul saxifaToa? _ sul, aba ra? myifea sul _ siyvaruli, megobroba,

– At any age?

– Yes, at any age. I don’t know how to say it, I don’t like selfconfidence, otherwise. I know more about writing than I knew before. There is so much to write, you know? Oh, so much, you understand? That means that people die with a lot of resources.

They pass without fully giving their all, and naturally, when they pass, they see a limit, they see something at the horizon.

– What could that be?

– Something new. The only thing that is coming to us is the new. All the rest comes from us.

– Then I would like to return to what you said before, that you were one with your grandmother and mother. Now they are in that something new, with their unspent resources, and you are here – in the old. Do you still feel you are one with them?

– The only doubt I have about everything is because I have one unanswered question: why doesn’t my mother tell me anything?

Because she’s well and doesn’t need to let me know? What is it? This is a secret. How is it possible that my mother doesn’t tell me: “My son, it’s great here, you know? Don’t be afraid.” Why doesn’t she tell me that?

– There was nothing at all of the kind?

– Nothing. Can you imagine? It’s complete silence, both from my grandmother and my mother. Maybe they are waiting for the good moment. I’m yearning so much to see my mother and my grandmother… And apart from them, so many great persons have left us. For instance, would you be against meeting Shakespeare?

– That reminded me of Socrates, who was ready to die to meet Homer in the other world. But now, we have to finish, as a tradition, with your commentary about quotes from two famous figures. The first one belongs to Gaius Cornelius Tacitus (56-117): “If a man has no enemies, he is ruined by his friends”. In your books, there are several moments when you describe difficult experiences with your friends.

– It’s a very good quote. It doesn’t go against either friends or enemies. These are two substances, two realities, and how could you go aigainst reality? When Sulkhan-Saba complains that some good, great, devout main erased his name on a dictionary and wrote his own instead, he couldn’t have many manuscripts, could he? So that means he wouldn’t have given it to someone he didn’t trust. And that person erased Sulkhan-Saba’s name and wrote is own instead.

– Do you write because you can only be friends with people when they aren’t there anymore?

– I didn’t remember, I almost said that it was true. When someone isn’t there anymore, this is when your friendship is confirmed, that it is demonstrated. Friendship belongs to humans. When they aren’t there anymore, it doesn’t belong to them anymore. And you know how dangerous it is for something to fall in the hands of humans.

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– While it is in the hands of a friend, it’s always dangerous?

– Always, of course. It’s always fragile – love, friendship, everything.

It’s not something bad or negative that I’m saying, it’s the truth.

yvelaferi. es boroteba ki ar aris, sinamdvilea. _ meore citatis avtoria Tanamedrove amerikeli mwerali Cak palaniki: „xelovneba yovelTvis ibadeba dardisgan da arasdros _ sixarulisgan“. _ diax, asea. _ sixarulisgan ar ibadeba xelovneba? Seqspiris komediebi dardisgan ibadeba? _ naxe, ra xdeba? axla raRacas xom vwer. pirvelad wavawydi, rom Cems xelmZRvanel rols ver vxedav. „SigniT“ rom movxvdebi, is ki ar unda vTqva, rom axla ra unda davwero, cud gunebaze var; an axla ra unda davwero, karg gunebaze var. es ar unda vTqva. unda Sevexo klaviaturas da TavisTavad vxvdebi „iq“. da vfiqrob, ase ratom vwer, netav. gatrialebs, ukve imisi xar _ dardSi Tu sixarulSi. _ anu visi xarT? Tu risi xarT? sulieria Tu usuloa? _ sulieri unda iyos. usulo araferi ar aris. saxlSi rac gaqvs, Wiqa Tu sxva ram sagani, yvelaferi sulieria SenTvis. imdenad swrafva gaqvs sulierebisken.

– The author of the second quote is contemporary American writer Chuck Palahniuk: “Art always comes from sorrow, and never from happiness”.

– Yes, that’s true.

– So art is never born from happiness? Do Shakespeare’s comedies come from sorrow?

– You know how it is? Right now, I’m writing something, right? It’s the first time that I cannot really find my role as an overseer. When I am “in” it, I shouldn’t be saying that I shouldn’t be writing because I am in a bad mood, or that I shouldn’t be writing because I am in a good mood. I shouldn’t say that. I should touch the keyboard and I will get “there” just like that. And I ask myself why I write like that. But I am already in it, whether in sorrow or happiness.

– So whose are you? Or which are you? Is it spiritual or not?

– It has to be spiritual. There is nothing that isn’t. Everything that you have at home, even a glass or any other object, everything is spiritual to you. Because you are striving for spirituality.

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`gaivlis wlebi da daxvretis molodinSi kedelTan mdgomi polkovniki aureliano buendia im Soreul saRamos gaixsenebs, mamamisma yinulis sanaxavad, rom waiyvana pirvelad“... gabriel garsia markesi, `martoobis asi weliwadi~ “Many years later, in front of the firing squad, colonel Aureliano Buendía would remember that distant afternoon his father took him to see ice.”

Gabriel García Márquez, 'One Hundred Years of Solitude'

makondoeli mxatvari THE ARTIST FROM MACONDO The wish to relate to “the rest of the world” through the great

„danarCen samyarosTan“ didi mwerlis didi nawarmoebiT urTierTobis survili iliko fofxaZes bavSvobidan mohyveba. metic, misi mxatvroba Tu fotonamuSevrebi, yvelaze xSirad, am keTili wignis Soriaxlo trialis survils aRgiZravs, wignis romelmac dedamiwis yvela grZedsa da ganedze Taobebs „martooba“ gvaswavla... rodesac „SemoqmedebaSi dakarguli“ niWieri adamianis xelis gawvdenaze gacnobas cdilob, saubrisas Cndeba bevri kiTxva... Tundac, ratom gaCnda mis mxatvrobaSi is warmosaxviTi realoba, romelic gnusxavs, fiqrs gaiZulebs da Sors, didi xniT ar giSvebs...

work of great writer Gabriel Garcia Marquez has been present in Iliko Popkhadze since his childhood. What’s more, his paintings or photographs will most often generate the wish to dive in that book, one that has taught “solitude” to all latitudes and longitudes of the Earth... When you attempt to get to know a talented person “lost in creation” by a mere handshake, many questions come to mind... For instance, why did this imaginary reality appear in his art, an imaginary reality that nourishes you, forces you to think, and doesn’t leave you outside of it for a long time...

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– Why this book and its beginning correspond to me so much, I cannot say, but it is a fact that my father was a most important figure in my life too, and he has taught and shown me many things for the first time.

_ ratomaa es wigni Tavisi dasawyisiT aseTi „Cemi“, amas martivad ver avxsni, Tumca, faqtia _ mama Cems cxovrebaSic umniSvnelovanesi adamiani iyo, romelmac bevri ram pirvelma damanaxa.

– As the great Columbian would advise, we always need to listen to the child that once lived in us, that we once were and still are, somewhere deep inside. If we listen to that child, our eyes will light up again and we won’t lose our connection to this world...

_ rogorc didi kolumbieli gvirCevda, sul unda vusminoT bavSvs, romelic odesRac CvenSi cxovrobda, romelic odesRac iyavi da axlac xar, sadRac siRrmeSi.

bavSvobis sizmrebi. 100X100. tilo, akrili

CHILDHOOD DREAMS. 100X100. ACRYLIC ON CANVAS

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SHARLOTTA. 80X80. tilo, akrili

Tu mas movusmenT, Cveni Tvalebi isev gabrwyindeba da ar SevwyvetT cxovrebasTan kavSirsac... _ albaT, radgan „is bavSvi“ CemSi dRemde Zalian xmaurobs, jiutia da axerxebs, Tavis Wkuaze mataros, rasTan dakavSirebiTac, pretenzia ar maqvs, piriqiT... _ da amitom Cvenc Tavidan daviwyoT, bavSvobidan... _ eg yvelaze kargi ambavia adamianis cxovrebaSi _ sakuTari bavSvoba da mere Seni Svilebis bavSvoba. ra Tqma unda, am periodebs Soris xdeba sxva bevri sasiamovnoc,

SHARLOTTA. 80X80. ACRYLIC ON CANVAS

– Perhaps that child is making a lot of noise in me to this day, he is stubborn and manages to make me do what he wants, and I don’t have anything against it, on the contrary...

– That’s why we should start from the beginning, from your childhood...

– That’s the best part of our lives – one’s childhood, and then the childhood of one's children. Of course, many other enjoyable and important things happen between these two periods of time, but nothing can compare to them. There are people who remember

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mniSvnelovanic, magram am or ambavs araferi Seedreba. xom arseboben adamianebi, „sakuTari Tavi dabadebamdec rom axsovT“, me maT rigs ar vekuTvni, radgan Cemi Tavi mxolod im dRidan `davimaxsovre~, fanqari rom daviWire pirvelad da mivxvdi, rom es iyo is, risi keTebac Zalian momwonda. _ anu, es moxda jer kidev maSin, roca SenTvis „qveyana iseTi axali iyo, rom bevri sagnisTvis jerac ar daerqmiaT saxeli da mxolod TiTiT uCvenebdnen...“ _ diax. Tan, Cvens bavSvobaSi imdeni ram iyo „saxeldaurqmeveli“ da „TiTiT saCvenebeli“ _ pozitivic da negativic, naRdic da yalbic. TiTqos Cveulebrivi,

KAMPOLINA. 100X100. tilo, akrili

their lives up to before they were born, but I’m not in their ranks, as I only “remember” myself since I held a pencil in my hand for the first time and understood that this was what I liked doing the most.

– So this happened back when “The world was so recent that many things lacked names, and in order to indicate them it was necessary to point…”

– Indeed. And in our lives, there were so many things that “lacked names” and needed to be pointed at – both positive and negative, authentic and fake. It could seem I had a conventional “Soviet childhood”, but how can childhood be “conventional”? Therefore, I

KAMPOLINA. 100X100. ACRYLIC ON CANVAS

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mirqma. 70X60. tilo, akrili

rigiTi „sabWoTa bavSvoba“ mqonda, magram, rogor SeiZleba bavSvoba iyos „Cveulebrivi“? amitomac, `bavSvobas~ vxatav bevrs da fotoebzec xSiradaa imdroindeli STabeWdilebebi, gancdebi, quCebi, adamianebi, sagnebi. deda, 7 wlis viyavi, rom gardaicvala da mas Semdeg mama gaxda Cemi mTavari adamiani. igi mTamsvleli iyo, saqarTvelos xuTgzis Cempioni kldeze cocvaSi. vladimer (valiko) fofxaZe _ keTili, samarTliani, uerTgulesi da Zlieri kaci, didi samegobroTi. sxvaTa Soris, Sxaras napralidan guram TikanaZe ivane wiklaurma, giorgi kobiZem, Tamaz baqaniZem da mamam amoiyvanes. im sabediswero dRes isini erTad iyvnen „TokSi“... _ ra asakSi mixvdi xatva rom gindoda? _ rac Tavi maxsovs, sul mindoda. 10-11 wlis viyavi „pionerTa sasaxleSi“, qalbaton ciala kandelakTan daviwye mecadineoba.

CANDLEMAS. 70X60. ACRYLIC ON CANVAS

paint “childhood” a lot, and on my photographs too, one can often find impressions, feelings, streets, people, and objects from that time. I was seven years old when my mother passed, and after that, my father became the most important person in my life. He was an alpinist, and a five-time rock-climbing champion of Georgia. Vladimer (Valiko) Popkhadze – a kind, fair, loyal, and strong man who had many friends. By the way, together with Ivane Tsiklauri, Giorgi Kobidze, and Tamaz Bakanidze, he was the one who brought Guram Tikanadze from mountain Shkhara’s crevice. They were all on the same rope on that faithful day...

– How old were you when you understood that you wanted to become an artist?

– I wanted to paint since as far as I can remember. I was 10 or 11 years old when I started studying under Ms. Tsiala Kandelaki at the Youth Palace.

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_ „makondos sapatio moqalaqe“ rodidan xar? _ didi xani velodi mag wodebis moniWebas da madloba! makondos xatva 15 wlisam daviwye. wavikiTxe da gavSterdi, iq davrCi... da axlac iq vcxovrob, faqtobrivad. axalgazrdobaSi markesis saRamoebs vawyobdi, Cems irgvliv yvelam icoda, rom im samyaroze SeviSale. wlebi gadis da ver davtove es qalaqi...

– When have you become an “honorary citizen of Macondo”?

– I had been waiting for that title for a long time, so thank you! I have started painting Macondo since I’ve been 15 years old. I read the book, and I was wonderstruck, I stayed in it... And to this day, I basically live there. In my youth, I arranged several evenings about Marquez, and everyone around me knew that I was crazy about that realm. Years have passed, but I couldn’t leave that city...

_ imdenad bevri da gansxvavebuli makondoa Sens mxatvrobaSi, Tavisi personaJebiT, axali gamocemis ilustrirebazec ki gamiCnda eWvi. ilustraciisadmi interesi arasdros gqonia? _ ho, Tu „xeli wamicda“ da qalaqi an saxli davxate, maSinve makondoSi var... rac Seexeba ilustratorobas, siamovnebiT vimuSavebdi, iyo kidec Cafiqrebuli proeqtebi, romlebic ar Sedga.

– There are so many different Macondos and characters in your works that I thought you might want to illustrate the next edition of the book. Were you ever interested in illustrations?

– Yes, if my hand “slips” and I draw a city or a house, I find myself in Macondo right away… About illustrations, of course, I would do it with pleasure; as a matter of fact, there were some illustration projects, but they never materialized.

_ Seni yvela namuSevari imdenad datvirTulia detalebiT, rom mgoni wertilis adgilsac ar toveb. da rogor xvdebi, rom naxati dasrulebulia?

– All of your works are so full of details that I think you don’t leave any space for even a small dot. How do you know that one of your works is finished?

amarkordi. 100X80. tilo, zeTi

AMARCORD. 100X80. OIL ON CANVAS

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SERAFITE DE SANSE. 70X60. tilo, zeTi

SERAFITE DE SANSE. 70X60. OIL ON CANVAS

– Lately, I started working like a jeweler, sometimes I sit for two

_ bolo dros iuveliriviT vmuSaob, zogjer erT naxatTan ori kvira vzivar da umcires detalebs vakeTeb. „makondoebi“ zogjer xuTic damixatavs dReSi. erTerT bolo namuSevars _ „ebiuternis“ sami dRe vxatavdi, romelic formatiTac didia...

weeks in front of a painting, arranging the smallest of details. But I have also drawn five “Macondos” in one day. I finished ‘Hébuterne’, one of my last works, in three days, although it is a large format…

– Lately, you have also been using coffee deposit in your works.

_ bolo periodis naxatebSi yavis naleqs iyeneb. ratom, iafia? _ arc umagisobaa... bolo aTi welia zeTSi aRar vxatav. amitom, gadavedi akrilze. magram mas ar aqvs mZafri yavisferi. SezavebiTac ar gamodis aseTi feri. hoda, erTxelac yava damesxa qaRaldze da momewona. Tan, zeTis saRebavTan SedarebiT, marTlac iafia!

Why, is it cheap?

– A little bit because of that too... I haven’t painted with oil for already ten years. That’s why I moved to acrylic paint. But it lacks an intense brown. Even by mixing colors, you cannot get deep brown with acrylic. Once, I accidentally poured some coffee on a sheet of paper, and I liked it. And yes, it is cheaper than oil paint!

_ mgoni, am dros funjs ar iyeneb... _ ara, viyeneb TiTebs, kbilis jagriss, bambas da sxv. bolo dros, ZiriTadad tuSiT, fanqriT da naxSiriT vxatav...

– As I know, you don’t even use a brush...

– No, I use my fingers, toothbrushes, cotton, and other means.

Lately, I’ve mainly been using Indian ink, pencil, and charcoal...

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– What is your profession?

– Whatever you want it to be. I only have a diploma from the Nikoladze Art School, and I didn’t finish my studies of theatre set design at the Theatre and Film University. I also studied direction for television. I didn’t get a diploma, and I was sacked twice because I didn’t attend most of the lectures…

_ profesiiT vin xar? _ vinc ginda. diplomi mxolod „nikolaZis“ maqvs, „TeatralurSi“ ki Teatris mxatvrobis asaRebi. vswavlobdi, tele-sareJisorozec. akademiis diplomi ver aviRe, orjer gamomricxes gacdenebis gamo... _ mxatvrisTvis saWiro aucilebeli Tviseba? _ niWis garda, Sromismoyvareoba. axalgazrdobaSi mainc, roca iwyeb, sul unda xato. maxsovs nikolaZeSi „leJankiT“, spiraliani quriT, TeTreuliT, qvabiT gamovcxaddi da iq kuTxe moviwyve. yvela rom midioda, vrCebodi da vxatavdi. guram qlibaZem mkiTxa gaocebulma _ ras akeTebo?! xatva minda, davrCebi, gzaSi didi dro mexarjeba-meTqi... ise gauxarda, sawyobSi Semiyvana da _ ramdeni saRebavic ginda, aiReo! roca fuli ar mqonda, erT-erTi maRaziidan saRebavebs viparavdi... bolos gamyidvelma gamomiWira da magradac mimbegva. maSin akviatebuli mqonda „venuri skamebis~ Tema. albaT, dro iyo aseTi _ moTxovna iyo sentimentebze. `mSral xidTan~ videqi da ucxoelebi, Sinac xSirad makiTxavdnen. erTi periodi kolaJebsac vakeTebdi, roca ver vxatavdi, amiT vivsebdi ferweris Jins.

stumar-maspinZeli. 100X70. xe, akrili

– What are the qualities most needed in an artist?

– Apart from talent, dedication. At least during youth, when you start, you should always paint. I remember that I once went to the Nikoladze art school, with a foldable bed, a small old heater, bedsheets, and a pan, and I arranged a little corner where I could live.

When everybody was leaving school, I would stay there and paint.

Once, Guram Klibadze asked me, astonished – “What are you doing?!”.

I told him that I wanted to stay because I wanted to paint, and that I was losing a lot of time traveling to and from the school… He was so happy that he brought me in the warehouse and told me I could take as much paint as I wanted. When I didn’t have money, I used to steal paints from a shop… The owner finally caught me, and he beat me up good!

At that time, I was into “Vienna chairs”. Perhaps it was due to that period – there was a demand for sentiments. I used to stand at the

HOST AND GUEST. 100X70. ACRYLIC ON WOOD

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xose arkadio buendia da mSvenieri remediosi. 80X60. tilo, zeTi

JOSE ARCADIO BUENDIA AND THE BEAUTIFUL REMEDIOS. 80X60. OIL ON CANVAS

“Dry Bridge”, and foreigners would also often visit my house. I also did some collages for some time, when I couldn’t paint, I used to satisfy my obsession with art in that way…

_ ratom gaCerdi? _ subieqturi da obieqturi mizezebis gamo. ar var is tipaJi _ vinme Sevawuxo... ar SemiZlia mivide vinmesTan _ gamarjoba, iliko var fofxaZe da... _ bolos rodis „gamoifine“? _ bolo gamofena 2013 wels mqonda. SarSan, maisSi mTawmindis parkSi axali galerea gaixsna `art tenti~. mis proeqtSi monawileobam gamacocxla da aRarc gavCerebulvar.

– Why did you stop?

– Because of both subjective and objective reasons. I’m not the kind of person who can disturb someone else... I cannot go to someone and say – “Hello, I’m Iliko Popkhadze”... and ask for something.

_ fotografiiT rodis dainteresdi? _ bavSvobaSi mamam `zeniti~ maCuqa da mogvianebiT, sruli

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– When was the last time your works were exhibited?

– My last exhibition took place in 2013. Last year, the gallery ‘Art

2 (20) 2020

foto-laboratoriac SeviZine. Tumca, ratomRac, interesi maleve davkarge; Tumca 2006 wlidan isev damibrunda...

Tan imdenad seriozulad rom, axla fotogamofenazec ki vfiqrob. _ amden rames aswreb da mainc CrdilSi rCebi... _ xom giTxari, es poza ar aris, magram SeiZleba sakuTar gamofenazec ar mivide, momeridos. Tumca, axla gadavwyvite xasiaTi Sevicvalo... Tu namdvilad Sedga is SemoTavazebebi, romlebmac bolo dros gaiJReres. imdeni ram dagrovda _ naxatebic, fotoebic. yvelafris saguldagulod gadarCeva da daxarisxeba momiwevs. yvela epoqas Tavisi xelwera moaqvs. rom daukvirde Cems Zvel da axal namuSevrebs, imdenad gansxvavebulia, rom ver ifiqreb Tu isini erTi adamianis namoqmedaria. sakuTari stili grafikaSi ufro Camomiyalibda, ferweraSi sul raRacas veZeb, magram... samwuxarod, Tanamedrove mxatvrebis 90 procents sakuTari saxelosno, TavSeyris adgili ar gvaqvs; sagamofeno sivrceebi ar iTvleba, is sxva daniSnulebisaa... rom araferi vTqvaT saxatavi saSualebebis SeZenaze. dRes mxatvroba fufunebaa. Tumca, yovelTvis ase iyo... sxvaTa Soris, ramdenime wlis win gaCnda idea _ yofili „xudfondis“ teritoriaze Seqmniliyo amgvari centri _

xose da aureliano buendia. 70X50. tilo, zeTi JOSE AND AURELIANO BUENDIA. 70X50. OIL ON CANVAS

Tent’ opened in May in the Mtatsminda Park. Participating in that project rekindled me, and I haven’t stopped since then.

– When did you get interested in photography?

– My father gave me a ‘Zenit’ camera as a present when I was a kid, and later, I would acquire a whole photo lab. For some reason, I lost interest quite soon. But in 2006, it came back, and in such a strong way that right now, I’m even thinking about a photo exhibition.

modernistebi 60X50. muyao, zeTi MODERNISTS. 60X50. OIL ON CARDBOARD

– You manage to do so many things, and yet, you stay in the shadows...

– I told you, it’s not a game I play, but I could even not go to one of my own exhibitions, because I’m shying away from it. But recently, I’ve decided to change my character... If the offers that were lately put forward do actually materialize. I have so many works – both paintings and photographs. I will have to go through all of them and make a careful selection.

Each epoch comes with its own style. If you look at my old and new

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works, they are so different that you couldn’t think they were made by one and the same person.

I think my style established itself more in drawings, because in paintings, I am always looking for something... But unfortunately, 90% of us artists don’t have our own atelier or a place to gather; exhibition spaces don’t count, they have a different goal... to put it mildly, to sell.

Today, art has become a luxury. But it has always been so, actually...

By the way, several years ago, there was the idea of creating such a place on the territory of the former “Khudfond” (“Painter’s Fund”); that would have fixed the lack of ateliers, and it would even have become a profitable touristic zone in terms of marketing. If this idea is taken more seriously on the state level, it would be beneficial for generations to come. Right now, us artists are really feeling a lack of support...

– To what would you compare your creative process?

– To me, creation can be a well-kept vineyard or a well-baked bread.

But when I am doing something specific, I often finish it, forget it quite fast, and start something new. I think that it is a natural process, that you cannot develop otherwise. Artists should never be selfsatisfied...

– “To walk into yourself and meet no one for hours – that is what you must be able to attain!” – wrote Rilke...

– I love people, and I am quite a communicative person too. I am only solitary when working. What I cannot stand is being at the center of attention.

– When an artist sells a work, they practically lose it. Therefore,

bavSvobis sizmrebi. qaRaldi, tuSi, akrili, fanqari CHILDHOOD DREAMS. INDIAN INK, ACRYLIC, CRAYON ON PAPER

mxatvrebs saxelosnoebis problemasac mouxsnida da am adgilis turistul zonad gadakeTeba marketinguladac momgebiani gaxdeboda. am ideas seriozulad rom miudgnen saxelmwifo doneze, saSviliSvilo saqme gakeTdeba. axla mxatvrebi namdvilad ganvicdiT gulSematkivrebis deficits.... _ ras SeiZleba Seadaro SemoqmedebiTi procesi? _ CemTvis Semoqmedebaa kargad movlili venaxi da kargad gamomcxvari puric. Tumca, raRac konkretuls xSirad wertils vusvam, male viviwyeb da axals viwyeb. vfiqrob, es bunebrivia, sxvagvarad win ver waxval. TviTkmayofileba SemoqmedisTvis erTgvari xiblia... _ „danTqma TavisTavSi da saaTobiT martod yofna“ mWirdebao! _ rilke werda... _ Zalian miyvars adamianebi da sakmaod komunikabeluric var. ganmartoeba maxasiaTebs mxolod muSaobisas. kategoriulad rac ar miyvars, es yuradRebis centrSi yofna da ucxo sazogadoebaa. _ mxatvari namuSevars roca yidis, faqtobrivad, is mas kargavs. amitom, yovelTvis araobieqturad mimaCnia naxatis fasi...

iavnana. 100X100 tilo, akrili LULLABY. 100X100. ACRYLIC ON CANVAS

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niqsi 70X50 tuSi, akrili, fanqari

_ agaSenaT RmerTma! roca meubnebian iafad daafase da ufro gaiyidebao, CemTvis Seuracxyofaa. naxati xorci xom araa?.. ori-sami grafika maqvs, romelsac verasdros veRar davxatav da verc gasayidad gavimeteb. _ vis mowafed Tvli Tavs? visgan xar davalebuli CamoyalibebaSi? _ ici ra, adamiani cxovrebis sxvadasxva etapze zrdis, ganviTarebis vrcel gzas gadis... Semoqmedi adamianisTvis es gza gacilebiT rTuli da mtkivneulia; stili, manera, xelwera, albaT, TviTon adamiania. Cemi stili Cems bunebas niSnavs, mas rac moucia RmerTs maRlidan. _ kritikas rogor iReb? cnobilia, serovs Zalian ar yvarebia sakuTari suraTebis axsna... _ ratom unda yvareboda? arc me miyvars da Tu vinmem naxati ver aRiqva da ver gaigo, me rom avuxsni, gaigebs?

NIX. 70X50. INDIAN INK, ACRYLIC, CRAYON

I think that the price of any work can never be objective...

– Your words are gold! When people tell me to lower the prices so that my works would sell more, I take it as an insult. Paintings are not meat, are they?.. I have two or three drawings that I won’t ever be able to draw, and therefore, I would never be able to sell them.

– Whose disciple do you consider yourself to be? Or at least, who played a part in your development as an artist?

– You know, people go through various stages of growth and development in their lives... This path is much more difficult and painful for a creative person; the style and manner probably come from the persons themselves. My style means my nature, the one God gave me from above.

– How do you feel about criticism? Serov famously couldn’t stand explaining his paintings…

– Why would he have liked it? I don’t like it either, and if someone

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_ ra Tvisebaa SenTvis mTavari urTierTobaSi? _ tyuils ver vitan! Sesabamisad _ simarTle da samarTlianoba. Tu adamianSi simarTlis SegrZneba arsebobs, is movlenebis obieqtur Sefasebasac SeZlebs. garda amisa, sikeTea mniSvnelovani. keTili CemTvis isaa, visac borotebis Cadena ar SeuZlia... kidev, rogorc markesi ambobda, _ „aucilebeli ar aris, yvelas uTxra simarTle, magram yvelaferi, rasac ityvi, unda iyos simarTle“, da „namdvili megobari is aris, romelsac uWiravs Seni xeli da grZnobs Sens guls“... aseT magar rameebs werda is sulnaTeli... _ bolo dros istoriuli Tematika gamoCnda Sens grafikaSi... _ farcxisis oms gulisxmob, albaT. bataluri scenebis daxatva mominda. iseTi ram minda davxato, rac naklebad

modiliani. 60X50 tilo, zeTi MODIGLIANI. 60X50. OIL ON CANVAS

couldn’t apprehend or understand a painting, will they understand when I explain it to them?

– What is the quality you admire the most in relationships?

– I cannot stand lies! And therefore, I would answer that it is the truth, and justice. If a person can feel the truth, then they will also able to make an objective evaluation of situations. Apart from that, kindness is very important. To me, a kind person is someone who cannot do anything bad... And moreover, as Marquez would say, “It isn’t necessary to tell the truth to everybody, but everything you say must be the truth”, and “A true friend is the one who holds your hand and touches your heart”… That bright man was writing such beautiful things…

valiko. 30X15. muyao, tuSi, guaS VALIKO. 30X15. INDIAN INK, GOUACHE ON CARDBOARD

– Lately, your drawings also contain some scenes related to history...

– You must be talking about the Battle of Partskhisi. I wanted to start painting battle scenes, things that are less known to the public.

This time, I painted the capture of King Simon I the Great. I’ve also

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cnobilia. amjerad svimon mefis Sepyrobis scena davxate. bavSvobidan luarsabi miyvars Zalian. studentobisas sadRac wavikiTxe, rom TianeTSi misi aSenebuli patara bazilika ingreoda. ise CamrCa es ambavi, gadavwyvite saxli gameyida, `niva~ meyida, iq gadavsuliyavi, patara qoxi Camedga da is bazilika aRmedgina... ar gamovida eg ambavi da davrCi luarsabTan valSi... hoda, axla davxate. didi jariT. misi bolo brZolac unda davxato, mamebma rom ibrZoles... ho, kidev erTi Tema maqvs gegmaSi _ vaJa! am fSavel kacze bevria saTqmeli... _ mxatvroba, fotografia, arti, video-arti, dizaini, sakuTari brendi, kidev? _ kidev, „bavSvebis mTeli inkubatori“ _ xuTi Svili. sami vaJi da ori qaliSvili. jer-jerobiT mxolod erTi SviliSvili, yvelaferi winaa... da rogorc Cvens bavSvobaSi ambobdnen, `pirvelive kvartlidan~ vapireb gamofenis Temis gaaqtiurebas, `Semdegi xuTwledisTvis~ ki

simon pirveli 1599. farcxisis brZola. svimon mefis datyveveba

been captivated by King Luarsab since childhood. When I was a student, I read somewhere that he constructed a small basilica in Tianeti, which was crumbling down when I read about it. This story moved me so much that I decided to sell my house, buy a ‘Lada Niva’ car, move to Tianeti, build a small hut, and restore that basilica…

But it didn’t work out, and I owed a debt to King Luarsab… So now, I painted him. With a large army. I will also paint his last battle… And I have another theme in mind – Vazha Pshavela! There are many things to say about this man from Pshavi…

– Painting, photography, art, video art, design, your own brand... What else?

– Five children. Three boys and two girls. For now, only one grandchild – everything is yet to come... And for the very near future, I plan to become more active in arranging an exhibition, as for the middle-term perspective, I have decided to build a house in Saguramo and to shoot a film. This is the kind of unambitious person I am...

SIMON THE FIRST 1599. PARTSKHISI BATTLE. CAPTURE OF SIMON THE FIRST.

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– You have a quite expensive middle-term perspective in mind...

– What can I do? I really need a house in Saguramo, where I will have my own studio, my little Macondo. I even know what kind of house I want...

Do you know what else I’ve learned from Gabriel’s ‘One Hundred Years of Solitude’? When you are sitting in problems up to your neck, you have to stand up, and the problems will only reach your waist, or for some, even the knees... Therefore, I thought about a small beautiful business: a brand of accessories. I started with bags, now we are moving on to scarfs. I have 150 sketches ready with my paintings and photographs. I also have a series of pictograms

gadawyvetili maqvs saguramoSi saxlis aSeneba da filmis gadaReba. ai, aseTi „uambicio“ adamiani gaxlavarT... _ sakmaod ZviradRirebuli `xuTwledi~ dagigegmavs... _ ra vqna, haeriviT mWirdeba saguramoSi saxli, sadac Cemi saxelosno meqneba, Cemi makondo. isic vici, rogori saxli minda... kidev ra maswavla ici gabros „martoobam“? _ roca `zixar problemebSi yelamde Cafluli~, unda adge da problema welamde mogwvdeba, zogs muxlamdec... amitom, patara lamazi komercia Cavifiqre _ aqsesuarebis brendi _ daviwye CanTebiT, gadavdivarT mandilebze. 150 eskizi

makondo. 35X22. muyao, tuSi, fanqari, yava

MACONDO. 35X22. INDIAN INK, CRAYON, COFFEE ON CARDBOARD

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luarsab I. 70X50.qaRaldi, tuSi, fanqari

LUARSAB THE FIRST. 70X50. INDIAN INK, CRAYON ON PAPER

of Tbilisi. I named it ‘Kesomata’ – because my daughters’ names are

mzadaa ukve Cemi naxatebiT da fotoebiT. Tbilisuri piqtogramebis seriac maqvs. brends „kesomata“ davarqvi _ keso da maTiko myavs gogonebi da imitom. mTavaria, saswaulebs ar daaviwydeT, rom unda „moxdnen“!

Keso and Matiko. The most important is for miracles not to forget they need to happen!

– You’re hoping for miracles?

_ saswaulis imedze xar? _ „makondoelebs~ Zalian gviyvars saswaulebi, Tumca, isini unda daimsaxuro... yvelafris keTeba SemiZlia... Tu naxatebi gaiyideba, mere, rac Zalian minda imaze vifiqreb _ kinos gadaviReb, esaa ocneba! miyvars kino!

– Us Macondo people really like miracles, though you also have to deserve them... I can do anything... If paintings sell, then I will be able to focus on what interests me the most: I will shoot a movie, that’s the dream! I love cinema!

_ giyvars rogorc mayurebels, Tu ginda rom `SigniT~ iyo? _ minda rom gadaviRo magari kino... scenaric dawerili maqvs. gadagzavnilic sadac saWiroa da pasuxs veli... xom gaxsovs _ „yvelaferi saukeTeso moulodnelad xdeba“...

– Do you love it as a spectator, or do you want to be in it?

– I want to shoot a good film... I already have the script. It has already been sent where it had to be sent, and I’m now waiting for an answer... If you remember – “the best things happen when not expected”.

esaubra ana obolaSvili

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Interview with Ana Obolashvili

2 (20) 2020

1983 wels kinodramaturgi suliko JRenti muSaobas iwyebs kinoscenarze: „cxovreba don kixot lamanCelisa da sanCosi~ (sabWoTa kavSir-espaneTis erToblivi satelevizio mravalseriiani filmis proeqti, reJisori rezo CxeiZe). literaturuli scenaris Seqmnas win sdevda scenaristis xangrZlivi fiqris, gansjisa da dramaturgiul koncefciad Camoyalibebis procesi, romelmac sabolood eseis forma miiRo da ukve scenarisgan, filmisgan damoukideblad arsebobis ufleba moipova. suliko JRentis „fiqrebi don kixot lamanCelze“ romanis kinematografiuli „wakiTxvis“ erT-erT saintereso nimuSad aRiqmeba dRes. qarTveli kinodramaturgi gansxvavebul rakursSi Wvrets da aanalizebs romanis teqstis eTikur, moralur Tu filosofiur sakiTxebs _ warmogvidgens momavali filmis ideas, kompozicias, personaJTa xasiaTebs, konfliqtebs da a.S. gTavazobT fragmentebs suliko JRentis eseidan: „fiqrebi don kixot lamanCelze“.

In 1983, playwright and filmmaker Suliko Zhgenti starts working on the script of a film: ‘The Lives of Don Quixote and Sancho’ (a joint USSR-Spain TV project of several episodes, director Rezo Chkheidze).

The creation of this literary script was preceded by a long thought, discussion, and development process of the dramaturgical concept by the scriptwriter, which led to the establishment of an essay that boasted its own existence, independently from the script and the film it was made for. Suliko Zhgenti’s ‘Thoughts about Don Quixote de la Mancha’ is considered to be one of the most interesting examples of “reading” a cinematographic novel to this day. The Georgian playwright depicts and analyzes the novel’s ethic, moral and philosophical aspects from a different perspective – he presents the idea of the film to come, its composition, the personalities of the characters, their conflicts, and so on. As for us, we present you passages from Suliko Zhgenti’s essay.

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fiqrebi don kixot lamanCelze THOUGHTS ABOUT DON QUIXOTE DE LA MANCHA espaneTSi pirvelad am sami wlis winaT Cavedi kinematografistTa turistul jgufTan erTad. eniT uTqmelma grZnobebma Semipyres gzaSi. milionobiT turisti Cadis yovelwliurad espaneTSi, magram sul sxvaa es mogzauroba qarTveli kacisTvis! uxsovari droidan iltvoda aRmosavlel iberTa guli aqeTken. aq mas Tavisi moZmeni eguleboda. jer kidev adreul saukuneebSi ucxoel avtorTa nawarmoebebis Targmnisas qarTveli mwignobarni `dasavleTis iberebs“ Targmnidnen `dasavleTis qarTvelebad“. qarTveli mefeebi Sinisaken mimaval evropel misionerebs sTxovdnen, rom maT mokiTxva gadaecaT espaneli mefisTvis, romelsac isini TavianT naTesavad miiCnevdnen.

I first visited Spain three years ago, together with a touristic group of cinematographers. Indescribable feelings came to me while we were on the way. Millions of tourists visit Spain every year, but this travel is completely different for a Georgian man! The Eastern Iberian heart was longing for this place since immemorial times. It deems the locals to be its brothers. Back in earlier centuries, when translating foreign authors, Georgian littérateurs would translate “Western Iberians” as “Western Georgians”. Georgian kings would always tell European missionaries heading homeward to pass on their greetings to the King of Spain, whom they deemed to be their relative.

For centuries, Christian Europe had two outposts to defend itself from Muslims: in the East – Georgia, and in the West – Spain. This is

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why history endowed Iberians from both sides with the same destiny after their separation. Both of their histories are full of wars, periods of collapse and rise. This circumstance – our same fate – was probably what helped us preserve many things from there, things that were once one and inseparable.

The settlement of a portion of the Dutch population to an African land happened very recently, but the language of African Dutch people (the Boers) is already unintelligible for the Dutch population living in the Netherlands. That is why I am very surprised when I see that there is a city called Madrid in Spain, and one called Maradidi in Georgia; Gijón in Spain, and Khikhani here; Toledo there, and Tolebi here; in Georgia, Meskheti is the region dedicated to wheat culture and sheep-breeding, while in Spain, Meseta also always had this agricultural role. So many such parallels can be made! If not for the long Roman rule and Latinization of the language, we would still discover innumerable similarities between Georgian and Spanish – like we do with the Basque language.

saukuneebis manZilze muslimanuri okeanisagan Tavdasacavad, qristianul evropas ori forposti edga darajad, _ aRmosavleTiT _ saqarTvelo, dasavleTiT _ espaneTi. amitom, ganSorebis Sedegad, istoriam erTnairi bedi arguna orive mxaris iberielebs. Cveni ori xalxis mTeli cxovreba aRsavsea omebis qartexilebiT, dacemisa da aRzevebis periodebiT. albaT, swored es garemoeba, erT bedSi yofna dagvexmara, raTa SegvenarCunebina bevri ram iqidan, rac erT dros ganuyofeli iyo. sul axlaxan moxda holandielTa erTi nawilis dasaxleba afrikis miwaze, magram afrikeli holandielebis (burebis) ena dRes ukve gaugebaria im holandielebisaTvis, romlebic niderlandebSi cxovroben. amitom maocebs, roca espaneTSi qalaqs madridi hqvia, CvenSi ki aris maradidi; espaneTSi aris xixoni, CvenSi ki _ xixani; iq toledoa, aq _ tolebi; CvenSi mesxeTia saqarTvelos

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mexorbleobisa da mecxvareobis mxare, iq ki aris meseta, romelsac aseTive sameurneo mniSvneloba hqonda yovelTvis espaneTisaTvis. ramdeni aseTi paralelis gavleba SeiZleba! rom ara romaelebis xangrZlivi batonoba da enis laTinizacia, dRes espanurSic iseve uTvalav damTxvevas aRmovaCendiT qarTulTan, rogorsac baskurSi vxvdebiT. zustad ar vici, saidan da rogor gaCnda `don kixotis“ erToblivad gadaRebis idea, magram am keTilSobilur saqmeSi rom `dasavleTisa da aRmosavleTis qarTvelni“ gaerTiandnen, es, albaT, SemTxveviTi ar aris. aseT scenarze muSaobas verc ki viocnebebdi. es hgavs lamaz sizmars, roca uecrad gaRviZebisa geSinia... usazRvrod Zneli meCveneba am scenaris Seqmna. rarig sariskoa klasikuri, Tanac aseTi popularuli prozauli nawarmoebis ekranizacia. sityva xom usazRvrod Zlieria plastikur saSualebebze! garda amisa, filmi ar tovebs TiTqmis araviTar adgils sakuTari warmosaxvisaTvis, piradi fantaziiT iersaxis Sesavsebad da sakuTar gemovnebaze mosargebad. qveynad imdeni don kixoti da sanCo pansaa, ramdeni mkiTxvelic am romans hyavs. erTsa da imave ambavs sxvadasxva adamianebi sxvadasxvanairad gadmoscemen _ es cnobili faqtia (arsebobs mravalnairad gadmocemuli `don kixoti~, rogorc kinoSi, aseve xelovnebis sxva JanrebSic). ekranizacia an gasceniureba fasdeba imisda mixedviT, Tu ramdenad srulad da sainteresod SeZles ekranizaciis an gasceniurebis avtorebma pirvelwyaros avtoris Canafiqris, misi dedaazrisaTvis xorcSesxma. es debuleba aucilebeli pirobaa, roca sakiTxi exeba klasikas (me momwons moTamaSe, romelic Cems miTiTebebs asrulebs; xalxs ar moswons, roca mxolod Cems miTiTebebs asrulebs). dRevandel xelovnebas da literaturas aklia miTi (am cnebis gageba, ara rogorc fantastikuri). `don kixoti~ miTia, ara xalxis wiaRSi warmoSobili da xorcSesxmuli, aramed, erTi pirovnebis _ mweral servantesis mier Seqmnili. mainc, raSi mdgomareobs am saxis ararealuroba? don kixoti Tavis epoqaSi gamoiyureba, rogorc anaqronizmi. ara mxolod, Tavisi aRWurvilobiTa da CacmulobiT, aramed, moqmedebiTac. saqme imaSia, rom kacobrioba Tavisi ganviTarebis gzaze bevr rames ukuagdebs xolme. igi eZiebs ukeTess da sinanulis gareSe iSorebs Tavidan imas, rac am ukeTesma Secvala. rom gadavxedoT, kacobriobis mier ganvlil am usaSvelo gzas, igi mofenilia mravali falas-fulasiT, romelic adamianis modgmam Tavisi ganviTarebis periodSi Tavidan moiSora, magram am nayar-nuyarSi, Zalian xSirad, Zvirfas

I don’t know exactly where and why the idea of shooting ‘Don Quixote’ arose simultaneously, but the fact that “Georgians of the West and of the East” joined forces for this noble endeavor is probably not a coincidence. I couldn’t even have dreamt of working on such a script. It resembles a beautiful dream, one from which you are afraid of waking up...

Creating this script seems unsurmountable. How risky it is to “screenify” such a classic, popular prose. Words have infinite power on the actions of actors! Apart from that, films leave almost no place for imagination, for creating images from our own fantasy and adapting them to our taste. There are as many Don Quixotes and Sancho Panzas in this world as this novel has readers.

Different people recount one and the same story in very different ways – this is a well-known fact (‘Don Quixote’ has been told in various ways, be it in cinema or other art forms).

The film or theater versions are valued according to how a thorough and interesting way their authors found to adapt the intentions of the original author, how they materialize the essence

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of his work. This is even more a necessity when we are dealing with classics (I like when actors act according to my instructions; people don’t like when they only act according to my instructions).

Today, art and literature lack myths (and often fail to understand the latter as something else than pure fantasy).

‘Don Quixote’ is a myth, one that wasn’t created and incarnated by society, but by one individual – Miguel de Cervantes. But still, what is the essence of this “non-reality”?

In his epoch, Don Quixote looks like an anachronism. Not only because of his equipment and attire, but because of his actions. The thing is, on its way to development, humanity rejects many things. It is always looking for something better, and gets rid of what the latter replaces without any sense of regret. If we take a look at the path taken by humanity, it is full of rags and scraps of which people got rid during their various development stages, but very often, one will find a precious gem hidden among them: “Stop and look around” – it was said; because every new thing is the remembrance of an old one that was rejected!

Tval-margalitsac aRmoaCens xolme: `SeCerdi da moixede~ _ naTqvamia, _ yoveli siaxle odesRac uaryofili kargis gaxsenebaa! diax, anaqronizmia don kixotis Subi, beqTari, CaCqani, magram garSemo myofni amisTvis ki ar dascinian mas. anaqronizmad iqca is, rac mTavari da arsebiTia don kixotis xasiaTSi: samarTlianoba, patiosneba, rainduli suli, sustisTvis daxmareba, CagrulTa gamosarCleba. wminda, SeubRalavi siyvaruli, romelic bolos da bolos, imdenad, aramaterialuri aRmoCndeba, rom igi emsgavseba Rrma da amaRlebul adamianur rwmenas. diax, dulsinea rwmenaa da ara qali. yoveli nawarmoebisadmi aucileblad saWiroa gulwrfeli da patiosani midgoma. iqneb es ar aris genialuri nawarmoebi? iqneb servantesi mxolod rainduli romanebis ganqiqebas isaxavda miznad da sxvas arafers? nu gamovedevnebiT avtoritetebs. bolos da bolos, ra aseT saidumlos inaxavs, TviT `don kixoti?~ ra gvaZlevs sababs miviCnioT igi ufro mniSvnelovnad, ufro amaRlebulad da, miT umetes, genialurad, vidre, ironia rainduli romanebisadmi?

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sakiTxavia erTi ram: ratom migvaCnda es romani bavSvobaSi gacilebiT ufro mniSvnelovnad? ratom axdenda igi ase saocar STabeWdilebas? ra iyo amis mizezi? uecrad mominda avjanyde am romanis winaaRmdeg. yvelaferi xom trivialuri da saSinlad primitiulia? me vgulisxmob dRevandelobis TvalsazrisiT. Cven ki dRevandeloba varT. romanis yoveli fabula xom ubadrukobaa? yoveli xasiaTi, yoveli moqmedeba da scena xom elementaruli, SeTxzvis TvalsazrisiT ubadrukobaa? kidev ra? SeiZleba ase gagrZeldes dausruleblad, maS, raSia saqme?.. mainc, ratom gvxiblavs misi saxe aseTi ZalmosilebiT? amas ver uarvyofT, _ idalgos saxes aqvs dauZleveli mizidulobis Zala. raSia saqme?.. igi SeSlilia? SeSlilis ambebi vis ainteresebs fsiqiatris garda? aravis! maS ra xdeba? SegviZlia ki

Yes, Don Quixote’s spear, body-armor, and helmet are anachronisms, but those around him do not mock him for those.

The essential part of Don Quixote’s personality has become an anachronism itself: justice, fairness, chivalry, helping the weak, saving the persecuted. Pure, unsullied love, that turns out so immaterial in the end, that it looks like a deep and sublime version of human faith.

Yes, Dulcinea is faith, and not a woman.

One’s attitude towards any artwork should be genuine and fair.

Maybe this work isn’t that brilliant? Maybe Cervantes was only aiming at deriding chivalry books, and nothing else? After all, what kind of secret could ‘Don Quixote’ hold? What gives us the reason to consider it something more important, more sublime, and even more so, more brilliant than simple irony towards chivalry books?

We have to ask ourselves something: why did we deem this book much more important during our childhood? Why did it leave us with such marvelous impressions? What was the reason behind all this?

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dabejiTebiT vamtkicoT, rom is SeSlilia? ara, amas veravin ikisrebs. iqneb, arian SeSlili brZenebi, SeSlili filosofosebi? arian, ra Tqma unda, magram igi sxvaa. igi araa SeSlili brZeni, arc SeSlili filosofosi. misi sigiJe _ sibrZnea. misi sigiJe _ filosofiaa. viyoT gulwrfelni. es xom gaRizianebas da aRSfoTebas iwvevs normalur adamianSi? funduki mas cixe-darbazad miaCnia, dalaqis Tasi, _ oqros Cafxutad; qaris wisqvilebi _ devebad... giJia es oxeri! da miuxedavad yovelive amisa, uecrad, Sen sakuTar TavSi aRmoaCen, rom igi giyvars. amaze ufro saocaria is, rom igi uyvars borotsac da keTilsac, umecarsac da ganaTlebulsac, raSia saqme? don kixoti unda iyos erTaderTi, amoucnobi, ganumeorebeli da Seudarebeli _ igi sulia espaneTisa. don kixots swams mxolod erTi WeSmariteba _ RmerTi. sxva yvelaferi aris SefardebiTi WeSmariteba. sagnebi da adamianebi TavianT moCvenebiT gamoxatulebaSi arian iseTni, rogoric unda iyvnen, da ara iseTi, rogorc sinamdvilis cdomileba gvaCvenebs maT! WeSmariteba don kixotisaTvis yovelTvis amaRlebulia. prozauli ar SeiZleba iyos WeSmariti.

I have the sudden wish to rebel against this novel. Isn’t everything in it trivial and horribly primitive? I mean from today’s perspective.

And we are living in present times, aren’t we? Aren’t all the fables of the novel miserable? Every personality, every action and scene are elementary, miserable from the point of view of composition, aren’t they? What else? We could go on and on, so what is the deal with this novel?.. Why does it charm us and has so much power on us? We cannot deny it – the character of the Hidalgo has an overwhelming power of attraction. How can it be?..

Is he crazy? Who, except for psychiatrists, would be interested in the story of a crazy person? Nobody! Then what is the deal with this novel? Can we even say for sure that he is crazy? No, nobody could take this responsibility. Perhaps, there are crazy wise people, crazy philosophers? Of course there are, but this is something different.

Quixote isn’t a crazy wise man, nor a crazy philosopher. His craziness is wisdom. His craziness is philosophy.

Let’s be honest. Doesn’t it irritate and outrage normal people?

He takes an inn for a fortress, the cup of a hairdresser for a golden helmet; windmills for giants... This guy is crazy! And despite all this, you suddenly feel that you love him. What’s even more surprising is that he is loved by both the wicked and the kind, the ignorant and the educated... What is the deal with this book?

Don Quixote must be unique, enigmatic, inimitable and incomparable – he is the soul of Spain.

Don Quixote has faith in only one reality – God. All the rest belongs to a relative reality. Objects and people are described as how they should be, and not as they appear to us in the inaccurate perspective of reality! The truth is always sublimed for Don Quixote. What is prosaic cannot be true.

There is some invisible and impenetrable relation and kinship between the Hidalgo from La Mancha and our starving hidalgos from the Imereti region. I am talking about the men described by Davit Kldiashvili, as well as those that his pen didn’t chronicle. They show the same synthesis of comic and tragic, the same sad irony towards themselves. Our hidalgo might be more agile, but knightly courtliness is also something familiar to them. If the hidalgo from La Mancha grew up reading chivalry books, our hidalgos didn’t lack such spiritual food either: ‘Amiran-Daredjaniani’, ‘Visramiani’, ‘The Knight in the Panther’s Skin’... They have nothing to envy from each other, be it in sharp-wittedness, liveliness, or aspiration towards the philosophical understanding of moral norms.

This is a noteworthy detail (for some reason, I think that a brilliant performer of Quixote’s role on the screen would have been Ushangi Chkheidze).

I always ask myself: why do normal people like Don Quixote? Or why do I like him? What is the secret of that person?

Firstly, I think it’s because he is tremendously human. Even in his abnormality!..

Secondly, because he is righteous. Thirdly, because he is kind;

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arsebobs raRac uxilavi, bolomde Seucnobeli kavSir-naTesaoba lamanCel idalgosa da Cvens imerel gudamSier idalgoebs Soris. me mxedvelobaSi myavs is tipebi, romlebic daviT kldiaSvilma aRwera da isinic, romlebsac kldiaSvilis kalami ar Sexebia. igive sinTezi komizmisa da tragizmisa, igive sevdiani ironia sakuTari Tavisadmi. Cveni idalgo ufro sxartia mimoxvraSi, magram misTvis arc rainduli sidarbaislea ucxo. lamanCeli idalgo Tu raindul romanebze aRizarda, Cvens idalgoebsac ar akliaT msgavsi sulieri sazrdo: `amirandarejaniani~, `visramiani~, `vefxistyaosani...“ arc maxvilgonierebaSi Camouvardebian isini erTmaneTs, arc sificxeSi, arc zneobrivi normebis filosofiurad gaazrebisadmi ltolvaSi. es yuradsaRebi detalia (ratomRac mgonia, rom don kixotis genialuri Semsrulebeli kinoSi uSangi CxeiZe iqneboda). me sul vfiqrob, ratom uyvarT don kixoti Cveulebriv adamianebs? an ratom miyvars me igi? raSi mdgomareobs saidumloeba am adamianisa? pirveli _ imaSi, rom igi metismetad adamianuria. aseTia igi Tundac, Tavis aranormalurobaSi!.. meore _ igi samarTliania. mesame _ igi keTilia, meoTxe _ is matarebelia yvela im adamianuri Tvisebebisa, romlebsac Cven pativs vcemT, _ gulaxdiloba, Tavganwirva, Tavmdabloba. magram is xom arc Tu mTlad uangaroa Tavis keTilSobilur TvisebaTa gamomJRavnebaSi?! magaliTad, igi saxelis maZiebelia _ es misi erTaderTi angarebaa. magram aris Tu ara es saerTod angareba da varga Tu ara kacad vinme, `angarebis~ gareSe? lamis mTeli espaneTis avi sulebi don kixotis moSurneebi arian. don kixoti gamudmebiT amtkicebs, rom mas sdevnian Suris niadagze. yvela ubedureba, romelSic igi vardeba, Suris niadagzea warmoqmnili, yvela mankierebaTa Soris usazizRresad miiCnevs don kixoti Surs. aki ambobs kidec: yvela mankierebas moaqvs misi matarebeli codvilisaTvis garkveuli siamovneba, garda Surisao. Surs mxolod tanjva da wvaleba moaqvso. ar SeiZleba SemTxveviTi iyos adamianis am mankierebisadmi aseTi gadaWarbebuli yuradReba don kixotis mxridan. mainc, ra unda SurdeT don kixotis?

Tval-tanadoba, Zal-Rone, qoneba Tu ra? ra aqvs SesaSuri gaZvaltyavebul bogano idalgos? man isic ki ar icis, rom goneba ver aqvs maincadamainc dalagebuli. SurT, ra Tqma unda, misi saqmeni-sagmironi. SurT misi unari, ubralosa da CveulebrivSi ixilos mSvenieri da amaRlebuli.

SurT is, rom igi mesiad evlineba espaneTs! igi ebrZvis ara mxolod usamarTlobas, aramed, merkantilobasac,

fourthly, he conveys all the human qualities that we respect – sincerity, selflessness, humility.

But he isn’t completely disinterested in the expression of his good qualities, is he?! For instance, he wishes to make a name for himself – this is his only interest. But could that even be considered as an interest, and what’s more, is there any worthy man without any “interest”?

Almost all the evil spirits of Spain are jealous of Don Quixote. The latter repetitively states that they are tracking him because they are jealous. All the misfortunes to which he is subjected come from jealousy, and Don Quixote deems it to be the worst of all vices. He even says: “Every vice brings some amount of pleasure to the person who carries it, except jealousy. Jealousy only brings torment and suffering.

This kind of exaggerated attention towards jealousy by Don Quixote couldn’t be there without reason. But what could one envy in Don Quixote? His stateliness, his strength, his riches, or what? What kind of jealousy could this skeletal and destitute hidalgo produce? He doesn’t even know that his mind is a bit messed up. They are jealous, of course, of his heroic deeds. They are jealous of the fact that he can see something wonderful and sublime in regular, simple things and events. They are jealous of the fact that he comes as a messiah for Spain! He doesn’t only battle injustice, but also materialism, pettiness,

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wvrilmanobas, prozaulobas, angarebas, retrogradobas... masze daiwera wigni, romelsac kiTxulobs didi da patara, mdidari da mdabio. misi saxeli hquxs espaneTSi da mis sazRvrebs miRmac.

prosaicness, interest, retrograde attitude... They wrote a book about

sanCos axasiaTebs siyvaruli andazebisadmi. es erT-erTi mTavari Strixia misi bunebisa. don kixots ki axasiaTebs am andazebisadmi uaRresad mtruli damokidebuleba. esec Zalian mkveTradaa mocemuli mis saxeSi. amitom es ar SeiZleba iyos SemTxveviTi. saqme imaSia, rom yoveli andaza aris praqtikuli cxovrebis, yofiTi gamocdilebis nayofi. andaza ufro miwisaken eqaCeba, vidre zecisaken. andaziseuli sibrZne don kixots kriWaSi udgas. andazebis filosofia don kixotisaTvis mosawyenia da miuRebeli. igi _ don kixoti TviTon aris mowodebuli Seqmnas axali sibrZne, yofierebis poeturi filosofia, romelic maRla miiswrafvis da miwas Sordeba. misi mesianuri miswrafebani ver Seegueba praqtikuli gamocdilebis empiriul ganzogadebebs, romlebsac fesvi miwaSi aqvs gadgmuli da saukuneebis daobebuli suni asdis.

nature’s main features. As for Don Quixote, he is characterized by an

him that is read by the young and old, the rich and poor. His name resonates to an extreme degree in Spain and beyond.

Sancho is characterized by his love for proverbs. This is one of his exceptionally hateful stance towards proverbs. This is very clearly shown in his character, and therefore, it couldn’t be by chance.

The fact of the matter is that every proverb comes from practical life, from everyday experience. Proverbs pull us more towards the earth than they push us towards the skies. Don Quixote goes against the wisdom of proverbs. Their philosophy is dull and inacceptable to him. He himself, Don Quixote is endowed with the task to create a new wisdom, a poetic philosophy of life that leaves our earthly, everyday lives and goes up, towards the sky. His messianic aspirations cannot adapt to empirical generalizations stemming from everyday experiences – these proverbs are rooted in the ground and produce a centuries-old smell of mold.

I have proposed the following scene in one moment of the film: Don Quixote and Sancho Panza are standing on an elevated place.

filmSi sadRac warmodgenili maqvs aseTi kadri: SemaRlebul adgilze don kixoti da sanCo pansa dganan. maT win gadaSlilia usasrulo sivrce. esaa espaneTi, mzis Taflisfer burusSi garinduli ocnebaTa qveyana. igi savsea xmebiT, fiqrebiT, sunTqviT... ase dganan erTmaneTis pirispir qveyana da misi suli; xalxi da misi grZneuli sizmari... (gavixsenoT ilia WavWavaZis `aCrdili~: `marad da yvelgan, saqarTvelov, me var SenTana~). kacobriobas yovelTvis sWirdeba iseTi suli, rogoric don kixotia. magram, rogorc Cans, es suli yvelaze metad enatreboda maSindel espaneTs da amitomac aenTo igi iq pirvelad. gavixsenoT maSindeli espaneTi. gaiara didi geografiuli aRmoCenebis cieb-cxelebam. sizmariviT gaqra eldoradoze meocnebeTa imedebi; raindi _ romantikuli xalxi viwro interesebis naWuWSi moeqca. laCroba da filisteroba Cveulebad iqca. sanCo _ xalxs brZola ar swadia, brZolis eSinia. sanCo _ xalxi mzadaa emsaxuros, visac ginda, Tundac giJs, ori CoCoris safasurad, oRond im pirobiT, Tu brZolaSi monawileobas ar aiZuleben.

Tumca, Tu piradi qonebis dacvaze, an sxvisi qonebis waglejaze midgeba saqme, gulxeldakrefilni ar darCebian. ase cxovreba aRar SeiZleba! sanCo _ xalxs sWirdeba mesia, romelic mas axal suls Caberavs da aamaRlebs. da es mesia gamoCnda nisliviT mofarfate rosinantze amxedrebuli sulis saxiT. hegeli ambobs: _ roca Camoyalibdeba yvela piroba raimes arsebobisaTvis, es raime Cndeba da iwyebs arsebobas.

Before their eyes, there is an open landscape stretching to the horizon. This is what Spain is, a country of wishes that grew torpid in the honey-colored mist of the sun. It is full of voices, thoughts, breath... This is how the country and its soul are standing face to face; people and their bewitching dream... (Let us remember Ilia Chavchavadze’s ‘Shadow’: “Evermore and anywhere, Georgia, I am with you”).

Humanity always needs Don Quixote’s spirit. But it seems that this spirit was the one that the Spain of that time lacked the most, and that is why it was generated there in the first place. Let us remember the situation in Spain at that time. The fever of great geographic discoveries had passed. The hopes based on the Eldorado disappeared like a dream; knights, or in other words, romantic people found themselves limited by personal interest. Cowardice and culturelessness became the norm. Sancho / people don’t want to battle, they are afraid of it. Sancho / people are ready to serve anyone, even a crazy person, for the price of two foals, but only on the condition that they won’t be forced to take part in the battle themselves. But if we talk about defending one’s possessions, or about snatching those of others, they can become active in an instant. We cannot continue living like this! Sancho / people need a messiah who will breathe a new soul in them and uplift them. And this messiah appeared in the form of a soul mounted on the flapping Rocinante.

Hegel wrote: “When all the conditions are met for the existence of something, then this thing appears and starts existing.”

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yvela kritikul momentSi don kixotisTana giJebi evlinebodnen kacobriobas mxsnelad. momavalSic maTi Svelis imedi unda gvqondes. aseTi giJebi alamazeben dedamiwas da Sinaarss sZenen adamianTa modgmis arsebobas. isini maSin kvdebian da iqcevian araraobad, roca am sigiJes kargaven.

Crazy people like Quixote have been coming forward as the saviors of humanity in every crucial moment of history. We have to hope they will continue to save us in the future. This kind of crazy people embellish our world and provide a motive to the existence of the human race. They die and become worthless only when they lose that madness.

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TELESCHOOL mxiarulad da xalisianad midioda skolis saqme, ase rom, TiTon skolas „mxiaruli saxli~ daerqva saxelad

“Schooldays were taking place merrily and joyfully, and therefore, the school itself was named ‘The House of Joy”

ilia, vittorino de-feltres Sesaxeb

am saxels me Cvens teleskolas davarqmevdi, dReisaTvis yvelaze pozitiur da optimistur skolas. realoba ki optimizmis safuZvels ar gvaZlevda da ufrosebi, gasuli gazafxulis pirze, bedisweris garduvalobisa da usasoobis gancdam mogvicva.

TiTqos is dro mobrunda, mTeli sofeli Jamianobis gamo, sakuTari nebiT rom gaixizneboda xolme miuval adgilas.

TiTqos, dro gaCerda an Sebrunda... dacarielda ezo, quCa, qalaqi; gamoiketa baRebi da skolebi, yvela kari Cairaza da bavSvebisTvis aqamde sayvareli saxli galiad iqca... samyaro oskar uaildis „TavkerZa goliaTis“ zamTris baRs daemsgavsa.

TiTqos, mogveria COVID 19 _ globalizaciis pirmSo „Savi Wiri“, Cveni drois yvelaze „basri maxvili“... adamiani SiSma Seipyro, uxilavi da veragi mtris SiSma. Cveni Svilebi da SviliSvilebi virtualuri sivrcis amara darCnen, mowydnen realobas _ ezos, skolas, megobrebs, maswavleblebs, aRmzrdelebs! patarebs eadvilebaT virtualur sivrceSi yofna, iolad uReben alRos, magram sinamdvileSi, maT sulsa

Ilia Chavchavadze about Vittorino da Feltre

I would name our Teleschool the same, as it is the most positive and optimistic one.

Reality wasn’t giving us any grounds for optimism and us adults, at the beginning of last spring, were hit by feelings of despair and the inevitability of fate.

It was as the times when whole villages would exile themselves to unreachable places of their own free will because of the plague.

It seemed time had stopped, or started going backwards…

Yards, streets, the whole city got empty; kindergartens and schools were closed, all doors were bolted, and the homes that children used to love have transformed into cages…

The world started resembling the winter garden in Oscar Wilde’s ‘The Selfish Giant’.

And COVID-19 became – the first born “plague” of globalization, the “sharpest sword” of our time…

People got afraid of this invisible and perfidious enemy. Our children and grandchildren got left with nothing but virtual space, far from reality – yards, schools, friends, teachers, educators!

It isn’t hard for children to live in a virtual space, they adapt to it easily, but in reality, their souls and hearts first need other nutriments.

Shows, comics, horror films, computer games shouldn’t become more important than the essential, universal human values, and our

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2 (20) 2020

da guls jer sxva sakvebi sWirdeba. Souebis, komiqsebis, saSinelebaTa filmebis, kompiuteruli TamaSebis xmam ar unda gadafaros adamianisaTvis aucilebeli, zogadsakacobrio Rirebulebebi da Cveni Taoba ar unda darCes sulieri sakvebis gareSe, im „arsobis puris“ gareSe, uromlisodac SeuZlebelia homo sapiensis arseboba. adamianebs bevri ram gvaqvs saerTo _ zogadadaminuri da Tu ar movufrTxildiT, aRar gveqneba sulierad mdidari samyaro, samyaro „uTvalavi feriT“ da...

Tavisuflebis nacvlad miviRebT ganukiTxaobas, qaoss; siyvarulis nacvlad _ egoizms, urTierTobis nacvlad _ erTmaneTisadmi merkantilur damokidebulebasa da undoblobas.

Cveni Svilebi xorcieli sakvebis garda im sakvebsac gvTxoven, romelic sulieradac daapurebT, saidanac „mowamluli xmiadi~ arasodes gamocxveba. ufros Taobas unda aeRo pasuxismgebloba! da daibada idea, rac aucileblad unda dabadebuliyo da maT, visac es „pasuxismgebloba“ xvdaT wilad, saswrafod unda moeyvanaT kidec sisruleSi. isev bavSvebma „gvaiZules“ SevmdgariyaviT bewvis xidze, dagvecva wonasworoba, raTa ymawvil-mozardTa yoveldRiuri yofa-urTerToba ar qceuliyo mxolod `abstraqciad~...

generation shouldn’t be left without food for soul, without this “bread of existence”, without which existence is impossible for Homo sapiens.

Us humans have a lot in common – common to all of humanity, and if we don’t look after it, we will lose our spiritually rich world, a world full of colors, and… Instead of freedom, we will get ruthlessness and chaos; instead of love – egoism; instead of relationships – a mercantile approach and distrust.

Apart from actual, material food, our children need food that will nurture their souls, so that they don’t produce poisoned dough themselves.

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2 (20) 2020

Tamar ciciSvili, generaluri prodiuseri; pirveli arxi, teleskola _ SeiZleba iTqvas, rom teleskolas Tavdapirveli da dRemde ZiriTadi funqcia qveyanaSi Seqmnilma araordinalurma viTarebam da ganaTlebis sistemis winaSe damdgarma forsmaJorma SesZina. es TavisTavad krizismenejmentis gamocda ufro iyo, vidre konceptualurad Camoyalibebuli da gawerili gegmis ganxorcieleba, Tumca dameTanxmebiT, rom Sesasruleblad gacilebiT rTuli. Cvens winaSe idga amocana, ori kviris vadaSi Segvekra gundi, romelic SeZlebda saskolo gakveTilis video formatSi gardaqmnas yvela asakis moswavlisaTvis misaRebi formiT da meore semestris programiT gaTvaliswinebuli yvela gakveTili Cagvewera warmoudgenlad mcire drois monakveTSi. aq mxolod imaze araa saubari, rom msgavsi gamocdileba Cven ar gagvaCnda. ar arsebobda msgavsi precedenti arc sxva romelime qveyanaSi da bunebrivia ver gamoviyenebdiT sxvis gamocdilebas. Tumca amocana vfiqrob Sesrulda, rac sazogadoebrivi mauwyeblis menejmentis, ganaTlebis da mecnierebis saministros upirobo ndobisa da, ra Tqma unda, SemoqmedebiT gundis damsaxurebaa, romelmac moulodneli da ucxo sirTuleebi sakuTari profesionalizmis xarjze gadalaxa. aseve calke

The older generation had to take full responsibility!

An idea was born, one that definitely needed to appear, and those who were entrusted with that responsibility, had to make this idea a reality as quickly as possible.

Again, it was the children who “forced” us to stand on a threadthin bridge, to keep the balance, so that the lives of children and teenagers don’t turn into a complete “abstraction”…

Tamar Tsitsishvili, general producer; First Channel, Teleschool – It can be said that the the teleschool was granted its fundamental function by the exceptional circumstances at hand in the country and the force majeure situation in which the education system found itself. Naturally, it was more a challenge in crisis management than the execution of an established and well-prepared plan, and you will agree with me that the first is much harder than the latter.

We suddenly had to create a team in two weeks, a team that could remodel school lessons into a video format and for pupils of all ages; we also had to record all the lessons of the second semester education program in an unbelievably short amount of time. Apart from the fact that nobody had this kind of experience, there was no such precedent at all even in other countries, so naturally, we couldn’t use someone else’s experience either. But I think that we succeeded in overcoming

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2 (20) 2020

gamosayofia maswavleblebis profesiuli gmiroba. am yvelafris Sedegad ki miviReT is, rom saswavlo programaze wvdoma mTel saqarTveloze gavrcelda. albaT, swored es iyo teleskolis Tavdapirveli funqcia.

Tumca es ar aris yvelaferi. teleskolas mravalmxrivad ganviTarebis resursi gaaCnia. vfiqrob, is gaxdeba platforma SemoqmedebiTi azrovnebis ganviTarebisTvis. daakmayofilebs nebismieri moswavlis interess da daexmareba maT axali ideebis generirebasa da ganxorcielebaSi. mjera, rom es teleskolis ZiriTadi funqciaa.

the challenge, and it was thanks to the unconditional trust of ‘Georgian Public Broadcasting’s’ management and the Ministry of Education and Science, and of course thanks to our creative team, which managed to face completely new challenges with utmost professionalism. The heroic undertaking of the teachers themselves also needs to be underlined. And as a result of all this, access to the education program was spread to the whole of Georgia. And this was probably the fundamental function of the teleschool.

vasil maRlaferiZe, teleskolis proeqtis erT-erTi Semqmneli, maswavlebeli — televizoris yuTi orlesuli maxviliviTaa, kargadac gamoiyeneb da cudadac... qalaqi iketeboda... cota dro gvqonda mosamzadeblad. dro saerTod ar arsebobda, dro unda wagerTmia „koronasTvis~. qalaqSi sagangebo mdgomareoba gamocxadda. rusudan abramiZe, qarTuli literaturis maswavlebeli — pirvelad rom vTqvi saxlSi, ar dagimalavT, axlac maxsovs Cemi Svilisa da SviliSvilis gaognebuli saxeebi — rogor bedav, gareT gasvlas?!

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2 (20) 2020

magda papiaSvili, musikis maswavlebeli — Tavidan, ojaxis wevrebs SeeSindaT, gareT xom unda gavsuliyavi, axloblebsac ki aukrZales CemTan urTierToba. magram vifiqre, vinmem xom unda gaakeTos es saqme, bavSvebi ese xom ar darCebian?! vera, ver darCebian!

But that is not all. The teleschool has the potential to develop in many ways. I think that it will become a platform for the development of creative thinking. It will satisfy the interest and curiosity of any pupil, and help them generate new ideas and bring them to life. I am sure that this is the main role of the teleschool.

Vasil Maghlaperidze, teacher of Georgian language and literature, one of the founders of the Teleschool – The TV-box is like a double-edged sword, it can be used in a good or a bad way… The city was closing down… We didn’t have much time to prepare…

There was no time at all, we had to deprive the coronavirus from “time”… A state of emergency was declared in the city.

Rusudan Abramidze, teacher of Georgian literature – I still remember the flabbergasted face of my children and grandchildren the first time I said I was going out – “How dare you going out?!”, they asked me.

Magda Papiashvli, music teacher – Family members were scared because I had to go out, and they even restricted some people from

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2 (20) 2020

unda daibados moswavle-maswavleblis axali urTierToba. es xom Cveulebrivi gakveTili araa, marto xar brZolis velze.

15 wuTSi unda Secvalo bavSvis samyaro, daajero, rom TiToeul maTgans ucqeri, rom mxolod misTvis arsebob, rom yvelaferi kargadaa da kargad iqneba. Seni iaraRi sityvaa da Senzea damokidebuli rogor moixmar, gakveT ukuneTs, moswavles sinaTlis arsebad aqcev, Tu... bnelSi datoveb. es araa Cveulebrivi teleSou, es cxovrebaa da amas grZnoben da uxariaT. Sen icav bavSvebs. erTad amarcxebT sibneles, martoobas, SiSs... daCi nanobaSvili, maTematikis maswavlebeli _ pirveli kviris mere mivxvdi, rom aTasjer ukeT unda gavakeTo, radgan miyurebs Zalin bevri bavSvi. es pasuxismgeblobas mmatebda. mqonda SegrZneba, rom videqi scenaze mayureblis winaSe... miviRe uamravi werili da Tbili sityvebi, gaveci oc weliwadSi dagrovili codna da gamocdileba, romelic unda momergo im realobisTvis, romelSic aRmovCndiT.

seeing me. But I thought that someone had to do the job, that we just couldn’t leave children like this.

No, we couldn’t leave children like this!

A new pupil-teacher relationship needed to appear.

These aren’t regular lessons, you are alone on the battlefield.

You have to change the world of children in 15 minutes, to convince

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2 (20) 2020

them that you are looking, seeing each of them, and existing only for them, that everything is alright and will be alright. Your weapons are words, and it is up to you to choose the way you will use them, if you will pierce the darkness, and bring pupils into the light, or… leave them into darkness.

This is not an ordinary TV show, it is life, and they feel it and like it.

You are protecting children. Together, you are defeating darkness, isolation, fear…

saxlidan gamosvlis TiToeuli dRe iyo sakmaod Sromatevadi. iyo SiSis momentic. daZabuloba iyo maRali, radgan ar vicodiT ra iqneboda meore dRes, magram vxvdebodi, rom saWiro iyo da es unda mekeTebina. irine nacvliSvili, mxatvruli teqstis analizi: erTia, warmoidgino, rom telekamerasTan giwevs gakveTilis Catareba bavSvebis gareSe da meorea — ganaxorcielo... saocari gancdaa, roca gweren: ar gicnobT da ise Segviyvardi... sasiamovnoa, magram pasuxismgebloba aTmagdeba. nerviuloba ar iklebda. ana kldiaSvili, saxviTi xelovnebis maswavlebeli — pirveli Cawera rTuli iyo. es iyo axali gamocdileba — 15 wuTSi Cateva. mqonda grZnoba, rom fizikurad viyavi cudad da gadavwyvite aRar gamegrZelebina, magram iseTi sindisis qenjna vigrZeni, TiTqos gaveqeci sawyal bavSvebs. davbrundi. Rirda am nerviulobad da Sromad.

Dachi Nanobashvili, math teacher – After the first week, I understood that I had to do a thousand times better, because countless children were watching me. This was much more responsibility. I had the feeling that I was standing on a stage, in front of an audience…

I received numerous letters and kind words, I transmitted the knowledge and experience I had accumulated for 20 years, and I had to adapt it to the reality in which we found ourselves. Each day out of my home was quite labor-intensive. There were moments of fear too.

The situation in general was tense, because we didn’t know what would

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2 (20) 2020

rusudan abramiZe, qarTuli literaturis maswavlebeli: didi madloba teleskolis umagres jgufs _ televiziis TanamSromlebs, romlebmac gamaoces TavianTi sikeTiT da saqmis siyvaruliT! madloba Tqven _ didi madloba!!! daviT sonRulaSvili, fizikis maswavlebeli — me vqmni resursebs, rom maswavleblebma gamoiyenon saswavlo procesSi da TviTon ki ar momixda am resursebis

happen the next day, but I understood that it was necessary and that was what I needed to do.

Irine Natsvlishvili, analysis of literary texts: It is one thing to imagine that you have to give a lesson in front of the camera and without present children, and it is another to actually do it… It is a wonderful feeling when they write you: “We don’t know you but we love your lessons so much”… But your responsibility also grows much bigger. It was very trying.

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2 (20) 2020

Ana Kldiashvili, fine arts teacher – The first recording was difficult.

Fitting a lesson in 15 minutes was completely new to me. I had the impression that it was making me physically unwell, and I decided to stop, but I became so remorseful because of the feeling to have left the children to themselves that I decided to return. Despite all the stress and taxing work, it was worth it.

Rusudan Abramidze, teacher of Georgian literature – I want to express my deepest gratitude towards the great Teleschool group, to the staff of the public broadcaster, who have impressed me with their kindness and dedication! Thank you so much!

Davit Songhulashvili, physics teacher – I create resources for teachers to use in their teaching process, and now I had to use these resources myself! I am used to a live audience. The cameraman was often smiling and reminding me to look into the camera…

gamoyeneba?! miCveuli var cocxal auditorias. mSveloda, operators rom gaeRimeboda xolme, aqeT miyureo... giorgi lazriSvili (cvancika) maTematikis maswavlebeli _ vcdilobdi dinamiuri gakveTili Cametarebina, saklaso oTaxis ganwyoba Semeqmna. didi pasuxismgeblobis gancda dameufla moswavleebis, mSoblebis, kolegebis mimarT da sadac esaa, iq didi sifrTxile da aseve cota SiSicaa...

Zieba, Zieba, uZilo Rame... da imis gaazreba, rom 15 wuTi gaqvs raTa daanaxo maTematikis xibli... niWi ar maqvs _ es damokidebuleba Seucvalo _ `axla gavige, ra advili yofila~-Ti. saubrisas, CarTuli wamzomis fonze odnav gascde mkacr maTematikur terminebs, raTa ar gawydes kontaqti, survili Semdegi gakveTilis mosmenis da isaubro gamarTulad _ qarTulad(!) da sainteresod...

Giorgi Lazrishvili (Tsvantsika), math teacher – I was trying to give dynamic lessons, and wanted to create the atmosphere of a classroom.

I felt a great deal of responsibility towards pupils, their parents, and of course, my colleagues, and therefore, I was quite nervous. Sleepless nights… Thinking, thinking, sleepless nights… And the knowledge that you have only 15 minutes to make pupils see the charms of mathematics.

Gia Murghulia, teacher of Georgian language and literature – Teachers are responsible for the way of life of each of their pupils. They should be able to preserve the dialogue aspect of a lesson without having the pupils in front of them, and to transform this virtual contact into a real one. This is the most difficult challenge, together with the fact that you need to achieve two main things in a short amount of time – be systematic and laconic. And of course, you shouldn’t forget that teachers aren’t only transmitters of knowledge, but also educators – they are responsible for the future lives of their pupils, and for the extent to which the latter will be able to defeat their ego. By saving one person, you save the whole world.

gia murRulia, qarTuli literaturis maswavlebeli — maswavlebeli pasuxismgebelia imaze, rogor cxovrobs misi TiToeuli moswavle. erTi adamianis gadarCeniT, Tqven gadaarCenT mTel samyaros! maswavlebelma unda SeZlos realurad Tvalwin myof moswavleTa gareSe SeinarCunos gakveTilis dialoguroba da warmosaxviTi kontaqti namdvilad aqcios. es yvelaze rTuli amocanaa imasTan erTad, rom mcire droSi miaRwio or mTavar rames _ sistemurobasa da lakoniurobas. da, ra Tqma unda, ar unda dagvaviwydes, rom maswavlebeli ubralod codnis gadamcemi ki ara, aRmzrdelic aris _ is pasuxismgebelia imaze, Tu rogor icxovrebs misi moswavle da ramdenad SeZlebs daZlios egoizmi.

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*** virtualuri sivrcis sapirwone cocxali sityva da siyvaruliT gamTbari gulia. gamoCndnen axali drois raindebi — „sityviT mebrZolni~, romelTac mosiyvarule guli da sakuTari magaliTi aCuqes bavSvebs. amjerad bavSvebma „gvaiZules~ SevmdgariyaviT bewvis xidze, gvaiZules dagvecva wonasworoba, gvaiZules „cocxali sityva da siyvaruliT gamTbari guli~ ar yofiliyo abstraqcia, rogorc xSirad xdeba xolme. yovel epoqas aqvs Tavisi saTqmeli, rac aucilebliv unda iTqvas, sxvanairad sxva Zala ityvis, sxvanairad TavTuxis purSi RvarZli gaereva...

*** Live words and hearts warmed by love are the counterweight to virtual space. A new kind of knights has appeared, knights who battle with words as weapons, and who have offered children their loving hearts and shown them the example to follow through their own behavior.

This time, it was the children who “forced” us to stand on a threadthin bridge, to keep our balance, and to make the idea of “live words and hearts warmed by love” something more than an abstraction…

Each epoch has its own thing to say, something that it definitely needs to say – otherwise, some other force might say something else, otherwise, ergot will grow on the rye, otherwise…

Humanity will reach higher and higher technological peaks, but the future generation shouldn’t lack words, heartfelt words, words with wings.

*** teleskola amarTlebs Tavis devizs: `ymawvili unda swavlobdes sacnoblad Tavisadao...~ Sexvedra Sedga, Sexvedra bewvis xidze.

*** The Teleschool is true to its motto: “A child should learn in order to get to know oneself…”. The gathering between pupils and teachers did take place – on a thread-thin bridge.

qeTevan abramiSvili

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Ketevan Abramishvili

2 (20) 2020

masTan Sinagani Tavisufleba damoukideblobas, Tamam nabijebs moaqvs. albaT, amitom gadawyvita Tavis droze rom sakuTari Tavi, simRerisTvis,zogadad, musikisTvis mieZRvna. gambedaoba iyo isic, roca mogvianebiT, ormoci wlis asakSi scenazec avida da mas Semdeg msmenelis didi siyvaruli mamuka Carkvianis Semoqmedebis mudmiv Tanamgzavrad iqca.

Inner peace would come to him through the results of his independent and bold decisions. This is probably why he decided to dedicate his life to singing, and more generally, to music. It was also daring when he went up the stage at 40 years of age, and after that, great love from spectators has always been following Mamuka Charkviani’s path.

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2 (20) 2020

leqsiT gancdili harmonia HARMONY EXPERIENCED THROUGH POETRY cxovreba erTgvari kaleidoskopia. misi nairgvaroba uamravi saintereso adamianis fsiqoportretuli StrixebiT iqmneba. am siWreleSi SenTvis nacnob Tu manamde amoucnob bevr niSan-Tvisebas roca aRmoaCen, rwmundebi, rom imaze Rirebuli araferia, vidre naRdi adamianuri urTierTobebi. mas Semdeg, rac Cemi erT-erTi gataceba sayvarel saqmianobad vaqcie, SesaZlebloba momeca gulRia dialogSi ukeT gavicno Tanamosaubre, gavigo da SevigrZno misi buneba, fiqri Tu emocia, misive TvaliT davinaxo ra gza gaiara da rogori iyo es Tavgadasavali. interviumde, mzadebisas, winaswar Camovwere kiTxvebi, ramdenjerme gadavikiTx/gadavalage da calke movitove erT-ori mniSvnelovani, romelTa Sesaxeb respondentTan situaciisamebr visaubrebdi. ganwyobis Sesaqmnelad kidev erTxel da ufro guldasmiT movusmine mis namRers. profesiidan gamomdinare, adamianebTan komunikacia, urTierTobis damyareba miadvildeba, Tumca, gamorCeuli niWiT dajildoebul xelovans da pirovnebas, mamuka Carkvians roca vestumre, mRelvarebis msubuqi gancda mainc dameufla. misi Semoqmedeba, ZiriTadad, jansuR Carkvianis poeziazea agebuli da mamisadmi mowiweba da siyvaruli momRerlis yovel frazaSi, gamoxedvaSic ki igrZnoba. didxans mxolod SinaurebTan mReroda da mxolod1995 wels, megobrebis `daJinebuli moTxovniT~ gaicno sazogadoebam, rogorc uamravi simReris ubadlo avtori da Semsrulebeli. am siTbosa da siyvaruls qarTveli Tu ucxoeli msmeneli dResac gamoxatavs da Cveni saubris dasawyisSi, ramdenime amgvari ambavi Tavadve gaixsena: cota xnis win Turme avstriidan axlobelma daureka da uambo, rom venaSi mcxovreb patara qarTvel biWs, misi simRerebis mosmenisas cremlebi Rapa-RupiT sdis da gacnobazec ocnebobs... holandiel maria utrexts ki, romelic oc welze metia misi Tayvanismcemelia, saqarTveloSi yofnisas CarkvianebTan stumroba SesTavazes, am ambavs igi did xans ver ijerebda da momRerlis axlobelTa xumroba egona... qalbatoni utrexti dRes mamukas ojaxis didi megobaria... pirveli SekiTxva `guSindel~ Tbilisze, imdroindel urTierTobaze davusvi, razec mipasuxa, rom _ Tbilisi iyo da axlac urTierTobaa _ Tumca dananebiT daamata _ vxedav, imdroindel xibls raRac daaklda, magram `guSinac da dResac~ mTavar cxovrebiseul filosofiad sicocxle, siyvaruli, sikeTe, megobari, qveyana rCeba. dRes ase gavrcelebuli da moaruli fraza, `Tbilisi

Life is a kind of kaleidoscope. Its variety is composed by the psychological features of innumerable interesting people. When you discover many qualities and characters – some known, some unknown – in this diversity, you become convinced that there is nothing more valuable than real human relationships. After transforming one of my passions into my favorite activity, I have been given the opportunity to get to know my interlocutors better through dialogue, and to sense their nature, thoughts or emotions, to see the path and adventures they’ve been through – through their own eyes.

While preparing for the interview, I wrote down some questions, I rehearsed and rearranged them several times, and I selected a few important ones that I really wanted to talk about when the conversation would give the occasion for that. In order to get into the atmosphere, I listened once again to his songs, with utmost attention.

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2 (20) 2020

iyo urTierToba~ _ zustad miesadageba momRerlis axalgazrdobis wlebs, radgan mamuka yovelTvis Tavad iyo maSindeli axalgazrduli Sekrebebis suli da guli. misi saxlis kari yvelasTvis Ria iyo da aq modioda yvela _ nacnobi da zogjer ucnobic. isini gamorCeulni iyvnen Taviseburi, originaluri xedviT poeziaze, simReraze. mamuka, amdeni gansxvavebuli adamianis erTad Semkrebi da urTierTobaTa wamyvani, garkveul balanss qmnida, raTa nebismier maTgans Tavisuflad da Tanabrad egrZno mis ojaxSi Tavi... axla SeiZleba „nislisfer siymawvileSi daikarga misi sityva Tavisufali“ da mainc, yvelafers „Tavisi dro aqvs, dRes mziansa da Rames mTvarians“. madlobelia yoveli axali dRis. uxaria, gaTenebisTanave rom SeuZlia miujdes fortepianos. zogjer mezoblebis roca erideba, gitaras iRebs xolme: ukravs, qmnis da Tavadve tkbeba Seqmnili hangebiT. yvelaze mSvidad Tavs saxlSi grZnobs, ganmartoebiT yofnisas, roca xels aravin uSlis... fiqrSi, axlis ZiebaSi, gancdilis aJRerebaSi. STagonebac xom swored aseT dros modis. frTxilobs ar „gaanawyenos“ muza, rom ar miatovos da amitom saTuTad uvlis.

Because of my profession, it’s relatively easy for me to communicate with people and to break ice with them, but when I visited Mamuka Charkviani, an artist and person blessed with exceptional talent, I nevertheless became more nervous than usual.

His works were mainly based on Jansug Kakhidze’s poetry, and his reverence and love towards his father can be felt in every sentence, even in every gaze produced by the singer. For a long time, he would only sing among his close friends and family, and it is only in 1995, thanks to the insistence of his friends, that the public got to know him as an incomparable author and performer of numerous songs. Georgian and foreign music lovers alike often express their warmth and love towards Mamuka Charkviani, and in the beginning of our conversation, he recounted some stories himself: not long ago, a friend of his called him from Austria and told him that a small Georgian boy living in Vienna always cries when listening to his songs, and dreams of getting to know the singer... As for the Dutch Maria Utrecht, who has been a fan of Mamuka Charkviani for more than two decades, they offered her to meet the singer when she was in Tbilisi, and for several days, she couldn’t believe that it was true and thought that they were pulling a joke on her... Today, Mrs. Utrecht is a close friend of Mamuka’s family...

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„uflis CareviT moxda es yvelaferi, sul vgrZnob, rom maCuqes es niWi. megobrebis azri gadamwyveti aRmoCnda, rom scenaze gamovsuliyavi. jansuRma miTxra _ xalxma icis ataceba da ar daijero-o, rogorc ki zedmetad daijereb, rom magari xar, mere gagiSveben xels da ukan-ukan sul grialiT wamoxval-o“. ase afasebs mamuka Carkviani sakuTar originalur xelweras, romlis gamorCeul saxasiaTo Strixad simReris axlebur formas da gansxvavebul harmonias miiCnevs. fiqrobs, rom dResac ver mRerian sxvebi ise, rogorc Tavad asrulebs `sakuTars~, radgan simReraSi Tavis gancdebs aqsovs da es aris misi sulis amoZaxili. „jansuRs aqvs Zlieri lirika, patriotuli suliskveTeba. me SevigrZeni es da TiTqmis yvela simRera mamas leqsebze Sevqmeni“. cxadia, sxva poetebic arian misTvis STagonebis wyaro _ sulSi Camwvdomi bevri strofi, harmoniulad aJRerebuli da ukve „gahitebuli“ dRemde atkbobs Cvens yurTasmenas. erT-erTi gamorCeulia mamukas dedis, qalbaton irma CxeiZis leqsis istoria _ „sul yvelaze lamazi, Seni Tvalis feria, Senze usayvarlesi, qveynad araferia...“, romelic mamukam Tavis qaliSvils, irinolas miuZRvna da udidesi siTboTi Seasrula. msmenelmac Seiyvara, radgan igrZno, rom marTlac „ase arsad mRerian“. vusmen mis saubars da vxvdebi, rom iRbliania, RmerTis rCeuli, TviTnabadi niWiT da ara marto megobrebis, aramed uzarmazari publikis siyvaruliT, pativiscemiT ganebivrebuli, _ imavdroulad, mokrZalebuli, Tavmdabali. Tvlis, rom „kaci SeniT qmni beds, Senzea damokidebuli rogor waiyvan sakuTar cxovrebas. RmerTi gaZlevs Sanss da ar unda gauSva xelidan, winapirobad unda gamoiyeno bedis mocemuloba“.

Cems SekiTxvaze _ ra gvWirdeba, ra gvaklia imisTvis, rom „gavazafxuloT qveyana“, jer xumrobanarevi toniT miTxra, rom „gvaklia Wkua“, mere ki dafiqrebulma Tqva: „mkacri xeli, disciplina gvWirdeba, magram yvelaze metad rac gvaklia da saWiroa, es aris urTierTsiyvaruli“. da im SemTxvevaSi, „Tu gamarjveba aris mizani“, garSemo myofebs Sinagani ZlierebisTvis pirvel rigSi, rasac uwiladebs, es aris simRera, romelic Znelad modis, „mas unda mouaro, rogorc mamuls“... aseve gauziarebs siyvarulis muxts, romelsac udidesi Zala aqvs gamarjvebis mosapoveblad.

CemTvis aRmoCena iyo, rom mamukam ar icis notebi, is TviTnaswavli musikosia. kidev ufro metad davafase misi niWi, araordinaruli kompoziciuri xelwera da gamorCeuli saSemsruleblo manera. „Cemi bevri simRera gaorkestrda. axali simRerebic maqvs, magram yvelas ar uxdeba... zogi gitariT Sesrulebas iTxovs“ _ mixsnis Cveuli uSualobiTa da gulwrfelobiT. mamukasTan dialogs fonad misi simRerebis Canaweri

My first question was about the “Tbilisi of yesterday”, how relationships were back then, and he answered me that “Tbilisi was and still is all about relationships” – but then added with some regret: “I feel that there is something missing to the charm of that time, though fortunately, just as “yesterday”, the most important in the way people live their lives is life itself, love, kindness, friendship, and the homeland”.

Today’s widespread and common sentence “Tbilisi was relationships” perfectly fits the singer’s youth years, as Mamuka was always the heart and soul of youth gatherings at that time. The door of his house was open to everyone, and everyone would enter it – both people he knew and people he didn’t know. They would stand out with their own, original views about poetry and songs. Mamuka, as the gatherer of so many different people and as the central figure of their relationships, was creating a kind of balance in all this, so that each of them could feel free and equal in his family’s home... Now, perhaps his “freedom of speech got lost in his misty youth”, but still, “everything has its time, the day has its Sun, and the night its Moon”.

He is thankful for every new day. He is glad that he can sit at the piano as soon as the day breaks. Sometimes, he takes the guitar not to disturb his neighbors: he plays instruments, creates and takes delight in new melodies. He feels the best at home, when he’s alone, when nobody is disturbing him – in his thinking process, in his search

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for something new, in his musical expression of emotions. This is precisely the time when inspiration comes. He is cautious not to “cause discomfort” to his muse so that she doesn’t leave him, and he pays utmost attention to her.

“All this happened with the intervention of God; I always feel that someone gave me this talent as a present. The opinion of my friends turned out decisive in me getting up on the stage. Jansug told me – “People often get fond of something, don’t let it get to your head.

Because as soon as you believe that you are great, they will let go of your hand, you will disappear as fast as you appeared”.” Mamuka Charkviani believes that the characteristic feature of his works are to be found in his new form of singing and a different harmony. He thinks that to this day, others still don’t manage to sing his songs the way he himself performs them, because he puts his emotions into his songs – they are expressions of his soul.

“Jansug has powerful poems, with a patriotic theme. I felt this, and based almost all my songs on my father’s poems.” Naturally, other poets have inspired him too – many such harmonious verses that have already become hits have been sweetening our audition.

The story of a poem by Mamuka’s mother, Mrs. Irma Chkheidze, particularly stands out – “The most beautiful color is that of your eyes, there is nothing more lovable than you in the world...”, which Mamuka

amSvenebda. CemTvis moulodnelad erTi Tbilmosagonari ambavic gavige. gogi doliZis xsovnis pativsacemad xelovnebis muSakTa saxlSi medea ZiZigurs koncerti Cautarebia da gadauwyvetia es saRamo mamuka Carkvians gaexsna. misi bevri simRera farTo auditoriis winaSe pirvelad maSin gaJRerda. zemoT vaxsene, rom interviumde momzadebul SekiTxvebs Soris ramdenime saTuTad Semovinaxe da erT-erTi gogi doliZes ukavSirdeboda, radgan masalis moZiebisas SemTxveviT gavige, rom akordebSi Semonaxuli emocia _ „SoriT Tavs gixri da SoriT gesalmebi, gzebze gagikideb anTebul Wrilobebs...“ gogis eZRvneba. amis Sesaxeb mamuka xmamaRla naklebad saubrobs. raki ase bunebrivad daemTxva, gavbede da vTxove, esec eambna. „gogi doliZe iyo gamorCeuli, vfiqrob, dResac Zalian cotaa aseTi donis momRerali... misi dakrZalvidan Zalian guldamZimebuli wamovedi. saxlSi rom davbrundi, gadavSale jansuRis wigni da „cisferi kesanebi“ vipovne. amiT mivage pativi mis saxels“. mere erTi fragmenti gaixsena maTi urTierTobidan: „gogi Cveni ojaxis xSiri stumari iyo. im dros me mxolod „Sinaur“ wreSi vmRerodi da scenaze ar gamovdiodi. maxsovs erTxel jansuRTan interviuze Jurnalisti movida. saubars gogic Seeswro. me

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gvian SemovuerTdi, cota nasvami viyavi da ucxo adamianis TandaswrebiT Tamamad vimRere. Jurnalistma gaocebiT ikiTxa _ mamukac mReris?! gogim sruli seriozulobiT miugo _ mReris ki ara, mamaa simRerebis-o!“ diax, asea marTlac. misi simRerebis mosmenisas, Sinaganad grZnob, rom „Rimili anaTebs warsulis gzebs“, radgan „sulSi musika Tovs...“ da ufro metad xvdebi „es siyvaruli saubrobs RmerTTan da albaT, male CamobrZandeba“. masalis damuSavebisas socialur qselebSi mimofantuli bevri komentaric wavikiTxe saxalxo siyvarulis dasturad. ai, ras weren mamukas Sesaxeb: „Tanamedroveobis udidesi qarTveli kompozitori da Semsrulebeli“, „raoden lamazi leqsebi aqvs jansuRs da ra saocari Semsrulebelia mamuka, metireba, rom vusmen... es simRera suls miforiaqebs“, „ganumeorebeli kompozitori da momRerali“, „sul axlaxan gavige am momRerlis Semoqmedeba. es jadosnuri movlenaa, gacilebiT metia, vidre simRera, es Tavad sicocxlea...“ da kidev uamravi epiTeti, emocia, aplodismenti...

dedicated to his daughter Irinola, and performed with great warmth.

The listeners got fond of this song too, because they understood that really, “nobody sings like this” [words between brackets often represent Mamuka Charkviani’s song lyrics].

I listen to him talking, and I understand that he is blessed, that he was chosen by the Lord, and pampered not only by the love and respect of his friends, but those of his enormous public – and at the same time, he remains humble and modest. He believes that “people create their destinies themselves, how their lives will develop is up to them. God gives us a chance and we shouldn’t let it go, we should use the given of fate as a precondition”.

To the question of what we need, and what we are lacking in order to “make spring come to our country”, he first answered half-jokingly that “we lack intelligence”, then he said, pensively: “We need a strong hand, discipline, but more than anything else, what we need is to love each other”.

And in the case “victory is the goal”, the first thing he shares with people around him are songs, which don’t come easily – “you have to look after them as you would look after your land”... He also shares a loving energy, which has great power when it comes to achieving victory.

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msmenelis mxridan aseTi aRiarebis miuxedavad, Cemda gasakvirad, mamuka Carkviani ar aris kompozitorTa kavSiris wevri, Turme mxolod imitom, rom mas ar aqvs damTavrebuli konservatoria. Tavad am garemoebis gamo wyenas ar atarebs. misTvis gacilebiT mets niSnavs sruli anSlagi filarmoniis did sakoncerto darbazSi, SemoqmedebiTi saRamo rusTavelis saxelobis TeatrSi, regionebSi gamarTuli leqsisa da simReris dResaswaulebi, sakoncerto gamosvliT israelSi, saberZneTSi da sxvagan miwveva... da ra aris bedniereba?! „isev jansuRs davesesxebi. am kacs yvelaferze aqvs pasuxi. ...SeiZleba poeti ar iyo, magram gesmodes. misi erTi patara strofiT vityvi: „bedniereba _ is Cemi RviZli Svilia, ar amitiroT“. saubris bolos vkiTxe, rames xom ar daamatebda, gamiRima da kiTxva Semomibruna: „rodis avdgebi savarZlidan, xom ar ici?!“ es albaT, mis garSemo yvelas aRelvebs, ojaxis wevrebs, samegobros, TayvanismcemelTa did armias... cremli momadga, ganvicade, rom ar maqvs pasuxi, Tumca imedad gamomyva SegrZneba, rom igi bunebiT vaJkaci, Zlieri pirovnebaa, romlisTvisac erTi mxriv, mxolod „mogonebaa, yvelaferze didi tkivili, me vtiri, magram simReras gavs Cemi tirili“ da meore mxriv, „dRes SiSis ara, dRes rwmenis droa!“ es iyo Sexvedra, romelic Cven bavSvobas gvagonebs...

I discovered, to my surprise, that Mamuka doesn’t know how to read scores, that he is a self-taught musician. I valued his talent, original way of composing, and unique performing style even more. “An orchestra was added to many of my songs. I also have new songs, but it wouldn’t fit them... Some of them need to be performed with a simple guitar” – he tells me with his usual spontaneity and frankness.

A recording of his songs in the background was embellishing my dialogue with Mamuka. I also unexpectedly learned a story that filled me with warmth. I learned that Medea Dzidziguri performed a concert in the Art Palace to pay respects to the memory of Gogi Dolidze, and that she asked Mamuka Charkviani to open the ceremony. Many of his songs first became public for broader audiences on that very evening.

I mentioned above that among the questions I prepared for the interview, I selected some particularly important ones, and one of those is related precisely to Gogi Dolidze, because while researching some material, I learned by chance that the lyrics “I bow my head from a distance and greet you from a distance, I will drop open wounds on the road for you...” were dedicated to Gogi.

Mamuka doesn’t usually talk openly about this, but as the transition was only natural, I dared to ask him to tell us more about Gogi. “Gogi Dolidze was very special, I think that even today, there are very few such singers... I returned from his funeral with a heavy heart. When I got back home, I opened Jansug’s book and found ‘Sky-blue forgetme-nots’. This is how I paid my respects to him.” Then he remembered another fragment of their relationship: “Gogi used to visit our family quite often. At that time, I would only sing among my close friends and family, and had never stood on the stage. I remember

p.s. madlobas vuxdi Cems araCveulebriv respondents da mis meuRles gulTbili maspinZlobisTvis, imisTvis rasac leqsiT gancdili harmonia da simReriT moniWebuli bedniereba hqvia. mako jaoSvili

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that a journalist once came for an interview with Jansug. Gogi was attending the interview. I joined them later, I was a bit drunk, and I didn’t shy away from singing before an unknown person. The journalist asked in amazement – “Mamuka sings too?!” Gogi answered him in all seriousness – “If he sings? He’s the best at it!”

And that’s the truth. When listening to his songs, you feel inside that “a smile illuminates the roads of the past”, because “music is snowing in the soul”... And you understand even better that “this love is speaking with God, and will probably come down soon”.

While preparing the interview, I also read many comments on social media platforms, which only confirmed the love of the public towards Mamuka Charkviani. This is what they write about him: “The greatest modern Georgian composer and performer”, “Jansug has such beautiful poems, and Mamuka is such a great performer, that I always cry when I listen to his songs… this song always troubles me – but in a good way”, “Inimitable composer and singer”, “I have just learned about this singer’s works. This is pure magic, it is much more than singing, this is life itself…”, and many more praises and emotions…

I was surprised to find out that despite such recognition from the public, Mamuka Charkviani is not a member of the Georgian Composer’s Union, and as I’ve learned, it is only because he didn’t finish the Conservatoire. But he isn’t hurt by that. To him, a packed Tbilisi Concert Hall, a charity evening at the Rustaveli Theater, poetry

and singing festivals or events held in regions, concerts in Israel, Greece, or other countries all mean much more than a membership…

And what is happiness?! – “I will quote Jansug once more. He has an answer to everything. You might not be a poet, but you can understand poetry. I will say it in a small verse of his: “Happiness – it is my own child, don’t make him cry”.”

At the end of our conversation, when I asked him if he had something to add, he smiled to me and returned the question: “Do you know when I’ll be able to get up from my chair?!”. This is something that worries everyone around him – his family members, friends, army of fans... A tear came down my eye, I realized that I had no answer, but still, I was hopeful, because I have the feeling that he is a courageous man and a strong person by nature, to whom on the one hand, “memories are the worst suffering, I wail, but my wailing looks like a song”, and on the other hand, “today is not a time for fear, it is a time for faith!”.

It was a meeting that reminded us of our childhood...

P.S. I would like to express my gratitude to my wonderful respondent and his wife for their warm welcome, for the harmony experienced through poetry and the happiness conveyed through songs.

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Mako Jaoshvili

2 (20) 2020

afrindebian landebi...

GHOSTS WILL FLY AWAY… xis magidaze saxeldaxelod gawyobili sufra, venaxis Sriali, saukeTeso Rvino... ra sjobs sandro dirbelis venaxSi qeifs. es yvelaferi soflis nostalgias ayuCebs, orives rom Tan sdevs mudam, romelic mosvenebas ar aZlevs xidisTavel niko samadaSvils da dirbel aleqsandre mgalobliSvils... qalaqSi gadmosaxlebulebs isev raRac ewevaT soflisken. `rogor miyvarda Cemi sofeli, rogor mindoda iq movmkvdariyav~ (`Cemi sofeli~). miwis siyvaruliT dirbels nakveTi uyidia navTluRSi, venaxi gauSenebia, Rvinos Tavisi xeliT wuravs, romelsac megobrebi erTad agemovneben.

A wooden table prepared by hand, the murmur of the vineyard, the best wine you can imagine… What could trump having a feast in Sandro Dirbeli’s vineyard? All this soothes the nostalgy of one’s countryside, which never lets either Khidistavian Nikio Samadashili or Dirbian Aleksandre Mgaloblishvili rest… Those who move to the city always feel a “call” back to the village. “How I loved my village, how I wanted to die there” (‘My Village”). The love of one’s land made Dirbeli buy a piece of land in the district of Navtlughi, where he cultivated a vineyard, and now presses his grapes himself for all his friends to taste.

It is an ordinary sunny day, which would become of utmost

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erTi Cveulebrivi mziani dRea, romelic momavalSi metad mniSvnelovani aRmoCndeba niko samadaSvilis cxovrebaSi... am dRes unda gadawydes misi leqsebis pirveli krebulis bedi... Tumca niko amas verc ki warmoidgens. dirbeli Tavisi qaliSvilis, leilas amxanag biWebs hpirdeba, rom nikos aucileblad gaacnobs: erTi kargi `poeziis saRamo~ movawyoT, niko cota gaxalisdebao. biWebsac uxariaT, ukve smeniaT niko samadaSvilis Sesaxeb, misi xelnaweri leqsebic waukiTxavT. ...Rvino, sadRegrZeloebi, leqsebi... xarobs niko, uyvars axalgazrdebi poetur sityvas rom afaseben, sulier siaxloves grZnobs maTTan. siamovnebiT kiTxulobs sakuTar leqsebsac... aseT dros imediT ivseba, ecineba maTze, visac `avadmyofoba egonaT, biWo, leqsebi tanze gamonayari~. axla is Wiqas Wiqaze clis da verc ki warmoidgens, rom mis sicocxleSi erTi leqsis dabeWdvasac ar aRirseben.

Rvino qarvisferia da xidisTavis TavTuxebs agonebs, sevda ufro metad eZaleba, xandaxan imedgacrueba ipyrobs, ra unda qalaqSi, ra esaqmeba aq, sadac misi ar esmiT, sadac sulis salbuni ver upovnia?! `leqsebis jRabna wamebad geqca, sjobda venaxis kvali gebara, vis rad undoda es TvalTmaqcoba, netavi qarSi gadageyara~. iqve, win bavSvobis megobari uzis, aleqsandre mgalobliSvili, Tavad sandro dirbels rom eZaxis... Sehyurebs mas, ymawvilkacoba axsendeba da sevdac dirbis yanebiviT lurji xdeba. dirbels SeiZleba dardi gaandos, Tavisi ubedoba SesCivlos, ra xania xom gverdigverd miuyvebian cxovrebis uswormasworo gzebs… leqsad gamoTqma ufro uadvildeba, sevda poezias uxdeba... aba ise wuwuni ra kacis saqmeao, fiqrobs... aq isev axldebian misi xilvebi: qarTli, tanas xeoba, sofeli... `afrindebian landebi~... aq SeuZlia cota Rvino dalios da gailaRos, Torem nikoze ukeT vin icis, ra mwarea, roca simTvralesTan erTad mTvrali dardebic agetorRialebian, gulze geWidebian, safeTqlebs gixureben, neknebs gimtvreven, TvalSi Suqs giwritaven, Sublis Zvalze gaskdebian, sxeuls gimRvreven... da mere, gsurs Tu ara gsurs,

importance in Niko Samadashvili’s life in the future... It is the day that the fate of the first anthology of his poems would be decided – but at that time, he couldn’t even imagine that.

Dirbeli promises the friends of his daughter Leila that he will introduce them to Niko: “Let’s organize a good “poetry evening”, I’m Sure Niko will enjoy it”. The boys are happy, they have heard a lot about Niko, they’ve even read his poems. …Wine, toasts, poems… Niko is happy, he loves when the youth values poetry, he feels spiritually close to them. He reads his own poems with pleasure… During these kinds of events, he is filled with hope, and laughs off those who “thought that poems were an illness, a rash on the body”. Now, he drinks a glass after the other, and he couldn’t imagine that they won't even publish one of his poems during his lifetime.

The wine has the color of amber, reminding him of the wheat of Khidistavi; he becomes more sorrowful, sometimes he is hopeless – what is he doing in the city, what could he do here, where they don’t understand him, where he couldn’t find anything to comfort his soul?!

“Writing poems has become a torture, it would have been better to follow the path of a vineyard, who needed this deceitfulness? If only you had thrown it to the wind”. A childhood friend of his is sitting right in front of him, Aleksandre Mgaloblishvili, whom Niko himself calls “Sandro Dirbeli”… He looks at him, is reminded of his youth, and his sorrow becomes as blue as the cornfields of Dirbi.

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2 (20) 2020

uweso, TavaSvebuli bavSvebiviT cvivian gareT, zogi wvimis gubeSi Cawolila da zogic laJvardebs gadavlebia... da Tundac ketiT sdio, mainc ver daaokeb... rac unda kargi leqsi daweros, mainc damarcxebulad grZnobs Tavs, mainc ver aRwevs imas, im raRacas, rasac unda rom miaRwios. is raRac, gaazrebuli Tu gauazrebeli mizani, romliskenac ase miiswrafvis, iqneb arc miiRweva saerTod?.. mainc wers... kvlav marcxdeba, magram sxvagvarad ar SeuZlia. wera Sinagan moTxovnilebad eqca da iseve Wirdeba, rogorc haeri, puri, wyali... iqneb es aris misTvis haeric, purica da wyalic. sxeulSi, sulSi Tu gonSi raRac SeuCnda da ar asvenebs, awamebs... bolos gareT gamostyorcnis, ise, rogorc SeuZlia, rogorc ewereba, wesebis gareSe... damarcxebisTvis ganwirul leqsebad. weras mainc agrZelebs, sxvagvarad ar SeuZlia, ver ixSobs sulis simReras _ `Sen CemSi ustven, viT saydris Citi~. ar ubeWdaven... cdilobs RvinoSi CaaRrCos tkivili, TiTo Wiqa, TiTo CaRmrCvali leqsia. leqsebi ki ar iZirebian, piriqiT... zemoT, zemoT moiweven, Wiqis fskeridan zedapirze amodian, mTvral bageebs askdebian da Rvinis wveTebiviT ifantebian naxevradCabnelebuli SemTvrali Tanamoqeifeebis saxeebze... aseT wuTebSi misi sasowarkveTac ukvalod qreba, aq zedmetia misi aRsareba. xval isev dawers leqss, isev mokrZalebiT SeaRebs romeliRac literaturuli Jurnalis redaqciis kars da iqve dasjili moswavlesaviT aituzeba... leqsebs uxalisod daitoveben, pirdapir uars ar miaxlian, wavikiTxavTo, dapirdebian da ukve karSi gasuls mainc SexsenebasaviT miaZaxeben: _ Tqven buRaltrad

He can confide his sadness to Dirbeli, he can complain to him of his ill fate, they’ve been walking side by side on the uneven paths of life for so long…

It’s easier for him to speak in poems, sorrow goes well with poetry… Otherwise, it is not a manly thing to complain, he thinks…

His contemplations change again: Kartli, the Tana valley, his village… “Ghosts Will Fly Away”…

Now he can drink a bit of wine and become more carefree – who knows better than Niko how painful it is when together with inebriation, intoxicated thoughts pursue you, attach to your heart, heat your temples, break your ribs, illuminate your eyes, hit your forehead, contaminate your whole body… And then, whether you want it or not, they come out, like mischievous children, some lying in rain ponds, some flying in the azure… And even if you were to run after them and catch them, you couldn’t calm them down…

Regardless of the quality of the poems he writes, he still feels defeated, he still cannot reach what he wants to reach. That conscious or unconscious goal towards which he is directed – maybe it’s not even attainable at all?... But he still writes… He is always defeated, but he cannot live without it. Writing has become a necessity to him, one he needs just as much as air, bread, water… Perhaps writing is air, bread, and water to him.

Something appeared in his body, soul, or mind, and it doesn’t leave him alone, it tortures him… And in the end, he throws them out like he can, like he feels writing it, without rules… as poems that will anyway be defeated. But he continues writing, he cannot live without it, he cannot mute the singing of his soul – “You are whistling in me like a bird in a temple”.

They don’t publish his poems… He tries to bury his sorrow in wine, each glass he drinks is a poem that drowns. The poems do not sink, on the contrary, they come up, from the bottom of the glass to the surface, reaching drunken lips, and scatter like wine drops on the halfdarkened faces of the tipsy feasters…

In these minutes, even his melancholy disappears without a trace, it wouldn’t even make sense to talk about it anymore.

Tomorrow, he will write another poem, he will once again shyly push the door of the editorial office of some literary magazine, and stand right there like a punished pupil…

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2 (20) 2020

muSaobT, ara? gana ar ician, es ise, TiTqos Tavs izRveven, safuZvels imzadeben, saqmes iadvileben, rom oriod kviris, Tu erTi Tvis Semdeg vinme buRalters uceremoniod daubrunon ukan dawunebuli leqsebi. magram es mere, axla ki mas jer kidev im leqsis imedi aqvs, xval rom dawers... ra icis, ra mniSvnelovani dRea mis cxovrebaSi. ras warmoidgens, rom am biWebidan erT-erTi _ Tamaz Cxenkeli wlebis Semdeg, gaarRvevs yvelanair bariers da nikos ramdenime leqss dabeWdavs gazeTSi, im literaturul gazeTSi, romlis redaqtoric rezi TvaraZe iqneba... swored es qoCora biWi, axla mis gverdiT rom zis, miaRwevs wlebis Semdeg (1973 w.) nikos leqsebis krebulis gamocemas da winasityvaobasac Tavad warumZRvarebs arCil sulakaurTan erTad; rom is iqneba misi meore krebulis redaqtor-Semdgeneli rostom CxeiZesTan erTad... da, vgoneb, jer arc ki aqvs dawerili Tavisi beletristuli Txzuleba „Sexvedrebi da sinanuli“, romlis erT-erTi redaqtorTagani isev da isev Tamaz Cxenkeli iqneba. ra icis nikom, rom swored axla, am venaxSi, am xis magidasTan xdeba avtorisa da misi momavali redaqtoris pirveli Sexvedra. es rom icodes, sxva TvaliT Sexedavs mas, axlac da Semdegac, sxva mravali Sexvedrebisa Tu saubrebis dros, ...magram ar icis, rom Tavis sicocxleSi verc erT leqss ver ixilavs dabeWdils, da, rom am biWis imedadRaa darCenili mTeli misi Semoqmedeba. da iqneb axla, sulac saTvalavSi Casagdebi arca hgonia es dRe. Tumca, is dauviwyari aRmoCndeba Tamaz CxenkelisTvis... aki naxevari saukunis Semdeg gaixsenebs erT-erT radio-gadacemaSi: „niko samadaSvili aleqsandre mgalobliSvilma gamacno, sadRac baRSi wagviyvana saqeifodo“. es mere iqneba, axla ki is nikos leqsebs usmens, magidaze Camwkrivebul Tixis doqebs Sehyurebs, dirbelis xeliT dawuruli namdvili, magari RviniT rom ivseba daclisTanave da albaT fiqrobs, rogor hgavs nikos leqsebic „gaucreli Tixisagan gamomwvar asimetriul doqebs, romelTac Tumca amCneviaT koJrebi da zogjer momtvreulic aqvT tuCi an yuri, magram romlebSic poeziis Seuryvneli, magari Rvinoa Casxmuli“. fiqrobs da, Tavis am fiqrs kargad imaxsovrebs, rom Semdeg, poetis pirvelad gamoqveynebul aTiode leqss minawerad daurTos.

They will keep his poems reluctantly, they will say that they will read them, they will promise, and when he will be leaving, they will tell him: “You work as an accountant, don’t you?”. They know the answer, they just ask him to feel better, to confirm their motive, to make their work easier, so that in about two weeks or one month’s time, they could return rejected poems to some accountant.

But that will happen later, as right now, he’s still hopeful about the poem that he will be writing tomorrow…

Who could have known what important day it would be in his life. How could he have thought that years later, one of the attending boys, Tamaz Chkhenkeli, would overcome all barriers and publish some of Niko’s poems in a literary journal whose editor-in-chief is Rezi Tvaradze…

It is precisely this crested young boy who is sitting next to him who will manage to publish an anthology of Niko’s poems years later (1973), a publication he would preface himself, together with Archil Sulakauri; he will also be the editor and compiler of Niko’s next anthology, together with Rostom Chkheidze… And I think that he hadn't even written his fiction work ‘Encounters and regret’, one of the editors of which will, again, be Tamaz Chkhenkeli. How could Niko had known that right there, in this vineyard, around this wooden table, the first meeting between the writer and his future editor was taking place? Had he known, he would have looked at him with a different eye, at that time and afterwards too, during their many encounters or discussions… But he didn’t know that he wouldn’t see any of his poems published during his lifetime, and that he would leave all his creations at the hands of this young boy.

And perhaps now, he thinks that this day is not even one to remember. But it will definitely remain as an unforgettable one for Tamaz Chkhenkeli… Half a century later, he will remember in a radio show: “I was introduced to Niko Samadashvili by Aleksandre Mgaloblishvili, he invited us somewhere in a yard to feast together”.

But that would be for later. Right now, he’s listening to Niko’s poems, looking at the line of clay jars on the table, filled as soon as they get empty with authentic, delicious wine pressed by the hands of Dirbeli himself, and he is probably appreciating how Niko’s poems look like “asymmetric jars fired from unsifted clay, of which you can see the callosities, and which sometimes have broken handles or necks, but which contain and pour the pure, great wine of poetry”.

He thinks that, and he memorizes this thought, so that he could write it as a notice to the first publication of a dozen of the poet’s works.

Taamr iaSvili

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Tamar Iashvili

2 (20) 2020

Teatri morigi ganaxlebis pirispir, anu hibriduli Teatris epoqa iwyeba?

THEATER AT THE DAWN OF A NEW RENEWAL, OR THE BEGINNING OF THE HYBRID THEATER ERA? pandemiam, romelic Tavs daatyda dedamiwas, msoflio daabnia da aRmoCnda, rom is amgvari `moulodnelobisTvis~ moumzadebelia. ra Sedegebs uqadis axali korona virusi kacobriobis momavals, jer ar viciT, magram gavlena rom moaxdina cxovrebis ama Tu im sferoze, faqtia. uxanidan wamosuli `Wiri~ damangreveli aRmoCnda ganviTarebuli qveynebisa da myarad konstruirebuli, dacviTi funqciis mqone dargebisTvisac. didi zarali miadga ekonomikas, romelic jer daTvlilic ar aris. magram vfiqrob, rom COVID 19 yvelaze metad SemoqmedebiTi industriebisTvis iqca mtrad, vinaidan SemoqmedebiTi industria socializaciazea dafuZnebuli, `uxilavma mterma~ ki, misi desocializacia gvaiZula. saTeatro xelovneba, romelic 26 saukunis ganmavlobaSi mudam gadarCenisTvis ibrZvis, kvlav sasicocxlo gamowvevis pirispir aRmoCnda. nebismieri brZola ki msxverpls moiTxovs, Teatrs, am realobaSic eqneba

The pandemic that hit us has disoriented our world, and it transpired that the latter wasn’t ready for this unexpected hitch. We don’t know yet the final consequences that the new coronavirus will have on humanity, but it is a fact that it has influenced various fields. This “pest” from Wuhan turned out destructive towards both developed countries and solid institutions that one might have thought had defense mechanisms against such outside dangers.

The damage it has caused to the economy cannot be calculated yet. But I think that COVID-19 has become the most devastating for creative and art industries, as they are based on socialization, and this “invisible enemy” has forced us to indulge ourselves in desocialization.

Theater, which has been struggling to survive for 26 centuries, has found itself at risk of disappearing again. And every battle demands casualties; theater will definitely suffer losses in this situation, but it will also find a solution, as it did each time it evolved and developed throughout history. Even theaters of

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2 (20) 2020

danakargi, magram is aucileblad ipovis gamosavals, rogorc misi ganviTarebis sxvadasxva dros poulobda. axal mocemulobas verc `msoflio Teatri~ gaumklavda. maTi funqcionirebis moulodneli Sewyveta Tavzardamcemi aRmoCnda saTeatro industriisTvis. pirvelad, 59 wlis ganmavlobaSi, msoflio, `Teatris saerTaSoriso dRes~ carieli da Cabnelebuli darbazebiT Sexvda. gaurkveveli vadiT gadaido mega Teatraluri festivalebi, Sewyda warmodgenebi, sarepeticio procesi. pandemiis pirvel etapze, Teatrebis `refleqsi~ internetis saSualebiT speqtaklebis onlain translireba gaxda. erTi mxriv, uaxlesi msoflio saTeatro saganZuri mTeli samyarosTvis `gaixsna~ da sagrZnoblad gafarTovda mayureblis areali, meore mxriv ki, yvelaze cocxalma xelovnebam virtualur sivrceSi gadainacvla da misi mTavari xibli _ cocxali komunikacia dakarga. qarTuli Teatric ar CamorCa msoflio process da umravlesobam video arqivi, romelic farTo sazogadoebisTvis aqamde xelmiuwvdomeli iyo, sajaro gaxada. mayurebelma garkveuli speqtaklebis, reJisorebis,

countries leading the field couldn’t adapt to the new situation that emerged. The unexpected stoppage of their functioning turned out horrendous for the whole theater industry. For the first time in 59 years, it met the “World Theater Day” with empty and dark halls.

Mega theater festivals have been postponed to indefinite dates, performances have been canceled, as did rehearsal processes.

During the first stage of the pandemic, the “reflex” of theaters was to broadcast spectacles online, using the internet. On the one hand, the treasure of modern world theater got available for the whole world and the scope of the audience reached new heights, but on the other hand, the liveliest form of art has moved to a virtual field and lost its most charming aspect – live communication.

Georgian theater didn’t lag behind this world process, and video archives that were unavailable for the broader audience until now have become public. Spectators got to know some spectacles, directors, and actors for the first time after online premieres. But this process has also put many problems to the fore – not only creative aspects, but also those regarding the politics behind the selection of repertoires, as well as the lack of technical and material resources

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2 (20) 2020

msaxiobebis Sesaxeb pirvelad onlain premierebis Semdeg gaigo. Tumca, am procesma aSkara gaxada mravali problema _ ara mxolod SemoqmedebiTi, aramed sarepertuaro politikis, teqnikur-materialuri resursis simwiris da misi ver aTvisebis. gadaRebuli speqtaklebis Canawerebis umravlesoba dabali mxatvruli xarisxis iyo, romelmac ki ar daainteresa mayurebeli, aramed piriqiT, uaryofiTi STabeWdileba Seuqmna maT... vinc arasdros yofila TeatrSi. pandemiis periodSi Teatri, rogorc xelovneba (oRond meoradi saxiT), Tavad mivida TviTizolaciaSi myof mayurebelTan da gacnobis es procesi sulac ar aRmoCnda mimzidveli.

TviTizolaciaSi qarTulma Teatrma ramdenime `aqtivoba CaiTvala~. pirveli mozard mayurebelTa Teatris msaxiobi nika faiqriZe iyo, romelmac saxlidan, Facebook laivis saSualebiT warmoadgina monospeqtakli Tamaz baZaRuas monopiesis „Rame da TuTiyuSi“ (reJisori dimitri xvTisiaSvili) mixedviT, romelmac 6000-mde naxva daagrova. TviTizolaciaSi myofma saqarTvelos Teatrisa da kinos saxelmwifo universitetis dramis reJisuris and the difficulty of using available resources to the full. The majority of the recordings were of little artistic value, which didn’t spark the public’s interest – on the contrary, it brought negative impressions to those who had never been to theater. During the pandemic period, theater, as a form of art (though in a different form than usual), has reached a self-isolated public, and this process didn’t turn out attractive at all to the latter.

The self-isolated Georgian theater has achieved to produce several activities. The first one was the State Youth Theater actor Nika Paikridze’s Facebook live from his home, in which he presented a “monospectacle” from Tamaz Badzaghua’s monoplay “Something and the Parrot” (director Dimitri Khvtisiashvili), which got up to 6000 views. Ketevan Samkharadze and Davit Tarba, two students of theater direction at the Theater and Film Georgia State University specialobis studentebma qeTevan samxaraZem da daviT Tarbam axali platforma „piesebis onlain kiTxva“ Seqmnes da debiutanti dramaturgebis ana sanaias da guram macxonaSvilis piesebis distancirebuli Teatralizebuli kiTxva moawyves. amave periodSi dmanisis Teatrma wamoiwyo proeqti „Teatri komiqsSi“, romelic sarepertuaro speqtaklebis onlain sivrceSi aqamde TeatrisTvis ucnobi teqnologiebis aTviseba-gamoyenebiT gadatanas iTvaliswinebda. karantinis pirobebSi telekompania „imedma“ pirdapir eTerSi gadasca rusTavelis Teatris xelmZRvanelis robert sturuas bolo speqtakli samoel beketis „TamaSis dasasruli“. Sedegad miviReT produqti, romelic cocxal komunikaciaze damyarebuli mxatvruli Semoqmedebis nimuSi ar aris; is arc kinoa, arc

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2 (20) 2020

multiplikaciur-multimediuri produqti, da teqnikuri progresis saSualebebis aTvisebiT virtualur realobaSi gadatanili hibriduli Teatria. pandemiis gamo Teatris winaSe mdgar gamowvevebze pasuxi am etapze qarTulma Teatrma (saqarTveloSi 2019 wlis monacemebiT 49 moqmedi saxelmwifo, municipaluri da kerZo profesiuli Teatria) ase pasiurad gasca. Sokirebulni da axali mocemulobiT dabneulebi jer isev fiqroben, aanalizeben, eZeben axal realobasTan adaptirebis gzebs, aprotesteben, uWirT damdgari `moulodnelobis~ bolomde gacnobierebagaTaviseba da mocemulobiT ganpirobebuli barierebis gadalaxva... pandemiam evropuli Teatri, rogorc mZlavri kulturul-ekonomikur-turistuli industria gaaCera, magram winaswar SemuSavebulma Tavdacvis meqanizmma is ganadgurebisgan ixsna. qarTuli Teatri ki Tavdacvis instrumentebs ar flobs da amitomac COVID 19-ma mas ormagi dartyma miayena. zedapirze amotivtivda qarTuli Teatris winaSe mdgari mwvave da aqtualuri problemebi. axla, TviTizolaciisas SemoqmedebiT sferos

who were in self-isolation, have created the new platform ‘Online Reading of Plays’, and have arranged theatricalized readings of beginning dramaturges Ana Sanaia and Guram Matskhonashvili’s plays. During that same period, the Dmanisi Theater started the project ‘Theater Comics’, which consisted in adapting the plays of the theater’s repertoire to the online space. During the quarantine, the TV channel ‘Imedi’ relayed a live broadcast of Robert Sturua’s (head of the Shota Rustaveli Theater) last play, Samuel Beckett’s ‘Endgame’. As a result, we were offered a new product, one that wasn’t a sample of artistic performance based on live communication; it wasn’t a film, or an animated-multimedia product, it is a hybrid theater transplanted into virtual reality through the use of technological tools. Because of the pandemic, Georgian theater (according to 2019 data, there were 49 active state, regional and private theaters in Georgia that year) answered the challenges faced by the field in this passive way. Shocked and confused by these new circumstances, they are still thinking, analyzing, searching for ways to adapt to the new reality; they protest, and struggle to fully incorporate this unexpected situation and to overcome the obstacles that came with it…

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2 (20) 2020

warmomadgenlebs (ara mxolod saTeatro) _ dafiqrebis, msjelobis, diskusiis (risTvisac aqamde TiTqos ar ecalaT) saSualeba miecaT. aRmoCnda, rom maT winaSe pandemiamdec uamravi problema idga, romelTa gadaWraze fiqri kuluarebs ar gascdenia. axla ki, daiwyo xmamaRali da sajaro saubari reformebis aucileblobaze, saTeatro politikis da SemoqmedebiTi procesis gajansaRebaze, konkurentunariani garemos Seqmnaze da sxv. pandemiis periodSi arasamTavrobo organizaciam „SemoqmedebiTi industriebis gamowvevebi“ (damfuZneblebi: nino wiTlanaZe, elene meCiTova, levan geliaSvili, zviad eliziani) Caatara metad mniSvnelovani kvleva, romelmac daTvala SemoqmedebiT industriebSi pandemiiT gamowveuli zarali. kvlevis Tanaxmad, xelovanTa 44,7% Semosavlis gareSe darCa da maT Soris 38,8 %-s Semosavali sxva saqmianobiT ar aqvs. yvelaze didi gamowvevis winaSe aRmoCndnen damoukidebeli artistebi, e.w. `frilanserebi~, romlebic SemoqmedebiT saqmianobas ver anxorcieleben, radgan saxelmwifo Teatrebis muSaobaze arian damokidebulebi. jandacvis saministrom ukve SeimuSava rekomendacia samuzeumo, SemoqmedebiTi saqmianobisa da kulturuli RonisZiebebisTvis, romelic sruliad axal mocemulobas sTavazobs kulturas da maT Soris, Teatrs. SemuSavebuli rekomendaciebi Sesruleba SesaZlebelia, magram is damatebiT adamianur da finansur

The pandemic also halted European theater as a powerful cultural-economic-touristic industry, but it was saved from destruction thanks to previously existing defense mechanisms. As for Georgian theater, it doesn’t boast defense mechanisms, and therefore, the COVID-19 crisis hit it twice as hard. Urgent and topical problems faced by Georgian theater have come to the fore. Now, during the self-isolation period, representatives of the creative fields (and not only theater) were given the opportunity to think and discuss about the issues at hand – and it seems they didn’t have enough time for that before. It turned out that there were numerous problems before the pandemic too, and that they weren’t being addressed publicly. But now, overt and public talks have appeared, proclaiming the absolute necessity of reforms, of the amelioration of theater policies and creative processes, of the creation of a competitive environment, etc.

During the pandemic, the NGO “Challenges of Creative Industries” (founders: Nino Tsitlanadze, Elene Mechitova, Levan Geliashvili, Zviad Eliziani) carried out a very interesting study, which quantified the losses incurred by creative industries as a result of the pandemic. According to this study, 44,7% of artists were left without an income, and 38,8% of them had no additional income. The most vulnerable were independent artists, “freelancers”, who couldn’t carry out their creative activity, because they were dependent on their work at state theaters. The Ministry of Health has drawn out recommendations for museums, artistic

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2 (20) 2020

resurss moiTxovs, imitom rom Teatrebs rekomendaciebis dacviT axali repertuaris Seqmna mouwevT an arsebuli repertuaris axal rekomendaciebze morgeba.

TumaniSvilis Teatris msaxiobma maia gelovanma TanamoazreebTan erTad postpandemiur periodSi proeqtis `100 skami cis qveS~ ganxorcieleba wamoiwyo, romelic rekomendaciebis gaTvalisiwinebiTa da dacviT iTvalisiwnebs speqtaklebis gamarTvas Ria cis qveS 100 mayureblisTvis vakis parkis klubSi `33a~. proeqtis farglebSi zafxulis ganmavlobaSi Teatrs monatrebuli mayurebeli 15 Teatris prepandemiur periodSi ganxorcielebul 17 speqtakls naxavs bileTis gazrdili safasuriT. pandemiis Semdgom periodSi qarTuli Teatri jer ver axerxebs verc update-s da verc refresh-s. saTeatro xelovnebaSi morigi gadatvirTvisa da ganaxlebis dro moulodnelad dadga. CixSi Sesuli Teatri, darwmunebuli var, axlac moaxerxebs gamosavlis povnas da sazogadoebas `metamorfozuli~ daubrundeba, magram is iqneba axali, sxva Taobis hibriduli Teatri, romelic imedi maqvs, yvelaze Rirebulis _ cocxali komunikaciis SenarCunebas SeZlebs. laSa CxartiSvili

activities and cultural events, which completely transformed the cultural field, including theater. It is possible to comply with these recommendations, but they require additional human and financial resources, because theaters would need to create a new repertoire, or to adapt their existing repertoire to the new recommendations.

During the post-pandemic period, together with likeminded people, Maia Gelovani, an actress of the Tumanishvili Theater, started carrying out the project ‘100 chairs beneath the sky’, which consists in the performance of plays in the open air, in compliance with the recommendations, for 100 spectators at Vake park’s club ‘33a’. In the framework of this project, during summer, spectators missing theater could watch 17 plays that were performed in the pre-pandemic period by 15 theaters, for an increased price. After the pandemic, Georgian theater cannot yet click on any “update” or “refresh” buttons.

The time of renewal for the art of theater has arrived unexpectedly.

I am confident that though stuck in a dead-end street, theater will once again find a solution and return to our society transformed, but it will be a new, hybrid theater by and for a new generation, which I hope will manage to preserve its most important value – live communication.

Lasha Chkhartishvili

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2 (20) 2020

maradiuli Wabuki!..

ETERNAL YOUTH!

s

oso laRiZeze, rogorc Teatrisa da kinos msaxiobze, rusTavelelTa dasis wevrze da am Teatris erTgul mofiqralze, bevri ramis Tqma, misi cxovrebisa Tu Semoqmedebis Taobaze uamravi ramis gaxseneba SemiZlia. amjerad, mxolod mTavarze SevaCereb mkiTxvelis yuradRebas. Cemeul axsnas movuZebni misi artistuli biografiis individualobas, mivuTiTeb mis adamianur Tvisebebsac, romlebmac bevrad ganapirobes misi cxovreba xelovnebaSi, misi artistuli Semoqmedebis Taviseburebani. upirvelesad, gavixseneb misi pedagogis, mixeil

I

could say so many things, I remember so many details about the life and work of Soso Laghidze as a theater and cinema actor, as a member of the Rustaveli troupe, and as a thoughtful and loyal affiliate of this same theater. But for this article, I will direct the readers’ attention to the most important aspects. I will find my own explanation to the individual character of his artistic biography, but also include his qualities as a human, which have played an important role in his work, and the idiosyncrasies of his accomplishments.

First of all, I will remember the words of his instructor Mikheil Tumanishvili, which he told me after a rehearsal: “We often say and

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2 (20) 2020

TumaniSvilis sityvebs, romelic gamando erTi repeticiis Semdeg: „Cven xSirad vambobT da stanislavskis mosazrebis citirebas vaxdenT, rom ar arsebobs amplua, msaxiobis SemosazRvra am poziciiT. axla mgonia, rom arsebobs amplua. soso imdenad wrfeli msaxiobia, imdenad momxibvlelia garegnulad, imdenad mgrZnobiare adamiania, imdenad gamWvirvalea, rogorc Semoqmedi, rom misTvis sagangebodaa misagnebi rolebi, speqtaklis mxatvruli gadawyvetac da TamaSis wesic. soso bunebiT aRmatebulia yofaze, amitomac miyvars, rogorc adamiani da Cemi mowafe. misi es Tvisebebi SesaZlebelia organulad amoifrqvas personaJTa amgvari wyobis adamianTa Sesrulebis dros. rodesac mixeil TumaniSvili masTan muSaobda romelsame rolze, swored am gansakuTrebul Tvisebebs iTvaliswinebda, maT sasceno transformacias uZebnida organul garemos, raTa Sinaganad „gardaqmniliyo“ misi artistuli monacemebi personaJis TvisebaTa ganmapirobebel, obieqtur RerZad. rogorc Tavad reJisori ambobda _ „msaxiob-rolis xerxemalad“. ase iqmneboda soso laRiZis gmirebic: gera, hemoni, guram (umcrosi) kalandaZe, sxvani da sxvani... guram kalandaZe umcrosi („zRvis Svilebi“, reJisori mixeil TumaniSvili, rusTavelis Teatri, 1961 weli): dadgmis umTavresi saTqmeli, im periodisTvis (da axlac) metad aqtualurad JRerda _ STamomavlobiT gadmocemuli, sisxlis yiviliT damowmebuli, ritualis rangSi aRmatebuli tradiciis sidiade… aq, erovnul TviTSegrZnebasa da TviTSegnebasac gulisxmobda. es is dro iyo, rodesac komunisturi imperia erT Targze aWril sabWoTa xalxis warmoqmnas eSureboda. aseTi, Tundac mkrTali gamonaTeba, ukve demarSad iTvleboda; Teatri erovnuli tradiciis erTgulebas qveteqstiT amxelda, romelsac TvalisCiniviT mofrTxileba sWirdeboda _ scenidan „qadagebda“ SemoqmedebiTi gundi. swored STamomavlobiT gadmocemuli rainduli suli da winaparTa erTguleba feTqavda am gmirSi. soso laRiZe TamaSobda bocos (papis) da guram-ufrosis (mamis) xvedril zRvisadmi trfials, mezRvauris faTerakiani yofis romantikul gancdas, mama-papaTa rainduli qcevis wesebs. igi kalandaZeTa bolo „gorisa“ iyo da mTeli SegnebiT, qveSecneuladac erTgulebda maT dauwerel „kodeqss“. ase gadmogvcemda msaxiobi am uCveulo ambavs _ omis dros zRvaSi CaZiruli gemis („imedis“) Zieba simboluri, mamis saqmis gagrZeleba ki pirtitvela yrmis Rirsebis sakiTxi gaxldaT. uCveulo, romantikuli aRtkineba da raRac grZneuli „faruli“ vnebaTaRelva dahyveboda mis siyvarulsac mzia-zina kverenCxilaZisadmi... reJisoris gadawyvetiT isini sanapiroze xvdebodnen erTmaneTs. axalgazrduli da saTuTi krToma dahyveboda am urTierTobas. da siyvarulis gamxelac uCveulod xdeboda

quote Stanislavski about the idea that there is no character, and that actors cannot be constrained in a role. Now, I think that there is such thing as a character. Soso is such a sincere actor, he is so attractive physically, he is such a sensitive person, he is so transparent as a performer, that one should match roles, set design, and acting methods expressly for him. Soso naturally exalts life, and that is why I love him as a human and as my student. These qualities of his can organically surface when performing.”

When Mikheil Tumanishvili was working with him on some role, he was taking these precise qualities into account, was looking for an organic environment for their scenic transformation, so that Soso Laghidze’s artistic potential could organically “transmute” into the features and qualities of the character he was playing. As the director himself would put it – “to form the actor-role’s backbone”. This is how Soso Laghidze’s characters were created: Gera, Haemon, Guram (the Younger) Kalandadze, and many others…

Guram Kalandadze the Younger (‘Children of the Sea’, director Mikheil Tumanishvili, Rustaveli Theater, 1961): the main message of the staging was utterly topical at that time (and still is today) – the greatness of tradition, the one that has been transmitted throughout generations, that is already established in our genes, and has become a ritual… By that, he also meant national awareness and consciousness. This was a time when the communist regime was

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_ moulodnelad mebaduris badeSi axvevda gulisswors vaJi. wminda iyo es vneba da simbolod aRiqmeboda mizanscenac. gera (leo qiaCelis „gvadi bigva“, reJisori mixeil TumaniSvili, rusTavelis Teatri, 1967 weli): soso laRiZe mtkice nabijiT da mozomili simkacris ieriT Semodioda scenaze. misi personaJi mzadmyofi iyo cxovreba xifaTiani gamovlinebiTac mieRo. igi marTali kacis cxovrebis riskiani siarulis mniSvnelobas gvamcnobda. dajerebuli yrmis simarTlesa da rwmenis erTgulebas TamaSobda msaxiobi. miamitur simxurvales asxivebda misi gmiri da pirovnuli sxivic diadebda msaxiobis am simbolur svlaSi. hemoni (Jan anuis „antigone“, reJisori mixeil TumaniSvili, rusTavelis Teatri, 1968 weli) Seuryvneli, xelSeuxebi da wrfeli grZnobis sifaqiziT Sescqeroda antigones-zina kverenCxilaZes. ymawvilkacs Tan dahyveboda uCveulo ridi da Tanac siamaye, aseTi gamorCeuli rom iyo misi rCeuli. mamas, Tebes mmarTvels, Tavdajerebul kreons, gaognebuli umxelda sakuTar pozicias. ar kamaTobda, ar ibrZoda, magram misTvis gaugebari iyo mamis, mmarTvelis principebi. mas ubralod uyvarda antigone. ase TamaSobda soso laRiZe am gmirs. roca qoro-wamyvani gvamcnobda, hemonma Tavi CamoixrCo, Sewyda misi majiscemao _ Semzaravi gaxldaT Tavad sinorCis, axalgazrduli Tavganwirvis aqti. siyvarulis niWiereba, Tavisufali arCevanis sworupovari gancda ewireboda mmarTvelis nebis dakanonebas. RmerTebis wesrigs arad agdebda kreoni, mas sakuTari nebis simkacre aZlierebda. axla, am wlebis gadasaxedidan isic SeiZleba iTqvas, rom siyvarulis es deficiti romelic moeZala kacobriobas, gauxeSda msoflio Tanacxovreba, jer kidev maSin iwinaswarmetyveles reJisorma da msaxiobma. roca guga naxucriSvilis „WinWraqas“ rolebis ganawilebis dros ramaz CxikvaZem qosa mrCevels mianiWa upiratesoba, megona reJisori WinWraqas erT-erT Semsruleblad soso laRiZesac daasaxelebda. es vuTxari kidec mixeil TumaniSvils. man pauzis Semdeg miTxra: „WinWraqa qva-RorRian gzebze amozrdilia, miwis Svilia. soso ki, ufliswulis sinorCesa da mimzidvelobas gamosaxavs Sinagani samyaroTi“. oriod wlis Semdeg, roca nana xatiskacisa da Tengiz maRalaSvilis speqtakli vnaxe rusTavelis TeatrSi (sulxan saba orbelianis „sibrZnesicruisa“, 1965 weli), sadac soso ufliswuls TamaSobda, mivxvdi ra zustad axsna sosos artistuli individualoba mixeil TumaniSvilma. raRac gamouTqmeli siwminde, sinorCe, aristokratuli daxvewiloba amSvenebda am, marTlac zRaprul ufliswuls, sosos personaJs. mixeil TumaniSvils zedmiwevniT hqonda Seswavlili TiToeulis individualoba. rogorc reJisorma zustad icoda, romel „Sinagan Rilakze“ unda daeWira xeli, rom axmianebuliyo adamiani-artistis sulieri, kosmiuri samyaro. am samyaros xveulebSi mimaluli azri, grZnoba,

aiming at creating soviet people that would all fit the same template.

Even a faint light in the dark like that one was considered a political act; theater was declaring its loyalty to national traditions, which were at risk of disappearing, between the lines – the actors were “preaching” on the stage. This expressed precisely the chivalrous spirit transmitted through generations and the loyalty of our ancestors.

Soso Laghidze was portraying Botso (grandfather) and Guram the Elder’s (father) fateful passion for the sea, the romantic feeling of the grievous existence of sailors, and a chivalrous conduct worthy of our forefathers. He was the last representative of the Kalandadzes, and was expressing his respect towards their unwritten “codex” both deliberately and unconsciously. This is how the actor was transmitting us this unusual story – the search for a ship (“Hope”) sunk in the sea during wartime was symbolic, while the continuation of his father’s endeavors was a question of dignity for the beardless man. A unusual, romantic torment and something of an enchanted, “covert” seething passion was also directing his love towards Mzia (Zina Kverenchkhiladze)… The director decided they had to meet each other on a shore. A youthful and fragile thrill was governing this relationship. And the divulging of love was also taking place in an unusual way – unexpectedly, the young man wrapped his beloved in the net of a fisherman. This passion was pure, and the mise en scène was symbolic of it.

Gera (Leo Kiacheli’s ‘Gvadi Bigva’, director Mikheil Tumanishvili, Rustaveli Theater, 1967): Soso Laghidze would enter the stage confidently, and with a measured strict expression on his face. His character was ready to face all the dangers of life. He was showing us the importance of the risky path taken by a just man. The actor was performing the loyalty of the unshakable young man towards justice

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gamomsaxveloba metyveli ferebiT, bunebrivad rom aRmocenebuliyo msaxiobis mier gamoZerwili adamianiroliT. ase iqmneboda soso laRiZis personaJebic, misi gmirebis sasceno biografia mixeil TumaniSvilTan TanamSromlobiT. es gamocdileba bevrad „amoqmeddeboda“ sxvadasxva reJisorebTan muSaobis dros Teatrsa, kinosa, Tu teledadgmebis Seqmnis dros. sakmarisad mimaCnia telespeqtaklis „uCinmaCinis qudis“ dasaxeleba, SemoqmedebiTi sixaruli, romelic mTelma damdgmelma gundma ganicada repeticiebisa da Caweris dros, kaxa kaxabriSvilis reJisorobiT.

and faith. The protagonist was sending rays of innocent ardor, and a personal ray of the same sort was also present in this performance of the actor.

Haemon (Jean Anouilh’s ‘Antigone’, director Mikheil Tumanishvili, Rustaveli Theater, 1968) is looking at Antigone (Zina Kverenchkhiladze) with the delicacy of an undefiled, inaccessible and authentic feeling. The young man was simultaneously particularly reserved, and proud about the fact that his chosen one was so outstanding. He would divulge his position to his father, ruler of Thebes, the confident Creon. He wasn’t arguing, he wasn’t fighting, but he didn’t understand his father’s principles. He was simply in love with Antigone. This is the way Soso Laghidze was playing this character. When the narrator was letting us know that Haemon had hanged himself, that his pulse had stopped – this youthful sacrificial act seemed terrible… True love and freedom of choice were doomed by the decisions of the ruler. Creon was ignoring the order of the Gods, and the severity of his own will was making him stronger. Now, after all these years, it could also be said that this deficit of love has spread all over the Earth, and that worldly cohabitation has become rougher – and all this was foretold by the director and actors back then.

When Ramaz Chkhikvadze favored Kosa Mrcheveli when distributing roles for Guga Nakhutsrishvili’s ‘Wren’, I thought that the director would name Soso Laghidze as one of the performers. I even told that to Mikheil Tumanishvili. After a pause, he told me: ‘Wrens

*** soso laRiZes maradiul Wabuks veZaxdi. iyo masSi Cabudebuli raRac gansakuTrebuli Wabukuri sinorCe, miamitoba, Wirveuloba, gulficxi daumorCileblobac. wlebis simravlec ki, ver afermkrTalebda am Tvisebebs. ver warmomedgina misi sibere, Tundac siWarmage.

Seuryvneli Sinagani wesiereba, sispetake, silaRe Sinagani sxiviT anaTebda mis sandomian, lamaz pirisaxes. Tavisi adamianuri bunebiT imdenad marTali iyo, rom siyalbes, sicrues (zogjer „maSvel rgolad~ rom iyenebs adamiani) ver urigdeboda. raRac balRuri sijiutiT msaxurebda simarTles, mxolod simarTles... im dros, ki simarTlis msaxureba ioli rodi iyo... soso laRiZe gasuli saukunis 60-ian wlebSi gaxda rusTavelelTa dasis sruluflebiani wevri. Tumca, manamde am dasis wevrTa umetesobasTan, gansakuTrebiT e.w. „SvidkacasTan~ daaxloebuli gaxldaT. mixeil TumaniSvilisa da gansakuTrebiT erosi manjgalaZis wyalobiT, is rusTavelelTa imJamindel saSualo TaobasTan ukve megobrobda kidec. sosos erosi manjgalaZis Svilobili eTqmoda, ukideganod didia da Zvirfasia batoni erosis

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damsaxureba sosos cxovrebaSi. man xom, araerTi msaxiobi, fexburTeli, erosis moyvaruli adamiani, misi gulwrfeli meinaxeebi SeiZina axloblebad. erosi manjgalaZis mzrunvel kalTas araerTi axalgazrda, an Warmagi kolega, Tu axalgazrdobis megobari gaxldaT Sefarebuli. araerTisTvis gauwevia uSurveli samsaxuri SemoqmedebiTi, Tu cxovrebiseuli problemebis gadaWris dros. sosos maT Soris gansakuTrebuli adgili ganekuTvneboda, erosi manjgalaZis `sulieri axloblis“ statusis mopoveba ki, ioli ar gaxldaT. man pewiani, rainduli, uSurveli megobroba, ukidegano sikeTis qmna icoda. soso laRiZe am gandobil adamianTa Soris imyofeboda.

grow up on stone and rubble, they are children of the soil. As for Soso, his inner world emits the youthfulness and attractiveness of a prince.”

After a couple of years, when I saw Nana Khatiskatsi and Tengiz Maghalashvili’s play at the Rustaveli Theater (Sulkhan-Saba Orbeliani’s ‘A Book of Wisdom and Lies’, 1965), in which Soso plays the prince, I understood how precisely Mikheil Tumanishvili had described Soso’s artistic individuality. An unexplainable purity, youthfulness, and aristocratic refinement were adorning the wonderful prince that was Soso’s character.

Mikheil Tumanishvili had carefully studied the individuality of each actor. He also knew exactly which “inner button” he had to push to activate the human/artist’s spiritual, cosmic world. As well as the essences hidden in the spirals of this world, the feelings, expressions of vivid colors, and how to make them come to the surface of the actors naturally. This is also how Soso Laghidze’s roles and the scenic biographies of his characters were created in collaboration with Mikheil Tumanishvili. This experience would “activate” even more when working with other directors on creating roles for theater, cinema, or TV. Naming the creative joy that the whole team of the TV show ‘Cap of Invisibility’ experienced, under the direction of Kakha Kakhabrishvili, during the rehearsals and filming should be enough as an example. *** I used to call Soso Laghidze the “Eternal Youth”. He had exceptional youthful freshness, innocence, stubbornness, and petulant disobedience in him. And the number of years never managed to decrease these qualities. I couldn’t imagine him being old, even if he had been sprightly. An incorruptible inner decency, purity, and simplicity were illuminating his beautiful features from within. He was so authentic in his human nature that he could not deal with lies or anything fake (which some people use as a life-buoy). He was serving the truth, and only the truth, with the stubbornness of a child… And at that time, serving the truth was not an easy task…

In the 1960s, Soso Laghidze became a fully-fledged member of the Rustaveli troupe. But even before that, he was very close with most of the members of this troupe, and especially with the so-called “Septet”. Thanks to Mikheil Tumanishvili and especially to Erosi Manjgaladze, he was even already friends with the middle generation of the Rustaveli troupe of the time. Soso could almost be considered as having been adopted by Erosi Manjgaladze, and the latter has played an enormous role in Soso’s life, as the actor had the opportunity to get acquainted and close with many actors, footballers, or other people loved by Erosi – all his loyal dining partners. The attention of Erosi Manjgaladze has assisted many such a young artist, but also older colleagues or childhood friends of his. He has lent a helping hand to many and offered them jobs when they needed support in resolving their artistic or personal challenges. Soso held a distinguished place among them, and it was not easy to gain the status of Erosi Manjgaladze’s

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XX saukunis 60-iani wlebi metad mniSvnelovani, magram rTuli aRmoCnda ara marto rusTavelis TeatrisTvis, aramed saerTod sazogadoebrivi cxovrebisTvis, erovnuli kulturisTvis. icvleboda ruseTis komunisturi imperiis Zlevamosilebis „monumenturi fasadi“; misi „mZle kavSiris“ uZlevelobis miTi Seryeuli Canda. am cvlilebaTa centrSi aRmoCnda rusTavelis Teatri. axalma Taobam mixeil TumaniSvilis TaosnobiT aramarto fasadi Seucvala Teatrs, aramed ganviTarebis kalapoti, gamosaxvis formebi Seucvala mas. amis gamo, Teatris reJisuras, direqtors, dasis wamyvan birTvs Tavs esxmodnen cvlilebaTa moSiSarni, komunisturi partiis centraluri komitetis yofili favoritebi, Cinovnikebi, kritikosebi. msaxiobTa umetesoba erTgulad icavda ZiebaTa im kurss, TumaniSvili-sturuas SemoqmedebiT Ziebebs rom axasiaTebda. maT Soris idga soso laRiZec. 1966 wels rusTavelis Teatris moskovuri, metad warmatebuli gastrolebis dReebSi aRniSnavda didi Teatris momRerali, saxalxo artisti ivane kozlovski: „gulwrfelad maxarebs axalgazrdebis warmateba, igi Rirseuli cvlaa. Cems Zvel megobrebs SeuZliaT damSvidebulni iyvnen. estafeta saimedo xelSia“. am axalgazrdebs Soris 29 wlis soso laRiZec moiazreboda. naTela arvelaZe, Teatrmcodne

“spiritual relative” – his friendship was clean, chivalrous, allinclusive, and he showed utter kindness. Soso was among the few who could witness it.

The 1960s turned out a very important, but also very difficult period not only for the Rustaveli Theater, but for the Georgian society and national culture in general. The “monumental façade” of the triumph of the Russian communist empire was transforming; its image of invincibility was fading. The Rustaveli Theater found itself in the middle of these transformations. The new generation, under the leadership of Mikheil Tumanishvili, have not only changed the façade of the theater, but also developed its future plans and transformed its ways of expression. Because of that, those who were afraid of change, the favorites of the Central Committee of the Communist Party, bureaucrats, critics – all were attacking the theater and its leading figures. The majority of actors was loyally defending the course of research and experiments characteristic of Tumanishvili and Sturua.

Soso Laghidze was among them.

In 1966, the great theater singer and People’s artist of the USSR Ivane Kozlovski was saying about the tour of the Rustaveli Theater in Moscow: “I am truly enchanted by the success of these young artists, these are honorable changes. My old friends can be at peace. The torch is in good hands.”

The 29-year-old Soso Laghidze was among the young artists he mentioned.

Natela Arveladze, theatrologist

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qarTuli reklamis ostatebis axali misia THE NEW MISSION OF THE MASTERS OF GEORGIAN ADVERTISEMENT

„reklama ar aris zusti mecniereba. es aris STagoneba. STagoneba ki xelovnebaa“. saagento Doyle Dane Bernbach-is damfuZnebeli uiliam bernbaxi

„nebismieri originaluri reklamis saidumlo ara axal sityvebsa da suraTebSia, aramed nacnobi sityvebisa da suraTebis axali urTierTkavSiris SeqmnaSi“. amerikis sareklamo industriis erT-erTi fuZemdebeli leo berneti

“Advertising is fundamentally persuasion, and persuasion happens to be not a science, but an art.”

(William Bernbach, founder of the advertising agency Doyle Dane Bernbach)

“The secret of all effective originality in advertising is not the creation of new and tricky words and pictures, but one of putting familiar words and pictures into new relationships.”

(Leo Burnett, one of the pioneers of the American advertising industry)

mas Semdeg, rac reklama kacobriobis cxovrebis nawili gaxda, bevrma wyalma Caiara, `cvlilebebis qarmac“ bevrjer daubera, adamianebic, dedamiwasaviT, araerTxel SemovtrialdiT sakuTari RerZis da Rirebulebebis garSemo... marTalia, Zvelma aRmosavleTma da Suasaukuneebis evropam reklamis gamoyeneba dagvaswres, samagierod, qarTuli kvali ar ikveTeba monebiT vaWrobis

Much time has passed since advertising has become part of our lives, there have been many changes, and us humans, just like our Earth, have turned around our axis and values several times… It is true that the ancient Near East and the Europe of the Middle Ages started using advertisements before us, but on the other hand, Georgia didn’t practice slave trade, which was the main subject of advertisements for centuries. An ancient Egyptian papyrus has

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saqmeSi, romelic zepiri reklamis mTavari Tema iyo saukuneebis ganmavlobaSi. erTma uZvelesma egvipturma papirusma monis gasayidi sareklamo teqstic Semoinaxa: `mas orive yuriT SesaniSnavad esmis, TvalebiT kargad xedavs, mas aqvs ori xeli da ori fexi da kargadac darbis...~ Zvel saberZneTSi „mauwyeblebi“ iyvnen is adamianebi, romlebic quCebSi mefis axal-axal brZanebulebebs Tu sxva (maT Soris komerciul) informacias gahyvirodnen, swored aqedan gaCnda sityva „reklama“, anu wamoZaxili.

Suasaukuneebis evropul reklamas gzad JurnalgazeTebis beWdva wamoewia jer italiaSi _ romsa da veneciaSi, Semdeg britaneTSi, sadac 1473 wels pirveli beWduri sareklamo gancxadeba gamoCnda.

XIX-XX ss. mijnaze saqarTveloSic swrafad viTardeboda sareklamo saqme.

pirveli qarTuli beWduri reklama 1861 wliT TariRdeba. sasoflo-sameurneo gazeT `guTnisdedaSi~ aRwerilia guTani, romelsac Tan axlda moxmarebis wesi. dReSi cxra Tung rZes rom iwvelida, im flamandriuli Zroxis Sesaxebac am furclebidan SeityobdiT. mogvianebiT, gazeTi `iveriac~ gadaWedili iyo gancxadebebiTa da reklamebiT, romelTa umravlesoba momsaxurebis sferos, sxvadasxva produqciis importsa da adgilobriv warmoebas Seexeboda. ZiriTadad Tbilisuri sastumroebis reklamebi sWarbobda. magaliTad aseTi _ sastumro `pur-Rvino~ _ `ori Tavi saWmeli (orjeradi kveba) hRirs TveSi 12 man. sami Tavi _ 18 man. Rvinisa, aryisa da yavis msurvelebTan gansakuTrebuli da metad saxeiro pirobebiT SeiZleba morigeba~. reklama ukeTdeboda ucxour nawarmsac: fexsacmelebs, sakerav da saTib manqanebs. „iveria“ importis reklamirebiTac gamoirCeoda. Nestle-s warmoebuli rZis fxvnilis reklama pirvelad swored mis furclebze gamoCnda.

preserved an old advertisement text for the sale of a slave: “He hears very well in both ears, both of his eyes have good sight, he has two hands and two feet, and he can run fast…”

In ancient Greece, the “broadcasters” (town criers) were the people who would announce the new orders of the King in the streets, or other (including advertisement) information; the word “reklama” (Georgian for “advertisement”) comes precisely from the Latin for “shouting”.

The advertising industry of European Middle Ages was joined by the appearance of printed journals and newspapers, first in Italy (Rome and Venice), then in Great Britain, where the first printed advertisement dates back to 1473.

The advertising industry started developing quickly in Georgia at the verge of the 20th century.

The first Georgian printed advertisement dates back to 1861.

It was a description of a plough, together with its user’s manual, published in the agricultural newspaper ‘Gutnisdeda’. In the same publication, one could also read about Flemish cows that produced nine gallons of milk a day. Later, newspaper ‘Iveria’ also became full of advertisements, most of which were related to the field of services, the import of various products, as well as local commodities. The most numerous ones were advertisements for Tbilisi’s hotels. For instance, an advertisement for the hotel ‘Pur-Ghvino’ (“Bread and

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radiosa da televiziis gamoCenisTanave, reklamam forma da masStabebi icvala, Tumca, sabWoTa sivrceSi mas sxva datvirTva hqonda _ sabWoTa kavSirSi reklama „eqspluatatorTa socialur iaraRad“ miaCndaT da, Sesabamisad, „sabWoTa reklamis“ standartic Camoyalibda. maTi umravlesoba moqalaqeebs danazogis „Semnaxvel salaroebSi“ Senaxvisken acdunebda... pirveli satelevizio reklama saqarTveloSi 1950-

Wine”) read: “Two meals per day costs 12 rubles per month. Three meals – 18 rubles. Special and advantageous conditions can be reached with amateurs of wine, vodka, and coffee.”

Foreign products were also advertised: shoes, sewing and mowing machines. ‘Iveria’ featured a particularly large amount of advertisements for imported products, and published the first advertisement for Nestlé’s milk powder in Georgia.

As soon as radio and television appeared, advertisements changed in both form and scale, though the situation was very different in the Soviet Union – where advertising was considered a “social weapon of exploiters”, and accordingly, a standard for Soviet advertisements was created. Most of them encouraged citizens to keep their savings in “savings banks”…

The first TV commercial in Georgia was broadcast in the end of the 1950s. Television presenter Janeta Archvadze was introducing a fruit jam in the TV studio.

In the meantime, creative video commercials had become more and more popular around the world, and resulted in interested responses from the public. At the end of the 20th century, the Soviet Union had exhausted its capabilities, and a new breeze started blowing on the scene of Georgian advertising. It was blowing so

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iani wlebis bolos gavida. jems (Tu erT-erT xilfafas) studiidan reklamas telewamyvani Janeta arCvaZe uwevda. amasobaSi, msoflio masStabiT, popularuli gaxda kreatiuli videorgolebis damzadeba, romlebic sazogadoebis did gamoxmaurebas iwvevda. me-20 saukunis miwuruls, diadma sabWoeTma Tavisi SesaZeblobebi amowura da „axalma siom“ qarTuli reklamis orRobeebSic Camoiqrola. Camoiqrola ise, rom sareklamo Wras mayurebeli RimiliT da interesiT eloda. arc maTi gaSvebis sixSire aRizianebda, arc qronometraJi. es iyo dro, rodesac qarTulma biznesma sakuTari Tavis warmosaCenad niWieri xalxi Semoikriba _ saukeTeso reJisorebi, operatorebi, mxatvrebi, scenaristebi, kompozitorebi _ romlebmac Seqmnes dRes ukve „klasikad“ aRiarebuli sareklamo mini-filmebi. „gadmoreke!~ _ gaxsovT? „aqaca rekams?!“ „kaci, romelic sul laparakobs?“ maSin, „sidedrismoyvaruli“ kacic gemaxsovrebaT carieli auzidan... da is? „me ver getyvi rom miyvarxar...“ gemaxsovrebaT, radgan maTi yureba sulac ar iyo

strongly that the public was expecting commercials with joyful interest. They weren’t upset by the commercials’ frequency or length.

This was a time when Georgian businesses gathered talented people in order to get more visibility – the best film directors, cameramen, artists, scriptwriters, composers, all of whom have created commercial clips that have already become classics.

Of course you remember these classics, because you couldn’t get bored watching them again and again. On the contrary, they would bring their lot of joy with each screening. The reason? They were

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all high-quality, original, warm, authentic, with a balanced dose of humor, kind, and very Georgian. We all remember who was behind the advertising industry in Georgia, and was delivering quality, minimalistic masterpieces…

Basa Potskhishvili, Giorgi Ebralidze and Nikoloz Akhvlediani have “neutralized” the strict formula of David Oglivy, known as the “father of advertising”: “When people talk about a commercial, it means that the commercial isn’t good. When they talk about the product itself, it means the commercial is good.” They have neutralized it because people talk both about their commercials and the products presented in them…

mosabezrebeli. piriqiT, yovel jerze Tavisi wili xalisi mohqonda. mizezi? yvela xarisxiani, originaluri, Tbili, axlobeli, namdvili, iumoriT zomierad gazavebuli, keTili da Zalian qarTuli iyo. yvelas gvaxsovs, vinc idga qarTuli reklamis saTaveebTan da qmnida xarisxs, standarts, wesebs da minimalistur Sedevrebs... basa focxiSvilma, giorgi ebraliZem da nikoloz axvledianma „reklamis mamad“ aRiarebuli devid oglivis

Basa Potskhishvili – director, owner of ‘Studio 123’.

When you start something new, naturally, it is difficult, it comes with its lot of responsibilities, and demands hard work, but these strains are neutralized by the creative process – thoughts, actions, selections, and in the end, the result.

Back when commercials were a new thing in Georgia, it was a time of experiments, which are always very interesting and entertaining for any director. We had to challenge ourselves in the most difficult field that is the advertising industry.

In the 1990s, there weren’t many directors working on commercial clips, we respected each other and had a healthy competition.

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mkacri formula _ „roca reklamis Sesaxeb laparakoben, es imas niSnavs, rom reklama cudia. roca produqtis Sesaxeb saubroben, niSnavs, rom reklama kargia“ _ 20 wlis win „gaaneitrales“. maTi gadaRebuli reklamebis Sesaxebac laparakobdnen, produqtis Sesaxebac da am reklamebis frazebiTac...

Therefore, almost all the commercials from that period have remained in people’s minds to this day, and most of them, thanks to the quality of their acting, ideas, music, and contents, really did deserve the recognition they boast.

During the pandemic, Giorgi Ebralidze used to share old commercials on social media, and it was like a nostalgic retrospective

basa focxiSvili _ reJisori, `studia 123~ mflobeli. roca raRac axals iwyeb, ra Tqma unda, rTulia, didi pasuxismgeblobaa da did Sromas moiTxovs, magram am daZabulobas aneitralebs SemoqmedebiTi procesi _ fiqris, moqmedebis, SerCevis da, bolos, Sedegis. maSin, rodesac saqarTveloSi reklama jer kidev axali xili gaxldaT, es iyo didi eqsperimentebis dro, Zalian saintereso da sasiamovno nebismieri reJisorisTvis. sakuTari Tavis gamocda iseT axal urTules dargSi, rogoric sareklamo industriaa.

90-ianebSi sareklamo klipebze momuSave reJisorebi arc ise bevrni viyaviT, erTmaneTs pativs vcemdiT da Cvens

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Soris iyo jansaRi konkurencia. amitomac, TiTqmis yvela maSindeli reklama dRemde SemorCa adamianebis mexsierebas da maTi umravlesoba Tavisi Sesrulebis xarisxiT, ideiT, musikaluri gaformebiT, SinaarsiT, formiT, namdvilad imsaxurebda im aRiarebas, romelic saxezea. pandemiis dros giorgi ebraliZe socialur qselSi aziarebda Zvel reklamebs da es erTgvari nostalgiuri retrospeqtiva CemTvis, rogorc reJisorisTvis ormagad sasiamovno iyo, roca vxedavdi im interess da dadebiT emociebs, romelsac ukve klasikad qceuli sareklamo klipebis mimarT gamoxatavda sazogadoeba. jansaRi konkurencia yvelaze didi stimulia Semoqmedi adamianisTvis. Tu Sens gverdiT vinme bolomde ar ixarjeba, uxarisxod akeTebs imas, rasac akeTebs, Senc dundebi. Cven ki arc im dros gvqonia amis survili da arc axla gvaqvs. hgavdes sxvebs _ es namdvili TviTmkvlelobaa zogadad Semoqmedi, miTumetes, reklamis sferoSi momuSave adamianisaTvis. dRes reklama ganixileba, rogorc marketingis umniSvnelovanesi komponenti. Cven im dros ar viyaviT ase SezRudulebi gayidvebis interesebiT da zogadi kliSeebiT. es iyo mSvenieri periodi Tavisuflad

to me; as a director, it was twice as pleasurable for me to see the interest and positive emotions expressed by the public towards these commercial clips.

Healthy competition is the best incentive for a creative person. If your colleagues aren’t doing their best, if they are producing lowquality material, then you get lazier too. As for us, we didn’t have the wish to act like that back then, and we don’t have the wish to do so now either. Acting like others is a kind of suicide for any creative person, especially if you are working in advertising.

Today, advertising is seen as one of the most important components of marketing. Back then, we didn’t have as many restrictions because of the sales aspect and general clichés. It was a great time for freethinking directors. Despite the fact that there were a lot of developments in terms of technology, today, the tendency is leaning more towards special effects, vast sums of money are spent, and I wish that the artistic side of contemporary Georgian advertising had developed at the same pace and with the same enthusiasm. It isn’t right to complain about the quality of a commercial because of a low budget. It is possible to achieve highly artistic results without money, because commercials, in the first place, are ideas… Ideas come quickly and out of nowhere, but they need their own, solid fundaments.

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2 (20) 2020

moazrovne reJisorebisTvis. miuxedavad imisa rom teqnikurad ganviTarda yvelaferi, tendencia midis specefeqtebisken, Tanxebic soliduri ixarjeba, visurvebdi rom igive tempiT da mondomebiT ganviTarebuliyo Tanamedrove qarTuli reklamis mxatvruli mxare. araa swori, roca dabal biujetze wuwuneben, Tu reklama arc ise kargi gamovida. ufulobaSic SeiZleba maRalmxatvruli rameebis keTeba, radgan reklama, pirvel rigSi, ideaa... idea uceb da arsaidan modis, Tumca, amas Tavisi Rrma safuZveli esaWiroeba. mesmis rom, cduneba didia, miTumetes, roca damwyebi xar. roca msoflio brendebis sareklamo kampaniebs vecnobi, axlac ki araerTxel gamCenia niWieri ideebis miTvisebis survili. magaliTad, „levaisis“ kampania... eni leibovicis sareklamo kampaniebi TiToeuli dRemde fotod maxsovs, TiTo ambad... foierverkia niWis, siaxlis. aseTi donis Semoqmedebis gavlena dasaSvebia da ara saSualos da saSualoze dabali donis sareklamo kampaniebis... axla ki masiurad xdeba ra? Sablons iReben da logos awebeben. es SeiZleba iyos praqtikuli marketingi, magram araviTar SemTxvevaSi arti... arti

I understand that the temptation to copy is great, especially when you are a beginner. When I get to see advertising campaigns of international brands, I still sometimes think about using some of their interesting ideas.

For instance, the ‘Levi’s’ campaign… I remember each of the photographs of Annie Leibovitz’s campaigns… She is a firework of talent and originality. It is acceptable to get under the influence of such creations, but not of average or below-average advertising campaigns… And what

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2 (20) 2020

SezRudvebs ver itans, arts meti ganaTleba da niWi sWirdeba... mixaria, roca axalgazrda, damwyebi reJisorebi mirekaven, rCevas mekiTxebian... es kargi tendenciaa _ Ziebis procesSi yofna. im gzas, romelic evropam ukve gaiara, 10 wlis Semdeg gadis saqarTvelo. Cemi azriT, Zalian dagvianebulia. aris raRacebi, rac ar unda gaiTvalos maTematikuri formuliT. SegrZnebebi ar iTvleba. oRond, ar ifiqroT, rom dRes saqarTveloSi ar keTdeba kargi reklama. bednierebaa, roca muSaob damkveTTan, romelic bolomde gendoba da srul Tavisuflebas gaZlevs. mqonia SemTxveva, roca damkveTi Careula da proeqti gafuWebula. roca ar erevian, gacilebiT ukeTesi gamodis. cxadia, Tu adamians Rvinis gayidva unda, namcxvris reklama ar unda gaukeTo...

Tumca, Cemi simpaTiebi mainc ganyenebuli reklamisken ixreba, romelic marTla maRalmxatvruli Rirebulebisaa da ideismatarebelia... Tan, roca kargad Sekruli SemoqmedebiTi jgufi gyavs, „Seucvleli adamianebiT“, Sedegic ar igvianebs.

bolo periodSi Cemi interesi da simpaTia socialuri reklamisken ufro ixreba. Cemi pirveli mcdeloba am Tematikaze proeqtiT „Tu-Tu-Tu“ warmatebuli iyo. 2 prizi maqvs aRebuli sxvadasxva festivalebze. arada, gadaReba ise spontanurad moxda... Sedegi ki is iyo rom es musikaluri klipi CvenSi inkluziuri ganaTlebis sfuZveli gaxda... maRali donis socialuri reklamebi dRes haeriviT gvWirdeba. misi sikeTe da Sedegebi realuria im qveynebSi, sadac saxelmwifo doneze Cawvdnen mis arss. reklamaze muSaobam, anu am formatma erTi Zalian mniSvnelovani codna da unari SemZina _ drois fasi maswavla. damanaxa, ramdenis Tqma da gakeTeba SeiZleba wamebSi da rogor daufiqreblad vflangavT saaTebs, dReebs, wlebs... raze visaubrebdi 1 wuTi rom mqondes? anu, Cemi mTavari saTqmeli? ra Tqma unda kulturaze, maT Soris, adamianis Sinagan kulturaze, rac, Cemi azriT Zalian mniSvnelovania...

is currently happening on a massive scale? They take an existing formula and change the logo. This might be practical marketing, but it will never be art… Art cannot stand restrictions, it needs more education and talent… I feel happy when young, beginning directors call me and ask me for advice… This is a good tendency – to be in a research process.

Roads that were already taken by Europe are being taken by Georgia 10 years later. In my opinion, this is much too late. There are things that shouldn’t be looked at from a mathematical perspective. Feelings cannot be counted. But don’t think that there aren’t good advertising campaigns made in Georgia today.

It is a good feeling when you work with a client who fully trusts you and gives you total freedom. We had cases when clients got involved too much, which ruined the project. When they don’t get involved, the result is much better. Of course, if the client wants to sell wine, you shouldn’t make a commercial about cakes… But my sympathy still belongs to more abstract advertising, which really has high artistic value and conveys ideas better… And if you have a good creative team, with “irreplaceable individuals”, it will show in the result.

Recently, my interest switched more towards social commercials.

My first attempt in the field, the project ‘Tu-tu-tu’, was a success. It won two prizes at two festivals, though the filming happened very

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2 (20) 2020

giorgi ebraliZe _ reJisori, sawarmoo studia „reanimatoris“ artdireqtori. bednierebaa, roca mTeli cxovreba gaqvs saSualeba akeTo is, risi keTebac ginda. asmagad sasiamovnoa, roca Seni saqme adamianebs moswonT, uyvardebaT, amaxsovrdebaT. mravalprofiluri reJisorisTvis reklamaze muSaoba erTerTi yvelaze SemoqmedebiTi da rTuli procesia, roca kidev ufro metad geZleva saSualeba daxvewo saTqmelis gadmocemis formac da Sinaarsic. „grZeli sityva mokled iTqmiso!“ _ am sibrZneze gavizardeT da masTan Sexebis SesaZlebloba, yvelaze xSirad, zustad sareklamo rgolis gadaRebisas gveZleva. rodesac Cveni Taoba sareklamo biznesSi gamoCnda, reklamebi, romlebsac vqmnidiT, iyo maqsimalurad qarTuli. dRevandel reklamaze imaves ver vityodi. dRes arc siuJetia qarTuli, arc tipaJebi, arc musika da arc urTierTobebi. Tanamedrove teqnologiebma garkveulwilad mokla kreativic. arsebuli standartebiT aixsneba es cudi tendencia. rogorc wesi, didi ideebi martivi ideebia. genialuria Tavisi simartiviT, magaliTad, parizi-lionis swrafi matareblis reklama _ iketeba Slagbaumi, manqanebi

spontaneously… The result was that this musical clip became the basis for the popularization of inclusive education in Georgia…

Today, we are in desperate need of high-quality social commercials in Georgia. Their positive results can be felt in the countries where the state has understood their essence.

Working on commercials, or in other words, this format of advertising, has taught me a very important thing: the value of time.

It showed me how many things you can say and do in seconds, and how rashly we waste hours, days, years…

What would I talk about if I only had one minute? Or in other words, what is the most important thing I have to say? Naturally, I would talk about culture, including the inner culture of individuals, which I think is of utmost importance…

Giorgi Ebralidze – director, art director of the studio ‘Re-animator’.

You are a lucky person if you can do what you like to do your whole life. And you are a hundred times luckier if people like what you do, love it, remember it… For a multifaceted director, working on commercials is one of the most creative and difficult processes, as you are given even more possibilities to refine the form and contents of what you want to convey. “In few words he utters a long discourse.” (excerpt from Shota Rustaveli’s ‘The Knight in the Panther’s Skin) – we

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2 (20) 2020

Cerdebian, pauzis Semdeg ixsneba Slagbaumi, manqanebi agrZeleben moZraobas, matarebeli imdenad swrafia, rom ver davinaxeT rogor gaiara. siuJeti TiTqos araferi, magram saTqmeli iTqva 1000 procentiT...

Cemi damkveTebis absoluturi umravlesoba maZlevda srul Tavisuflebas. es didi komforti da upiratesobaa.

Tumca, iyo SemTxvevebi, roca SemoTavazeba yofila komerciulad mimzidveli, magram aris zneobrivi momentebi, roca raRac miuRebelia, imas ver gadaabijeb. roca Tavad ar gjera ramis, imaze arc filmi unda gadaiRo da arc reklama... kinodokumentalistic var, srulmetraJian filmebzec mimuSavia, moklemetraJianebzec, magram sareklamo sferoSi miRebuli gamocdilebis Semdeg, mivxvdi, rom is formati CemTvis, rogorc reJisorisTvis, aRaraa saintereso. wamebSi mTavari saTqmelis gadmocema, ambis moyola, Zalian rTulia, magram Zalian azartuli. yvelam viciT, rom reklamis mizani momxmareblis garToba ki araa, aramed misTvis produqtis miyidvaa, magram amas Tu niWierad akeTeb, momxmarebelze zemoqmedeba, anu, misi ndobis mopoveba, gacilebiT didia. amas damkveTic xvdeba da afasebs. reklamis sferoSi reJisori mayurebels naklebad grZnobs, es xom kino araa, premieraze darbazSi rom gadaxedo mayureblis reaqcias, magram siamovnebaa, Tundac quCaSi gagonili yoveli Seneuli fraza. samwuxaroa, rom bolo wlebSi teqnologiuri kopireba daiwyo reklamebis, momravlda dabali da saSualo donis produqcia. rogorc Cven gvaswavles da yvelam viciT, mTavari mamoZravebeli reklamis aris idea, Tu ambavi kargia, Sedegi garantirebulia. zogjer iseTi ideaa, 10 larad SeiZleba gadaiRo kargi reklama. axali marketinguli teqnologiebi Semovida,

grew up with this wisdom in mind, and the biggest opportunity we had to use it was precisely when filming commercials.

When our generation found itself in the advertising business, the commercials that we were creating were maximally Georgian. I couldn’t say the same about today’s commercials. Today, neither the theme is Georgian, nor the characters, music, or interactions. Modern technologies have also, to some extent, killed creativity. This tendency can be explained by the current dominant standards.

As a rule, great ideas are simple ideas. Their brilliance lies in their simplicity, for instance, the idea behind the fast train connecting Paris to Lyon: a level-crossing barrier closes, cars stop, and after a pause, the barrier opens, cars start driving again – the train is so fast that we couldn’t see how it passed. The theme might not seem like much of a something, but the message was conveyed at 1000%...

The absolute majority of my clients was giving me total freedom.

This is a great comfort and advantage. But there were also commercially attractive offers that were unacceptable in terms of ethical or moral values. When you don’t believe in something, you shouldn’t make a film or a commercial out of it…

Apart from commercials, I am also a documentary filmmaker, and I have worked on feature and short fiction films, but after the experience I got in the advertising industry, I understood that as a director, it is in that field that I thrived. Conveying a message and telling a story in mere seconds is very difficult, but also very exciting.

We all know that the goal of a commercial is not to entertain the

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2 (20) 2020

momravldnen dasavleTSi ganaTlebamiRebuli gayidvebis specialistebi. maT daiwyes axali wesebiT TamaSi. Sesabamisad, am axal marketingSi SemoqmedebiTi sivrce naklebad rCeba...

Cven _ basac, nikuSac, mec, vakeTebdiT „saavtoro reklamas~, axla es funqciebi saagentoebma miiTvises.

Sedegi ki gvaqvs is, rac gvaqvs. nu davabralebT amas axalgazrdobas, gamoucdelobas. sistema Seiqmna iseTi, rom rTulia aq niWi bolomde gamoiyeno, Tumca, niWi an gaqvs, an ara. an xar Tavisufali, an ara... axalma marketingma mokla Tavisi individualizmiT gamorCeuli qarTuli reklama. sxvadasxva saerTaSoriso festivalebze dResac gamoaqvT xelovnebis rangSi ayvanili reklamebi, Tumca, raodenobam Zalian iklo. mgoni, zogadad krizisia. Cemi azriT, marketologTa kliSe-standartebis alya unda gairRves da eg precedentia zustad socialuri reklama... aqeT midis msoflio. socialuri reklama yvelaze Tavisufali reklamaa da Tu is niWieradaa gakeTebuli, zustad moaqvs problema sazogadoebamde, raRaceebis sworad danaxva ki dRes Cvens sazogadoebas gansakuTrebiT uWirs. CvenTan jer-jerobiT blokaven socialur reklamas, eSiniaT

viewer, but to sell them a product; but if you do that in an interesting way, your influence on the viewer, or in other words, the viewer’s trust, will be much greater. Clients understand and value this aspect too. In the advertising industry, directors are more distant from the viewers, it’s not like in fiction films, you cannot go to your premiere and see the reaction of the audience, but you take pleasure nevertheless, if only for the words you might hear on the street about your commercial.

It is a shame that in recent years, people have started copying commercials, low and average-quality productions have been multiplying because of this.

As we have learned and all know, the essence of commercials is the idea; if the story is good, a good result is guaranteed. There are some ideas that are so good and simple that you could film a great commercial for 10 laris.

New marketing technology has appeared, and there are more and more sales specialists who have received their education in the west.

They started playing with new rules, and because of that, there is less and less space for creativity in this new marketing approach…

We – Basa, Nikusha, myself – were doing “art house commercials”, but now, agencies have taken over this function. The result is what we are experiencing now. Let us not blame this on the young generation

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2 (20) 2020

politikuri datvirTvebis, am dros politika arafer SuaSia. socialuri reklama Segnebuli sazogadoebis mTavari instrumentia. asociacia, romelic axlaxans Seiqmna nika axvledianis TaosnobiT, swored am sferos gaaaqtiurebs. verTiandebiT adamianebi, romlebsac garkveuli gamocdileba gvaqvs, ara marto reklamasa da reJisuraSi, aramed fsiqologebi, fsiqiatrebi, mecnierebi, eqimebi, pedagogebi da a.S. studentebis erT-erT jgufTan leqciebi mqonda reklamis reJisuraze. davalebad miveci socialuri Temebi, rac awuxebdaT. Zalian Camoyalibebulad da gaazrebulad wamoWres sakiTxebi. maTgan Zalian zusti mesijebi modis da es maxarebs. problema, romelsac mniSvnelovnad miviCnev? yvelaze metad is mawuxebs rom didi xnis win realobis sworad aRqmis saSualeba davkargeT, imdeni da imdennairad mowodebuli simarTle gvaxvevia Tavs. usaSvelod bevri simarTlea qveyanaSi _ yvelas Tavisi aqvs da WeSmaritebis mignebis survili ikargeba nel-nela. es ki katastrofaa. yvelaferi sakamaTo da gaugebari gaxda. rwmena gekargeba, imedic... cxovrebis wesad gveqca masobriv tyuilSi arseboba... simarTles veZeb...

or lack of experience. A system was created in which it is difficult to fully develop and use your talent, though you either have it or you don’t anyway. You either are free or you aren’t…

This new marketing approach has killed Georgian commercials, which stood out with their individualism.

Commercials of high artistic value are still screened on various international festivals, but their numbers have dwindled. I think that in general, there is a crisis in our industry. In my opinion, the clichés and standards of the new marketing approach should be transcended, and social commercials are a good precedent for that…

This is the road this world has taken. Social commercials offer the most freedom, and if they are done with talent, they can convey an important message to the public clearly – and seeing things clearly is something our society desperately needs. Unfortunately, for now, social commercials are “blocked” in Georgia, they are afraid of their political aspect, while politics has actually nothing to do with them.

Social commercials are the main weapon of a conscious society.

The association that was recently created under the leadership of Nika Akhvlediani will surely strengthen this sphere. People who have acquired valuable experience have gathered in it, and not only commercial clip or fiction film directors, but also psychologists, psychiatrists, scientists, doctors, teachers, and so on.

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2 (20) 2020

nikoloz axvlediani _ reJisori. studia `gudauris~ samxatvro xelmZRvaneli. amerikel publicist vens pakards rom davesesxoT, reklama esaa „xelovneba daumizno TavSi da moartya safuleSi.“ yvelam viciT, rom reklama mxolod xelovneba araa, is industriis nawilia da garkveul daTmobebs iTxovs. Tumca, niWi, zneobrivi momenti, pasuxismgebloba da profesionalizmi yvelgan Tavis saqmes akeTebs.

TiToeuli namuSevari SemoqmedebiTi procesia, roca Tavad xar kmayofili da reaqciac analogiuria, xelovani adamianisTvis es stimuli da siamovnebaa. reaqcia Zalian mniSvnelovania, qarTveli mayurebeli ki sxarti da zustia. sareklamo industria gaxda sazogadoebis cnobiersa da qvecnobierze zemoqmedebis erT-erTi mniSvnelovani berketi. es faqtia! amitomac dRes msoflioSi prioritetuli gaxda socialuri reklama. xSir SemTxvevaSi es saxelmwifo politikis donezea ayvanili.

Tumca, nebismieri socialuri reklama unda iyos konkretuli jgufis interesebisgan Tavisufali da mniSvnelovani ideis an informaciis matarebeli. ra Tqma unda aqtualuri da kreatiuli.

I used to give lectures to a group of students on commercial directing.

As an assignment, I gave them social themes that were topical at that time. They managed to elaborate very interesting ideas. They were conveying the right messages, and this made me very happy.

I think that one of the main problems in our field is that we have lost the ability to assess reality a long time ago, because we have too many different pieces of information coming to us in various ways.

There are too many “truths” in the world – each person has their own, and little by little, they lose the wish to find the real truth. And this is a disaster. Everything has become a subject of discord and misunderstanding. You lose both faith and hope… Living in a massive lie has become our way of life… I try to look for the truth…

Nikoloz Akhvlediani – director, art director of the studio ‘Gudauri’.

To borrow American publicist Vance Packard's words, advertising is to “aim art at people’s heads and hit them with it in their wallets”. We all know that advertising is not only an art, it is part of an industry and requires to make compromises. But talent, morals, responsibility and professionalism will always bring good results.

Each work is a creative process, when you are happy with it yourself and you get positive reactions, this is a great incentive and pleasure for artists. The public’s reaction is very important, and the Georgian public is clever and accurate.

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amitomac, vfiqrob, umniSvnelovanesia Cveni aqtiurad CarTva am mimarTulebiT da axali Taobis ganaTlebis procesSic. saocrad moazrovne Taoba modis, isini, Tavis mxriv, gavlenas moaxdenen Cvenze. reklamis „Zvelma“ reJisorebma „meore sunTqva~ unda gavixsnaT, Cveni amocanaa, kerZo kompaniebs mivceT mimarTulebebi da avumaRloT socialuri pasuxismgebloba. qarTuli socialuri reklamis mTavari Tema umniSvnelovanes sakiTxebSi sazogadoebis sisustis mizezis Zieba unda iyos. Tu ver SevdeqiT jer srulfasovan sazogadoebad, mizezi isaa rom gviwevs cxovreba mudmiv stresul mdgomareobaSi. jansaRi cxovrebis wess sWirdeba reklama _ martivi eniT Semecneba da ara programulad Sedgenili koncefciebi, romlebic ZiriTadad negatiur emociebs iwvevs. ratom ar moaqvT qarTul socialur reklamebs Sedegi? imitom rom aqcenti keTdeba akrZalvebze. adamianebs kulturuli formiT, TvalsaCino argumentebiT unda miawodo informacia da situaciidan gamosavalic, alternativac. marto akrZalvaze gakeTebuli aqcentiT Sedegi ver iqneba. ideologiuri Semzadeba sWirdeba sazogadoebas. socialuri reklama Segnebuli sazogadoebis mTavari instrumentia. `socialuri reklamis asociaciis“ mizanic swored am mimarTulebis wamowevaa. asociaciaSi unda gaerTiandes yvela, visac sityva eTqmis nebismier Temaze.. socialuri reklama unda aviyvanoT maRal safexurze.

The advertising industry has become one of the important levers in influencing society’s consciousness and subconscious This is a fact! Therefore, social commercials have become a priority in today’s world. In many cases, this is decided at the state level. But any social commercial should be free of the interests of specific groups of people, and convey an important idea or piece of information. Of course, they should be topical and done in a creative way.

This is why I think it is of utmost importance for us to get actively involved in this field and to educate the new generation about it.

The generation that is coming is impressively clever, and they will influence us too, in a good way. Us “old” commercial directors have to open up to new aspects, our challenge is to show the way to private companies and to heighten their social responsibility.

The main theme of Georgian social commercials should be the search for the reasons behind the weakness of our society in most important aspects. If we cannot stand as a fully-fledged society, it is because we have to live in a life of constant stress. In order to reach a healthier way of life, we need commercials – information given in a concise and clear form, and not programmed concepts, which generally produce negative emotions. Why do Georgian social commercials not bring results? Because the emphasis is put on restrictions. We should provide information to people in a cultural way, with clear arguments, and offer them solutions and alternatives to the existing situation. Concentrating on restrictions will not bring results. Our society needs to be prepared from an ideological perspective.

Social commercials are the most important weapons of a conscious society. The goal of our ‘Social Advertising Association’ is precisely to

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2 (20) 2020

gamosavali precedentis Seqmnaa. amitomac, komerciuli sareklamo kompaniebi verTiandebiT axali mizniT. es Cveni moqalaqeobrivi valdebulebaa. asociaciis mizania TanadgomiTa da TanamSromlobiT socialuri reklamis statusis amaRleba. Semdegi amocana iqneba komerciul reklamaSi erovnuli ideologiis da interesebis gaaqtiureba adgilobrivi brendebis reklamirebisas. sareklamo bazari unda gaiwmindos plagiatisgan da yvela qarTuli reklama iyos eqsportze gaTvlili.

Cveni, pirveli Taobis reJisorebis, reklamis adgilobriv bazarze warmateba, saerTaSoriso aRiareba iman ganapiroba, rom iyo erovnul individualizmze dayrdnobili. erTma bavarielma reJisormac aRniSna Tbilisis saerTaSoriso reklamis festivalze _ „Coxa da Tqveni ambavia sainteresoo, Torem imiT, rac yvelas aqvs, veravis gaakvirvebTo“. originaluri da sakuTar fesvebze dafuZnebuli idea yovelTvis sainteresoa da Sedegianic. erTi sityviT, Cven, reklamis reJisorebma SeviZineT axali misia da SevimuSaveT Sesabamisi strategia _ socialuri reklamebiT movawyoT kulturuli (r)evolucia... a.o,

strengthen this discipline. Anyone who has something important to say on any social issue should join this association…

We have to make social commercials a more prestigious discipline.

The solution is to create a good precedent. Therefore, several advertising companies have teamed up with this new goal. This is our duty as citizens.

The goal of the association is to raise the status of social commercials by helping each other and collaborating. The next challenge will be to activate national ideology and interests in local brands’ commercial advertisements.

The advertising market should get rid of plagiarism, and every Georgian commercial should be able to be exported.

As directors from the older generation, our success on the local advertising market and international recognition are due to the fact that our commercials were based on national individualism.

A director from Bavaria pointed it out at the Tbilisi International Advertising Festival – “What is interesting in your commercials is your “chokha” (national Georgian garment) and your characteristic features, you won’t be able to surprise anyone with something that everybody already knows.” An original idea based on your own roots will always be interesting and bring good results.

To sum it up, us commercial clip directors have started a new journey towards a new goal, and did it based on a relevant strategy – our goal is to achieve a cultural (r)evolution through social commercials…

A.O.

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SedarebiTi literaturis msoflio kongresi TbilisSi WORLD CONGRESS OF COMPARATIVE LITERATURE IN TBILISI SoTa rusTavelis saxelobis qarTuli literaturis institutma, ivane javaxiSvilis saxelobis Tbilisis saxelmwifo universitetsa da SedarebiTi literaturis qarTul asociacasTan TanamSromlobiT, mravalwliani mcdelobis Semdeg, moipova SedarebiTi literaturis msoflio kongresis (Comparative Literature Congress) gamarTvis ufleba 2022 wels. gadawyvetilebis miReba sam etapad mimdinareobda. kongresis sabWos pirveli kenWisyra gaimarTa 2019 wlis agvistoSi, CineTSi, makkauSi, sadac dawinaurda ramdenime qveyana. 2019 wlis dekembris bolos qarTulma mxarem miiRo informacia imis Sesaxeb, rom saqarTvelos SeTavazeba e.w. short list-Si gadavida. sabWos saboloo oficialuri gadawyvetileba ki, romlis Tanaxmadac saqarTvelodan wardgenilma winadadebam gaimarjva, Tebervlis bolos iqna miRebuli parizSi. es namdvilad didi mniSvnelobis movlenaa da didi ndobaa, vinaidan SedarebiTi literaturis kongresi miiCneva yvelaze masStabur da kompetentur samecniero da kulturul forumad literaturisa da kritikis sferoSi. kongresi tardeba gasuli saukunis 60-iani wlebidan. imarTeba sam weliwadSi erTxel da, rogorc wesi _ Zlier qveynebsa da wamyvan sauniversiteto centrebSi. kongress

In collaboration with the Ivane Javakhishvili Tbilisi State University and the Georgian Comparative Literature Association, after many attempts spanning several years, the Shota Rustaveli Institute of Georgian Literature was declared the host of the Comparative Literature Congress in 2022.

Three different steps have led to this decision. The first vote took place in August of 2019 in Macau, China, where several countries were leading the race. In the end of December 2019, the Georgian side was informed that the project put forward by Georgia had been shortlisted. As for the official and final decision, through which the Georgian project was declared the winner, it was made public in the end of February 2020 in Paris. This is definitely an important piece of news, and one that expresses a lot of trust and comes with a great deal of responsibility, as the Comparative Literature Congress is considered to be the most large-scale and most competent scientific and cultural forum among the fields of literature and literary criticism.

This congress has been taking place since the 1960s. It is arranged once every three years, and as a rule, it takes place in influential countries and leading universities. The congress was hosted, for instance, in Venice, Paris, Tokyo, Vienna, and other remarkable cities, the ranks of which Tbilisi will be joining in 2022.

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sxvadasxva dros maspinZlobdnen venecia, parizi, tokio, vena da sxva SesaniSnavi qalaqebi, romelT rigebsac 2022 wels Tbilisic SeuerTdeba. sagulisxmoa, rom kongresi jer ar Catarebula arcerT postsabWoTa qveyanaSi da saqarTvelo, am TvalsazrisiT, iqneba pirveli (postsocialisturi qveynebidanac mxolod budapeStma moipova erTxel amis ufleba). kongresis formati iTvaliswinebs 1500-dan 2000-mde delegatis stumrobas. anu, 2022 wels TbilisSi Camova asobiT msoflios wamyvani kritikosi, literaturaTmcodne, kulturologi, mwerali, mTargmneli da a.S. kongresis plenaruli momxseneblebi, rogorc wesi, warmoadgenen msoflios wamyvan literaturul centrebs. monawileTa Soris iqnebian prestiJuli literaturuli Jurnalebisa da gazeTebis kritikosebi, rac uzrunvelyofs kongresis muSaobisa da, Semdgom, Sedegebis gaSuqebas msoflios masStabiT. 2022 wlis kongresis Tema, romelic qarTuli literaturis institutma SesTavaza sabWos, mxardaWeril iqna didi umravlesobiT. es Tema gaxlavT: `msoflio literaturebis gadaazreba: globaluri da lokaluri, centraluri da marginaluri mimarTulebebi~ Temis SerCeva TbilisSi dargis wamyvan specialistebs Sori intensiuri komunikaciisa da dialogis formatSi mimdinareobda da, rogorc aRmoCnda, is kargad moergo ara marto qarTuli literaturis da literaturaTmcodneobis problemebs, aramed _ saerTaSoriso standartsac.

Tema samomavlod CaiSleba seqciebad, qveseqciebad da

It is worth noting that this congress has never taken place in the post-Soviet space, and therefore, Georgia will be the first country of this political region to organize it (Bulgaria was the only country of the post-socialist space to ever organize it).

The format of the congress involves the hosting of 1500 to 2000 delegates. In other words, in 2022, world-leading critics, literature and culturology specialists, writers, translators, and other representatives of the field will be visiting Tbilisi.

As a rule, the plenary speakers of the congress represent the leading literary centers of the world. Among the participants, there will be critics from prestigious literary magazines and journals, which will guarantee the success of the congress, and its subsequent broadcast on a worldwide scale.

The theme put forward by the Institute of Georgian Literature for the 2022 Congress was supported by the great majority of the assembly. The theme will be: “Re-Imagining Literatures of the World: Global and Local, Mainstreams and Margins�.

The selection of the theme happened after an intensive communication and dialogue between the leading specialists of the field in Tbilisi, and it is not only in tune with the issues at hand in Georgian literature and literary criticism, but also with international standards.

In the future, the theme will be divided into several sections and sub-sections dedicated to the national literatures and cultures of various countries.

But the exceptional character of the congress is its scale. The format of the congress incorporates both interdisciplinary addresses and the organization of various kinds of workshops and thematic meetings aimed at popularizing and getting people acquainted with local literature and culture, including:

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miemarTeba sxvadasva nacionalur literaturebsa da kulturebs. magram, kongresis gansakuTrebuloba mis masStaburobaSia. kongresis formati iTvaliswinebs rogorc interdisciplinur moxsenebebs, ise _ sxvadasxva saxis `vorkSopebisa~ da Tematuri Sexvedrebis Catarebas adgilobrivi mwerlobisa da kulturis ukeT gacnobisa da popularizaciis mizniT. maT Soris: •

Sexvedrebi qarTvel literatorebTan da kritikosebTan

•

Meetings with Georgian littérateurs and literary critics

•

Meetings with Georgian writers

•

Meetings with young Georgian littérateurs

•

Meetings with Georgian artists

•

Meetings in regions

•

Seminars about critical thinking, scientific research, career development etc.

•

Book presentations

•

Sexvedrebi qarTvel mwerlebTan

•

Museum visits

•

Sexvedrebi axalgazrda qarTvel literatorebTan

•

Thematic exhibition visits

•

Sexvedrebis qarTvel xelovanebTan

•

Screenings of art-house and documentary films… and so on.

•

Sexvedrebi regionebSi

•

kritikuli azrovnebis, mecnieruli kvlevebis, karieruli winsvlis seminarebi da a.S.

•

wignebis prezentaciebi

•

muzeumebis monaxuleba

•

Tematuri gamofenebis monaxuleba

•

mxatvruli da dokumenturi kinos Cveneba... da a.S.

kongresis uSualo maspinZlebi iqnebian SoTa rusTavelis saxelobis qarTuli literaturis instituti, iv. javaxiSvilis saxelobis Tbilisis saxelmwifo universiteti, da SedarebiTi literaturis qarTuli asociacia. mxardaWeris survili ukve gamoTqves: SoTa rusTavelis erovnulma samecniero fondma, saqarTvelos parlamentis erovnulma biblioTekam, ilia WavWavaZis saxl-muzeumma saguramoSi, agreTve, TbilisSi arsebulma saerTaSoriso organizaciebma da saxelmwifo struqturebma. kongresi unda iqces mniSvnelovan saetapo movlenad saqarTvelos samecniero da kulturul cxovrebaSi, rogorc es araerTxel ukve moxda sxva qveynebisa da qalaqebis SemTxvevaSi. mravalsaukunovan qarTul mwerlobas bevri aqvs Tavisi saTqmeli msoflios literaturuli sazogadoebis winaSe da am saTqmelis arsi, SesaZloa, asec Camoyalibdes: qarTuli mwerlobis gareSe ver dasruldeba msoflios literaturuli ruka! irma ratiani

The firsthand hosts of the Congress will be the Shota Rustaveli Institute of Georgian Literature, the Ivane Javakhishvili Tbilisi State University, and the Georgian Comparative Literature Association.

The Shota Rustaveli National Science Foundation, the National Parliamentary Library of Georgia, the Ilia Chavchavadze State Museum in Saguramo, as well as several international organizations and state structures based in Tbilisi, have all expressed their wish to support this project.

The congress needs to become an important stepping stone in the scientific and cultural life of Georgia, just like it has already been the case several times in other countries.

The centuries-old Georgian literature has its say on the international literary scene, and the essence of the message might perhaps go something like this: without Georgian literature, the map of world literature couldn’t be complete!

Irma Ratiani

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