saganmanaTleblo-sazogadoebrivi Jurnali
sarCevi / CONTENTS
2 fuZis angelozi / ANGEL OF THE ROOT
8 siCumis oqtava / OCTAVE OF SILENCE
16 feola... saqarTvelo - evropazea! / FEOLA... GEORGIA IN EUROPE!
24 roca kompozicia gamarTulia, maSin aWer Rilaks TiTs... WHEN THE COMPOSITION IS ARRANGED, THAT’S WHEN YOU PRESS THE BUTTON
38 irakli samsonaZe: mainc siyvaruli marTavs yvelafers... IRAKLI SAMSONADZE: STILL, LOVE RULES EVERYTHING...
50 ar vixmaureb... / I’LL BE QUIET...
66 guji amaSukeli - xelovani, romelmac Sekra dro da sivrce GOUDJI (AMASHUKELI) – AN ARTIST WHO LINKED TIME AND SPACE
78 represirebuli Sav-TeTri „kino yvelasTvis da aravisTvis“ REPRESSED BLACK-AND-WHITE “CINEMA FOR EVERYONE AND NO ONE”
88 improvizebuli interviu vaxtang kaxiZesTan IMPROVISED INTERVIEW WITH VAKHTANG KAKHIDZE
saredaqcio jgufi / EDITORIAL STAFF
revaz iukuriZe / REVAZ IUKURIDZE
xaTuna kereseliZe / KHATUNA KERESELIDZE
ekaterine CulaSvili / EKATERINE CHULASHVILI
gvanca fifia / GVANTSA PIPIA
mariam gabedava / MARIAM GABEDAVA
dizaineri / DESIGNER
nikoloz bagrationi / NIKOLOZ BAGRATIONI
el-fosta: kulturaplusm@gmail.com facebook.com/kulturaplusm
beWdva: favoriti stili / Print: Favorite style
gamodis kvartalSi erTxel / Issued quarterly JurnalSi ganTavsebuli masalis gamoyeneba SeiZleba mxolod redaqciis TanxmobiT
The materials published in this magazine cannot be used without the authorization of the editorial staff
garekanze: mixeil nasbergi _ `gogona da zRva~, helsinki, 2009 weli
Cover: Michael Nasberg – The Girl and the Sea, Helsinki, 2009
ISSN 2346-8165
fuZis angelozi Angel of the root
`ar mokla, saxls daicavs!~ _ ase SeaCera babuaCemma gvelis mokvlis mcdeloba saxlis mSeneblobisas, wlebis win. es scena mexsierebis xveulebSi daileqa da mxolod maSin iCina Tavi, rodesac kavkasiur saxlSi q-n qeTevan sixaruliZis leqcia movismine mravalgzis mosmenili Sesityvebis `fuZis angelozis~ Sesaxeb. aRmoCnda, rom babuac swored am idumal arsebas moiazrebda, rodesac Semzarav qvewarmavals saxlis mfarveloba miawera. maxsovs, profesorma rusudan canavam berZnuli miTologiis pirveli leqcia Semdegi fraziT daiwyo: `sanam adamiani zecaSi aixedavda, jer miwas uyurebdao~. vinaidan miwaTmoqmedeba uSalod ukavSirdeba sicocxles, gadarCenas da msoflios masStabiT pirveli religiuri warmodgenebic swored miwidan Sobil sicocxlesa da nayofierebis RvTaebebs gadaejaWva, logikuria maTi arseboba iseT geografiul arealSi, rogoric kavkasiis regionia. saqme is gaxlavT, rom dRevandeli saqarTvelos teritoriazec, qristianobamdeli rwmena-warmodgenebis mravalferovnebaSi borjRalis, keris, damarxvisa da micvalebulis kultis, suleTze arsebuli mistikis gverdiT, Tavs iCens, xTonuri anu miwis RvTaebebis triadac _ deda miwa, adgilis deda da fuZis angelozi. es erTgvari ierarqiuli samebaa paleoliTis xanis adamianis cnobierebaSi, romelSic roli da funqcia ganawilda epoqisTvis damaxasiaTebeli sulieri Tu materialuri moTxovnilebebis mixedviT. fuZis angelozi ki kavkasiis regionSi ama Tu im saxeliT gavrcelebuli kultia, romelic TiToeuli kerisTvis,
“Don’t kill it, it’ll protect the house!” – This is how my grandfather stopped my father’s attempt to kill a snake while building a house, years ago. This scene was buried in memories for a long time and appeared only when I heard a lecture by Professor Ketevan Sikharulidze about the “Angel of the Root” – the words that I’ve heard many times, but never knew the meaning. It turned out that grandfather also meant this mysterious creature in the terrifying reptile that he referred to as the protector of the house.
I remember that Professor Rusudan Tsanava started her first lecture on Greek mythology with the following phrase: “Before people looked up to the sky, they looked down to the ground.“ Since agriculture is inextricably linked to life and survival, and the first religious ideas around the world were linked to the life and fertility deities born from the earth, it is logical for them to exist in such a geographical area as the Caucasus region. The point is that in Georgia, together with the diverse pre-Christian beliefs, next to Borjgali (Georgian symbol of the sun and eternity), hearth, the cult of burial and the dead, and the mysticism of the afterlife the triad of chthonic or earth deities – mother earth, mother of the place, and the angel of the root – can be found. This is a kind of hierarchical trinity in the Paleolithic human consciousness, in which roles and functions were assigned according to the spiritual or material needs of the era. This cult was spread in the Caucasus region under one name or another. For each hearth and family, there's only one angel of the root and its main function is to shelter and protect the family. Its abode is also the sacred center of the house, the hearth. The fire lit in this hearth did not perform the function of household chores, every action related to it was sacred and linked with prayers and rituals. It was a sacred
ojaxisTvis erTaderTia da misi mTavari funqciac swored ojaxis mfarveloba da dacvaa. misi samyofelic saxlis sakraluri centri _ keraa, da masSi danTebuli cecxli sameurneo funqcias ar asrulebda, masTan dakavSirebuli yoveli qmedeba sakraluri iyo da locvasa da ritualebs ukavSirdeboda. es iyo wminda adgili, romlis garSemoc ikvreboda ojaxi. faqtobrivad, mikrokosmosi _ Tavisi centriT da garSemo arsebuli elementebiT, sadac yvelafers Tavisi adgili aqvs. am kosmoss anu wesrigs, harmonias inarCunebs fuZis angelozi.
ZiriTadad, fuZis angelozs cocxali arsebis saxiT warmoidgendnen, Tumca drois msvlelobasTan erTad, man araerTi saxecvlilebac ganicada. adreul periodSi misi saxe-xateba zoomorfulia _ gvelis saxiT warmogvidgeba da es sulac ar aris SemTxveviTi, iseve, rogorc qristianobis SemosvlasTan erTad damkvidrebuli berZnuli sityvis _ angelozis anu macnes, mauwyeblis Serwyma am warmarTuli kultis etimologiasTan. swored angelozebi, dasis ierarqiasTan SesabamisobiT auwyeben adamianebs RvTiuri nebis Sesaxeb da fuZis angelozic garda keris dacvis da ojaxis mfarvelobisa, erTgvari Sikrikis rols iTavsebs, romelic ojaxis diasaxlisis locvas auwyebs ufro did RvTaebas _ adgilis dedas an deda miwas. vinaidan xTonuri ierarqia swored Sreebis siRrmezea damokidebuli, anu rac ufro didia RvTaebis roli, funqcia, mniSvneloba, miT ufro Rrmad, ufro qvemoT aris igi gamwesebuli; gvelis, rogorc miwis siRrmeebSi mogzauri arsebis (Tu SeiZleba ase iTqvas) Sikrikoba _ logikuria. es zoomorfuli saxe imdenad Zlieri aRmoCnda, rom kultis anTropomorfizaciisas, rodesac fuZis angelozi ukve TeTrebSi Cacmuli qalwulis saxiT aRiqmeboda (andrezebSi sulac Wabukis), gveli mainc darCa atributis saxiT Serwymuli qalRvTaebasTan. sainteresoa da SeiZleba iTqvas nacnobic, am kultTan dakavSirebuli ritualebi, romlebic saerTo xazs mihyveba, Tumca wvrilmanad gansxvavdeba erTmaneTisgan regionisTvis damaxasiaTebeli Taviseburebebis gamo. vinaidan salocavi mdedri bunebisaa, garkveulwilad matriarqaluri (rogorc xTonuri RvTaebebis Sesaxeb adreuli warmodgenebi msoflios masStabiT) saxlTangelozisTvis ojaxis diasaxlisi loculobda. arsebobda ritualebi, romlebSic mxolod dedaTa wesis asaks miRweul qalebs hqondaT monawileobis ufleba. sxvadasxva kuTxeSi arsebobda saerTo tradicia wminda puris cxobisa, romelsac diasaxlisi (anu mTavari mlocveli fuZis angelozisTvis) kerasTan miirTmevda ise, rom namcecebi Zirs ar dayriliyo. kalTasac sagangebod kerisken iferTxavda, radgan Tu ki namcecebi mainc darCeboda, isev wminda cecxlSi Cayriliyo. RvTaebasTan erTad puris Wama, masze locva, tovebs STabeWdilebas
place around which the family gathered. In fact, a microcosm with its center and surrounding elements, where everything has its proper place. In this cosmos or order, harmony is maintained by the angel of the root.
Mostly it was represented in the form of a living creature, although over time, of course, the angel of the root underwent several transformations. In the early period, it is represented in the form of a zoomorphic snake, and this is not at all accidental, just like the Greek word – “angel” (meaning messenger in ancient Greek language), which spread after the establishment of Christianity, connecting with the etymology of this pagan cult. It is the angels, by the hierarchy, who inform people about the divine will, and the angel of the root, in addition to protecting the family, plays the role of a kind of messenger who delivers the prayer of the family to a greater deity – the mother of the place or the mother earth. Since the chthonic hierarchy depends on the depth of the layers: the greater the role, function, and meaning of the deity, the deeper, the lower it is established in the ground; It is logical for the snake, as a creature traveling in the depths of the earth (if we can say so), to perform the function of a messenger.
This zoomorphic appearance turned out to be so strong that during the anthropomorphization of the cult when the angel of the root was already perceived as a virgin dressed in white (in the “Andrezebi” even a young man), the snake remained as an attribute combined with the deity.
The rituals associated with this cult are interesting and familiar, and follow a common line, although they differ slightly from each other due to the character or geographical peculiarities of the region. Since this deity is of a female nature, somewhat matriarchal (like early representations of chthonic deities around the world) the head woman of the family prayed to it. There were rituals in which only women who had reached menarche were allowed to participate. In different places, there was a common tradition of baking holy bread, which the housewife (that is, the main devotee to the angel of the root) would eat at the hearth so that the crumbs did not fall on the floor. The skirt would also be kept especially close to the hearth because if there were any crumbs left, they would be thrown into the holy fire. Eating bread with the deity, and praying to it, leaves an impression of family unity with this cult. Regardless of veneration and belief, the angel of the root and family members still come together. First of all, we have to find God in ourselves...
It is also worth noting that people were very afraid of the wrath of the angel. If the house does not have a protector, it will become vulnerable to evil forces. After all, the house angel is responsible for maintaining harmony and well-being. They expected the wrath of the deity if they did not perform the prayer and ritual on time, but also the family members avoided talking to each other loudly, carelessly, with inappropriate words, and anything that could disturb the family peace. Along with the appearance of masculine, patriarchal deities in pagan religious representations, the importance of the angel of the
root gradually decreased. It merged with the hearth cult, and the prayers addressed to it shifted not to local, but to wider-scale deities. If the angel of the root is a “domestic” deity and is the protector of a particular family, hearth, or house, and people prayed to it for fertility, well-being, and prosperity, over time they turned to specific deities, gods of a higher hierarchy with these requests. As Greek culture spread, Georgian pagan deities were synthesized with widespread mythological figures. Along with the establishment of Christianity, the perception of some deities faded more and more, many even disappeared completely.
Today, very few people know about this mysterious creature, to whom every family once prayed. With time, many traditions have changed, and some have been forgotten, but even in the 21st century, someone may stand in front of a snake and say – don’t kill it, it protects the house! Although the legends and certain ideas about the angel of the root have been preserved by verbal folklore and archeological material, there is another special golden thread that connects the human consciousness of the early agricultural age with the one living in the 21st century. This is probably an innate desire to have peace and prosperity at home, and in the family, and even the ancient man created an archetype in his consciousness that would protect this harmony. The responsibility that each member of the
family felt for the maintenance of this truly sacred order is amazing. Today we have a guardian angel of the family who, in fact, performs the same function that the angel of the root, the “Wishing Eye”, the “Nerchi Paten”, once did.
It brings a smile to my face to realize that “once upon a time” in Georgian language is pronounced as "Odesme", "Odesghats". The words mentioned above are related to the most important deity of the ancient Colchian pantheon, the god “Odis”.
The Georgian language preserves that centuries-old idea, the form of which changes, but the essence remains the same. An example of this is the angel of the root and this expression itself, which combines “the root” – as the origin of the community, and family and “angel” – as the Greek word “messenger” established with the spread of Christianity. The name itself connects something very old with something new – the past with the present... Transformed archetypes: some pray for the guardian angel of the family, and some people place amethyst crystals in the corner of the house for a “good aura”. And meantime part of the memory written in the blood vessels holds the image of how we sit around the sacred fire lit in the hearth. The form has changed, but the content remains the same – love, responsibility, and accordingly – peace, regularity, and harmony in the family...
Tinia Esther
ojaxis erTianobisa am kultTan; anu miuxedavad ridisa da rwmenisa, ojaxis mfarveli da ojaxis wevrebi mainc erTianobaSi modian. RmerTi xom upirveles yovlisa CvenSi unda vipovoT… aRsaniSnavia isic, rom fuZis angelozis ganrisxebisa Zalian eSinodaT. Tu ki saxls mfarveli ar eyoleba, is avi ZalebisTvis gaxdeba daucveli. saxlTangelozi xom harmoniis SenarCunebasa da saqonlis keTildReobazea pasuxismgebeli. RvTaebis risxvas im SemTxvevaSi elodnen, Tu ki locvasa da rituals drois Sesabamisad ar aRasrulebdnen, magram amasTanave ojaxis wevrebi erTmaneTTan xmamaRla, daudevrad, uSveri sityvebiT saubars anu ojaxuri idiliis rRvevas eridebodnen. warmarTul religiur warmodgenebSi maskulinuri, patriarqaluri RvTaebebis gamoCenasTan erTad, fuZis angelozis mniSvnelobam nel-nela iklo. is gaerTianda keris kultTan, xolo misTvis mimarTulma locvebma gadainacvles ara lokalur, aramed farTo masStabis RvTaebebisken. Tu ki fuZis angelozi `Sina~ RvTaebaa da konkretuli ojaxis, keris, saxlis mfarvelia da swored mas sTxovdnen nayofierebas, keTildReobas, dovlaTs _ am TxovniT adamianebi ukve TviTon nayofierebis RvTaebebs mimarTavdnen. berZnuli kulturis SemosvlasTan erTad, Cveni warmarTuli xatebebi sinTezirdnen farTod gavrcelebul miTologiur saxeebTan. qristianobis damkvidrebasTan erTad ki zogierTi RvTaebis aRqma sul ufro gafermkrTalda da... bevri sruliad gaqra kidec. dRes ukve Zalian cotam Tu icis am idumali arsebis Sesaxeb, romelzec odesRac yvela ojaxi loculobda. JamTasvlam araerTi tradicia Secvala, zogi sulac warsuls miabara, Tumca XXI saukuneSic ki SesaZloa vinme gvels gadaudges da Tqvas _ `nu
moklav, saxls icavso!~ marTalia fuZis angelozis Sesaxeb Tqmulebebi, andrezebi da garkveuli warmodgenebi dRemde Semoinaxa zepirsityvierebam, arqeologiurma masalam, magram aris kidev raRac gansakuTrebuli oqros Zafi, romelic akavSirebs adresamiwaTmoqmedo xanaSi arsebuli adamianis cnobierebas, XXI saukunesTan. es, albaT, Tandayolili survilia imisa, rom saxlSi, ojaxSi arsebobdes simSvide, keTildReoba da uZvelesi adamianic ki qmnida cnobierebaSi arqetips, romelic am harmonias icavda. saocaria is pasuxismgebloba, romelic avaldebulebda ojaxis TiToeul wevrs Tavisi wvlili TavSekavebulobiT, pativiscemiT SeenarCunebina es marTlac wminda wesrigi. dRes gvyavs ojaxis mfarveli angelozi, romelic, faqtobrivad, imave funqcias asrulebs, romelsac odis dros, odesRac, fuZis angelozi, natvris Tvali, `nerCi pateni~ asrulebdnen. Rimilismomgvrelia imis gaazrebac, rom zemoxsnebuli sityvebi, `odesRac, odis dros~, Zvel kolxur RvTaebaTa panTeonis umniSvnelovanes warmomadgenels, miwis nayofierebis, xvavisa da baraqis ganmkargvel RmerT `odis~ ukavSirdeba. qarTuli ena kargad inaxavs im saukunovan warmodgenebs, romelTa forma _ icvleba, Tumca arsi igive rCeba. amis magaliTia fuZis angelozic da Tavad es gamoTqma, romelic aerTianebs `fuZes~ _ rogorc gvaris, Temis, ojaxis dasabams da `angelozs~ _ rogorc qristianobis gavrcelebasTan erTad damkvidrebul berZnul sityvas, `macnes~. Tavad saxelwodebac akavSirebs raRac Zalian Zvels raRac axalTan _ warsuls, awmyosTan... saxecvlili arqetipebi: zogi ojaxis mfarveli angelozisTvis loculobs, zogs saxlis kuTxeSi ameTvistos kristalebi udevs `kargi aurisaTvis~, sisxlZarRvebSive gawerili mexsierebis romeliRac nawilaki ki itevs im kadrsac Tu rogor vesxediT garSemo keraSi agizgizebul sakralur cecxls. saxe-icvala, Sinaarsi ki igive darCa _ siyvaruli, pasuxismgebloba da Sesabamisad _ simSvide, kanonzomiereba da harmonia ojaxSi…
Tinia esTeri
ninia sadRobelaSvili NINIA SADGHOBELASHVILI
siCumis oqtava
OCTAVE OF
SILENCE
„simarTlis gzebi ekliT gebuli, xan lxeniT vTeloT, xan ki godebiT, rosinantebze amxedrebuli, oRond vidodnen don-kixotebi~.
laSa TabukaSvili
gasuli wlis gvian gazafxulze, `mixeil TumaniSvilis kinomsaxiobTa TeatrSi~, kulturis saministros proeqt „cocxali wignebis~ egidiT Sedga Sexvedra mweralTan da dramaturgTan _ laSa TabukaSvilTan. darbazi gadaWedili iyo. yvelas monatrebuli hqonda Zvirfas mweralTan Sexvedra, misi xilva, mosmena, masTan erTad sivrcis gayofa. da, siCumisac.
laSa TabukaSvili fiqris mweralia, SinaarsSi Cabrunebuli fiqris da SinaarsSi Cabrunebuli TvaliT mxedveli, amitom, misi saubaric _ xma da manera, misi sulis vibraciebi, siCumesac gulisxmobs. noyier intervalebs, damuxtul pauzebs. vinc im saRamos, TeatrSi, im Sexvedras eswreboda, amaSi yvela dameTanxmeba. me piradad, es dRe siCumis xmauriT damamaxsovrda. es iyo didebuli xelovanis cxovrebis remarkac da erTgvari antraqtic _ wuTisofelSi mosagreobiT, codva-madlis moWirnaxulebiT aRsavse... ramdenjerac Sevxvedrivar mas, am siCumesac vexebodi xolme, Tumca Teatris scenidan is kidev ufro srulyofili, dramatuli da metyveli gamoCnda. minda, am mcire werilis kamertonadac es siCume movixmo (isev Zvirfas mwerals davesesxo) da masSi gavSalo Cemi fiqri, STabeWdileba, saTqmeli da siyvaruli. rogorc zurmuxtisfer tbaSi, sadac yvela talRa gamWvirvalea, Tumca fskeri mainc ara Cans. laSa TabukaSvili didi ojaxis memkvidrea. rezo TabukaSvilis da medea jafariZis Sviloba xvedricaa da, albaT, tvirTic, da axla amaze ar visaubreb. an ra unda vTqva axali, an imaze ufro mniSvnelovani, vidre Tavad es ojaxia Cveni qveynis istoriaSi, vidre TabukaSvilebis madliTa da saqmiT nakvebi gzebia Cvens kulturaSi. am ojaxze roca vfiqrob, Tvalwin sameufo
„Road of truth built with thorns, Trample it with joy, sometimes with sorrow, Mounted on Rocinante , Shall Don Quixotes ride“
Late last spring, A meeting with the writer and dramatist – Lasha Tabukashvili took place in the "Tumanishvili Film Actors Theatre", under the auspices of the “Living Books” project of the Ministry of Culture.
The hall was crowded. Everyone missed meeting their favorite writer, seeing him, listening to him, and sharing space and silence with him.
Lasha Tabukashvili is a writer of thought, of a thought inverted to content, looking through the eyes turned to the inner essence, that’s why his speech – voice and mannerism, the vibrations of his soul, means silence as well. Healthy intervals, electrifying pauses. Everyone who attended the meeting that night would agree.
I remember this day as the noise of silence. It was both a reminder of the great artist’s life and a kind of intermission – being a warrior in the world of sin and grace.
Every time I would meet him, I would touch the silence and he looked even more complete, dramatic, and eloquent on the stage.
I want to use this silence as the Kammerton of this small letter (to borrow from the dear writer again) and spread my thoughts, impressions, words, and love in it.
Like in an emerald lake, where all the waves are transparent, but the bottom is still invisible.
Lasha Tabukashvili is the heir of a great family. To be the son of Rezo Tabukashvili and Medea Japaridze is both a blessing and perhaps a burden and I will not talk about it now. What can I say that’s new, or more important in our country’s history than this family itself, until there are ways in our culture nourished by the grace and work of Tabukashvilis. When I think about this family, I imagine a royal gift – encrusted with pure gems, with the scent of Zedashe wine. This thought takes your breath away – how did these precious and beautiful souls come together? How much power did God wish for this unity? This beautiful trinity – mother, father, and son – an anthem to the exalted?
Lasha Tabukashvili
ZRveni warmomidgeba _ patiosani TvlebiT mooWvili, zedaSes surneliani. sunTqvis Sekvramde gagyursavs es fiqri _ rogor Seerwya erTmaneTs es Zvirfasi da mSvenieri sulebi? ramxela Zalad Caifiqra RmerTma es erToba? es lamazi sameba _ deda, mama da Svili _ himni amaRlebulisTvis?
Tu ram saSuri da saukvdavo arsebobs Cvens xalxSi, am Cvens qveyanaSi _ am ojaxma mtkiced Seimkvidra da gaasimbolova. TviTmyofadi qarTuli saqme zogadkacobriul sikeTes daukavSira da maradiul faseulobad aqcia. amitomac, ar iwyeba laSa TabukaSvili sufTa furclidan. is didi, saukuneTa naweris gagrZelebaa, da is yvelaze magrad iferebs am memkvidreobas. imisaTvis, rom Tavadac winaprad iqces.
laSa TabukaSvilis biografiaSi vkiTxulobT, rom Tbilisis saxelmwifo universitetis filologiis fakulteti daamTavra. ra gasakviria es profesiuli arCevani _ am ojaxSi sityvis msaxureba ganZis mcvel raindTa gandobilobas hgavs, TiTqos WeSmaritebis Wa ebaroT winaparTagan da gulis RonierebiT sul mas dastrialebdnen! vfiqrob, ra iqneboda is pirveli teqsti, rac laSa TabukaSvilma dawera?.. am kiTxvas CemTvis moviniSnav da roca Sevxvdebi, aucileblad davusvam baton
If there is something eternal and immortal in our people, in this country of ours, this family firmly established and symbolized it. They connected the independent Georgian cause with the common kindness and turned it into an eternal value. That is why Lasha Tabukashvili does not start from a clean sheet. It is the continuation of a great, centuries-old writing, and he greatly accepts this heritage. In order to become an ancestor himself.
In the biography of Lasha Tabukashvili, we read that he graduated from the Faculty of Philology of Tbilisi State University. What is surprising about this professional choice – the service of the word in this family is like entrusting the knights with guarding the treasure, It was as if the well of truth had been given to them from the ancestors and they would protect it all with the strength of their hearts! I am thinking what would have been the first text that Lasha Tabukashvili wrote?... I will remember this question for myself and when we will meet, I will definitely ask him. It is trivial, but I am always excited by such stories – the first text of a favorite writer, the first publication, the first reader, and so on… Perhaps it was a poem, or it was the very first text, with which his literary biography begins – his debut in 1969 – the short story “ A Boy Was Killed” published in the “Tsiskari” magazine. And then there were stories – more clear, transparent, and iconic than before. For Lasha Tabukashvili, the story is the most important part, it is an internal structure, even a path, like for Odysseus – the self-oblivion of Penelope’s thread. The plot is the backbone of literature and, even more so, of the genre in which Lasha Tabukashvili works so fruitfully – dramaturgy.
His biography is included in the Eugene O’Neill Playwrights Center catalog “100 Famous Playwrights of All Time”. His plays are staged both in Georgia and abroad and are constantly relevant. Some of them are even iconic, for example, “ Spring Beyond The Shutters “ – a kind of anthem of eternal youth, in which even pain is somehow calm and bearable, or rather – sympathetic, comforting.
“They Are Taming a Sparrow-Hawk”, “An Old Waltz", “A Wound”, “ In The Place Of a Former Church”, “Roads Going Towards You” – if you stop anyone outside, in the street and they are moderately well-read and love theater, everyone will tell you the content of these plays by heart and even the idea patches, because These are works created with amazing clarity, like the emerald lake that I mentioned above, transparent and deep, engrossing in the wisdom of life.
I didn’t include the play “What Does It Matter That The Wet Lilac Is Wet?” in this list, because it’s a separate story to tell and think about.
My friend, the director Ioane Khutsishvili, correctly said once – “Lilac” (that’s what we call this play and performance informally) brought many young people back to the theater back then. “Back then” –that’s the notorious 90s, the age of gray winters and fears, blood, destruction, aggression, and pain. Not just the theater, everything that was close to the taste of life, was being destroyed in front of our eyes and hands, the theater was sometimes used as a shelter for protesters if anyone remembered, there was no electricity and no money for decorations, not to mention royalties, and at this time, at such a time, In the Rustaveli theater, Robert Sturua staged
laSas. xom pirobiTia, magram mainc yovelTvis maRelvebs aseTi ambebi _ sayvareli mwerlis pirveli teqsti, pirveli publikacia, pirveli mkiTxveli da ase Semdeg... SesaZloa, es leqsic iyo, an swored is pirveli teqsti iyo, riTac misi literaturuli biografia iwyeba _ debiuti 1969 wels _ Jurnal „ciskarSi~ gamoqveynebuli moTxroba „mokles biWi“. da mere iyo siuJetebi _ erTmaneTze ufro mkafio, gamWvirvale da xatovani. radgan siuJeti laSa TabukaSvilisTvis umniSvnelovanesi muxtia, Sinagani struqturaa, gzac kia, rogorc odisevsisTvis _ penelopas Zafis Tavdaviwyeba. siuJeti literaturis xerxemalia da, miT ufro im Janris, romelSic ase nayofierad muSaobs
Lasha Tabukashvili’s “WHAT DOES IT MATTER THAT THE WET LILAC IS WET”, which we can say without exaggeration, revolutionized the consciousness of the youth of that time. All the performances were sold out (I don’t know how many dozens of performances they staged!) and the audience climbed from the ceiling to find a place to stand on one leg.
What was the secret of this play? What attracted these heartbroken people like adamant, armed with aggression in the face of new time?... Above all, the truth! With this play, their voice was heard, their pain was felt, and no one bit their tongue or waved a finger from the moral pedestal, on the contrary – they created a mirror with surprisingly realistic plasters, to look inside and see themselves from
laSa TabukaSvili _ dramaturgia.
laSa TabukaSvilis biografia Setanilia iujin o'nilis saxelobis dramaturgTa centris katalogSi `100 yvela drois cnobili dramaturgi“. misi piesebi idgmeba rogorc saqarTveloSi, aseve mis farglebs gareT da mudmivad aqtualuria. zogierTi maTgani sakultoc kia, magaliTad „darabebs miRma gazafxulia~ _ maradiuli axalgazrdobis erTgvari himni, romelSic tkivilic ki raRacnairad mSvidi da gasaZlebia, ufro sworad _ Tanamlmobeli, manugeSebeli.
„aTviniereben miminos“, „Zveli valsi“, „Wriloba“, `nataZralze“, „Senken savali gzebi“ _ vinc unda gaaCeroT, gzaze Semxvedri, Tuki zomierad nakiTxi da Teatris moyvarulia, yvela zepirad giambobT am speqtaklebis Sinaarssac da ideur plastebsac ki gagirCevT, radgan es saocari sicxadiT Seqmnili nawarmoebebia, ai, zemoT rom zurmuxtisferi tba vaxsene, masaviT gamWvirvale da Tanac Rrma, sasoebiT SemTrevi cxovrebis sazrisebSi. am CamonaTvalSi gangeb ar gavrie piesa „mere ra, rom svelia, sveli iasamani“, radgan es kidev calke saTqmeli da safiqrali ambavia. Cemma megobarma, reJisorma ioane
many angles... A parallel reality could be seen in this mirror, for some it was an unattainable dream, for some, it was the passion and effort of a lifetime, this mirror was a gathering of all their consciousness, a reflection of the wars and hardships endured in recent years, a tense thought about what happened and what Georgia has become... in Georgia Yes, each of us!
In the history of world art, there are such stories when a cultural event turns into a cultural (f) act for society. Such was the case for “What Does It Matter That The Wet Lilac Is Wet” and we must also say that this play has not lost its relevance even today, it is still performed on the stage of various theaters, it is still “read” by modern audiences, as well as other plays of Lasha Tabukashvili, whose degree of attraction at all times is uniquely radiant.
A few years ago, “Intellect” publishing house printed Lasha Tabukashvili’s first novel “Give us a Laugh, Guinplane”. In it, too, the artistic world was dissolved and the voices were heard, thus, in the literary polyphony, it will not be difficult for you to recognize Lasha Tabukashvili’s work.
The main story of this novel is the theme of inheritance, not only the conflict of the old and the new, but also taming the existing (or permissible) harmony between them, as the unconditional and
xuciSvilma sworad Tqva erTxel _ „iasamanma~ (ase vuwodebT xolme SinaurobaSi am piesas da speqtakls) TeatrSi miabruna im dros uamravi axalgazrdao. „is dro~ _ ybadaRebuli 90-ianebia, nacrisferi zamTrebis da SiSebis, sisxlis, ngrevis, agresiis da tkivilebis xana. Teatri ki ara, rac sicocxlis gemosTan yvelaze axlos iyo, isic Tvalsa da xels Sua ispoboda, Teatri zogjer momitingeTa alalbeda TavSesafrad Tu gaaxsendeboda vinmes, arc Suqi iyo da arc dekoraciis fuli, honorarze rom aRaraferi vTqvaT, da ai swored am dros, aseT dros, rusTavelis TeatrSi, robert sturuam dadga laSa TabukaSvilis „mere ra, rom svelia, sveli iasamani“, romelmac gadauWarbeblad SegviZlia vTqvaT, rom revolucia moaxdina maSindeli axalgazrdebis cnobierebaSi. yvela speqtaklze anSlagi iyo (ar vici, ramdeni aTeuli warmodgena iTamaSes!) da mayurebeli Weridanac Zvreboda, cal fexze dasadgomi adgili rom moepovebina.
ra iyo am speqtaklis saidumlo? ram miizida andamativiT es gulgaficxebuli, axali droebis winaSe agresiiT SejavSnuli adamianebi?.. upirveles yovlisa, simarTle! am piesaSi maTi xma ismoda, maTi satkivari iyo, aravin enas ar uCleqda da arc moraluri kvarcxlbekidan uqnevda TiTs, piriqiT _ gamaogneblad realisturi plastebiT uqmnidnen sarkes, Sig rom Caexeda da sakuTari Tavi bevri kuTxidan daenaxa... am sarkeSi paraleluri sinamdvilec Canda, visTvis saocnebo da miuwvdomeli, visTvis _ mTeli cxovrebis vneba da Zalisxmeva, es sarke iyo mTeli maTi cnobierebis Sesakrebeli, bolo wlebSi gadatanili omebis da gaWirvebis refleqsia, daZabuli fiqri imaze, Tu ra moxda da rad iqca saqarTvelo... saqarTveloSi ki TiToeuli Cvengani!.. msoflio xelovnebis istoriaSi aris aseTi ambebi, roca esa Tu is kulturuli movlena kulturologiur (f)aqtad iqceva sazogadoebisTvis. aseTi iyo Cvens SemTxvevaSi „mere ra, rom svelia, sveli iasamani~ da isic unda vTqvaT, rom am piesas aqtualoba dResac ar daukargavs, is kvlav idgmeba sxvadasxva Teatris scenaze, mas kvlav „kiTxulobs~ Tanamedrove mayurebeli, iseve rogorc laSa TabukaSvilis sxva piesebs, romelTa mizidulobis xarisxi yvela drosa da wakiTxvaSi Taviseburad elvarea. ramdenime wlis win ki, gamomcemloba „inteleqtma~ misi pirveli romani „erTic gagvicine, guinplen“ dastamba. masSic is mxatvruli samyaro gadaiSala da is xmebi gaisma, riTac, zogadad literaturul polifoniaSi, laSa TabukaSvilis Semoqmedebis cnoba ar gagiWirdebaT. am romanis mTavari ambavi memkvidreobis Temaa, ara mxolod Zvelisa da axlis konfliqti, aramed swored maT Soris arsebuli (an dasaSvebi) harmoniis moxelTeba, rogorc upirobo da marTali safuZveli samyaros ganviTarebisa. cxadia, konfliqtebi aqacaa,
correct basis for the development of the world. Obviously, there are conflicts here too, without conflicts, what would become of a play or a novel, or, if you prefer, life, but these are, in a way, “secondary” conflicts, vital confrontations, the struggle between good and evil, dark and light, and here, too, the main artistic concept of the author is clearly revealed – Unconditionally on the side of good and unconditionally a supporter of man. One might say, “How else”, it is the function of the writer (artist); Of course, it is true, but let’s not forget that in our unbridled, brutalized, and caricatured times, perhaps no one will follow such a humanitarian mission, or rather, many will avoid it.
Lasha Tabukashvili is not among many. In general, his work belongs to the “family” of those few, in whose writings the breath of God touches the breath of man, with something very subtle and at the same time with a powerful touch. In more literary terms, we are dealing with chivalric romanticism, the best expression of this vanishing aesthetic/belief. Lasha Tabukashvili’s artistic world is
aba ukonfliqtod an piesa ras gaxdeba, an romani, an gnebavT _ cxovreba, magram es erTgvarad, „meore planis~ konfliqtebia, sasicocxlo dapirispirebebi, keTilisa da borotis, bnelisa da naTelis Widili da aqac mkafiod vlindeba avtoris mTavari mxatvruli koncefcia _ upirobod sikeTis mxares myofi da upirobod adamianis gulSematkivari. amazec ityvis vinme, aba sxvagvarad rogor, mwerlis (xelovanis) funqciac xom esaao; ra Tqma unda, asea, magram arc is daviviwyoT, rom Cvens aRviraxsnil, gasastikebul da karikaturamde damcrobil droSi, SesaZloa, amgvar humanistur misias arc aravin gamoekidos, ufro sworad, bevri arc gamoekidos.
laSa TabukaSvili im bevrSi araa. saerTodac, misi Semoqmedeba im cotas „gvaridanaa“, vis nawerSic RmerTis sunTqva adamianisas exeba, raRac Zalian faqizi da amavdroulad Ronieri SexebiT. ufro litTeoriul enaze Tu vityviT, saqme raindul romantizmTan gvaqvs, am gadaSenebadi esTetikis/mrwamsis saukeTeso gamovlinebasTan. laSa TabukaSvilis mxatvruli samyaro am
imbued with this aesthetic, his characters are descendants of the cultural memory that left room for dreams and aspirations even in the most dramatic, tense, painful relationships between people. That’s why their passion and love are even more different – as if filled with the memory of the forgotten, the power to restore the deceased.
There is an antique intonation in this adventure of love, and there is something very Georgian, and authentic, with its skillfully painted landscapes and flawless portrait ornaments. When saying Georgian, I will not single out the traditional, because although the work of Lasha Tabukashvili, in general, is a part of the literary/thought tradition, it is, first of all, still the result of passionate searching, for him this tradition is not a single truth, but a constant search and discovery, an infinite number of innovative ways and perspective of countless methods. This is where his respect and loyalty to tradition and heritage can be seen. Lasha Tabukashvili’s Georgia – if we look at it from this side – is a powerful spiritual and physical opportunity, the realization of all national archetypes, passionate memory, and love imbued with faith. His Georgia is also magical realism – unimaginable by the laws of logic and physics, but completely realistic in archetypal metaphysics, that’s why this country has such a mythical destiny and that’s why it attracts both trouble and joy with equal force. Lasha Tabukashvili is a true writer – he knows the secret of his homeland. This knowledge is the adamant of his art, the unquenchable thirst to read his works in all times and circumstances. Guaranteed to be constantly interesting.
This knowledge also knows silence. It is the peak that crowns the entire road from the roots. The long, painful path of the writer, full of wisdom, love, failures, and victories.
Lasha Tabukashvili was born on St. George’s Day – on November 23. I remember that when they thought of publishing the magazine “Twentieth Century”, the Tabukashvili family asked White George for help. It will be difficult for me to remember the exact text, but I remember the beginning of that prayer: “White George, bless us...” That magazine was as important as air at that time – the only literary publication in the dark and unhappy times for those who were looking for a "savior in literature"...
White George reached out to them even then and I believe, that he hears the pleas of broken hearts to this day. This can be seen in the deeds of this great family, in the ancestors and heirs – from the great Rezo onwards, including Rezo Jr., who himself is an exceptional writer and a strong voice in modern Georgian literature, which I will gladly tell you about in the future and I will start this story from when I first came across his story “Mount Dhaulagiri” and Since then, I have been waiting for all the new books of Rezo Tabukashvili Jr. with insatiable interest...
And before I move on to other stories, I will finish this letter first. With the same sound, I started with – an octave of silence. True literature knows this – it will make you silent, it will make you think, it will make you drain you with divine feeling like an hourglass.
It is a grace to find such silence in our loud and angry times. Lasha Tabukashvili’s works are guardians of grace in the twenty-first century.
esTetikiTaa ganmsWvaluli, misi personaJebi im kulturuli mexsierebis STamomavlebi arian, romelic adamianTa Soris Tundac yvelaze dramatul, daZabul, mtkivneul kavSirSi ocnebis da zeswrafvis adgils mainc tovebda. amitomac, kidev ufro sxvanairia maTi vnebac da siyvarulic _ TiTqos miviwyebulis gaxsenebiT, gardasulis aRdgenis ZaliT savse. am siyvarulis TavgadasavalSi aris antikuri intonaciac da aris raRac Zalian qarTulic, avTenturic, Tavis ostaturad daxatuli peizaJebiT da uzado portretuli ornamentebiT. qarTulSi sagangebod ar gamovyof tradiciuls, radgan miuxedavad imisa, rom laSa TabukaSvilis Semoqmedeba, sazogadod, literaturul/ azrovnebiTi tradiciis nawilia, is upirveles yovlisa, mainc maZiebluri vnebis Sedegia, misTvis arc es tradiciaa erTpirovnuli WeSmariteba, aramed mudmivi Zebnisa da aRmoCenis, novatoruli gzebisa da xerxebis usazRvro perspeqtivaa. da swored amaSi Cans misi pativiscemac da erTgulebac tradiciisa da memkvidreobis mimarT. laSa TabukaSvilis saqarTvelo _ Tuki ase davalagebT da gaviazrebT _ mZlavri sulieri da fizikuri SesaZleblobaa, yvela erovnuli arqetipis ganxorcieleba, mgznebare mexsiereba da rwmeniT ganmsWvaluli siyvaruli. misi saqarTvelo magiuri realizmicaa _ is, rac logikisa da fizikis kanonebiT warmoudgenelia, arqetipul metafizikaSi sruliad realisturia, amitomac aqvs am qveyanas aseTi miTosuri bediswera da amitomac izidavs is Tanabari ZaliT Wirsac da sixarulsac.
laSa TabukaSvili namdvili mweralia _ samSoblos `saidumlo~ icis. es codnaa misi Semoqmedebis andamatic, misi wakiTxvis gauxunari wyurvili yvela drosa da viTarebaSi. mudmivad sainteresod yofnis garanti.
am codnam siCumec icis. isaa mwvervali, romelic fesvebidan moyolebuli, mTel gzas agvirgvinebs. mwerlis grZel, mtkivneul, sibrZniT, siyvaruliT, marcxiTa da gamarjvebebiT savse gzas.
laSa TabukaSvili giorgobasaa dabadebuli _ 23 noembers. maxsovs, Jurnal „meoce saukunis“ gamocema rom Caifiqres, TabukaSvilebma TeTr giorgis sTxoves Sewevna. zusti teqstis aRdgena gamiWirdeba, magram im locvis dasawyisi maxsovs: „TeTro giorgi, Sen Segvewie...“ eg Jurnali haeriviT saWiro iyo maSin _ erTaderTi literaturuli gamocema uSuqo da usixarulo droSi maTTvis, „vinc Semwes literaturaSi“ eZebda...
TeTri giorgi maSinac SeewiaT, da mjera, dRemde ismens naWrilobev gulTa vedrebas. es Cans am didi ojaxis saqmeebSi, winaprebSi da memkvidreebSi _ didi rezodan moyolebuli, rezo umcrosis CaTvliT, romelic Tavadac gansakuTrebuli mweralia da Ronieri xmaa Tanamedrove qarTul literaturaSi, romelzec didi siamovnebiT movyvebi erTxelac da am moyolas iqidan daviwyeb, pirvelad rom wavawydi mis moTxrobas „daulagiri“ da mas mere gaunelebeli interesiT veli rezo TabukaSvili umcrosis yvela axal wigns... xolo vidre sxva ambebze gadaval, jer am werils davasruleb. imave bgeriT, riTac daviwye _ siCumis oqtaviT. naRdma literaturam ase icis _ gagaCumebs, fiqrSi gagrindavs, RvTaebriv gancdaSi Camogclis qviSis saaTiviT.
Cvens ayvirebul, agniasebul, azanzarebul droSi aseTi siCumis moxelTeba madlia.
laSa TabukaSvilis Semoqmedeba madlis mcvelobaa ocdameerTe saukuneSi.
feola... saqarTvelo - evropazea!
FEOLA... GEORGIA IN EUROPE!
2024 wlis 26 marts aTwleulebis ganmavlobaSi fexburTis siyvaruliT gaerTianebuli mravali Taobis ocneba axda. saqarTvelos erovnulma nakrebma TbilisSi, `boris paiWaZis saxelobis dinamo arenaze~, 60 aTasi qomagisa da milionobiT telemayureblis winaSe daamarcxa saberZneTis erovnuli nakrebi da qarTuli fexburTis istoriaSi pirvelad, evropis Cempionatis finaluri etapis sagzuri moipova...
On March 26, 2024, the dream of many generations united by the love of football for decades became reality. The national team of Georgia defeated the national team of Greece at The "Boris Paitchadze Dinamo Arena" in Tbilisi in front of 60,000 fans and millions of TV viewers, and for the first time in the history of Georgian football, won a ticket to the final stage of the European Championship...
safexburTo cieb-cxeleba CvenSi saqarTvelos zRvispira qalaqebidan daiwyo, moicva mTeli qveyana da Tbilisamdec moaRwia. Camoyalibda uamravi profesionaluri gundi, fexburTma kinoxelovnebaSic SeaRwia. gaCndnen iseTi dasamaxsovrebeli gmirebi, rogorebic arian: feola, kuWkuWi, iasoni da sxvani da sxvani...
erTi SexedviT uzomod mxiaruli ipolite xviCia, nacnobTa wrisTvis dinj, Cafiqrebul adamianad darCa. silaRe Wabukobidan mosdevda, Tumca imavdroulad gulCvilic iyo, dedis xsenebaze cremli mosdioda... Teatralur dasTan erTad mogzaurobisas, avtobusSi sul wina skamze ijda, mSvidad eZina. TiToeul rols seriozulad ekideboda da saukeTeso Sedegsac aRwevda. ipolite xviCias SviliSvilma gviTxra _ `babuaCemze bevri ram legendaa, xalxi Tavad Txzavda da igonebda~. namdvilad ki, gaxsenebisas, ipolites nacnobebi mas sxvagvar adamianad axasiaTeben; anekdotebiT xalxs xocavda _ miTia! quCaSi mis gamoCenaze siciliT igudebodnen _ miTia! panaSvidebs siciliT Slida _ miTia! gamoigones! erosi manjgalaZes ipolites Suri hqonda _ esec miTia! dRes, ipolite xalxisTvis mxiaruli, iumoriT savse kacia, `feolaa~, miTuri gmiri; axlo nacnobebisTvis ki igi _ ipolite yvinCiad darCa, biWad xonidan. evropis Cempionatze saqarTvelos nakrebis gasvlis Semdeg, sportis qomagebs kidev erTxel gaaxsendaT `feola!~ _ yvela drois saukeTeso `qarTveli safexburTo mwvrTneli~ _ qarTul kinoistoriaSi! gavixsenoT sxvanairi ipolite, sportsmeni mcire istoriebiT, nacnobebisgan Semonaxuli, jer dauwereli mogonebebidan. 60-ian wlebSi arsebobda tradicia, quTaisis dramatuli Teatris dasi, fexburTs eTamaSeboda rusTavelis Teatris dass. am TamaSis mizani msaxiob-fexburTelTa xilva iyo, axal ampluaSi. didi dapirispireba, megobruli qiSpi..! quTaissa da TbilisSi iqmneboda, ikvreboda gundebi da... TamaSis dRec iniSneboda. garda msaxiobebisa, Teatris axalgazrda TanamSromlebsac uxmobdnen (gamnaTebeli, teqnikosi, mZRoli) saasparezod da maT sportsmenebad aformebdnen, msaxiobebTan erTad. iwyeboda mzadeba, dinamos Zvel stadionze. am SexvedrebSi, upirobod cnobil artistebs unda eTamaSaT, raTa xalxi daswreboda, bileTebi gayiduliyo da stadioni gavsebuliyo. `fexburTelTa~ Soris iricxebodnen ipolite xviCia, erosi manjgalaZe, soso laRiZe, karlo JRenti da sxv. maTi gamoCena qomagSi aRfrTovanebas iwvevda, rameTu, Sav-TeTri ekranidan, scenidan, nacnobi da mSobliuri garemo, mwvane mindorze gadmodioda, sadac silaRe, mxiaruleba batonobda. Tbilisis `dinamos~ ukve mogebuli hqonda sakavSiro Cempionati, brwyinvale SemadgenlobiT, fexburTiT iyo Sepyrobili Tbilisi da quTaisi, jer kidev manqanebisgan Tavisufali quCebiT.
The football fever in our country started from the coastal cities of Georgia, it spread all over the country and finally reached Tbilisi. A lot of professional teams have been formed; football has entered cinematography as well and created such memorable characters as Feola, Kuchkuch, Jason, and others and others...
Ippolite Khvichia, at first sight extremely cheerful person, remained a quiet, thoughtful one in the circle of friends. Cheerfulness followed him from his youth, but at the same time he was tender-hearted, tears came to his eyes at the mention of his mother... While traveling with his theatrical troupe, he sat on the front seat of the bus and slept peacefully. He took each role seriously and achieved the best results. Grandson of Ipolite Khvichia told us – “There are many legends about my grandfather, people wrote and created these stories themselves’’. Indeed, Ipolite’s acquaintances describe him as a different kind of person; He used to “kill” people with laughter with his funny anecdotes – a myth! They were dying from laughter at the sight of him in the street – it’s a myth! Funerals ended early, because people could not stop laughing – is a myth! It’s all made up! Erosi Manjgaladze was jealous of Iipolite – this is also a myth. Today, Ipolite is a cheerful, humorous man for the people, he is “Feola” a mythical hero; For close friends, he remained as Ippolite Kvinchia (his real surname), a boy from
TamaSebi araprognozirebadi, daZabuli iyo, Seqspiris tragediebs arafriT Camouvardeboda, da xSirad, sixalisiT komediaSic gadadioda. mTavari is ki ar iyo vin moigebda, aramed is _ vin daamaxsovrdebodaT! vin waiqceoda ise, TiTqos ca Camoiqca, vin daarRvevda wesebs ise, rogorc gamorCeul reJisors ZaluZs dramaturgiis xerxebiT mayureblis dabneva. samsaxiobo niWi sportulze win unda mdgariyo. TumcaRa, malulad da saidumlod; orive gundi winaswar emzadeboda profesional `dinamoelebTan~. saidumlo fintebis Sesaswavlad, gangeb eZaxdnen mwvrTnelebs, gamarjveba furcelze rom daweriliyo, piesa ki, matCis msvlelobasTan erTad iqmneboda. erTxelac, gundebi daiZrnen centrisken, mcvelma burTi gaagzavna sajarimosken, elvisebur Tavdasxmas, grigaliseburi garRveva mohyva, maspinZelma gundma penalti moipova! TerTmetmetrianis Sesruleba erosi manjgalaZem iTava, mindorze samariseburi siCume Camowva; didi msaxiobi centridan gamoeqana da,
Khoni. After the Georgian national team qualified for the European Championship, sports fans once again looked back at “Feola”, the best Georgian football coach of all time – in the history of Georgian cinema! Let’s recall a different Ipolite, Ipolite as an athlete, with small unwritten stories, from memories preserved from his acquaintances.
In the 1960s, there was a tradition, the troupe of the Kutaisi Drama Theater played football with the troupe of the Rustaveli Theater. The goal of this game was to see the actor-footballers in a new role. A big confrontation, a friendly rivalry..! In Kutaisi and Tbilisi, players were gathered, teams were formed, and the day of the match was set. In addition to the actors, young employees of the theater (illuminators, technicians, drivers) were invited to the competition and they were signed as athletes, along with the actors. Preparations began at the old stadium of Dinamo. Famous actors had to participate in these meetings so that people would attend the games, tickets would be sold and the stadium would be filled. Among the “football players” were: Ipolite Khvichia, Erosi Manjgaladze, Soso Lagidze, Karlo Zghenti,
imdeni irbina, bolos fexi rom Seaxo, burTi yvelas, yvelafers aacila da caSi gaafrina. erosim penalti gaafuWa! rogorc feolas kolega-konkurenti ityoda _ `mesaflave, dRes Sen damarxe fexburTi!~ _ Tumca misi gafuWebuli penaltis xilva, golis naxvas udrida. quTaiselebi damarcxdnen: `ra vqnaT feola xom xedav vagebT ha?~ feola: `ra vici ra vqnaT? ganagrZeT biWebo TamaSi, me TqveniT Zalian kmayofili var!~ _ namdvilad, saqarTvelos erovnulma nakrebma ganagrZo svla evropisken! xolo feolas, Tbiliselebma quTaisSi CaakiTxes, sapasuxo matCisTvis, pirvelma warmatebam dedaqalaqelebs frTebi Seasxa. fraza romelic qarTuli fexburTis gulSematkivrisaa, nakrebis mwvrTnel vili saniolsac gamoadga, berZnebTan finalSi _ `xvedeliZe! dacvas mixede! dacvas!~ ganmeorebiT matCSi, ipolite tradiciulad ZiriTad SemadgenlobaSi iyo. asec
and others. Their appearance on the pitch caused excitement in the fans, because, the familiar and native environment of black-and-white screens and the theater stage was transferred to the green field, where joy and fun reigned. Dinamo Tbilisi had already won the union championship, with a brilliant team, Tbilisi and Kutaisi, still with their car-free streets were obsessed with football.
The matches were unpredictable, tense, no less than Shakespeare’s tragedies, and often veered cheerfully into comedy. It was not about the victor; it was important which one of the players would be most memorable! Who would dive as if the sky had fallen, who would break the rules in the way that an outstanding director would confuse the audience with the techniques of dramaturgy. Acting talent had to come before athletic skills. However, both teams were preparing secretly in advance with professional specialists from “Dinamo”. The coaches were called upon to teach the secret moves, to write victory on the paper, and the script as the match progressed. Once, the teams moved towards the center, the defender sent the ball towards the penalty area, a lightning attack, and a whirlwind-like break followed, the home team won a penalty! Erosi Manjgaladze tried to execute the spot kick, the stadium was completely silent; The great actor moved from the center, and ran
ixseneben; `gaiqceoda, gamoiqceoda, waiqceoda, wamodgeboda, xalxs moswonda misi yureba. gaoflil ipolites formas rom Caacmevdi, iseTi garegnoba hqonda, aucileblad gagecineboda~. quTaiselebs hqondaT revanSisa da didi angariSiT mogebis ambicia. mayurebelma atexa yvirili! _ `ipoo, ipoo! midi ipo! midi ipo! midi Seagde!~. stadioni zanzarebda, danarCeni moTamaSeebi eclebodnen _ `gaTavda Seni fokusnikoba xvedeliZe, Seni umsgavsoeba fridon dolaberiZe!~ _ ipoc zlazvniT, tlanqad fexs iqnevda, burTs badeSi uSvebda da sicilnarevi sixaruliT mayurebeli golis aRniSvnas iwyebda. TamaSis Semdeg didebuli purmarili imarTeboda. mesame taimi. albaT, feolac moridebulad brZanebda: `gavimarjveT! 12 nayini sufraze! 11 fexburTelebs, meTormete _ mayurebels!~ reJisori zurab kandelaki ixsenebs ipolitesTan erTad, 70-ian wlebSi, dasavleT saqarTveloSi
Catarebul 20-dRian turnes: `Cven gvqonda dadgma `gamarjoba Cveno mamebo~. es telespeqtakli warmatebiT gavida ekranze, romelSic marjaniSvilisa da rusTavelis Teatris wamyvani msaxiobebi TamaSobdnen.
so much that when his foot finally touched the ball, it missed everyone, and everything and launched into the sky. Erosi missed the penalty! As Feola’s colleague-competitor would say – "Undertaker, today you buried football!" – However, seeing him miss a penalty was the same as seeing a goal being scored. The team of Kutaisi was defeated: "What should we do, Feola, can you see we are losing?" Feola: "I don’t know what to do. Keep playing guys, I’m very pleased with you!" – Indeed, the national team of Georgia continued to move towards Europe! As for Feola, the team of Tbilisi visited him in Kutaisi, for the second match, the first success gave wings to the players from the capital city.
The phrase that belongs to Georgian football fans, was useful for the coach of the national team, Willy Sagnol, in the final against the Greeks – "Khvedelidze! Take care of the defense! Defend!" In the rematch, Ipolite was traditionally in the starting lineup. This is how people recall; “He would run back and forth, fall, stand up, people liked to watch him. If you put the football kit on a sweaty Ipolite, he would look so funny, that you would definitely laugh. The team of Kutaisi had the ambition to win with a big score. The audience chanted! – Ipo!, Ipo! Come on Ipo! Come on Ipo! Go on score! The whole stadium was chanting, and the rest of the players were moving away – “Your trickery is over, Khvedelidze, your indecency, Fridon
gadawyda speqtaklis monawileTagan `brigada~ Seqmniliyo da `saasparezod~ saqarTvelos sxvadasxva kuTxeSi gasuliyo. erosis mogzaurobis autanloba hqonda da igi ipolitem Caanacvla. jgufs malxaz beburiSvili xelmZRvanelobda. dasi dasavleT saqarTveloSi Cavida. afiSaze werdnen _ mTavar rolSi ipolite xviCia! raionebSi miCveulebi iyvnen, rom winaswar gacxadebuli msaxiobi xSirad ar Camodioda da es `tyuili~ reklamisTvis keTdeboda, raTa xalxs bileTi eyida. amitom, ipolites sxvadasxva patara qalaqis quCebSi seirnoba daevala, raTa gamvlelebs SeemCniaT. mis speqtaklebze darbazebi ivseboda. pirvel warmodgenas, wyaltuboSi, 1000 kaci daeswro. Semdegi speqtakli samtrediaSi unda eTamaSaT. ipolites uTqvams _ `modi kulaSSic davniSnoT warmodgenao~; samtrediaSi speqtakli rva saaTze iwyeboda, kulaSSi ki cxraze dauniSnavT. ukiTxavT:
Dolaberidze!’’ – Ipo would sluggishly jog, swing his leg and send the ball into the back of the net, while the whole stadium was celebrating with joy and a smile. A grand feast was held after every match. The third half. Perhaps Feola also ordered evasively: "We won! 12 ice creams on the table! 11 for the players, twelfth for the spectator!"
Director Zurab Kandelaki recalls a 20-day tour in Western Georgia with Ipolite in the 70s: “We had a production of “Hello, our fathers” . This television play was successfully broadcast on the screen, with the leading actors from Marjanishvili and Rustaveli theaters. It was decided to tour with this play in the form of a “Brigade’’.“Brigade” meant going on a trip to different parts of Georgia with a prepared troupe. Erosi could not stand traveling and was replaced by Ipolite. The group was led by Malkhaz Beburishvili.
The troupe arrived in West Georgia. The following was written on the poster – Starring Ipollite Kvichia! In the regions, they were used to the fact that the pre-announced actor wasn’t actually traveling
`rogor movaswrebT Casvlas, speqtakli xom 90 wuTs grZeldeba?~ ipolites uTqvams: `mivlen, moicdian, naxaven!~ samtrediis Semdeg, gavvardiT kulaSSi; speqtakli kinoTeatris SenobaSi gaimarTa, cxeloda, vintilatorebi ar muSaobda, oxSivari idga. ipolites danaxvaze taSi da yvirili daiwyo. piesis mixedviT, xviCias personaJs sxva gmirebi mZimed akritikebdnen. mayureblisTvis es imdenad moulodneli da miuRebeli aRmoCnda, rom naxevrad gaxdili, Caskvnili kaci, darbazis bolodan wamoxta da daiZaxa: `oe! ipolite ar miwyeninoT! Torem yofas gitirebT!~ xalxic ahyva _ `ipolites SeeSviT! dedas gitirebTo~, ipolite wamoxta, kulaSis `TeatrSi~ kulisebi ar iyo, amitom Sua darbazSi gamoirbina, mayurebelic wamodga da gahyva.~ dRes, ase, erovnuli nakrebis fexburTelebs dasdeven bavSvebi, fotoebisTvis, videoebisTvis, mogonebebisTvis! fexburTs xom yovelTvis hyavs gamarjvebuli da damarcxebuli, feolac ase ityoda: `Tqven ra aravin gecodebaT? Tqven adamianebi ara, mxecebi yofilxarT, SexedeT im sacodav bavSvebs rogor tirian, SexedeT!~ _ finalis Semdeg, berZnebi namdvilad damwuxrebulni
with the troupe, and this “lie” was a part of advertising, so that people would buy tickets. Therefore, Ipolite was instructed to walk the streets of various small towns to be noticed by passers-by. The hall was full at his performances. 1000 people attended the first performance in Tskaltubo. The next performance was to be played in Samtredia. Ipolite said – "Let’s schedule a performance in Kulash", it was a 20-minute bus ride from there. He started in Samtredia at eight o’clock, he was scheduled to go to Kulash at nine o’clock, they asked him: "How will we manage to arrive in time? The play is 90 minutes long." Ipolite answered: "They will come, they will wait, they will see!" We performed for 90 minutes in Samtredia and ran off to Kulash; The performance was held in the cinema building, it was hot, the ventilator was not working, and there was steam in the building. At the sight of Ipolite, the audience started applauding and shouting. According to the script, Ipolite is severely criticized by other characters. For the audience, this was so unexpected and unacceptable that a half-naked man jumped up from the end of the hall and shouted: “Oh! Don’t hurt Ipolites feelings! Or I will make you regret being born!" The people also followed – "Let Ipolite be!" Ipolite jumped up, there was no backstage in Kulash’s “theater”, so he ran into the middle of the hall, the audience got up and followed him.
wavidnen Tbilisidan, Tumca ras vizamT, sportSi imarjveben da marcxdebian. ipolite xviCiaze uamravi legenda dadis, albaT, keTil legendebs is xalxi qmnis, visac siyvaruli SeuZlia, qmnian, imisTvis rom acocxlon Zvirfasi mogoneba. darwmunebuli var da SeiZleba davinaxe kidec, saqarTvelo-saberZneTis safexburTo Sexvedrisas, erTa ligis finalSi, viRac asakovan, darbaisel kacs, Tu rogor sTxovda kontroliori bileTs, dabneulma mamakacma ki, jibeSi aqa iq Zebnis Semdeg, amoiRo muyaos qaRaldi da Tavdajerebulma hkiTxa: `aris Tu ara es bileTi?~ amasobaSi kvekveskirmac gaitana, da ipolitem daamata _ `varT Tu ara evropaze? mipasuxeT! aris Tu ara es evropa!~
cotne jabadari
Today, the players of the national team are being chased by children for photos, videos, and memories! After all, football always has winners and losers, Feola would say it like this: Don’t you feel sorry for anyone? You are inhumane, you are beasts, look at those poor children the way they are crying, look! After the final, the Greeks left Tbilisi in a sad mood, but what can we do, you either win or lose in sports. There are many legends about Ipolite Khvicia, good legends are probably created by people who can love, they create in order to revive a precious memory, I am sure and I may even have seen, at the football match between Georgia and Greece, in the League of Nations final, an elderly kind man, how The steward asked for a ticket, and the confused man, after searching here and there in his pocket, took out a cardboard paper and confidently asked: "Is this a ticket or not? In the meantime, Kvekveskiri also scored, and Ipolite added – Are we in Europe? Answer me! Is this Europe or not!
Tsotne Jabadari
`Tu ise moxda, rom gasuli saukunis ormociani wlebis bolos, omgamovlil TbilisSi daibade, cxovrebisgan yvelafers unda moelode, radgan es qalaqi gansakuTrebuli adgilia Semoqmedi adamianisTvis...~ _ ase iwyebs sakuTari ambis Txrobas araerTi saerTaSoriso konkursis priziori, Tbiliseli fotoxelovani _ mixeil nasbergi.
1947 wlis 22 ianvris, misi dabadebis dRis Semdeg, am qalaqSi marTlac bevri ram moxda _ `didi sabWoeTis~ erT-erTi respublikis dedaqalaqidan is damoukidebeli saqarTvelos dedaqalaqad iqca. bevrma wyalma idina mtkvris kalapotSi, qalaqi aSenda, damSvenda, metro gaixsna, nona gafrindaSvili msoflio Cempioni gaxda, cisfer ekranze naxes Tbiliselebma, rogor daadga adamianma mTvareze fexi... iovana kalpaqsma `Tbiliso~ imRera, `biTlzi~ amerikaSi meramdened Cavida... CvenTan `orera~ miiwevda `sruli svliT~... amasobaSi veraze didi sakoncerto darbazi gaixsna. mas win uswrebda sportis sasaxle axal ubanSi _ saburTaloze. qalaqi gaizarda adamianebiT, SenobebiT, parkebiT, ise, rogorc sxva sabWoTa dedaqalaqebi, Tumca, is sxva danarCenebs mainc ar hgavda. mere qalaqSi iomes, xelisuflebebi gadatrialdnen, uremic gadabrunda, gzajvaredinebi gamoCnda, Rirebulebebi gadafasda,.. Tumca, am yvelafris
mixeil nasbergi
roca kompozicia gamarTulia, maSin aWer Rilaks TiTs...
NASBERG WHEN THE COMPOSITION IS ARRANGED, THAT’S WHEN YOU PRESS THE BUTTON
"If you happened to be born in the war-torn city of Tbilisi in the late forties of the last century, you should expect anything from life because this city is a special place for an artist..." – This is how the award-winning photographer from Tbilisi, Michael Nasberg begins to tell his story.
After his birthday, January 22, 1947, many things happened in this city. The capital of one of the republics of the "Great Soviet Union" became the capital of independent Georgia. The water of Mtkvari flew, the city became more and more beautiful, the subway was opened, Nona Gaprindashvili became the world champion, and people saw how a man set foot on the moon from the silver screen. Yovanna sang “Tbiliso”, “The Beatles” visited America several times. Our “Orera” was succeeding in full swing... In the meantime, a large concert hall was opened in Vera District. It was preceded by the Sports Palace in the new district, Saburtalo. The city grew in population, buildings, and parks, just like other Soviet capitals, but it was still different from the others. Then, a war broke out, the governments got overthrown, the cart turned over, moral crossroads appeared, and spiritual values were reassessed... However, while this is happening, you can still test your abilities and find the work of your life. However, until you finally find out what you want and if what you want is truly yours?
MICHAEL
fonze, SesaZloa, sakuTari SesaZleblobebi gamoscado, da Seni cxovrebis mTavari saqmec ipovo... Tumca, iqamde, vidre bolos da bolos zustad mixvdebi _ ra ginda? da, is, rac ginda, namdvilad Senia Tu ara?
Sromasa da TviTZiebaze
Sromasa da Ziebaze bevri wlis Semdeg kmayofili sevdiT hyveba da iseTi siyvaruliT, rom Tvalwin gidgeba `misi Tbilisi~, `naxalovka~, `malaknebis moednidan~ asuli aRmarTi. cxovrebis pirvelma ocma welma iq gaiara _ SirSovis pirvel nomerSi (igive `sabWoebis meore~ Cixi, TiTqos, `sabWoebis pirveli~ Cixic arsebobda...), am quCiT dadioda jer meore saSualo skolaSi, Semdeg politeqnikur institutSi.
Tbilisis am raionSi Wreli sazogadoeba cxovrobda. vis ar SexvdebodiT!? iyvnen samecniero wreebidan, muSamosamsaxureebidan, saqmianebi, usaqmurebi, `kanonieri~ da ukanono qurdebic...
On work and self-discovery
After many years of working and searching, he talks with a satisfied sadness and with such love that “his Tbilisi” will stand before your eyes, Nakhalovka, the uphill rising from the Malakni square. He spent the first twenty years of his life there, at the first number of Shirshov (the same as the second alley of the USSR, as if there were also the first alley of the USSR), he walked along this street first to the secondary school, then to the Polytechnic Institute.
A diverse community lived in this district of Tbilisi. Who wouldn’t you meet? There were people from scientific society, workers and employees, businessmen, idlers, and thieves “in” and “outside” of law...
"Our house was near the railway station. We lived on the second floor, and the balcony was on the side of the railway. There was a gate beyond which wagons full of prisoners often stopped. They were transferred from the train to locked cars and taken somewhere...
Sometimes the opposite happened – they brought them by locked cars and sent them somewhere by wagons. This procedure was
axalgazrda boSebi, Tbilisi, 1987 weli YOUNG GYPSIES, TBILISI, 1987
`Cveni saxli axlos iyo rkinigzis sadgurTan. meore sarTulze vcxovrobdiT da aivani gadioda liandagebis mxares. iq iyo WiSkari, romlis miRma xSirad dgebodnen patimrebiT savse vagonebi. isini gadahyavdaT matareblidan daxurul manqanebSi da sadRac mihyavdaT. zogjer piriqiTac xdeboda _ daxuruli manqanebiT mohyavdaT da vagonebiT sadRac amgzavrebdnen. am proceduras orive mxridan SeiaraRebuli samxedroebi icavdnen, ZaRlebis TanxlebiT. da me da Cemi megobrebi wlebis ganmavlobaSi vuyurebdiT am scenas, romelic dRemde cxadad SemorCa mexsierebas~. studentobisas ubanSi xSirad xedavdnen biWs gitariT xelSi. es is droa, rodesac TbilisSi tradiciuli qalaquri `bantiani gitara~ eleqtro gitaram Caanacvla. ukve popularuli iyo ubanSi da am ubnis Wreli sazogadoeba mas RimiliT xvdeboda. saidan movida popularoba? dRemde siamayiT inaxavs fotos sagazeTo statiidan, romelzec is Tbilisis sportis sasaxlis scenazea gitariT xelSi _ `warmogidgeniaT, ramxela pativi da aRiarebaa 20 wlis biWisTvis mTeli festivalis saxed gamotana gazeTis furclebze?!~ es is droa,
guarded by armed soldiers from both sides, accompanied by dogs. Me and my friends looked at this scene for years, which still stays vivid inside the memories."
During the student days, a boy with a guitar was often seen in the neighborhood. This was the time when the traditional guitar with a bow was replaced by the electric guitar. He was already popular in the neighborhood, and the colorful community greeted him with a smile. Where did the popularity come from? He proudly keeps a photo from a newspaper article in which he is on the stage of the Tbilisi Sports Palace with a guitar in his hand, to this day: "Can you imagine what a huge honor it is for a 20-yearold boy to become the face of the entire festival on the pages of the newspaper?!" This was when the young generation from all around the world talked a lot about Che Guevara and Carlos Puebla. “Hasta Siempre Comandante” is sung everywhere. When the counterculture of the 1960s was born, the underground set foot in Tbilisi. Pop rock, jazz-fusion, heavy rock, metal, soul, blues, country... they adore the Liverpool four, Rolling Stones, Pink Floyd, Led Zeppelin, Ray Charles, Marvin Gaye, Joan Baez... “Boogiewoogie” is replaced by “twist” and “rock and roll” brought by Chubby Checker... Woodstock is new, Janis Joplin is still on stage...
mkvdari sezoni, saqarTvelo, 1985 weli DEAD SEASON, GEORGIA, 1985
rodesac msoflios axalgazrdebi bevrs saubroben Ce gevaraze da karlos pueblas Hasta siempre, Comandate-s mRerian. roca ibadeba 60-ianebis kontrkultura, TbilisSi fexs ikidebs andergraundi, aqaur melomanTa sulebs ipyrobs pop roki, jaz-fiuJeni, mZime roki, metali, souli, bluzi, qanTri... aRmerTeben liverpulel oTxeuls, roling stounzs, pink floids, led zepelins, rei Carlzs, marvin geis, joan baezs... `bugi-vugis~ cvlis Cabi Cekeris motanili `tvisti~ da `rok-enroli~... axalCavlilia vudstoki, jer isev scenazea jenis joplini...
`musikiT gatacebulma ramdenime megobarma jgufi
SevqmeniT, Zalian popularulebi viyaviT. im dros axalgazrdobis didi nawili gatacebuli iyo `biTlziT~ da sxva dasavluri jgufebiT. Cveni jgufi biTlzis,
We formed a band together with a few friends who were passionate about music, we were very popular. At that time, a large part of the youth was fascinated by the Beatles and other Western groups. Our group performed the repertoire of the Beatles, Ray Charles, and other popular artists of the generation. I was offered to play the solo guitar in the orchestra of the Polytechnic Institute. It was a very famous orchestra which consisted of professional musicians. The orchestra was led by Soso Tughushi. I had to perform in many concert halls of Tbilisi with this orchestra. We had tours in Hungary and Czechoslovakia.
The performance on a solo guitar of Ray Charles’ two compositions in Ostankino’s New Year’s program, which was broadcast throughout the USSR, made him so famous that the Polytechnic Institute received many letters from different cities of the Soviet Union in his name.
He graduated from the institute in 1971. He worked as an
matareblis molodinSi, moskovi, 1980 weli WAITING FOR A TRAIN, MOSCOW, 1980
zafxuli stokholmSi, SvedeTi, 2006 weli SUMMER IN SOCKHOLM, SWEDEN 2006
rei Carlzis da im dros popularuli Semsruleblebis repertuars asrulebda. am dros politeqnikuri institutis orkestrSi solo gitaraze dakvra SemomTavazes. es im droisTvis Zalian cnobili orkestri iyo, profesionali musikosebiT dakompleqtebuli. orkestrs soso tuRuSi xelmZRvanelobda. am orkestrTan erTad Tbilisis bevr darbazSi momiwia gamosvla. gastrolebi gvqonda ungreTsa da CexoslovakiaSi~.
solo gitariT Sesrulebulma rei Carlzis orma kompoziciam `ostankinos~ saaxalwlo gadacemaSi, romlis translireba ssrk-s masStabiT xdeboda, iseTi popularuli gaxada, rom politeqnikur institutSi mis saxelze uamravi werili modioda sabWoTa kavSiris sxvadasxva qalaqidan.
instituti 1971 wels daamTavra. muSaobda inJinrad, umcros mecnier-muSakad saqarTvelos hidroteqnikisa da melioraciis institutSi. warmatebiT daicva sakandidato
engineer, and junior science worker at the Institute of Georgia’s Hydromechanics and Reclamation. He successfully defended his candidate’s dissertation. But... gradually, a new passion – photography – took up more and more space in his life.
A new profession and a brilliant friend
It was not just a passion or a hobby. Since 1977, the camera has been his inseparable companion. Since 1980, he was already cooperating with “Sakinform” and various magazines or newspapers that were being published in Georgia. He held his first personal photography exhibition in Tbilisi in 1981 at the "Merani" exhibition hall. In 1980, his photograph “In Strong Hands” won third place at the Tokyo World Photo Contest, and as a reward, together with the bronze medal, he received a “Nikon” camera from the organizer of the contest, “Nikon”.
During that time, several of his photos won in different countries around the world.
In 1979, he made a friend – Sergo Parajanov. The friendship
qali Tbilisidan, Tbilisi, 1980 weli WOMAN FROM TBILISI, TBILISI, 1988
disertacia. magram... TandaTan, mis cxovrebaSi ufro da ufro met adgils iWerda axali gataceba _ fotografia.
axali profesia da genialuri megobari es ubralo gataceba an hobi ar iyo. 1977 wlidan fotokamera misi ganuyreli Tanamgzavria. 1980 wlidan ukve TanamSromlobda `saqinformTan~, saqarTveloSi gamomaval sxvadasxva Jurnal-gazeTTan. pirveli personaluri fotogamofena TbilisSi 1981 wels gamarTa, gamomcemloba `meranis~ sagamofeno darbazSi. 1980 wels misma fotom, `Zlier xelebSi~, tokios msoflio fotokonkursze mesame saprizo adgili daikava da jildod, brinjaos medalTan erTad, konkursis organizator `nikonisgan~ fotoaparati `nikoni~ miiRo. im periodSi misma kidev ramdenime fotom gaimarjva msoflios sxvadasxva qveyanaSi.
1979 wels megobari SeiZina _ sergo farajanovi. megobroba wlebis ganmavlobaSi gagrZelda. am periodSi Seiqmna didi xelovanis portretebis mTeli seria. rTulia, daiTanxmo araordinaluri adamiani fotosesiaze, magram es procesi orive mxarisTvis saintereso aRmoCnda. rogorc Cans, farajanovi masSi Rirseul partniors da gansxvavebul niWs xedavda. aki Cauwera kidec STabeWdilebebis wignSi personalur gamofenaze _ `Tqveni gamofena _ dResaswaulia! fotoebi maT dasaTaurebas sjobs da ecadeT `SeZvreT~ kinoSi!~ es misi mxridan Zalian didi komplimenti iyo.
SeCerebuli wamis prizmaSi adamianebi gansxvavebulebi arian. xSirad obieqtivi ise xsnis personas, rom aseTs sakuTar Tavs Tavadac ar icnobs. farajanovi lupiT, SuSis natexiT, sarkesTan, TefSze wamoskupebuli windiani fexiT, wiTeli CalmiT, marto Tu qalbatonebis garemocvaSi, farajanovi sakuTar aivanze... es fotosesia ki ara, TiTqos erTgvari TamaSi iyo _ fotografis da subieqtis ormxrivi urTierTqmedeba. `is araCveulebrivi da Zalian pirdapiri iyo, pirdapir mogaxlida, rasac fiqrobda. sergei iosifoviCiT mivmarTavdi mas. is yovelTvis TqvenobiT mommarTavda. Tbilisma didi zegavlena moaxdina masze, ise rogorc Cemze. am qalaqSi gansakuTrebuli SemoqmedebiTi atmosferoa _ niWierTa qalaqia. Tbilisurma atmosferom Seqmna farajanovi iseTi, rogoric iyo~.
wasvla
1992 wels dedasTan, meuRlesTan da or SvilTan erTad, sacxovreblad SvedeTSi gadavida. sirTuleebiT gajerebuli pirveli wlebi _ axali qveyana, axali ena, axali cxovrebis wesi, axali adamianebi... miuxedavad amisa, fotoaparati mudam mzadyofnaSi hqonda. misi cxovreba or nawilad gaiyo: 1992 wlamde da mas Semdeg.
lasted for years. During this period, a whole series of portraits of the great artist were created. It is difficult to get an agreement from an unconventional person for a photoshoot, but this process turned out to be interesting for both sides. It seems Parajanov saw a worthy partner and a different talent in him. Parajanov even left a note for him at his exhibition – “Your exhibition is a celebration! The photos are better than their titles, and try to “sneak” into the cinema!” This was a very big compliment from him.
In the prism of a captured moment, people are different. Often, the lens reveals people in a way that they don’t even know themselves as such.
Parajanov with a magnifier, a piece of glass, a mirror, a socked foot on a plate, a red turban, alone or in the company of ladies, Parajanov on his balcony... This is not a photoshoot, but a kind of game – a two-way interaction between the photographer and the subject.
“He was extraordinary and very direct; he would share his thoughts directly. I addressed him as Sergei Iosifovich. He always addressed me formally. Tbilisi had a great impact on him, just like me. This city
qali madrididan, espaneTi, 1987 weli WOMAN FROM MADRID, SPAIN, 1987
kocna, maliorka, espaneTi, 2007 weli THE KISS, MALLORCA, SPAIN 2007
`saqarTvelodan 1992 wels wavediT mTeli ojaxi, rodesac am saocrad tolerantul qveyanaSi raRac momentSi nacionalobebis garCeva daiwyes.
TbilisSi yvela erovnebis megobari myavda. im dros aravin interesdeboda erTmaneTis warmomavlobiT –Cven Tbiliselebi viyaviT. am qalaqis SegrZneba dRemde momyveba. bevri megobari wavida Tbilisidan, Tumca, bevric darCa...~
Tumca, Tbiliss dRemde periodulad ubrundeba. 2013 wels Tbilisis istoriis muzeumSi, qarvaslaSi didi gamofena moewyo, romelzec 50 foto iyo warmodgenili.
TiTqmis ar yofila dRe fotoaparatis gareSe. iRebda da iRebs da ara mxolod SvedeTSi. mogzaurobs da monawileobs msoflios sxvadasxva qveynis fotokonkursebsa da gamofenebSi. misi ramdenime namuSevari Sesulia wignSi Photography in Georgia, romelic 2013 wels gamoica. misTvis iolia cocxlad gadmosces `mkvdari sezoni~ zRvis sanapiroze, an samudamod dagamaxsovroT qali madridis kafeSi... `siesta~, didi da damRleli Sromis
has a special artistic atmosphere; it is a city of talented people. The atmosphere of Tbilisi created Parajanov the way he was.”
Departure
In 1992, he moved to Sweden together with his mother, wife, and two children. The first years were full of difficulties – a new country, a new language, a new way of life, new people – but he always had his camera ready by his side.
His life was split into two parts: before and after 1992.
“Our whole family left Georgia in 1992, when, at some point in this amazingly tolerant country, nationalities began to be distinguished. I had friends of all nationalities in Tbilisi. At that time, no one was interested in each other’s ethnicities; we were from Tbilisi. The feeling of this city follows me to this day. Many friends left Tbilisi; but many remained...”
However, he still returns to Tbilisi from time to time. In 2013, a large exhibition was held at the Tbilisi History Museum in Karvasla, where 50 photos were presented.
There was hardly a day without a camera. He takes photos all the time, and not just in Sweden. He travels and participates in contests
farajanovi mamis suraTiT xelSi, Tbilisi, 1980 weli SERGEJ PARADJANOV HOLDING HIS FATHERS PICTURE, TBILISI, 1980
Semdeg yuTebTan Camomjdari qurTi qali da mamakaci... kocna ki iseTi mxurvalea maiorkis sanapiroze, iseTi sevdiani da gausaZlisia moskovis sadguris Senobis gatexil fanjaraSi danaxuli `lodini~, didebis TvalebiT momzirali boSa bavSvebi marjaniSvilis moedanze; helsinkis sanapiroze ki talRebs zemoT cis nacvlad uzarmazari gemis korpusia Camuqebuli da iseTi mSvenieria Toliebis foriaqi mis fonze; qali SlapiT da sigaretiT gramofonis fonze iseTi TavisTavadi ambavia, sadac feri sruliad arafer SuaSia, feri zogjer aucilebelia, magram xandaxan ise giSlis xels... Sav-TeTri situacia lakoniuria, iq mxolod ambavia, Crdilebi, adamianebi...
`mxatvari fantaziiT sazrdoobs, mas SeuZlia dausruleblad daamatos detalebi sakuTar namuSevars an moaklos. me ki, fotografma, unda davinaxo dasrulebuli siuJeti. mTavaria, uceb reagireba situaciaze _ dainaxo da
and exhibitions in different countries around the world.
Several of his works were included in the book “Photography in Georgia,” published in 2013.
It’s easy for him to express the “dead season” on the beach, or to make you remember a woman in a cafe in Madrid forever... “siesta”, a Kurdish man and woman sitting by the boxes after a long and exhausting work... and the kiss is so passionate on the beach of Majorca, and “waiting” seen in the broken window of the station building, in Moscow is so sad and unbearable... Romani children staring with eyes of glory in Marjanishvili Square; and on the coast of Helsinki, instead of the sky above the waves, the hull of a huge ship is darkened, and the chaotic flapping of seagulls in its background is so beautiful. A woman with a hat and a cigarette in front of a gramophone is such a self-contained story, where color has absolutely nothing to do with it. Color is sometimes necessary, but sometimes it gets in the way. The black-and-white situation is concise; there is only a story, shadows, people...
farajanovi, Tbilisi, 1980 weli PARAJANOV, TBILISI, 1980
dabadebis dRe, stokholmi, 2016 weli BIRTHDAY, STOCKHOLM, 2016
gadaiRo. xSirad winaTgrZnobac maqvs saintereso momentis, TiTqos viRac zemodan mexmareba. rodis xdeba fotografia saintereso? rodesac masSi garkveuli simboloebia.
fotografia zogisTvis is istoriebia, romelTa moyolac SeuZlebelia. xSirad fotografia sakuTari cxovrebis gaazrebaSic gexmareba.
fotografia xSir SemTxvevaSi, danaxva ki ara, ufro SegrZnebaa. sakuTari SegrZnebebis fotoze gadatana yvelaze maRali Sedegia.
silamaze nebismier rameSi SegviZlia davinaxoT. Tumca danaxva da kompoziciurad dalageba aris is sxvaoba, rac namdvil fotos ubralo kadrisgan gamoarCevs.
saukeTeso fotoebi isinia, romlebic inarCuneben Zalas da gavlenas wlebis dinebis miuxedavad...~
ana obolaSvili
“The painter feeds on imagination; he can endlessly add or remove details to his work. And I, the photographer, have to see a Finished story. The most important thing is to react quickly to the situation – to see and seize the moment. I often have a premonition of an interesting moment, as if someone is helping me from above. When does photography become interesting? When it contains certain symbols.
For some, photography is a story that cannot be told. Photography often helps you understand your own life.
Photography is often more about feeling than seeing. Transferring your feelings to a photo is the best result.
We can see beauty in anything. However, seeing and composing is the difference that separates a real photo from a simple snapshot.
The best photographs are those that retain their power and influence over the years...”
Ana Obolashvili
siesta, saqarTvelo, 1982 weli SIESTA, GEORGIA 1982
Irakli Samsonadze: Still, love rules everything... irakli samsonaZe: mainc siyvaruli marTavs yvelafers...
14 maiss, TbilisSi, areuli amindi idga, arc cioda, arc cxeloda, manqanidan gadmosvlisTanave, Cemma megobarma da me, SeviaRmarTeT, mravali sarTuli fexiT aviareT da... Tanamedrove qarTuli literaturis erT-erT yvelaze mniSvnelovan dramaturgTan, mweral irakli samsonaZis binaSi aRmovCndiT. Rimiliani saxiT mogvesalma, Cagvexuta, Svileboo _ mogvmarTa, migvipatiJa, gvTxova axali naTurac dagvekida, Zveli samzareuloSi gadamwvariyo. megobrul garemos gavuTamamdiT, mis samuSao oTaxSi movewyveT, uTvalavi raodenobis, xelnaweri furclebis grovaSi ki magidaze CvenTvis, winaswar gamzadebuli sami Wiqa, xileulTan da tkbileulTan erTad, dagvxvda. batoni irakli, patara magidasTan nouTbuqs miujda. Cven audio Camwerze davawkapuneT da interviuc daviwyeT, Tumca manamde Wiqa avwieT, Sexvedris aRsaniSnavad.
batono irakli, ra iyo is mTavari mizezi, ratomac daiwyeT wera?
he, he (icinis), unda giTxraT rTuli kiTxvaa; wera daviwye erTgvari matrakvecobiT, Tu SeiZleba es zusti sityva iyos. Cvens ojaxSi mwerlebi modiodnen, mamas didi samegobro hyavda. Zmebi WilaZeebi, nodar dumbaZe, zaur bolqvaZe... ra vici, Zalian bevri. amas vxedavdi da patara bavSvs, rogorc ki raRac cnobiereba Camomiyalibda, wamxedurobiT, matrakvecobiT, imis surviliT, rom raRacnairad maTTvis mimebaZa, maT maraqaSi gavreuliyavi, daviwye wera. martivad Tu ginda, pasuxi egaa. Tqven mobrZanebas gaumarjos am ojaxSi, fexbednieri yofiliyaviT (Wiqa aswia, Cvenc vupasuxeT...)
Tqveni erT-erTi piesaa `SuaRamisas~, ra Seicvala pirvelad gamoqveynebuli piesis Semdeg Tqvens cxovrebaSi? sxvaTa Soris axalcixeSi premieras ver daveswari, reJisorma guram macxonaSvilma dadga, xandazmuli kaci iyo, mamaCemis Taobis, me ki axalgazrda viyavi, studenti. `uqonlobis~ gamo, axalcixeSi ver wavedi, Cems pirvel premieraze ver Cavedi. rogorc meubnebodnen, kargi speqtakli gamovida; piesa `sabWoTa xelovnebaSi~, nodar gurabaniZem dabeWda. didi mniSvneloba hqonda biWvinTis axalgazrda dramaturgTa seminarebs, Tamaz WilaZe xelmZRvanelobda, patara biWi viyavi, xeli mogvkida Sadiman SamanaZes, Tamaz baZaRuas, me da ai axla, rogorc me maqvs dramaturgiis saxelosno, aseTi saubrebi iyo iqac. es piesac im formatSi Seiqmna. wlis saukeTeso dramaturgiuli namuSevris jildoc misces, mweralTa kavSiri iyo maSin. TbilisSic daidga, ramdenime TeatrSi. albaT, es biZgi iyo raTa wera gagegrZelebinaT. Tqven sxvadasxva mimarTulebiT gimuSaviaT; ra gansxvavebaa kinos da Teatris scenars Soris?
Teatri ufro pirobiTi samyaroa, kino proziskenaa,
It was an unclear weather on the 14th of May in Tbilisi, it was neither cold nor hot, after getting out of the car, my friend and I went upstairs, walked up many floors and... found ourselves in the apartment of the writer Irakli Samsonadze, one of the most important playwrights of modern Georgian literature. He greeted us with a smile, hugged us, addressed us as “my sons”, invited us, and asked us to change a light bulb since the old one in the kitchen burned out. We got comfortable with the friendly environment, settled in his work room, and among countless piles of handwritten papers, found three glasses prepared in advance on the table, along with fruits and sweets. Mr.Samsonadze sat down at the laptop at the small desk. We clicked on the audio recorder and began the interview, but before that, we raised a glass to celebrate our meeting.
What was the main reason you started to write?
Heh, heh (laughs), it’s a difficult question; I started writing as a way to show off, if that might be the right word. Writers came to our family, my father had a large circle of friends. Chiladze brothers, Nodar Dumbadze, Zaur Bolkvadze... too many to count. I saw this and as a little child, as soon as some awareness formed within me, with a vision, a desire to imitate them in some way, to wander into their world, I began to write. If you want a short answer, that’s the way to put it. Welcome to this family, may you be happy (he raised his glass and we followed along...).
One of your plays is “At Midnight” (1985). What has changed in your life since the play was first published?
I could not attend the premiere in Akhaltsikhe, the director Guram Matskhonashvili was there, he was an old man, from my father’s generation, and I was a young student. I couldn’t go to Akhaltsikhe, I couldn’t go to my first premiere. As I was told, it was a good play; The play was printed in “Soviet Art’’ magazine by Nodar Gurabanidze. The workshops of young dramatists in Bichvinta led by Tamaz Chiladze, were of great importance, I was a little boy, and he took care of us: Shadiman Shamanadze, Tamaz Badzaghua, and me. Now, I give lectures in a dramaturgy workshop myself and have similar conversations that we had in the past. This play was also created in that format. It also received the award for the best dramatic work of the year, there was the Union of Writers back then. It was also staged in Tbilisi, in several theaters.
Perhaps that’s what pushed you to continue writing. You have worked in different fields; what is the difference between a film and a theater script?
Theater is a more conventional world, cinema is more prosaic, preferring details; There must be something in it that catches your eye; After all, there is a very big difference between a theater play and a film role. In a theatrical role, when you sit in the 20th row, the actor addresses you loudly to bring his speech to you... It’s different in the cinema, just like in real life... When you start speaking theatrically in the cinema, your acting immediately becomes forced, there is a difference in the way of acting.
detals aniWebs upiratesobas; masSi raRac iseTi unda iyos rom TvalSi mogxvdes; isedac, Teatralur TamaSsa da kino rols Soris Zalian didi sxvaobaa. Teatraluri rolisas, roca parteris meoce rigSi zixar, msaxiobi xmamaRla mogmarTavs, raTa saTqmeli moitanos Senamde... kinoSi sxvanairadaa, ise rogorc cxovrebaSi... rodesac kinoSi Teatralurad iwyeb metyvelebas, egreve yalbi xdebi, TamaSis wesSia sxvaoba.
xSirad gvinaxavs, kino sadac msaxiobi TiTqos yalbia, mets gamoxatavs vidre rols sWirdeba... ki, maleve xvdebi. Teatri sinTezuri xelovnebaa, erTi da igive scenarze gansxvavebuli speqtaklebi yofila, iq msaxiobs Tavisi Semoaqvs, reJisoris xedvac Taviseburia, Teatris bunebaa aseTi. arseboben dramaturgebi, romlebic ganicdian, erTi sityvac rom amougdo; me ar var am siidan, vici, rom rodesac Seni scenari xvdeba Teatralur sivrceSi, iq SeiZleba moakldes erTi sityva, an mieweros damatebiT. CemTvis mniSvnelovania silaRe, rodesac Teatri gkarnaxobs reJisors da msaxiobs, sxvagvarad karg Sedegs ver miiReb. scenars Tu „aTxoveb~ reJisors, Tavi unda daanebo, calke ojaxia, is ukve „gaTxovda~. an meore variantia, ar „vaTxoveb~, ar minda iman dadgas.
scenaze, Teatrze ras gvetyviT?
Teatri jaziviTaa. TeatrSi yoveli warmodgena sxvadasxvagvaria. rogorc TiTis ori erTnairi anabeWdi ar arsebobs, piesac icvleba, jazis principia TeatrSi, kinoSi ki fiqsaciaa.
We have often seen movies where the actor seems fake, expressing more than the role requires...
Yes, you will notice right away. Theater is a synthetic art, there have been different plays based on the same script, the actors bring their own to the table, and the director’s vision is also unique, this is the nature of theater. There are playwrights who feel bad if someone removes a single word; I’m not from that list, I know that when your screenplay joins the theater space, one word may be removed or added. It’s important for me to be flexible, the theater dictates the director and the actor, otherwise, you won’t get a good result. If you give away the script, you have to leave it to the director, it is a separate family, and it is already “married”. Or let’s say I refuse the “marriage”, I don’t want that director to stage it, that’s the second option.
What can you tell us about the stage, the theater?
Theater is like jazz. Every performance in the theater is different. As no two fingerprints are the same, the play also changes, there are principles of jazz in the theater, while cinema is the fixation.
Do you prefer jazz or fixation?
Jazz! Sesilia Takaishvili didn’t like movies “I know I can’t replace things anymore’’ she said. The technique of writing the screenplay derived from this, when you have given the rules of the actor’s performance, you construct the dialogue in different ways. And the film is life-like. However, this does not exclude metaphors, Rezo Gabriadze is such a great screenwriter, there is something metaphorical in all his films. The cinema has a cool atmosphere if you see the set...
Tqven jazi ufro mogwonT Tu fiqsacia?
jazi! sesilia TayaiSvils, imitom ar uyvarda kino, `vicio, raRaceebis Semcvleli veRar varo~. aqedan gamomdinare scenaris weris teqnikac, rodesac msaxiobis TamaSis wesi mocemuli gaqvs, sxvadasxvanairad ageb dialogs. filmi ki cxovrebiseulia. Tumca, es ar gamoricxavs metaforulobas, rezo gabriaZe amxela scenaristia, yvela mis filSi metaforaa raRac. kinos magari muRami aqvs iseTi, gadasaReb moedans rom naxav...
scenarze visaubreT, da dRis romeli droa saukeTeso werisTvis da ratom?
ici ra aris, axalgazrdobaSi roca jani momyveboda, ar davmalav arafers. dilas adre viRviZebdi, vmuSaobdi SuadRemde, mere vsvamdi, patara `CekuSka~ arays, mere viZinebdi, viRviZebdi da vagrZelebdi muSaobas, axali
TvaliT, rom wamekiTxa. asakSi, rom Sevedi, magdens veRar vqaCav, dRis saaTebi maqvs samuSaod. dRis meore naxevari kinos vuyureb, an vkiTxulob, an cot-cotas vsvam.
ra gavlenas axdens Tqvens prozaze, scenarze `adgili~ sadac qmniT mas?
sadac mxedav aq vwer (TaviT maniSna).
We talked about the script, and what time of day is best for writing and why?
You know what, in my youth when i was in my prime, I will not hide anything, I used to wake up early in the morning, work until noon, drink a little “Chekushka” vodka, then go to sleep, wake up, and continue working with new eyes to read. As I’ve reached my age, I can’t do that anymore, I have hours of the day to work. In the second half of the day, I watch movies, read, or drink a little.
How does the place where you write influence your prose and screenplay?
Wherever you see me, I’m writing here (makes a hint with his head).
Let’s move on to the characters. You have to create negative, positive characters, look into their mental world, and even be the characters in a way in order to put their nature on the page, it’s an incredible journey into the human psyche, what are you trying to take away from the characters?
The characters themselves.
And what should a writer know about their characters?
Technically everything, both bad and good. The most important thing is to have the ability to get under their skin. Look Vakhtang
personaJebze gadavideT. Tqven unda SeqmnaT uaryofiTi, dadebiTi gmirebi, maT fsiqikur samyaroSi CaixedoT, erTgvarad is gmirebic ki iyoT, rom maTi xasiaTi gadaitanoT furcelze, es warmoudgeneli mogzaurobaa adamianTa fsiqosamyaroSi, am dros ris wamoRebas cdilobT personaJebisgan?
TviTon personaJis.
da ra unda icodes mweralma sakuTari personaJebis Sesaxeb?
wesiT yvelaferi unda icodes, avic da kargic. rac mTavaria mis tyavSi SeZromis unari unda hqondes. misi gaTaviseba. Sexede vaxtang (furclebis grovisken mimiTiTa), ramdeni maqvs gadayrili furceli, da es kide ra aris. es isev iwriteba, iwriteba da iwriteba, im gmirisTvis da mTlianad konstruqciisTvis, rac organulia is rCeba, gaaCnia risTvis wer, prozisTvis, piesisTvis. Tavisi kanoni aqvs dramaturgias, Tav-Tavisi kanonebi aqvs yvelafers.
(pointing to the pile of papers), how many papers I have thrown away, and that is merely a small part of it. Again, it is refined again and again, for the hero and for the construction as a whole, all that’s organic remains, it depends on what you are writing for, for the prose, for the play. Dramaturgy has its own law, everything has its own laws.
As you journey into the characters’ mental worlds, does writing energize you or drain you?
I am exhausted. Depleted (pause), I need a long time to recover, I think Nodar Dumbadze used to say – “I am like a deflated sack”, after writing. I am one of those writers who put everything on the line. Whether it turns out well or not is another matter, you know? I try to get everything out of me
What do you think childhood is for a writer? What can be rewritten from there?
I will borrow from Saint-Exupéry, he said, “I come from my childhood”, it is not by chance, because the strongest impressions are from childhood. I also come from my childhood and these impressions are all intense. I try to revive them.
personaJTa fsiqikur samyaroSi mogzaurobisas, wera, energias gaZlevT Tu gfitavT?
daclili var. daclili (pauza), sakmao xani mWirdeba, rom is Zalebi aRvidgino mere, me mgoni nodar dumbaZe ambobda _ `dabertyili tomarasaviT varo~, weris mere. me im mwerlebis rigidan var, vinc yvelafers debs. avad gamosdis Tu ara, eg sxva Temaa, xvdebi? me yvelafris amoRebas vcdilob Cemgan.
rogor fiqrobT bavSvoba ra aris mwerlisTvis? iqidan risi gadmowera SeiZleba didkacobisas? sent egziupers davesesxebi, aqvs naTqvami, `me Cemi bavSvobidan movdivaro~, eg SemTxveviT araa, imitom rom yvelaze mZafri STabeWdilebebi bavSvobisaa. mec Cemi bavSvobidan movdivar da es STabeWdilebebi yvela mZafria. maT gacocxlebas vcdilob.
bavSvobidan rom gadavideT socialur yofaze; Tqven erTxel axseneT, rom adamianTa erTobis mizezi siyvarulia, martooba ki TavSesafari. rogor fiqrobT, sazogadoebasTan, mcire wreebTan, Tu ubralo adamianebTan, kidev ram SeiZleba gagvaerTianos? radgan zogierT wignSi, xom siyvaruli ver imarjvebs? (fiqrobs) bevri faqtoria, saerTo interesebi, xedva, msoflmxedveloba, magram siyvaruli yvelze mZafria, mZafria, (pauza) mZafria, …yvelaze diadi grZnobaa... (pauza) gaerTianebisTvis, adamianebs Soris, mainc siyvaruli marTvas yvelafers.
siyvarulidan Tqven wignebze gadavideT, `yofilebis sareceli~, `meTevze erTi ori~, aq sikvdilis Temas xSirad vxvdebiT, Tumca gmirebi, SedarebiT gvian aRmoaCenen, an gaacnobiereben, rom cocxlebSi aRar ewerebian aba Tavidanve rom gaecnobierebinaT piesa arc daiwereboda (gvecineba).
rogor fiqrobT, Tqvens literaturul/dramatul sibrtyeSi sikvdils ra funqcia aqvs? sicocxlis. erTi meoris gareSe ar arsebobs. SeiZleba sikvdilidan imsjelo adamianis sicocxleze.
`yofilebis sarecelSi~ raSi dagWirdaT sikvdilidan gemsjelaT cocxlebze? bevri mizezia. jer es erTi emigraciis Temaa, me Zalian damafiqra aqedan wasulma adamianebma, isini xom raRac wilad, ganwirulni arian, ese martivad xom ar aris wavida saSovarze, fuli iSova da gamoagzavna. raRacnairad aseTi giJuri idea damebada, rom iq xvdeba ori qarTveli, erTmaneTs ejaxebian, da erTurTis mkvlelebad iqcevian, moasveneben samSobloSi. me mgonia ar aris cudi siuJeti.
If we move from childhood to social existence; you once mentioned that the reason for human unity is love, and loneliness is a refuge. What else do you think can unite us with society, small circles, or ordinary people? Because in some books, love doesn’t win.
(Thinks) There are many factors, common interests, vision, worldview, but love is more intense, it is intense, (pause) intense,... the greatest feeling... (pause) for unity, between people, still, love rules everything.
Let’s move on from love and talk about the books, "The Bed of The Formers", and "Fisherman One Two", here we often encounter the topic of death, although the characters will discover relatively late or realize that they are no longer among the living.
Well, if they had understood from the beginning, the play would not have been written (we laugh).
What function do you think death has in your literary/dramatic plane?
Of life. One does not exist without the other. You can judge a person’s life from death.
piriqiT. metaforulia, aqtualuria. `meTevze erTi orSic~ msgavsi xedvaa ki, ufro agoniaa sikvdilis. iqac saintereso Temaa, patara qveynebis Temaa, anu mamluqobis. iq erTi sabWoTa kavSiris dros midis avRaneTSi da meore amerikis droSis qveS, da eseni xvdebian erTmaneTs, patara qveynebis xvedria. `Tevzaoba~ iq sicocxlis CaWidebaa. `meTevzeoba~ moZraobaa, Jini sicocxlis.
arada aqamde Tqven dramaturgiis mimarTulebiT muSaobdiT. ramdenad rTuli aRmoCnda Tavis damkvidreba qarTuli literaturis samyaroSi? Tqveni trilogiiTac gamoCndiT, `yurTbaliSi~, `leas saaTi~, `Rrubeli saxelad darinda~... ormocwliani xetialis ambavia, iq icvleba siuJetebi da gmirebic icvlebian, magram, inspiraciis wyaro eg iyo.
In “The Bed of The Formers” why did you need to judge the living from death?
There are many reasons. First of all, the play touches on the topic of emigration, I thought a lot about the people who left the country, they are doomed to some extent, and it isn’t easy to leave for work, earn money, and send it back. Somehow such a crazy idea came to me that two Georgians meet abroad, crash into each other, become murderers of each other and they are brought back to their homeland in a coffin. I think it’s not a bad story.
On the contrary. It is metaphorical and relevant. “Fisherman One Two” shows a similar vision
Yes, it is more agony of death. There is also an interesting topic, the topic of small countries, the story of the Mamluks. One goes to Afghanistan under the Soviet Union and the other goes under the
xetiali. monobis saxlidan gamosvla.
ras eZaxiT monobidan gamosvlas?
RmerTTan miaxloebas. sadac monobaa iq RmerTi ar urevia. iq ar aris RmerTi...
da RmerTi ras ganasaxierebs?
Tavisuflebas! Tavis nebas!
Tavisufleba ra aris?
netarebaa. yvelaze diadi gancdaa. rac momdis axla TavSi magas gpasuxob,…yvelaze diadi gancdaa. pasuxismgeblobac aris. TavisTavad. Tavisufleba Zalian didi pasuxismgeblobaa.
kargiT, saidan iciT ra unda daweroT? rogor ibadeba irakli samsonaZis proza?
xandaxan mesizmreba. yovelTvis ar xdeba ase.
American flag, and they meet each other, that’s the fate of small countries. “Fishing’’ is the symbol of clinging to life. Being a “Fisherman’’ is a movement, the essence of living.
You have been working in the field of dramaturgy until now. How difficult was it to establish oneself in the world of Georgian literature? You also appeared with your trilogy, “A Cushion”, “Leah’s Time, “Darinda The Cloud”...
It is a story of forty years of wandering, there the stories change and the characters also change, but that was the source of inspiration. Wandering, getting out of the house of slavery.
What do you call getting out of slavery?
To approach God. Where there is slavery, God does not interfere., there is no god...
And what does God represent?
Freedom! Will of oneself!
damsizmrebia raRac da frazas CavWidebivar. biZgia, siuJeturi xazia. xSirad xdeba raRacas mivdev da ar vici finali ra aris, gzadagza vikvlev.
romeli nawarmoebi gadmoiwereT sizmridan? `saRamos baRSi rogorc ferad sizmarSi...~ aCemebuli mqonda, mere sxvanairad daiwera da baTumSi daidga.
Tqveni azriT, mwerals, dafasebulad Tavs ra agrZnobinebs? (pauza) ici ra, me ver getyvi sxvebis azrs, ra Tqma unda sasiamovnoa viRaca gaqebs, da Zireulad rom gelaparakeba Sen nawerze, ese igi wakiTxuli aqvs, me mainc vityvi daRlilobas; da ramdenad bolomde gaeci. ramdenad daixarje. es SegrZnebaa _ bedniereba...
daRlilxarT ise rom SegSinebiaT? ara, davRlilvar ise rom gamxarebia. Zalian daRlili
What is freedom?
It is bliss. It is the greatest feeling. I will say what comes to my mind now,... it is the greatest feeling. It is also a responsibility. of course. Freedom is a great responsibility.
Very well, how do you know what to write? How is Irakli Samsonadze’s prose born?
Sometimes I see a dream. It doesn’t always happen that way. I dream of something and I catch a phrase. It’s a push, it’s a storyline. It often happens that I’m following something and I don’t know what the final is, I’m researching along the way.
Which work did you “borrow” from your dream?
“In the Evening Garden Like a Colorful Dream” I was obsessed with it, then it was written differently and it was staged in Batumi.
In your opinion, what makes a writer feel appreciated?
(Pause) You know what, I can’t tell you what other people think, of course, it’s nice when someone praises you, and if they talk to you about your work, it means they have read it, I’ll still say fatigue; how much you gave away in the end. How spent you feel. This feeling is happiness...
Have you gotten scared of being too tired?
No, but I have felt so worn out that I became happy. If you are very exhausted, it already means something.
rom xar, ukve raRacas niSnavs.
ramdenad mniSvnelovania Tanamedrove sainformacio bumis epoqaSi, romelsac sxvagvarad filosofosebi dRes `sainformacio xanadac~ ki moixsenieben, mwerlis, rogorc epoqis aRmwerlis roli? ra Seicvala dRes? gemovnebiTi TvalsazrisiT araferi Secvlila, formebi ki icvleba. aris kargi literatura da aris uxarisxo literatura. mwerlis ostatobis maCvenebeli aris patara monakveTSi, ramdenad did informacias deb, gind antikuri xanis dramaturgiidan aiRe, gind dRevandelobidan. mwerlobisTvis, es yovelTvis mniSvnelovani iyo.
rogor grZnobT karg literaturas? naxevar gverdSi, gagrZeleba Rirs Tu ar Rirs. bevri faqtoria, moqnili ena, markess rom aqvs dasawyisi „gava dro da daxvretis molodinSi kedelTan mdgari polkovniki aureliano buendia gaixsenebs im Soreul dRes, roca mamamisma pirvelad waiyvana yinulis sanaxavad~ amas mofiqreba xom unda, an gogoli `batonebo, Tqven imisTvis mogiwvieT, rom gauwyoT metismetad
How important is the role of the writer as a descriptor of the era, in the time of the modern information boom, which is otherwise referred to by philosophers as the “information age’’? What changed today?
Nothing has changed, from the point of view of literary taste, but the forms are changing. There is good literature and there is bad literature. The writer’s mastery can be measured based on how much information they can put in a small section, whether you take it from the dramaturgy of ancient times or from today. For writing, this has always been important.
How can you sense good literature?
In half a page, I can tell if it is worth continuing or not. There are many factors, flexible language is one of them. Marquez begins like this “Many years later, as he faced the firing squad, Colonel Aureliano Buendía was to remember that distant afternoon when his father took him to discover ice” You have to come up with a line like that, or Gogol “I have called you together, gentlemen, to receive a very unpleasant piece of news: there’s an Inspector-General coming.” It captivates you right away and pulls you in.
arasasiamovno ambavi: CvenTan revizori Camodis.~ egreve giTrevs yurebiT, daWerili hyavxar.
redaqtors ra mniSvneloba aqvs aseT dros?
kargi redaqtori mwerlisTvis didi Svebaa. tolstois meuRle uwevda redaqtirebas, rogorc maxsovs. tolstois rom gausworeb rogoria? aWrelebuli hqonda. xandaxan raRacaze ver Tanxmdebi redaqtorTan, idioti redaqtorebic minaxavs, iseTze gamogekideba Sen rom Rameebi gaqvs nafiqri. SemTxveviT xom ara wer. redaqtori mainc ucxo Tvalia da ucxod uyurebs, gWirdeba.
mwerals redaqtori sWirdeba da yvelaze metad vis sWirdeba mwerali dRes?
adamians. ganuyofelia adamiani da mwerali, mwerali adamianisTvis wers. magaliTad vaJa fSavela mTaze da mTaSi werda, iq Tavisi konkretuli misamarTebi hqonda, magram isini adamianebi arian, ramxela adamianebi...
What is the importance of the editor at such a time?
A good editor is a great relief for a writer. Tolstoy’s wife did the editing, as I recall. Correcting Tolstoy, can you imagine that? Sometimes you disagree on something with the editor, I’ve seen weak editors too, they might argue about something that you’ve been thinking about for nights as if it was written by accident. The editor has a different point of view and looks at the writing as a stranger, you need them.
A writer needs an editor, and who needs a writer today?
A person. A person and a writer are inseparable, a writer writes for a person. For example, Vazha-Pshavela wrote about mountains while being in the mountains, he had his specific addresses there, but they are people, colossal people...
You mentioned in an interview that modern playwriting/ writing is in the postmodern era, where form and its play are used to achieve literary effect, which is highly favored as a managed eclecticism, what do you think is the last stop of postmodernism?
This is the last stop. I don’t know what will happen after that. Postmodernism is a direction of reevaluation of everything. Taking something from the old, playing with forms. I said managed eclecticism for a reason. There is also a fusion of genres. It’s a kind of dead end for humanity, let’s say you call romanticism and realism a worldview, what is postmodernism, what do I know?! It is a play with forms. It does not have a clear worldview, nor can be measured...
And in which movement do you integrate your dramaturgy and prose?
How can I tell you, the story dictates what I need. I swim there. The first part of “The Bed of The Formers” goes from the exposition to the climax with a smile, it is even a situational comedy, and then it suddenly changes. Writing dictated to me how to cross genres.
As an experienced writer, what advice would you give to modern Georgian writers? Or playwrights who are just starting to write?
Miguel de Unamuno has one cool letter, “In the depths of the soul”, it’s a cool letter, I would advise them to read his essays. I always advise them to search within themselves and not in “isms”, no one was brought to a good point by doing it.
What are you working on now? What should we expect?
“From Nutsiko to Nutsiko”, is the first part, I will probably write these for the rest of my life. I have many things in mind.
I want to go back to dreams, have you seen the finale in your dreams?
No, just the outline, a start...
So when does the real book end? with a period..!
interviewed by Vakhtang Kantaria
Tqven erT-erT interviuSi axseneT, rom Tanamedrove dramaturgia/mwerloba postmodernis epoqaSia, sadac formiT da misi TamaSiT miiRweva literaturuli efeqti, romelsac didi upiratesoba eniWeba rogorc marTul ekleqtizms, rogor fiqrobT, sad aris postmodernis bolo gaCereba?
es aris bolo gaCereba. ar vici amis mere ra iqneba. postmoderni yvelafris gadafasebis mimarTulebaa. Zvelidan raRacis aRebis, formebiT TamaSis. marTuli ekleqtizmi gangeb vTqvi. iq Janrebis aRrevac aris. kacobriobis erTgvari Cixicaa, davuSvaT romantizms da realizms msoflmxedvelobas daarqmev, postmodernizmi ra aris, ra vici?! TamaSia formebiT. gamokveTili msoflmxedveloba ar aqvs da arc sazomi...
da Tqven ra mimdinareobaSi aerTianebT Tqvens dramaturgias? prozas?
rogor giTxraT, siuJeti mkarnaxobs ra mWirdeba. mand vcurav. `yofilebis sarecelis~ pirveli nawili, eqspoziciidan kulminaciamde RimilSi midis, situaciuri
komediac kia, mere ucbad icvleba. weram mikarnaxa TviTon, rogor Sevajvaro Janrebi.
rogorc gamocdili mwerali, ras urCevdiT Tanamedrove qarTvel mwerlebs? an dramaturgebs vinc axla iwyebs weras? migel de unamunos aqvs erTi magari werili, `sulis siRrmeSi~, magari werilia, eseebi rom waikiTxon misi. sul vurCev, sakuTar TavSi eZion da ara `izmebSi~, aravin miuyvania karg wertilamde amas.
axla raze muSaobT? axals ras unda velodoT?
`nucikodan nucikomde~, pirveli nawilia, cxovrebis bolomde, albaT, amaT davwer. bevri ram maqvs Cafiqrebuli.
msurs sizmrebs davubrundeT, sizmarSi finali ginaxavT? ara, Strixi mxolod, dasawyisi...
maSin rodis mTavrdeba namdvili wigni? wertilTan erTad..! esaubra vaxtang qanTaria
ar vixmaureb...
I’LL BE QUIET...
`dRes pirveli naxati davxate. foToli. Cveulebrivi mwvane foToli. yvelaferi ki imiT daiwyo, rom erT mSvenier dilas Cems mxatvar megobars vuTxari: „mec vici xatva. vgrZnob, rom vici. roca iqneba movicli da aucileblad davxatav~. hoda, diliT, roca morigeobidan RamenaTevi Sin vbrundebodi, marketSi Seviare, sadac akvarelis saRebavebs movkari Tvali da gavifiqre, rom adamians Tu ramis gakeTeba ginda, unda imoqmedo, adge da konkretuli nabiji gadadga. viyide saRebavebi, saxatavi rveuli, movedi saxlSi da mwvane foToli davxate. wyurvils hgavs. wyurviliviT grZnob, rom xatva ginda. unda dalio wyali, xatvis wyurvili moikla. saSinlad amayi var“.
3 marti, 2022 weli
„weRan wavikiTxe ZaRlze, romelsac erqva „mekobre~ da romelic iyo brma. mxolod Suqsa da sibneles arCevda da mzis yureba uyvarda. vcdilob warmovidgino brma ZaRli, romelic zis da mzes uyurebs.
kide vusmine, rogor ambobs 9 wlis gogona: „aravisgan araferi mwyins, yvelas vpatiob, magram TiTqmis aRaravisi mjera.“
kidev ra damamaxsovrda dRes? aaa, metros vagonSi, Cem win, biWs gogo hyavda gulze mixutebuli da Tmaze efereboda. iqnebodnen ase 17-18 wlisebi. orives iseTi saxe hqonda, roca WeSmariteba aRmoaCine da samyaroSi aRaraferi geCveneba SeuZlebeli. gavifiqre: neta ra momentSi xdeba qalobisa da kacobis im etapSi gadabijeba, roca xvdebi, rom mixuteba da Tavze xelis gadasma ori adamianis urTierTobaSi yvelaze naklebi, martivad wamosakidebeli pasuxismgeblobaa. rom arsebobs gacilebiT mZimed saTrevi pasuxismgeblobebi. rom Zalian bevri ver SeinarCunebs im darwmunebul saxes, roca 18 wlis xar, metros vagonSi dgaxar da vinmes gulSi ixuteb. am yvelafers araferi kavSiri eqneboda erTmaneTTan. da SeiZleba arc aqvs da hgavs im adamianebs, romlebic erTmaneTSi im mzes dainaxavdnen, brma ZaRls rom uyvars, magram, ukve 9 wlis gogonasaviT arian _ aRaravisi sjeraT“. 18 maisi, 2022 weli
“I made my first drawing today. Leaf. Just a regular green leaf. It all started when one fine morning I said to my artist friend, “I can draw too. I feel that I can. Someday I will have free time, and I will definitely paint.” And, in the morning, when I was coming home sleepless from the night shift, I entered the market, where the watercolor paints caught my eye, and I thought that if you want to do something, you have to take action, get up, and take a concrete step. I bought paint and a sketchbook, came home, and drew a green leaf. It’s like thirst. You feel like you want to paint. You should drink water, and quench your thirst for painting. I am terribly proud.”
23 March, 2022
“I recently read about a dog named Pirate, which was blind. It could only distinguish between light and darkness and loved to watch the sun. I’m trying to imagine a blind dog sitting and looking at the sun.
I also heard a 9-year-old girl saying, “I don’t get offended by anyone, I forgive everyone, but I hardly trust anyone anymore.”
What else did I retain today? Ah, in the subway, a boy had a girl in his arms, they were sitting right in front of me and he was stroking her hair. They would have been 17–18 years old. Both of them had that look when you discovered the essential truth and nothing in the world seems to be impossible anymore. I thought: at what point does one step into the stage of womanhood and manhood when you realize that hugging and cuddling are the least and easiest responsibilities in a relationship between two people? That there are more burdensome responsibilities; that too many people can’t keep that confident face that you have when you’re 18, standing on the subway, and embracing someone. All this would have nothing to do with each other. And maybe it doesn’t, and they are like those people who could see the sun in each other–the one, that a blind dog loves. But they are already like a 9-year-old girl – they don’t trust anyone anymore.”
May 18, 2022
nana qelexiZe
NANA KELEKHIDZE
„dRes leqsi davwere. Turme rogor gansxvavdeba mxatvroba da poezia. bolo ori welia sityvebi saRebavebma Caanacvla. verasodes vifiqrebdi, rom arsebobs sityvaze aranakleb Zlieri da gamoxatvis ufro metad universaluri saSualeba _ xatva. pirveli universaluri saerTaSoriso ena. pirvelad albaT gamoqvabulis kedelze naxSiriT daxatuli mze iyo. an kaci, xis ketiT xelSi, romelic unda wavides sanadirod, rom SimSils gadavurCeT is da me _ misi Seyvarebuli qali... magram axla ukve 21-e saukunea. kacebi aRar ibrZvian gadarCenisTvis, xorci SegiZlia modur supermarketSi mixvide da mSvidad iyido. yvelaferi dabalansebulia.
es auareba sityvebi sakuTari matyuara bunebis dasamalad gamovigoneT. sakuTari tyuilebis da sisusteebis SesaniRbad. uyureb adamianebs da maT cxovrebebs. uyureb maT adgoma-dajdomebs, Tavis odnav gadawevebs da jibeebSi xelebis Cayofebs. akvirdebi maT amooxvrebs da maT zurgebs. imaxsovreb umweo mtevnebs, an Zlier xelisgulebs, Tavis aridebebs, an Tvalebis aridebebs, usmen maT da cxovreba kadrebze SecdomiT dadebuli fonogramasaviT xdeba _ roca naTqvami da moZraoba acdenilia da xvdebi, laparaki sul ar aris saWiro simarTlis sagrZnoblad. rom sxeulis ena yvelaze marTali da mkafioa. rom tyuilad naTqvam sityvebTan ver gaZleben didxans _ sxeulebi bolos mainc Tavis gzebze wavlen. rom umetesad naTqvami fardis gadawevasaviTaa, romelic saWiro qsovilisgan Sekeres da realurad arsebul sivrces SesaniRbad Camoafares. sityvebi xSirad TvalebSi Seyrili mtveria da sibrmavea. gamourTeT xma adamianebs. gamourTeT da ise daijereT.
a, xo, leqsi: mindoda grafikuli sizustiT gadmomeca manZilebi, sagnebi, adamianebi. sarkiseburi simetriiT amesaxa maTi gamWvirvaloba. rasac vakeTeb, yvelaferi zusti unda iyos _ vfiqrobdi _ yvelaferi unda iyos samarTlianad, feri fers emTxveodes, xazi konturs, kaci _ sityvas. roca mas pirvelad TvalebSi Sevxede _ davujere. SeuZlebelia acdena iyos, ar daemTxvas _ Semacia. mzera ar avaride naZvebis kenweroebamde danislul cas.
saRebavebiT aWrelebuli Cemi TiTebi Sobis RamiT mosmenil ferad zRaprebs magonebs. vcdilob maTi jadosnuroba davxato, magram mxolod xarjTaRricxva gamomdis: Tovli TeTrs ar emTxveva, Sexeba _ dumils, kaci _ sityvas.“
8 ianvari, 2023 weli
“I wrote a poem today. It turns out that painting and poetry are very different from each other. For the last two years, words have been replaced by paint. I would have never thought that there might be something no less powerful than words and a more universal way of expression – painting. The first universal international language. In the beginning, there was probably a sun drawn with charcoal on the cave wall. Or a man with a wooden stick in his hand, who has to go hunting so that he and I – his girlfriend – will survive hunger... But now it’s the 21st century. Men are no longer fighting for survival; you can go to a fashionable supermarket and peacefully buy meat. Everything is balanced. We “invented” these endless words to hide our deceptive nature, to mask our lies and weaknesses. You look at people and their lives. You watch them stand up and sit down, move their heads slightly, and put their hands in their pockets. You watch them groan and see their backs. You remember the helpless hands, the strong palms, the avoidance, or the aversion of the gaze, you listen to them, and life becomes like a phonogram mistakenly placed on the frames – when the words and movements are off sync and you realize that speaking is not necessary at all to feel the truth. That body language is the most true and clear. That they can’t last long with pointless words – bodies will eventually go their separate ways; That most of the time talking is like drawing a curtain, sewn from a specific fabric and draped to disguise the real space. Words are often dust in the eyes and blindness. Mute the voice of people. Turn off the sound and believe only then.
Ah, yes, the poem:
I wanted to portray distances, objects, and people with graphic accuracy. I wanted to depict their transparency with mirror symmetry. Everything I do must be accurate – I thought – everything must be fair, the color should match the color, the line should match the contour, and the man should match the word. When I looked into his eyes for the first time, I believed him. It is impossible to have an inaccuracy or mismatch – I have chills. I didn’t avoid looking at the foggy sky up to the fir branches.
My fingers stained with paint remind me of colorful fairy tales I heard on Christmas Eve. I try to paint their magic, but I can only come up with an estimate:
Snow does not match white, touch does not match silence, and man does not match words.
January 8, 2023
„weRan, sadarbazoSi rom Semovdiodi, davinaxe _ pirveli sarTulis fanjridan moxuci qali iyureboda. ubralod idga da iyureboda. ratomRac yvela wigni gavixsene, romlebic odesme wamikiTxavs da sadac fanjridan mdumared momzirali viRac Tundac ori sityviT iyo naxsenebi. aris am dros adamianSi raRac amouxsneli, mxolod misi. ver mixval axlos. alexandro amenabaris „sxvebze~ vfiqrobdi mTeli saRamo. amekviata. Cemi erT-erTi usayvarlesi, uucnauresi filmi. SemiZlia uamravjer vuyuro _ raRac saSiSi koqteili, maTrobela, SemaSfoTebeli magniti, miwiTa da nisliT amovsebuli gamWvirvale Wiqa. dgaxar fanjarasTan, drodadro iyudeb da grZnob enaze miwis xoroS siSaves. Cems naxatebSi TuSis qalebs magonebs es foriaqi. saidan sado, gulze vercxlis samkaulebian kabasa da labadaSi gamowyobil TuS qalebTan, magram yvela samosi mxolod saSualebaa, saidentifikacio, pasportiviT, piradobasaviT, droebiTi. raRac maradiuli da Seucnobeli yvelasTvis erTia, miRmierSi, maradiuli ganzomilebis, ucxo da saSiSi. Tu briyvi ar xar, gamudmebiT rom unda gdevdes gancda, rom es yvelaferi sadRac ukve iyo da isev ganmeordeba. eheii! gagityueben yovelTvis fanjris iqiT ucnauri adamianebi. is Semovida, Tu Sen gaxvedi, veRarasodes mixvdebi“. 17 ivnisi, 2023 weli
“When I entered the hall, I saw an old woman looking out of the window on the first floor. She just stood and watched. For some reason, I recalled all the books I’ve ever read that mentioned someone staring silently out of the window in even two words. There is something unfathomable in a person at this time – something very private. You can’t reach it. I was thinking about “The Others” by Alejandro Amenabar all evening. I’m obsessed with it. One of my favorites, the strangest movie. I can watch it over and over again – some dangerous cocktail, a dizzying, unsettling magnet, a see-through glass filled with ground and fog. You stand by the window; you catch a glimpse from time to time, and you feel the textured darkness of the earth on your tongue. This anxiousness reminds me of Tushetian women in my paintings. From where to where, with Tushetian women dressed in clothes and robes with silver jewelry on their hearts, but all attires are just a means of identification, like a passport, like an ID card, temporary.
Something eternal and unknown is the same for everyone, in the beyond, of the eternal dimension, strange and dangerous. If you are not a fool, you should constantly be haunted by the feeling that all this has already happened somewhere and will happen again.
Hey! You will always be drawn by strange people outside the window. They entered, if you left, you’d never understand.
June 17, 2023
„bevri „bla blas~ daweras vapirebdi, magram wavSale. es naxati aris erTi Cemi Zveli leqsi, romelic unda damewera dRes, magram radgan dRes ar davwere, me is davxate. minda ambavi gamomdiodes ferebiT. iyos erTi kadri da ambavs yvebodes. erTxelac albaT gamomiva ise, me rogorc minda. patara saidumlos getyviT. sinamdvileSi TiTqmis aravin aravis sWirdeba. yvelas SuZlia yvelas gareSe yofna. SegviZlia mSvidad visunTqoT. erTi didi simulaciaa samyaro. damuxtuli nawilakebis sxvadasxva grova. sakmarisia sarkis win didxans idgeT. araferi airekleba Tqveni mxrebis meti.
23 agvisto, 2023 weli ***
„jer ver mivxvdi yvavilebis Taiguls ra SeuZlia mogvces ambis, an tkbobis mxriv, garda esTetikuris. am jadoqrobasa da alqimiaze meti Tu arsebobdes rame ferebisa da konsistenciebis SexamebebSi. rZis qaTqaTa da fafuki kremis enaze tkbili dnoba Tu Seedreba. es ferebi da xazebi albaT erTgvari gamtaria im emociis, romelic xatvis dros gaqvs da mere sxva adamians gadascem. sinamdvileSi ferebiT dafaruli tilo aris garantia da nimuSi, rom rac cudad aris, kargad iqneba xolme. ubralod, sityvaze mendeT“. 8 seqtemberi, 2023weli
***
“I was going to write a lot of blah blah, but I erased it. This drawing is one of the old poems that I was supposed to write today, but since I didn’t write it, I drew it. I want to tell a story with colors, I want it to be one frame and tell a story. For once, maybe it will work out the way I want.
I will tell you a little secret. In fact, almost no one needs anyone. We all can live without everyone. We can breathe peacefully. The world is one big simulation. Different unity of particles. It is enough to stand in front of the mirror for a long time. Nothing more will be reflected than your shoulders.
August 23, 2023
***
“I still don’t understand what a bouquet of flowers can give us in terms of story or enjoyment, other than aesthetic pleasure. If there is something more than this magic and alchemy in the combinations of colors and textures. Only the sweetness of white and fluffy milk cream that melts on the tongue might be compared to that. These colors and lines are probably a kind of transfer of the emotion you have while drawing and then you pass it on to another person. In fact, the canvas covered with colors is a guarantee and a sample that everything bad will turn into good. Just take my word for it.”
September 8, 2023
***
„mgoni marTla matricaSi vcxovrobT. Tu vigebde romelia realoba da gasafrTxilebeli, RamiT sizmrebSi rom varT Tu dRisiT, roca gvgonia gvRviZavs.
yvelaze absurduli rameebis gakeTebis survili miCndeba, oRond davrwmunde rom varsebob, arsebobT. aSkarad raRac Zalian arasworadaa, ver lagdeba Cem TavSi. viRac qera qali rom dadis xolme quCaSi, erT xelSi sigaretiT, meoreSi TiTqmis yovelTvis yvavilebiT, feradad Cacmuli, uxvad wasmuli wiTeli pomadiT, odnav gawelili saubriT: „krasavica, xurda xom ar geqneba?“ zogjer meSinia, gava asi weli da mec masaviT daviwyeb quCebSi areul bodials, sigaretiT, yvavilebiT, tuCze mewamuli sacxiT, „krasavica! krasavicas!“ ZaxiliT. Tu ufro bednieri ar viyo, mxolod Cem sakuTar samyaroSi. rogor dagcinebT yvela viTom normalurs, viTom raRac ideebis saxeliT cocxal adamianebs rom klavdiT. TqvennairebisTvis es sulerTi iqneba, magram mainc saSinlad araraobaa, roca cudi adamiani xar da quCaSi giJebi Cumad dagcinian“.
22 seqtemberi, 2023 weli ***
“I think we really live in a matrix. I can’t understand which reality is true, the one we should carry about – at night when we are in dreams or during the day when we think we are awake. I feel the urge to do the most absurd things, just to make sure that I exist and that you exist. Obviously, something is very wrong, I can’t get it right in my head. When a blonde woman walks down the street with a cigarette in one hand and almost always flowers in the other, colorfully dressed, with a lot of red lipstick, with a slightly drawn-out conversation: “Krasavitsa, don’t you have a spare change?”, with a cigarette, flowers, a purple blush on the lip, shouting – “Krasavitsa!” Krasavitsa!”. I’m happier in my own world. How would I make fun of you all pretending to be normal and pretending to kill living people in the name of some ideas. It will not matter for the likes of you, but when you’re a bad person, you don’t represent anything, and crazy people laugh at you silently in the street.”
September 22, 2023
adamianebi arafers vflobT, veravis vflobT. araferi gvekuTvnis, aravin gvekuTvnis. davyureb axla Cems TiTebs da vici, sakuTari sxeulis nawilebic ki, mTliani sxeulic ki SeiZleba droebiT iyos CvenTan. miT umetes adamianebi _ sxva adamianebi, sxva sxeulebi. es ar aris cxvirsaxoci, dakeco da jibeSi Caido. ar aris tuCsacxi, gadaisva tuCze da CanTaSi morig moxmarebamde arxeinad Caagdo. droebiTia yvelaferi. furcelze xelmowerili molaparakebasaviT, mtkice garantiebis gareSe, mosalodneli fors-maJorebiT. sasaciloa yvela, vinc fiqrobs, rom vinmes samudamod flobs, rom vinmes samudamo mesakuTrea, radgan, roca xdeba adamiani _ morgebuli kofta, Taroze Semodebuli lamazydiani wigni, CarCoSi Casmuli SezRuduloba, roca xdeba adamiani nivTi _ adamiani nivTi xdeba. ujraSi Cagdebuli sagani, amoxuTuli sicariele. araferia meti mesakuTris mflobelobaSi“.
11 oqtomberi, 2023weli
We humans do not own anything, we cannot own anyone. Nothing belongs to us, no one belongs to us. I look at my fingers now and know that even parts of one’s own body, even the whole body, can be temporarily with us. Especially people – other people, other bodies. This is not a handkerchief that you can fold up and put in your pocket. It is not a lipstick that you can put on your lips and then throw it away in your bag until you use it again. Everything is temporary. Like a negotiation signed on paper, without firm guarantees, with expected force majeure. Everyone who thinks that they own someone forever, that they are someone’s eternal owner, is ridiculous, because when a person becomes a jacket, a book with a beautiful cover on the shelf, a framed limitation. When a person turns into an item, they become an item, an object thrown into a drawer, an empty void. Nothing else belongs to the owner.
October 11, 2023
„guSin dublinSi Cemi pirveli gamofena Catarda. samxatvro galerea imdens maqebda, uxerxulobisgan viSmuSnebodi. am dros maxsendeba rogor gveubnebodnen xolme bavSvobaSi: „nu icini amdens, bevr sicils tirili mosdevs“. albaT ise dameleqa es SiSi, rom mgonia, cidan moulodnelad amxela sixaruli martivad ar vardeba, ar maqvs laRad Trobis ufleba, SromiTa da jafiT unda mivaRwio da davimsaxuro yvelaze patara bednierebac ki. me ki amisTvis bevri araferi gamikeTebia. ubralod nisliani diliT dublinSi yavis dalevaze vocnebobdi da uceb _ gamofena. jer imasac ver Sevguebulvar, rom saerTodac vxatav. rogor, ranairad, rodis movaswari? vwuxdi xolme, cxovrebaSi ramdeni rame gamovtoveTqo Cemi qaluri Tu pirovnuli realizebisTvis, damoukideblobisTvis, profesiis mxrivac. 19 wlis asakSi, sadRac ujraSi Cagdebuli studbileTiT da bavSviT xelSi ucxo qveyanaSi ra swavlaze da Tavis Secnobaze iyo saubari.
axla, fanqriT akecili TmiT da dasauToebeli maisuriT, sakuTar TavSi Seuryeveli rwmeniT, 11 saaTze zoziniT da mSvidad vimzadeb yavas, mere kompTan cotas wavimuSaveb, mere davxatav, cotas gaviseirneb da ravi, mixaria kidec raRac moxuTuli sistemis wevri rom ar var nebiT Tu uneblieT da savaldebulod arsad mimeCqareba. aris amaSi raRac, im sevdiani wlebis amouxsnelad makompensirebeli.
Cven, gogoobagamotovebul qalebs, maradiul gogoebs, sxva Teatri gvaqvs, sulerTia, Tqven ver gaigebT.“
27 noemberi, 2023 weli
***
“My first exhibition was held in Dublin yesterday. The art gallery was praising me so much, that I was dying of awkwardness. At this time, I remember what they used to tell us in childhood: “Don’t laugh so much, much laughter leads to crying.” Perhaps this fear has settled in my subconscious so much that I think that such great joy does not suddenly fall from the sky easily, I have no right to rest peacefully, I have to work hard to achieve and deserve even the smallest happiness. And I didn’t do much for it. I was just dreaming of drinking coffee in Dublin on a foggy morning, and suddenly, – an exhibition. I still haven’t gotten used to the fact that I am painting. How, in what way, and when did I manage? I used to worry about how many things I missed in my life for my feminine or personal realization, for independence, and in terms of my profession as well. At the age of 19, with a student card thrown somewhere in a drawer and a baby in my arms. How could I even talk about studying abroad and self-awareness? Now, with hair curled up with a pencil and a crumpled t-shirt with an unshakable belief in myself, at 11 o’clock I lumber and calmly prepare coffee, then I will work a little at the computer, then I will paint, take a little walk and that’s it, I’m even glad
that I’m not a member of some crooked system, willy-nilly, and I’m not in a hurry because of some kind of obligation. There is something about this that inexplicably makes up for those sad years.
We, women who missed girlhood, eternal girls, have a different kind of theater, it doesn’t matter, you still won’t understand.
November 27, 2023
“You might want to take a one-way ticket and move away forever from your basic days, people, somewhere, for example, in Zimbabwe. You can say nothing to anyone, hang your backpack, and as if you have stepped into the viscous consistency of another dimension – disappear. It would not be a tragedy. Here and there, little by little, some people would remember you and they would notice that you are no longer there. At first, they would be surprised, then they would get over it. Everyone knows how to shed tears and words at the time of death, but discovering the invisibility without the performance of death is a much easier emotion. Some women and men are like bus stops. In rainy or hot weather, you should be comfortable with them for a moment. It may be very comfortable and modern, but it’s still just a bus stop. Such people can never become homes. In fact, sometimes there is an impassable jungle between forgiveness and real peace.” What happened? “Forget” – they may tell us easily and never understand that forcing us to forget can hurt us. It hurts us to think that someone will go unpunished after treating us unfairly. I read somewhere that accepting this is like betraying yourself, giving up in the fight for justice. What will help the constant anxiety, is if you just open the door of life, you hold it with your hand, put one foot in, and watch from afar. You couldn’t get close to the one who seemed to come for you, and you’ll have to close the door and turn around, you’ll never know if it was reality or just an optical illusion, a phantom of a human-home.
December 4, 2023
„xom SeiZleba gagiCndes survili aiRo bileTi erTi mimarTulebiT da samudamod gadacxovrde Seni Cveuli dReebidan, adamianebidan, sadme, magaliTad, zimbabveSi. aravis araferi daubaro, gadaikido zurgCanTa da TiTqos sxva ganzomilebis blant konsistenciaSi gadaabije _ gauCinarde. araferi tragediac ar iqneboda. aqa-iq, nel-nela Tu gaaxsendebodi da SeniSnavdnen, rom aRar xar. jer gaocdebodnen, mere gaocebac gadauvlidaT. es sikvdilis dros ician cremlad da sityvebad daRvrebi, Tore gardacvalebis performansis gareSe uCvenobis aRmoCena gacilebiT martivi emociaa. arseboben avtobusis gaCerebasaviT kacebi, qalebi. wvimian an cxel amindSi rom raRac momenti moxerxebulad unda iyo. SeiZleba Zalian komfortuli da Tanamedrove, magram gaCerebaa ra. aseTebi verasodes gaxdebian saxlebi. ho, kide, mitevebasa da realur simSvides Soris zogjer gauvali junglebia. „ra moxda? daiviwye~ _ SeiZleba gviTxran martivad da verasodes mixvdnen, rom daviwyebis daZaleba SeiZleba tkivils gvayenebdes. tkivils gvayenebdes imaze fiqri, rom vinme dausjeli wava mas Semdeg, rac Cven usamarTlod gvatkina. amis Segueba sakuTari Tavis Ralats hgavso, wavikiTxe erTgan, samarTlianobisTvis brZolaSi xelebis daSvebas. neta ra Svelis im mudmiv foriaqs, rom ubralod Sexseni cxovrebis kari, xeliT giWiravs, cali fexi gaqvs mxolod Sebijebuli da Soridan akvirdebi. ver miuaxlovdi mas, vinc mogeCvena, rom SenTvis iyo mosuli da ise mogiwevs karis moxurva da gamotrialeba, verasodes mixvdebi, realoba iyo Tu mxolod optikuri iluzia, fantomi _ adamiani-saxlis“.
4 dekemberi, 2023 weli
„sinamdvileSi sul ar meferadeba realoba, romelic garSemoa. ra peplebi da yvavilebi _ tilo da saRebavebi minda. sinamdvileSi davxatavdi rogor guls mirevs yvela, vinc rame yalb fasads amoefara da moirgo. roca raime gamaRizianeblad goimurs daxatav, unda Seitano da cxeli Sxapis qveS jagrisiT garecxo. rac ar unda SegrCes _ ukeTesi iqneba. yvelaferi qajuri da ugemovno dauyovnebliv moisrialeT, nebismieri saxis da warmoSobis nivTi, butbutiT _ „wyalo, waiRe Cemi sizmari“.
mTeli dila raRac vxate. bolos yvavili gamovida. TiTebidan gamomwova Ramis sizmrebi, zomaze didi pijakiviT damTrgunveli, gaurkveveli fasoniviT uxerxulad mofriale. abazanaSi Sevitane, cxeli Sxapis qveS didxans vrecxe, wyals gavatane, SiSvlad SeviSre.
romeliRac miyruebul quCaze mdgar daxmarebis centrs magonebs Seni Tvalebi. rom SemeZlos karTan movide, Sens civsa da qvis mklavebSi gaubedavad Semovabijo. Sezanzarde, gulze, rogorc svel kedelze lurji baTqaSi gagebzaros.
16 aprili, 2024 weli
“Actually, I don’t think that the surrounding reality is colorful. No time for butterflies and flowers – I want canvas and paint. In fact, I would paint how nauseous I feel towards everyone who puts on a false facade and fits it. When you draw something annoyingly naff, you should take and wash it with a brush under a hot shower. Whatever is left will be better. Immediately throw away everything ugly and tasteless, objects of any kind and origin, muttering – “Water, take my nightmare away.”
I was drawing something all morning. In the end, it turned out as a flower. It drained night dreams out of my fingers, oppressive like an oversized suit, fluttering awkwardly like an indistinct piece of clothing. I put it in the bathroom, washed it for a long time under a hot shower, gave it to water, and dried it bare.
Your eyes remind me of a help center on some dead street. If only I could come to the door, I would step timidly into your cold and stone arms. I want you to be moved. To crack the blue spackle of your heart, like one does on a wet wall.
April 16, 2024
„muSaobis dawyeba vcade. „karalevski kremi“ _ ewera amobeWdil dRis ganrigSi. ra `karalevski~, samefo dawereT _ gavioce, gabrazebuli xmiT. samefo sxva aris, es `karalevskia~ _ mipasuxes amreziT. „enTuziazmi ver davinaxeT TqvenSi“ _ miTxres dRis bolos. arafris mtkicebas ar vapirebdi, gavicine da wamovedi. araferi Seicvleba, arasodes. sibnelea. maRizianebs modurad qceuli, TiTqos savaldebulo sityvebis raxuni, sistemebSi rom cdiloben datyvevebas. ra bednierebaa, rom SemomrCnen aqa-iq adamianebi, romlebsac ubralod vuyvarvar. upirobod. aranair resurss ar iTxoven Cemgan, ubralod vuyvarvar.
ramdeni xania eriTrocitebi ar damixatavs. dRes davxate da es konkretuli naxati SeiZleba umniSvnelo, magram mainc kargi gadawyvetilebis miRebaSi damexmara. me ki ise miyvars, roca CemSi adamiani imarjvebs banalur sisusteebze. qariviT msubuqi da Sriala vxdebi.
gulwrfelobis da sisufTavis saSineli deficitia. albaT epoqaa aseTi. gadatvirTvis. ganmuxtvis. ramden adamians avcdi. Zalian arasworad gavCndi, drosa da sivrceSi. magram, vici, mxolod urCebi gadarCebian. am planetis gamarTlebis WeSmaritebac erTaderTia: is mainc brunavs.“
19 aprili, 2024 weli
***
“I tried to start working. “Karalevsky Cream” was written in the printed daily schedule. What “Karalevsky”, call it “Samepo” – I said in an angry voice. “Samepo” is different, this one is “Karalevsky” – they answered dismissively. “We did not see enthusiasm in you” – they told me at the end of the day. I wasn’t going to prove anything, I laughed and left. Nothing will ever change. It’s dark. I am annoyed by fashionable, as if mandatory, words that are trying to be imprisoned in systems. What a blessing that here and there humans have survived, people who love me unconditionally. They don’t ask for any resources from me, they just love me.
I haven’t drawn erythrocytes for a long time. I drew them today, and this particular drawing might be insignificant, but it still helped me to make a good decision. And I love it so much when the human in me wins over weaknesses, I become so light and rustled like the wind.
There is a terrible lack of sincerity and purity. Maybe this era is like that. The era of overload, relief. How many people have I failed to meet? I was born at the wrong time and place. But, I know, only the disobedient will survive. The truth of this planet’s justification is the only one: “And yet it moves.”.
April 19, 2024
***
„kedlebs zogjer imaze metis dateva SeuZlia, vidre cxovrebas. weRan megobari miyveboda, rogor gadmoiyara miwisZvris dros mis oTaxSi karadidan WurWeli. orivem gavifiqreT, rom zogjer SeiZleba erT wamSi dasruldes sulyvelaferi. Cvens TavSi warmosaxvebs SeiZleba erTaderTi Strixi akldes, erTaderTi feri da gvWamdes es mosakliseba. es SeiZleba iyos yayaCo, an vardi. es SeiZleba iyos sisxlic da ufro metad _ sisxli, radgan cxovreba sulac ar aris farfata romantikebi. arc mewamuli yvavilebia. nu waiyolebT valebs sxva cxovrebaSi. valad dadebuli adamiani yvelaze Zneli dasabrunebelia xelmeored Tuki gaCndebiT. miaxateT sisxlisferi kardiograma yvelaze rux fers _ Tqveni mdumare aRsareba. vin ras gaigebs ra weria?“
27 aprili, 2024 weli
***
“Walls can sometimes hold more than life does. Recently, a friend was telling me how dishes fell out of the cupboard in their room during the earthquake. We both thought that sometimes everything could end in a second.
The images in our heads may lack a single touch or a single color, and this lack can eat us up. It can be a poppy or a rose. It can be blood, and even more so – blood, because life is not all about frivolous romances. Neither is about purple flowers. Do not carry debts into another life. If you are reborn, the most difficult debt to repay would be a person. Paint a blood-stained cardiogram on the grayest color –your silent confession. Who will understand what is written anyway?”
April 27, 2024
***
„ori wlis winandelma „memorim~ erTi sizmari gamaxsena, rogor vijeqi oTaxSi da moTqmiT vtirodi. mere avdeqi, kari gavaRe da pirdapir samyaroSi gadavabije _ vrcel, moiisfro galaqtikaSi. erT-erTi yvelaze saocari SegrZneba iyo. wavedi, gavagrZeleb xatvas. Sevafareb Tavs mxatvrobas. sadme, napiras, rogorRac damitevs kidev erT patara, gamWvirvale gogos. ar vixmaureb.“
2 maisi, 2024 weli
***
“Memory” from two years ago reminded me of a night dream, how I was sitting in the room and crying. Then I got up, opened the door, and stepped right into the universe – a vast, lilac galaxy. It was one of the most amazing feelings.
I will leave now; I’ll continue to paint. I will shelter myself in art. Somewhere, on the shore, it will somehow make a place for me, another small, transparent girl. I’ll be quiet.”
May 2, 2024
sofiko qeburia
guji amaSukeli - xelovani, romelmac Sekra dro da sivrce
GOUDJI (AMASHUKELI) – AN ARTIST WHO LINKED TIME AND SPACE
laibnicis cnobili citata `awmyo, Sobili warsulisagan aris mSobeli mermisisa~ calsaxad exmianeba imas, risi gaziarebac gvinda TqvenTvis. Tu dros erTgvar vertikalad warmovidgenT, is, razec aq visaubrebT, horizontalsac gulisxmobs anu dedamiwis garSemo Semovlas aRmosavleTidan dasavleTamde, yvela kulturis monapovaris gamTlianebas. am TvalsazrisiT rezo gabriaZis citata ufro gamogvadgeboda epigrafad _ `siyvaruli vertikaluria da brunvadi~.
Leibniz’s famous quote “The present is saturated with the past and pregnant with the future.” indisputably echoes what we want to share with you. If we are considering time as a kind of vertical, what we are going to talk about here is also horizontal, i.e. going around the earth from east to west, combining the achievements of all cultures. From this point of view, Rezo Gabriadze’s quote would be more suitable as an epigraph – “Love is vertical and rotating”. The mention of love isn’t out of place either. Only boundless love can reach the whole world, overcome the alienation between different cultures, and show us the
SOPHIKO KEBURIA
arc siyvarulis xsenebaa uadgilo. mxolod usazRvro siyvaruls SeuZlia gadawvdes mTel samyaros, daZlios gansxvavebul kulturebs Soris gaucxoeba da dagvanaxos Tanaarsebobis SesaZlebloba. arseboben xelovanebi, romelTa Semoqmedeba Sors scdeba viwro qronologiur CarCoebsa da regionalur kulturul sivrces. maTi nawarmoebebi ara mxolod erTi droiTi monakveTisa da adgilobrivi istoriuli konteqstis mniSvnelovani dokumentebia, aramed ufro farTo diapazonis momcvelia, zogadsakacobrio kulturuli memkvidreobis erTgvari Tavmoyra da Sejamebaa. xelovani, romelic axerxebs msoflios mxatvruli
possibility of coexistence.
There are artists whose work goes far beyond the narrow chronological framework and regional cultural space. Their works are not only important documents of one time period and local historical context but also cover a wider range while being a kind of collection and summary of the general cultural heritage of mankind.
An artist who manages to unify the artistic experience of the world is our contemporary, a fellow countryman, a gold sculptor living in France – Goudji (b. 1941). Unfortunately, and unfairly, he remains an unknown artist for the general public. He always and everywhere declares himself Georgian, Europe has long recognized that his work is a treasure of the world culture, but in Georgia, they avoid it with
gamocdilebis gamTlianebas, Cveni Tanamedrove da Tanamemamule, safrangeTSi mcxovrebi oqromqandakebeli guji amaSukelia (dab. 1941 w.). samwuxarod da usamarTlod, farTo sazogadoebisTvis is kvlav ucnob Semoqmedad rCeba. Tavs yovelTvis da yvelgan qarTvelad acxadebs, evropam ra xania aRiara, rom misi Semoqmedeba msoflio kulturis monapovaria, saqarTveloSi ki sifrTxiliT uvlian gverds. amis mizezad, xelovanis TqmiT, iqca is, rom misi damkveTi xSirad kaTolikuri eklesiaa an sulac, vinme araqristiani. erT-erT interviuSi xelovani ambobs: `rodesac episkoposma Sartris taZris saliturgio sivrcis mowyoba momando, ar ukiTxavs, kaTolike var, marTlmadidebeli Tu
caution. The reason for this, according to the artist, is that his client is often the Catholic Church or at least someone who is not a Christian. In one of the interviews, the artist says: “When the bishop asked me to arrange the liturgical space of Chartres Cathedral, he did not ask if I was Catholic, Orthodox or Jewish. He was only interested in my art. This made a great impression on me.”
Involuntarily, one could recall the Jewish artist Marc Chagall, whose stained-glass windows decorate not only the synagogue but also Anglican, Catholic, and Evangelical-Reformation churches. The fact that already at an old age, even after the genocide against the Jews by the Nazis, as a sign of forgiveness and reconciliation, he decorated the church of the German city of Mainz with stained glass windows, is especially impressive. This is not the result of a short memory. It is a
ebraeli. mxolod Cemi xelovneba ainteresebda. aman didi STabeWdileba moaxdina Cemze~. uneburad gaxsendeba ebraeli mark Sagali, romlis vitraJebi amSvenebs ara marto sinagogas, aramed anglikanur, kaTolikur da evangelistur-reformaciul taZrebsac. gansakuTrebiT STambeWdavia is faqti, rom ukve xnieri mxatvari, nacistebis mxridan ebraelebis mimarT genocidis Semdeg, mitevebisa da Serigebis niSnad, vitraJebiT amkobs germaniis qalaq maincis eklesias. es ar aris mokle mexsierebis Sedegi. es damokidebulebis sakiTxia, sikeTisa da siyvarulis poziciiT nakarnaxevi. guji amaSukeli Tanabrad sargeblobs Zveli civilizaciebis, warmarTuli, winaqristianuli Tu Sua saukuneebis liTonplastikisa da xelovnebis sxva dargebis motivebiT, aRmosavluri da dasavluri msoflio xelovnebis saukeTeso gamocdilebiT. is qmnis yvela droisa da kulturisTvis Rirebul, universalur, maRalmxatvrul nawarmoebebs. guji amaSukeli Tanamedroveobas tradiciebis erTgulebiT qmnis da ara mxolod sakuTaris. misi geometriuli, zoo, bio Tu anTropomorfuli stilizebuli motivebi modis paleoliTis xanidan, SuamdinareTidan, egviptidan, antikuri miTebidan, legendebidan, Sua saukuneebis religiuri ikonografiidan, rainduli romanebidan, folkloridan.
matter of attitude, dictated by a position of kindness and love.
Goudji uses the motifs of ancient civilizations, pagan, pre-Christian, or medieval metalwork, and other branches of art, with the best experience of Eastern and Western world art. He creates valuable, universal, highly artistic works for all times and cultures. Goudji creates modernity with loyalty to traditions, and not only his own. Its geometric, zoo-, bio-, or anthropomorphic stylized motifs come from the Paleolithic era, Mesopotamia, Egypt, ancient myths, legends, medieval religious iconography, chivalric novels, and folklore.
The image of a bull on Goudji’s pieces of work combines Sumerian
xaris gamosaxuleba guji amaSukelis nakeTobebze erTmaneTs uTavsebs Sumerul Tu egviptur xarisTava RvTaebebs, kretul minotavrs, luka maxareblis simbolos, riTac am sakraluri arsebis memkvidreobiTobas Segvaxsenebs. ostatis nawarmoebebi aSkarad atareben avtoriseuli, ganumeorebeli stilis daRs da amavdroulad gadagvamisamarTeben vanis Tu skviTebis ganZTan, oqromraval mikenTan, aqemenidur sparseTTan, ptolemeTa egviptesTan, meroving Tu karoling frankebTan.
guji amaSukelis STagoneba ikvebeba ara mxolod oqromqandakeblobiT, aramed xelovnebis sxva dargebis SedevrebiT: sarkofagebis reliefebiT, romanuli da goTikuri taZrebis arqiteqturiT, bizantiuri mozaikebiT, gerbebiT, xelnawerebiT, renesansuli mxatvrobiT. am TvalsazrisiT, zemoT naxseneb drois vertikalsa da sivrcis mbrunav spirals dargebis maCvenebeli diagonalebic emateba (esec Cveni `grafikuli~ sqema). es universaluri Semoqmedi moqandakecaa, oqromWedelic, durgalic, xaratic, zeinkalic, SemduRebelic, meTunuqec, mxatvaric da dizaineric.
kulturaTa gasayarze mdebare saqarTvelo Zvel civilizaciebTan Sexebis kvals dRemde inaxavs. es nakvalevia muzeumebis eqsponatebi, kulturuli
or Egyptian deities with the head of a bull, the Cretan minotaur, the symbol of Luke the Evangelist, thus reminding us of the heritage of this sacred creature. The master’s works clearly bear the stamp of an authorial, unique style and at the same time redirect us to the treasure of Scythians or Kingdom of Van, golden Mycenae, Achaemenid Persia, Ptolemaic Egypt, Merovingian or Carolingian Franks.
Goudji’s inspiration is fed not only by gold sculpturing but also by masterpieces of other branches of art: sarcophagus reliefs, Romanesque and Gothic cathedral architecture, Byzantine mosaics, coats of arms, manuscripts, and Renaissance paintings. From this point of view to the above-mentioned vertical of time and the rotating spiral of space, a field indicating diagonals are also added (that is our “graphic” scheme). This universal creator is a sculptor, a goldsmith, a carpenter, an engraver, a locksmith, a welder, a potter, an artist, and a designer.
Located at the crossroads of cultures, Georgia keeps traces of contact with ancient civilizations to this day. These footprints are museum exhibits and monuments of cultural heritage. They are all around us. It was in such an environment that Goudji’s feel for Eastern and Western cultures was formed. That’s why he is universal, understandable, and native to everyone. The “revealing” peculiarity of the Georgian roots of his work should also be noted. He does not strive for luxury. Goudji’s favorite metal is silver, not gold. And one
memkvidreobis Zeglebi. isini Cven garSemoa. swored aseT garemoSi Camoyalibda guji amaSukelis mgrZnobeloba aRmosavluri da dasavluri kulturebis mimarT. amiTaa is universaluri, yvelasTvis gasagebi da mSobliuri. unda aRiniSnos misi Semoqmedebis qarTuli fesvebis `mamxilebeli~ Taviseburebac. is ar iltvis mdidrulobisken. guji amaSukelis sayvareli liToni vercxlia da ara oqro. da kidev erTi _ rasac ar unda qmnides ostati, samkauliT dawyebuli, avejiT damTavrebuli, yvelaferSi Cans skulpturuli sawyisi, plastikuri amocanebi.
Sua saukuneebis bizantiur, evropul Tu rusul nawarmoebebSi, rogorc wesi, Zvirfas liTonTa Soris upiratesoba oqros eniWeboda. silamazis cnebis mdidrulobasTan gaigivebas imperiuli azrovneba gansazRvravda. saxelosnoebi xom saimperatoro kars emsaxureboda. garda amisa, oqrosa da Zvirfas Tvlebs sakraluri mniSvneloba eniWeboda.
Sua saukuneebis qarTuli liTonplastika, umeteswilad, mkacri da TavSekavebuli vercxliTaa warmodgenili.
more thing – whatever the master creates, from jewelry to furniture, sculptural beginnings, or plastic tasks can be seen in everything.
In Byzantine, European, and Russian works of the Middle Ages, as a rule, among the precious metals, gold was given priority. Imperial thinking determined the identification of the concept of beauty with luxury. After all, the workshops served the imperial court. In addition, gold and precious stones were given sacred importance.
Georgian metalwork of the Middle Ages is mostly represented by strict and restrained silver. Its ripples cover the surface like a mysterious haze. It does not suppress other color tabs. On the contrary, it moves forward and directs our attention to other accents. Georgian works were thought of as simple, unified, organic, architectural compositions. Silver is not an eye-catcher. The decor is clearly visible on the silver surface. Plastic tasks are more visible here. A longing for simplicity, an interest in revealing sculptural forms, and solving artistic problems were traditional for Georgian metalwork. Goudji follows these traditions. Whether it is silver material, composite construction, or volumetric “embodying” of the figure or ornament, he approaches the work not as a jeweler, but as a sculptor. In his works, the figure is not “lost”, not “engulfed’’ in the overall decorative system.
misi livlivi idumali burusiviT efineba zedapirs. is ar Cagravs sxva feris CanarTebs. piriqiT, win wamoswevs da Cvens yuradRebas sxva aqcentebisken mimarTavs. qarTuli nakeToba imTaviTve iazreboda sada, erTian, organul, arqiteqtonikul kompoziciad. vercxli ar aris TvalismomWreli. vercxlis zedapirze naTlad ikveTeba dekori. aq ufro Cans plastikuri amocanebi. qarTuli liTonplastikisTvis tradiciuli iyo ltolva sisadavisadmi, interesi skulpturuli formebis gamovlenisadmi, mxatvruli problemebis gadawyvetisadmi. guji amaSukeli swored am tradiciebs mihyveba. vercxlis masala iqneba es, kompoziciuri ageba, figuris moculobiTi `xorcSesxma~ Tu ornamenti, is nawarmoebs udgeba ara rogorc iuveliri, aramed rogorc moqandake. mis naxelavze figura ar `ikargeba~, ar `inTqmeba~ saerTo dekoratiul sistemaSi.
Georgia has been an important center of metallurgy and artistic metalworking since the ancient and Trialeti times. Gavarsi or tsvara, rchilva, chvirva, casting, tegwa, and incrustation were known techniques here... Goudji is the continuation of these traditions, a kind of bridge between the past and the present. In addition to the sculpture (Sh. Mikatadze) and painting course (V. Shukhaev) at the Art Academy, the master remembers two blacksmiths, with special gratitude. One was Greek and the second was Armenian. They immigrated to Batumi from Turkey. It was from them, that Goudji learned the art of working on copper for two months and mastered technical methods, the knowledge of which, he later used successfully. He added something else to what he learned and saw here, and as a result, he became a creator who “speaks” in many visual languages.
He never repeats himself. Every item is unique. The manner and diversity of the works are, on the one hand, generally related to the culture of toreutics or metal sculpture, and on the other, technical methods, artistic-stylistic, and iconographic motifs, that originate from the traditions of this or that country.
Goudji’s works are at the same time monumental (not in size, but in quality), cohesive and unified, simple, sometimes even ascetic, moderately decorative, harmonious with the delicate harmony of glossy and chaotic textures of precious metals and restrained polychrome colors. The artist uses the stone in consideration of color and texture to represent the shape and material of the product.
The clients of Goudji, regardless of their ethnicity and faith, appreciate high art. Secular and liturgical items, furniture, dishes, and jewelry from the forge of this metal sculptor adorn cathedrals (Paris and Chartres), abbeys, museums, and collections of many countries. Among his customers are politicians, diplomats, the Pope, and others... The works created for the Cathedral of Our Lady of Chartres were recognized by France as national treasures.
Goudji is an artist who linked time and space and reminded humanity of common origin, and common roots.
TrialeTisa da antikuri xanidan moyolebuli, saqarTvelo iyo metalurgiisa da liTonis mxatvruli damuSavebis mniSvnelovani kera. aq cnobili iyo gavarsi anu cvara, rCilva, Wvirva, Camosxma, Tegva, punsonireba, inkrustacia... guji amaSukeli am tradiciebis gamgrZelebelia, erTgvari xidia, gadebuli warsulsa da Tanamedroveobas Soris. samxatvro akademiaSi qandakebisa (ped. S. miqataZe) da xatvis kursis (ped. v. Suxaevi) garda, ostati gansakuTrebuli madlierebiT ixsenebs or mWedels, TurqeTidan baTumSi imigrirebul berZensa da somexs, romelTaganac ori Tvis ganmavlobaSi Seuswavlia spilenZze muSaobis xeloba. maTTan daeufla teqnikur xerxebs, risi codnac SemdgomSi ase gamoadga. aq naswavls da nanaxs sxvac daamata da Sedegad, mraval saxviT enaze `mosaubre~ Semoqmedad Camoyalibda. is arasdros imeorebs sakuTar naxelavs. yoveli nivTi unikaluria. nakeTobis gawyobis wesi da mravalferovneba, erTi mxriv, saerTod torevtikis anu liTonmqandakeblobis kulturasTanaa dakavSirebuli, meore mxriv ki, teqnikuri xerxebi, mxatvrul-stilisturi da ikonografiuli motivebi ama Tu im qveynis tradiciebidan iRebs saTaves.
guji amaSukelis nawarmoebebi erTdroulad monumenturia (ara zomiT, aramed Tvisobrivad), Sekruli da erTiani, sada, zogjer asketuric, zomierad dekoratiuli, Zvirfasi liTonebis priala da xaoiani faqturebisa da TavSekavebulad poliqromuli feradovnebis delikaturi TanaxmianobiT harmoniuli. xelovani qvas ferisa da faqturis gaTvaliswinebiT iyenebs, nakeTobis formisa da masalis warmosaCenad.
guji amaSukelis damkveTi, ganurCevlad warmomavlobisa da sarwmunoebisa, maRali xelovnebis damfasebelia. am liTonmqandakeblis samWedlodan gamosuli saero Tu liturgikuli nivTebi, aveji, WurWeli, samkauli araerTi qveynis sakaTedro (parizisa da Sartris RvTismSoblis) taZars, saabatos, muzeumsa da koleqcias amSvenebs. mis damkveTTa Soris arian romis papi, politikosebi, diplomatebi... Sartris RvTismSoblis taZrisTvis Seqmnili nakeTobebi safrangeTma erovnul saganZurad aRiara.
guji amaSukeli is xelovania, romelmac erTmaneTs gadaanaskva dro da sivrce, romelmac kacobriobas saerTo warmomavloba, saerTo fesvebi Segvaxsena.
represirebuli Sav-TeTri „kino yvelasTvis da aravisTvis“
REPRESSED BLACK-AND-WHITE
“CINEMA FOR EVERYONE AND NO ONE”
1932 wlidan sabWoTa kavSirSi, uSualod, maqsim gorkis „SurismaZiebluri“ CanafiqriT, „gamogonebiTa“ da sayovelTao kontrolis damyarebis mizniT, stalinTan SeTanxmebiTa da misi brZanebiT, centraluri komitetis dadgenilebiT _ „literaturul-samxatvro organizaciebis gardaqmnis Sesaxeb“, oficialurad amoqmedda axali da yovlismomcveli ideologia _ socialisturi realizmi. sayovelTao savaldebulo „wesad“ _ damkvidrebulma „azrovnebis axalm formam“
Since 1932, directly, with Maxim Gorky’s “revenge” idea, with “invention” and to establish universal control, in agreement with Stalin and by his order, and by the Central Committee’s resolution – “On the transformation of literary and artistic organizations”, a new and comprehensive ideology – socialist realism was officially established in the Soviet Union. The “new form of thinking”, established as a universal mandatory “rule”, strengthened the basis of repressions, which, as is known, resulted in not only the destruction of people but also the death of culture.
lela oCiauri LELA OCHIAURI
gaamyara represiebis safuZveli da rasac, rogorc cnobilia, ara mxolod adamianebis ganadgureba, aramed kulturis sikvdilic mohyva.
swored am sabediswero 1932 wlidan iwyeba qarTuli kinematografis axali istoriac da misi rTuli, gansakuTrebuli, mwvave winaaRmdegobebiT (diqtaturis gabatonebiT, civilizebuli samyarosgan izolirebiT, xelovanis Tavisufali nebisa da arCevanis SezRudviTa da reJimisTvis damaxasiaTebeli sxva realiebiT ganpirobebuli) gajerebuli cxovreba. romlis monoliTis ngrevis pirveli, susti niSnebi mxolod 50-60-ian wlebis mijnaze, „stalinis kultis“ damxobisa da „daTbobis“ periodSi daiwyo, romelmac, Semdeg, 1985-1987 wlebidan axali mimarTuleba miiRo, „gardaqmna-sajaroobasTan“ erTad da rac, 1991 wels, sabWoTa kavSiris daSliT dasrulda.
am xangrZliv periodSi istoria iwereboda asaxuli sinamdvilis yvela arsebul kiTxvaze mza pasuxiT, realuri siuJeti ukve winaswar gansazRvrul daskvnebsa da reziumeebTan iyo SeTanxmebuli. Sedegis misaRwevad, saWiro iyo ara mxolod didi tyuili, aramed axali miTologia. gaCnda axali, revoluciuri xelovneba, ramac yvelasa da yvelafers Tavisi saTanado adgili „miuCina“ da procesebze sruli kontroli daamyara.
oficialuri gansazRvrebiT _ socrelizmi _ socialisturi realizmi _ esaa „aRweris meTodi, romelic samyarosa da adamianis socialistur koncefciebs emyareba“ da „mxatvrisgan moiTxovs sinamdvilis damajerebel, istoriul _ konkretulad asaxvas mis revoluciur ganviTarebaSi“, romelic „unda eTanxmebodes mSromelTa ideuri gardaqmnis amocanas socializmis suliskveTebiT“. yvela es da kidev mravali sxva punqti warmatebiT Sesrulda, amisTvis yvelaferi gakeTda. xolo Sedegad, namdvili xelovnebis ganviTareba dasrulda. qarTuli kulturis, maT Soris, kinematografis dinebis kalapoti sruliad Seicvala, romelic surogatuli, sabWoTa fsevdoxelovnebiT Canacvlda da individualuri xasiaTis qarTuli kino saerTo evropul konteqsts Camoacila, „rkinis fardam“, msoflio civilizaciis, kulturuli procesebisgan gamijna, da ganviTarebis saerTo orbitas mowyvita qarTuli kinodan (xelovnebidan) ki gaqra is umTavresi da yovlismomcveli ganmsazRvreli faqtori da mamoZravebeli Zala _ uSualoba, gulwrfeloba, sinamdvile, mxatvruli gamomsaxveli formebisa da xerxebis simyare da simarTle _ rac yovelTvis axasiaTebda da gulisxmobda namdvil xelovnebas. xelovneba mxolod maSinaa marTali, rodesac masSi arsebobs realobiT mogvrili da gacnobierebuli realoba. is mxolod maSin ganixileba, rogorc sakmarisad saimedo.
The new history of Georgian cinematography and its difficult life (caused by the dominance of the dictatorship, isolation from the civilized world, limitation of the artist’s free will and choice, and other actions of the reality characterized by the regime) full of unusual and hard obstacles begins from the fateful 1932. The first weak signs of the monolith’s-collapse began only in the period from the mid-1950s to the mid-1960s, during the De-Stalinization and the period of the “Khrushchev Thaw” which then took a new direction from 1985-1987, together with Gorbachev’s “Glasnost” and “Perestroika” (Transparency and Restructuring) ending with the dissolution of the Soviet Union in 1991.
During this long period, history was written with a pre-planned answer to all existing questions of the depicted reality. The real plot was already arranged with predetermined conclusions and summaries. It required not only a big lie, but a new mythology to achieve the result. A new, revolutionary art emerged, and it “put” everyone and everything in their proper places and established complete control over the processes.
According to the official definition – of social realism – socialist realism – is “a method of description based on socialist concepts of the world and human”, which “requires a convincing, historicallyconcrete depiction of reality in its revolutionary developments from the artist”, which “must correspond to the task of ideological transformation of the workers in the spirit of socialism”.
All these and many other points were successfully implemented, everything was done for this. And as a result, the progress of true art stopped. The direction of Georgian culture, including cinematography, has completely changed and it has been replaced by Soviet pseudo-art. The “Iron Curtain” separated Georgian cinema with an individual character from the common European context, separated it from world civilization and cultural processes, and cut it off from the common orbit of development.
The most important and comprehensive factor that determines everything, and the propulsive energy of it-Immediacy, sincerity, authenticity, solidity, and truth of artistic expressive forms and methods-which always characterized and meant true art, disappeared from Georgian cinema (Art).
disidenti, „ucxoeTis agentis“, „antisabWoTa propagandistis“ _ muxliT dapatimrebuli da Semdeg ssrkdan gandevnili, mwerali andrei siniavski (fsevdonimi _ abram terci), cnobil werilSi „ra aris socialisturi realizmi“ (1957) wers: „ra aris socialisturi realizmi? ras niSnavs es ucnauri, yurismomWreli Tanafardoba? gana arsebobs realizmi socialisturi, kapitalisturi, qristianuli, muslimuri? da arsebobs ki bunebaSi es iracionaluri cneba? iqneb arc arsebobs? iqneb mxolod sizmaria, SeSinebul inteligents rom ezmana stalinis diqtaturis bnel, jadosnur Rames? Jdanovis uxeSi demagogia Tu gorkis moxuciseburi axireba? fiqcia, miTi, propaganda?“ qarTuli kino (sabWoTa xelovneba da zogadad, sabWoTa adamianis cxovreba) „mqrolav WurvSi“ moqceuls daemsgavsa, romelic sadRac mihqris, magram ara aqvs moqmedebis, mimarTulebis Secvlis Zala da unari da
Art is real only when there is a truly experienced and understood reality in it. Only then is it considered reliable enough.
Dissident, writer Andrey Sinyavsky (pseudonym – Abram Tertz), arrested on charges of being a “foreign agent”, “anti-Soviet propagandist” and then expelled from the USSR, wrote in his famous letter “On socialist realism” (1957): “What is socialist realism? What is the meaning of this strange and jarring phrase? Can there be a socialist, capitalist, Christian, or Mohammedan realism? Does this irrational concept have a natural existence? Perhaps it does not exist at all, perhaps it is only the nightmare of a terrified intellectual during the dark and magical night of Stalin’s dictatorship? Perhaps a crude propaganda trick of Zhdanov or a senile fancy of Gorki? Is it fiction, myth, or propaganda?”
Georgian cinema (Soviet art and, in general, the life of a Soviet person) resembled a “flying projectile” that flies somewhere, but does not have the power and ability to change its direction and has only a course and a target. The course taken, to strengthen the
mxolod gezi da samizne aqvs. ideologiis gansamtkiceblad da axali sabWoTa adamianis aRsazrdelad aRebuli kursi, pirvel rigSi, mkacrad gansazRvrul tendenciaSi da Sesabamisad, kontrapunqtul xerxSi _ Zvelisa da axlis dapirispirebaSi _ gamoixata. bneli warsulisa da naTeli awmyo/momavlis Sepirispirebisa da axali cxovrebis mSvenierebis TvalsaCinoebisTvis, jer kidev 20-ian wlebSi damkvidrebuli praqtika 30-ian wlebSic grZeldeba, wiTeli diqtaturis srul gabatonebamde. 40-ian wlebSi yvelaferi omis ritorikam Secvala, 50-ianebidan mSvidobiani cxovrebis, Selamazebuli, gaprialebuli, „ukonfliqto“ cxovrebis sruliad fasaduri Cvenebis periodi daiwyo.
azrobriv-ideologiur safuZvelze damyarebuli savaldebulo sqemebi, CarCoebi, formebis aRwerilobebi gansazRvravdnen yoveli filmis (mxatvruli, dokumenturi, animaciuri _ nebismieri Janris) arsebobas. sabWoTa adamianebs unda daenaxaT, ra mSvenieri cxovreba moutana axalma droebam da reJisorebs maTTvis es yvelaferi unda eCvenebinaT.
am yvelafers asaxavs, aCvenebs da amkvidrebs 30-iani
ideology and raise the new Soviet man, was first of all expressed in a strictly defined trend and, accordingly, in a contrapuntal way – in the confrontation of the old and the new. To contrast the dark past with the bright present/future and to highlight the beauty of new life, a practice already established in the 20s continues into the 30s, until the full dominance of the Red dictatorship. In the 1940s, everything was changed by the pro-war rhetoric, from the 1950s, the period of a complete facade display of a peaceful, beautified, gleaming, “conflictfree” life began.
Compulsory schemes, frames, and descriptions of forms based on the ideological basis determined the existence of every film (fiction, documentary, animation – any genre). The Soviet people had to see what a wonderful life the new times had brought, and the directors had to show them all this. All this is reflected, shown, and established by all Georgian films created from the 30s to the 50s. Every word and every frame description in the scripts was controlled by censorship. The “Soviet” principles of understanding story, problem, and image – idea and form – were repeated in all films of all directors and seemed to achieve results. The public, blinded by Soviet propaganda and intimidated by bloody repressions, silenced, captured by selfcensorship, had to unconditionally accept what was “offered”
wlebidan, 50-iani wlebis CaTvliT, Seqmnili, faqtobrivad, yvela qarTuli filmi. scenarebSi yvela sityva, yvela kadris aRweriloba kontroldeboda da cenzuras eqvemdebareboda. ambis, problemisa da gamosaxulebis _ ideisa da formis _ Tanxvdenis „sabWoTa“ principebi meordeboda yvela reJisoris yvela filmSi da TiTqos Sedegsac aRwevda. sabWoTa propagandiT gabruebul da sisxliani represiebiT daSinebul, gaCumebul, TviTcenzuriT datyvevebul sazogadoebas upirobod unda mieRo, rasac ZaldatanebiT „sTavazobdnen“. arc sxva gza, arc sxva SesaZlebloba xelovnebaSi ubralod, ar arsebobda. sxva SemTxvevaSi, moqmedebda braldebis muxli, formulirebiT _ „formalizmi“, „formalisturi“, „formalisti“ _ rac sasjelis mZime formas eqvemdebareboda.
30-50-ian wlebSi gadaRebuli ramdenime aTeuli filmi misdevs socrealizmis sqemas, niuansebamde iziarebs, kadr-kadr mihyveba „generalur xazs“, axali sabWoTa saxelmwifos Senebisa da axali sabWoTa adamianis „virtuozulad dabadebis“ procesis aucilebeli sqemisa da struqturis mixedviT. magram, maTgan ramdenime, ZiriTadad, Sav-TeTri gamosaxulebis, Sav-TeTr firze gadatanili feradi garemos Sesatyvisi Savi da nacrisferi tonebis intensiuri variaciebis, plastikuri gadawyvetis
by force. There was simply no other way, no other option in art. Otherwise, the law with the wording – “formalism”, “formalistic”, and “formalist” – was in effect, which was subject to a severe form of punishment.
Several dozen films made in the 1930s and 1950s follow the scheme of social realism, share it down to the nuances, frame by frame follow the “general line”, the process of building a new Soviet state and the “virtuoso birth” of a new Soviet person according to the necessary scheme and structure. But some of them, thanks to the black-and-white image, the intense variations of black and gray tones to match the color environment transferred to black-and-white film, the expressiveness of flexible composition, the shot of a richly beautiful (in some ways, even surreal) image of the world captured by the film camera, and thoughtful editing, still overshadow and overcome the propagandist idea, the plot, sequence of events, dialogues, fakeness and character cliches.
These films of different genres are – “Nail in the Boot” by Mikheil Kalatozishvili (Mikhail Kalatozov), “Ujmuri” by Nutsa Gogoberidze, “The Lost Paradise” by Davit Rondeli, “Khabarda”-the satire by Mikheil Chiaureli, “Argonauts”, the first Georgian animated film, “Argonauts” by Lado Mujiri, “Zhuzhuna’s Dowry” by Siko Falavandishvili and Davit Kikabidze, “Keto and Kote” by Vakhtang Tabliashvili and Shalva Gedevanishvili, “The Last Crusaders” and
gamomsaxvelobis, kinokameriT dafiqsirebuli samyaros mdidari saxviTi (nawilobriv, irealurisac ki), suraTis anabeWdiTa da mxatvruli montaJis wyalobiT, mainc Crdilavs da jabnis propagandistul ideas, siuJetis, movlenaTa rigis, dialogebis, personaJebis siyalbesa da sqematurobas.
sxvadasxva Janris es filmebia _ mixeil kalatoziSvilis „lursmani CeqmaSi“, nuca RoRoberiZis „uJmuri“, daviT rondelis komedia „dakarguli samoTxe“, mixeil Wiaurelis satira „xabarda“, lado mujiris, pirveli qarTuli animaciuri filmi „argonavtebi“, siko falavandiSvilisa da daviT kikabiZis „JuJunas mziTevi“, vaxtang tabliaSvilisa da Salva gedevaniSvilis musikaluri „qeTo da kote“, siko doliZis „ukanaskneli jvarosnebi“ da „dariko“, leo esakias „frTosani mRebavi“, nikoloz Sengelaias „26 komisari“ da SoTa managaZis „Wirveuli mezoblebi“.
am periodSi saerTo fonze gamoirCeva pirvel qarTvel qal reJisor nuca RoRoberiZis mxatvruli filmi „uJmuri“. drois Sesaferisi propagandistuli xasiaTis, e. w. saagitacio filmi, „agitka“ (rogorc maSin uwodebdnen mxatvruli nawarmoebis aseT, ideologizebul specifikuri xasiaTis, Janrisac ki, nimuSebs). isic eyrdnoba _ sabWoTa propagandisTvis damaxasiaTebel da socialisturi realizmis TeoriisTvis aucilebel _ Zvelisa da axlis, gasabWoebamdelis, misi gadmonaSTebisa da Semdgomi periodis saxalxo miRwevebis dapirispirebis ideas. arsi ki isaa, rom kolxeTis dablobi, romelic Waobiani adgilia, romelsac uJmurs (adgilobriv dialeqtze `cieba~) uwodeben, rac ciebas _ malarias _ iwvevs _ axali cxovrebisTvis ibrZvis da mas „burJuaziuli gadmonaSTebi“ _ kulakebi upirispirdebian.
nuca RoRoberiZe, rogorc pirovneba da rogorc reJisori _ Tavisi epoqis msxverpli iyo da unda damorCileboda cenzuris direqtivebis Zalas, romelsac Semakavebeli jebirebi ar gaaCnda, da rasac igi mxatvruli amocanebiT, kinematografiuli xerxebiT, plastikuri Tu SemoqmedebiTad esTetizebuli vizualizaciiT mainc daupirispirda. pirveli, dokumenturi kulturfilmi „bubac“ da Semdgomi „uJmuric“, Sida _ Zvelisa da axlis propagandistuli dapirispirebis paralelurad, swored amgvari mxatvruli „dapirispirebisa“ da SemoqmedebiTi Ziebebis nimuSia. orives, analogiuri Tematikis, mimarTulebis propagandistuli kinosuraTebisgan metaforebi da simboloebi, kadris araordinaruli kompoziciebi gamoarCevs. maleve, nuca RoRoberiZe daapatimres da aTi wliT gadaasaxles. reabilitaciis Semdeg samSobloSi dabrunda, magram kinos aRar dabrunebia. misi xvedri ara erTma sxva kinematografistma gaiziara. nawili, kinos, xelisuflebam CamoaSora. zogma TviTmkvlelobiT daasrula cxovreba. zogs fsiqikuri
“Dariko” by Siko Dolidze, “The Winged Painter” by Leo Esakia, “Twenty-Six Commissars” by Nikoloz Shengelaia “ and Shota Managadze’s “Troublesome Neighbors”.
In this period, the first Georgian female director Nutsa Gogoberidze’s feature film “Uzhmuri” stands out from the general background, the so-called propagandistic film “Agitka”(as such, ideologized samples of a specific style and genre of artistic work were called then) suitable for its time. It is based on the idea – necessary for the soviet propaganda and the theory of socialist realism – of opposing the old and the new, the pre-Soviet period, its remains, and the public achievements of the post-Soviet era. The essence is that the Colchis Lowland, which is a swampy place called “Uzhmuri” (“fever” according to local dialect), which causes a fever – malaria – is fighting for a new life, and it is opposed by the “bourgeois remnants” – the kulaks.
Nutsa Gogoberidze, as a person and as a director, was a victim of the regime. She had to obey the power of censorship directives, which had no restraining boundaries, and which she still resisted with artistic tasks, cinematic techniques, and flexible
problemebi daewyo da xelovnebis gza bunebrivad Caeketa. sruliad sapirispiro bedis aRmoCnda kidev erTi qarTveli reJisori, romlis xangrZlivi kinocxovreba 20-ian wlebSi daiwyo, romelic qarTuli kinematografis erT-erT safuZvelCamyrelad iqca da romelmac arnaxul pativsa da didebas miaRwia _ RmerTkacis gverdiT.
30-iani wlebis dasawyisidan sabWoTa saagitaciopropagandistul filmebs _ keTilisa da borotis brZolis _ kolmeurneebis, glexebis, muSebis, komkavSirlebis, komunistebis cxovrebisa da gmirobisa Tu gmirobisken mowodebis, mavneblebis, xalxis mtrebis, ucxo qveynis agentebis, „yofilebis“ Sesaxeb _ gansakuTrebuli kategoriis kinosuraTebi Seemata _ stalinze. stalinis miTis _ „diad megobarsa da brZen maswavlebelze“ _ Seqmna swored am dros iwyeba. mis aseT gaZlierebas, adgilis gamyarebas, kanonizacias, „mumificirebas“ bevrma faqtorma, magram, pirvel rigSi,
or creatively aestheticized visualization. The first documentary Kulturfilm “Buba” and the later “Uzhmuri” are examples of this kind of artistic “confrontation” and creative searches, parallel to the internal propaganda confrontation between the old and the new. Metaphors and symbols, and unusual compositions of the frame distinguish them both from the propagandist films of a similar theme and wave. Soon after, Nutsa Gogoberidze was arrested and exiled for ten years. After rehabilitation, she returned to her homeland but never returned to the cinema. Her fate was shared by many other cinematographers. Some of them were removed from the cinema by the government. Some ended their lives by suicide. Some started having mental problems and the path to art was naturally blocked.
Another Georgian director, whose long film life began in the 20s, who became one of the founders of Georgian cinematography and who achieved unprecedented honor and glory – next to Ubermensch – had an opposite fate.
mainc sabWoTa kinoreJisorebma da maTgan, gamorCeulad, mixeil Wiaurelma _ qarTvelma da sabWoeTis yvelaze gavlenianma reJisorma, stalinis premiis eqvsjer laureatma _ Seuwyves xeli. „stalinuri trilogiiTa“ da „eris mamaze“ gadaRebuli kidev ramdenime filmiT, maT Soris, stalinis sikvdilis Semdeg, erTi animaciiT, „rogor marxavdnen Tagvebi katas“. reJisorma, romelic iseve aRzevda da bolos iseve daemxo, rogorc misi monawileobiT Seqnili „beladis kerpi“ da Semdeg, ssrk, romlis istoriac stalinma da Wiaurelma mis (stalinis) pirad istoriad aqcies, „stalinis kompasis“ mixedviT. radgan „stalini Tavadaa xorcSexmuli istoria“. meore msoflio omamde mixeil Wiaurels stalinis Sesaxeb pirveli filmi „diadi ganTiadi“ hqonda gadaRebuli. omis periodSi igi „giorgi saakaZes“ iRebs, romelSic, giorgi saakaZis saxe stalinis miTis kidev erTi waxnagia. procesi omis Semdegac grZeldeba (Rrmavdeba) filmebSi _ „fici“ (1946), feradi „berlinis
From the beginning of the 1930s, a special category of films about Stalin was added to the Soviet propagandistic films about the battle between good and evil, the lives of collective farmers, peasants, workers, and communists, the call to heroism or heroism, stories about enemies of the people and agents of foreign countries. The creation of the myth of Stalin – “a great friend and a wise teacher” – begins at this time. Its strengthening, consolidation of place, canonization, and “mummification” were supported by many factors, but, first of all, Soviet film directors, and especially Mikheil Chiaureli – the most influential Georgian and Soviet director, six-time winner of the Stalin Prize, by the “Stalin Trilogy” and several more films about the “Father of the Nation”, including one cartoon created after Stalin’s death, “How the Mice buried the Cat”.
The director rose and fell in the same way as the “leader’s cult” –created with his contribution – together with the union itself, the history of which Stalin and Chiaureli turned into his (Stalin’s) personal history, according to “Stalin’s Compass”. Because “Stalin himself is history incarnate”.
dacema“ (1949) da „dauviwyari 1919“ (1952). maTSi sabWoTa kavSiris istoriis sxvadasxva etapia naCvenebi _ oqtombris revolucia, industrializacia, meore msoflio omis centraluri movlenebi, gamarjveba am omSi da sxva. omis istoriac stalinis „gegmis“ mixedviT da ideologiiT iyo dawerili da warmodgenili.
mkveTri saavtoro stilisa da ara erTi gamoyenebuli mxatvruli xerxis miuxedavad, Wiaurelis staliniada aseve mkveTrad gamoxatuli socialisturi realizmis idealuri nimuSia. socrealizmi, rogorc sabWoTa kinos istoria aCvenebs, ara mxolod mxatvruli meTodia, aramed xelovanis unari arawinaaRmdegobrivad SeaTavsos miTebi realobasTan da isaubros politikis enaze.
ase SeiZina sabWoTa kinom _ „yvelaze mniSvnelovanma xelovnebaTa Soris“ _ JamTaaRmwerelis unikaluri statusi, romlis mixedviTac, miTs dokumentis Zala eniWeboda da gamonagoni eWvgareSed iqceoda.
didi xania, ukve aRarc sabWoTa kavSiria da aRarc
Before World War II, Mikheil Chiaureli made the first film about Stalin, “The Great Dawn”. During the war, he makes the film “Giorgi Saakadze”, in which Giorgi Saakadze is another face of the Stalin myth. In the films, the process continues (deepens) even after the war –“The Vow” (1946), the color film “The Fall of Berlin” (1949), and “The Unforgettable Year 1919” (1952). They show different stages of the history of the Soviet Union: the October Revolution, industrialization, the central events of World War II, the victory in this war, and others. The history of the war was also written and presented according to Stalin’s “plan” and ideology.
Despite the author’s distinct style and the use of several artistic techniques, Chiaureli’s Staliniada is also an ideal example of strongly expressed socialist realism. As the history of Soviet cinema shows, socialist realism is not only an artistic method but also the artist’s ability to combine myths with reality without contradiction and to speak the language of politics.
This is how Soviet cinema – “the most important of the arts” – acquired the unique status of a chronicler, according to which
saxelmwifo, romelsac komunistebi 70 weli iseTad aSenebdnen, rogoric misi arsebobis dasawyisSive ganisazRvra. aRarc „aRmSenebeli“ saxalxo komisrebia da aRarc idealisti-jalaTi-bolSevikebi arian; aRarc represiebia, aRarc „gulagis arqipelagia“ sadme, aRarc sabWoTa ideologiaa da aRarc samTavrobo dadgenilebadekretebi-direqtivebi moqmedeben. aseTi tipis akrZalvebi didi xania, moixsna. akrZaluli, cenzuradadebuli yvela filmi „Taroebidan“ TiTqos CamoiRes da yvela skivri gaiRo, maTSi gadamaluli saganZuris gamosamzeureblad. propagandistulma xelovnebam Zala dakarga da „kino yvelasTvis“ _ „kinod aravisTvis“ iqca, romelsac dRes, mxolod dokumentis Zala aqvs, qveynis istoriisa da xelovnebis amgvarobis Sesaxeb da aravisTvis saSiSi da sabediswero aRaraa. magram am dauviwyari wlebis damRebi, mZime gamocdileba, istoriis gakveTilebi, msxverplis xsovna da sazogadoebis mexsiereba, dRemde mogvyveba gangaSis signaliviT, awmyosTvis da samomavlo gafrTxilebas iZleva.
myth was given the power of a document and fiction became unquestionable.
The Soviet Union is no more, nor the country that the communists have been building for 70 years as it was defined at the beginning of its existence. There are no more people’s “builder” commissars, and they are no longer idealist-butcher-Bolsheviks; There are no more repressions, no more “Gulag Archipelago” anywhere, no more Soviet ideology, and no more government directives. Such type of prohibitions were removed, all the films that were banned and censored were taken off the “shelves” and all the chests were opened to reveal the treasures hidden in them.
Propaganda art lost its power and “cinema for everyone” turned into “cinema for no one”, which only has the power of a document about the history and art of the country now and is no longer dangerous and fatal for anyone. But these unforgettable years, hard experiences, lessons of history, the remembrance of the victims, and the memory of the community, follow us to this day and give a warning signal for the present and the future.
improvizebuli interviu vaxtang kaxiZesTan
IMPROVISED INTERVIEW WITH VAKHTANG KAKHIDZE
jazi droSi mogzaurobas hgavs. Tavbrudamxvevi improvizaciisas, ucbad SeiZleba romelime qveynis xalxurma motivma, an klasikuri musikis nimuSma gaiJReros da amgvarad, XXI saukunidan ukan, warsulSi gadagaxedos ise, rom emociebiT sakuTari Tavis Zebna daiwyo drosa da sivrceSi. swored aseTi jazuri mogzauroba gvqonda jansuR kaxiZis saxelobis saerTaSoriso musikalur festivalze, romlis farglebSic, mowveulma varskvlavebma da Tbilisis simfoniurma orkestrma vaxtang kaxiZis xelmZRvanelobiT, erTmaneTisgan gansxvavebuli musikaluri esTetikiTa da radikalurad gansxvavebuli emociebiT datvirTuli sami koncerti Caatares.
Jazz is like traveling through time. During a dizzying improvisation, a folk motif of a country or a sample of classical music can suddenly be heard, and thus, from the 21st century, let you take a look back into the past in a way, that you begin to search for yourself through time and space with emotions. We had such a jazz trip at the Djansug Kakhidze International Music Festival, where, the invited stars and the Tbilisi Symphony Orchestra under the leadership of Vakhtang Kakhidze performed at three concerts full of different musical aesthetics and radically different emotions.
– Mr. Vakhtang, although this year you should have celebrated the 10th anniversary of the festival, due to the pandemic you held the 9th one, which was very successful. How does the story
Tea muqeria
THEA MUKERIA
_ batono vaxtang, marTalia wels saiubileo me-10 festivali unda aRgeniSnaT, magram pandemiis gamo rigiT me9, Zalian warmatebuli festivali CaatareT. rogor daiwyo festivalis istoria?
_ 2014 wlis 17 dekembers, filarmoniaSi Catarda saSobao koncerti, romelzec mowveuli iyo “New York Voices” da maT hqondaT programa orkestrTan, ise gadawyda, rom Cven movkideT amas xeli da Zalian maRali donis koncerti gamovida. aqedan daibada idea, rom Cagvetarebina festivali, romelic aewyoboda Tbilisis simfoniuri orkestrisa da msoflios pop-musikis mega-varskvlavebis TanamSromlobaze. maSin kulturis ministri iyo mixeil giorgaZe, moadgile ki _ kaxa kandelaki da erToblivad movifiqreT es festivali. am saSobao koncertze gavicani germaneli prodiuseri ketrin maieri, romelic evropaSi Zalian bevri pop-varskvlavis warmomadgenelia da erTad daviwyeT festivalis dagegmva. Tavad festivali ki daarsda 2015 wels, roca jansuR kaxiZes usruldeboda 80 weli da mis saiubileo TariRs davukavSireT. am wlebis ganmavlobaSi festivals stumrobdnen jazisa da popmusikis msoflioSi aRiarebuli musikaluri jgufebi da varskvlavebi, rogorebic arian: The Manhattan Transfer, New York Voices, Take 6, The Swingles, bob jeimsi, ivan linsi, pet meTeni, pati ostini da sxva mravali. aucileblad unda aRvniSno kulturis saministros uwyveti survili gverdSi dgomisa da daxmarebis. didi madloba maT da yvela im kompanias, romelic ukve 9 welia festivalis mxardamWerebi arian.
_ am dros ukve arsebobda baton jansuR kaxiZis mier daarsebuli festivali _ „Semodgomis Tbilisi“, ratom gadawyviteT axali festivalis dakavSireba mis saxelTan? _ „Semodgomis Tbilisi“ daarsda 1993 wels, Tbilisis simfoniuri orkestris dafuZnebidan zustad erTi Tvis Semdeg. es saxelic _ „Semodgomis Tbilisi“ TviTon moigona da vfiqrob zustad Seefereboda. aseTi tradiciaa ukve damkvidrebuli da dResac aris Tanamedrove musikis festivalebi: „varSavis Semodgoma“, „praRis gazafxuli“. arsebobs aseve saSobao an saaxalwlo saRamoebi, maT Soris CvenTanac. vinaidan TviTon mas moswonda Zalian es saxeli _ „Semodgomis Tbilisi“, amitom amis xelis xleba ar Rirda da ise davtoveT rogorc iyo. vidre am festivals davaarsebdiT 2015 wels, manamdec gvqonda jansuR kaxiZis saxelobis festivali, romelic tardeboda sxvadasxva regionSi. 2007 wels davafuZneT jansuR kaxiZis fondi da aqedan dawyebuli, yovelwliurad, 2010 wlis CaTvliT vmarTavdiT festivals saqarTvelos sxvadasxva kuTxeSi. programa mravalferovani iyo, CvenTan erTad am proeqtSi monawileobdnen: ansambli „rusTavi“, Teatrebi, maT Soris marjaniSvilis, rusTavelisa da rusTavis Teatri, Semdeg idea gafarTovda da sxvadasxva regionis
of the festival begin?
– On December 17, 2014, a Christmas concert was held at the Tbilisi State Concert Hall, where “New York Voices” were invited, and they had a program with the orchestra, it was decided that we would handle it and it turned out as a very high-quality concert. This is where the idea to make a festival was born, which would be organized with the cooperation of the Tbilisi Symphony Orchestra and the mega-stars of the world’s pop music. At that time, the Minister of Culture was Mikheil Giorgadze, and the deputy was Kakha Kandelaki, and together we thought of this festival. At this Christmas concert, I met the German producer Kathryn Mayer, who represents many pop stars in Europe, and we started organizing the festival together. The festival itself was founded in 2015 when Djansug Kakhidze turned 80, and we connected it to his anniversary. During these years, the festival was visited by world-renowned jazz and pop music groups and stars, such as: “The Manhattan Transfer”, “New York Voices”, “Take 6”, “The Swingles”, Bob James, Ivan Lins, Pat Metheny, Patti Austin and many more. I must mention the continuous desire of the Ministry of Culture to aid and support. Many thanks to them and all the companies that have been supporting the festival for 9 years.
– At that time there already was a festival founded by Mr. Djansug Kakhidze – “Autumn Tbilisi”, why did you decide to associate the new festival with his name?
“Autumn Tbilisi” was founded in 1993, exactly one month after the founding of the Tbilisi Symphony Orchestra. He came up with this name – “Autumn Tbilisi” himself, and I think it suits the festival perfectly. Such a tradition has already been established and there are still modern music festivals: “Warsaw Autumn”, and “Prague Spring”. There are also Christmas or New Year events, including here, in Georgia. Since he himself liked this name very much – “Autumn Tbilisi”, we left it as it was. Before we founded this festival in 2015, I had a festival named after Djansug Kakhidze, which was held in different regions. In 2007, we founded the Djansug Kakhidze Foundation, and every year, until 2010, we held the festival in the regions. It was a very diverse program, it was not only our orchestra’s program, we also brought the dance-singing ensemble “Rustavi”, theaters, including Marjanishvili, Rustaveli, and Rustavi theaters, then the idea expanded and theaters from different regions also joined the festival. The task was to bring what was valuable in Tbilisi to the regions. This festival had one big plus, we were not focused on income because then Mr. Gia Jokhtaberidze supported us financially with his company. Therefore, we did not request any funding from the regions, only technical conditions, such as chairs and so on, and most importantly, we left the income to the theater where we performed. In 2010, when the music center was opened in the already restored building, the work became so intense, with busy seasons and numerous concerts, that this schedule no longer allowed the festival to continue in the regions. It was discontinued accordingly, but in order not to lose the festival in 2015, we renewed
Teatrebi CaerTnen festivalSi. amocana is iyo, rom rac TbilisSi Rirebuli iqmneboda, Cagvetana periferiaSic. am festivals hqonda erTi didi pliusi, Cven Semosavalze ar viyaviT orientirebuli, radgan maSin finansurad mxarSi gvedga batoni gia joxTaberiZe Tavisi kompaniiT. amitom Cven regionisgan aranair dafinansebas ar moviTxovdiT, mxolod teqnikur pirobebs, es iyo skamebi da ase Semdeg da rac mTavaria Semosavals vutovebdiT maspinZel Teatrs. 2010 wels ki, roca ukve restavrirebul SenobaSi gaixsna musikaluri centri, iseTi daZabuli muSaoba daiwyo, datvirTuli sezonebi uamravi koncertiT, rom es reJimi aRar iZleoda imis saSualebas, festivali regionSic gagrZelebuliyo. Sesabamisad, es Sewyda da sul rom ar dakarguliyo festivali 2015 wels ganvaaxleT sruliad axali mimarTulebiT, magram saxeli igive davutoveT. Tanac iSviaTia festivalebi, sadac orkestria mTavari moqmedi Zala, rasac mere efuZneba festivalis monawile didi saxelebi. is ki faqtia, rom yvelas Zalian uWirs repertuaris wardgena, am did ansamblebsac ki, yvelas ar aqvs sruli repertuari, rom saaTnaxevriani koncerti gamarTos simfoniur orkestrTan erTad da
it in a completely new direction but kept the same name. Moreover, a festival, where the orchestra is the main active force, on which the big names participating in the festival are based, is very rare. One thing is for sure – it is very difficult for everyone to present their repertoire, even for big ensembles, not everyone has a complete repertoire to perform an hour-and-a-half concert with a symphony orchestra, and that’s why we start taking care of the repertoire long before the event begins, but this festival has already grown so strong and gained such a reputation, that everyone knows you will be met with great warmth, a very high level of professionalism that should be expressed on stage and world-class management, which is reflected in their reception and all details, not only during the concert. I ask the same from them, the repertoire and sheet music on time, and so far, this principle is working well.
On May 12, the festival was opened by 16 Grammy Award-winning Cuban star Paquito D'Rivera. He is known as an unparalleled performer of Latin jazz, as well as a classical music composer, clarinetist, and saxophonist. At the concert, in addition to the famous compositions of Duke Ellington, Charlie Parker, and other jazz stars, the music of Bach, Mozart, Gershwin, and Piazzolla was performed in jazz style. The
amitom amaze didi xniT adre viwyebT zrunvas, magram ukve ise momZlavrda es festivali da iseTi reputacia
SeiZina, rom ician aq daxvdebaT didi siTbo, Zalian maRali donis profesionalizmi, rac scenaze unda gamoixatos da msoflio donis menejmenti, rac aisaxeba maT miRebaSi da yvela detalSi, ara mxolod koncertis dros. mec igives viTxov maTgan, repertuars da sanoto masalas droulad da jer-jerobiT kargad muSaobs es principi.
12 maiss, festivali gaxsna gremis 16 jildos mflobelma, kubelma varskvlavma, pakito de riveram. musikosi cnobilia, rogorc laTinuri jazis ubadlo Semsrulebeli da aseve rogorc klasikuri musikis kompozitori, klarnetisti da saqsofonisti. koncertze, diuk elingtonis, Carli parkerisa da jazis sxva varskvlavebis cnobili kompoziciebis garda, baxis, mocartis, gerSvinisa da piacolas musikam gaiJRera jazur stilSi. musikosma mTeli darbazi aiyolia da gansakuTrebiT mocartis musikaluri frazebi amRera bevri, ris Semdegac, kubelma stumarma xumrobiT aRniSna, rom mocarti, rogorc Cans saqarTvelodan yofila-o.
musician captivated the whole hall and made the audience sing a lot of Mozart’s musical phrases, after which the Cuban guest joked that Mozart was apparently from Georgia. The extraordinary performance of the musicians and the active participation of the listeners created an amazing mood in the hall.
On May 19, an evening of classical and academic jazz was held by twotime Grammy Award winner Kurt Elling, who is known for his powerful swing and poetic singing style, combining the musical aesthetics of Frank Sinatra with amazingly virtuosic improvisation. Kurt Elling, together with English musicians and the Tbilisi Symphony Orchestra, held a high-quality academic and at the same time nostalgic evening, where the appearance of Janis Siegel, a member of “The Manhattan Transfer” surprised and filled the audience with joy.
On May 25, the festival was closed by the five-time Grammy Award winner and the author of 16 albums, the African star Angelique Kidjo, who is one of the biggest artists in the international music world today. This evening – “African Symphony” was the musical fireworks of the festival, where music united musicians and listeners of different nationalities and faiths through singing and dancing. The line between
musikosebis araCveulebrivma Sesrulebam da msmenelis aqtiurma CarTulobam, darbazSi saocari ganwyoba Seqmna.
19 maiss, klasikuri da akademiuri jazis saRamo gamarTa gremis jildos orgzis mflobelma kurt elingma, romelic gamoirCeva Zlieri svingisa da poeturi sasimRero stiliT, sadac frenk sinatras musikalur esTetikas gasaocarad virtuozuli improvizacia erwymoda. kurt elingma, inglisel musikosebTan da Tbilisis simfoniur orkestrTan erTad, SeiZleba iTqvas maRali xarisxis akademiuri da imave dros nostalgiuri saRamo gamarTes, sadac mayureblisTvis “The Manhattan Transfer”-is wevris, jenis sigelis scenaze gamoCena didi siurprizi da sixaruli iyo.
25 maiss, ki festivali daxura gremis jildos xuTgzis gamarjvebulma da 16 albomis avtorma, afrikelma varskvlavma anJelik kijom, romelic dRevandeli saerTaSoriso musikaluri samyaros erT-erTi udidesi artistia. es saRamo _ „afrikuli simfonia“ iyo festivalis musikaluri foierverki, sadac musikam, sxvadasxva
the hall and the stage seemed to completely disappear, and the music brought great joy to the audience.
– Mr. Vakhtang, this year three concerts were held, that were contrastingly different from each other, we basically traveled around the world with jazz, and most importantly, there were stars at all concerts. On what principle did you choose the program for this year’s festival?
– I should mention one thing, at the previous festivals, I could not bring more than two foreign performers, and the third concert was usually always Georgian music. Especially for this festival, I made my project, my film music along with songs, I used my father’s songs for this festival. “Big Band”, “Iriao”, Maia Baratashvili, and Dini Virsaladze have also participated. We always allowed Georgian representatives in this field to participate in the festival. This year, for the first time, it became financially possible to bring three collectives. We start planning the program long in advance. we will soon start planning for the next year’s festival. We listen in advance, we look, we see how much sheet music is possible to obtain, and in the process of this search, somehow these three completely different directions turned out to be the most interesting. This is always risky, for example, it was
erovnebisa Tu mrwamsis musikosebi da msmenelebi simReriTa da cekviT gaaerTiana. darbazsa da scenas Soris zRvari TiTqos gaqra da musikam didi sixaruli mogvaniWa iq myof adamianebs.
_ batono vaxtang, wels erTmaneTisgan kontrastulad gansxvavebuli sami koncerti Catarda, faqtobrivad jaziT vimogzaureT msoflios garSemo da rac mTavaria, yvela koncertze iyvnen varskvlavebi. ra principiT SearCieT wlevandeli festivalis programa?
_ erTi ram unda aRvniSno, wina festivalebze or Semsrulebelze metis Camoyvanas ver vaxerxebdi da mesame koncerti rogorc wesi, yovelTvis iyo qarTuli musika. specialurad am festivalisTvis gavakeTe Cemi proeqti, Cemi kinomusika simRerebTan erTad, am festivalisTvis gavakeTe mamaCemis simRerebi. aseve monawileoba aqvs miRebuli „big bends“, „iriaos“, maia baraTaSvils, dini virsalaZes. yovelTvis vaZlevdiT saSualebas, rom am sferos qarTvel warmomadgenlebs monawileoba mieRoT festivalSi. wels, pirvelad gaxda finansurad SesaZlebeli, rom sami koleqtivis Camoyvana SevZeliT. Cven didi xniT adre viwyebT programis dagegmvas. ai, axla male ukve Semdegi wlis festivalis dagegmvasac daviwyebT. winaswar vismenT, vuyurebT, vnaxulobT Tu ramdenad SesaZlebelia sanoto masalis mopoveba da am Ziebis procesSi, raRacnairad es sami sruliad gansxvavebuli mimarTuleba aRmoCnda yvelaze saintereso. es yovelTvis sariskoa, magaliTad SesaZlebeli iyo Cvens msmenels ar scodnoda anJelik kijo, Tumca gakvirvebuli viyavi, rom misi simRerebi zepirad icodnen. pakito de rivera ki imdeni xania orbitazea, Tavisi Zalian saintereso istoriiTa da musikaluri karieriT, rom gasagebi iyo misi popularoba Cvens publikaSic. kurt elings rac Seexeba, igi erTi mxriv sinatras esTetikas agrZelebs, magram meore mxriv imdenad jazuri momReralia, virtuozuloba rasac is akeTebs vokaliT, frenk sinatras akademiuri stilisgan ganasxvavebs da mis SesaZleblobebsac ki scdeba. CavTvale, rom saintereso iqneboda aseTi polusebis Cveneba da dRes ukve SemiZlia vTqva, rom swori gamodga es midgoma, radgan sruliad gansxvavebuli sami koncerti iyo da rac mTavaria, es yvelaferi misaRebi iyo Cveni msmenelisTvis. msmenels minda madloba gadavuxado, imitom, rom maTi vokaluri CarTuloba saWiro iyo rogorc riveras koncertSi, sadac mis SemoqmedebasTan erTad, mocartis musikaluri frazebic ki imReres da imaze meti, vidre is eloda, gaugrZeles bolomde... (icinis). aseve ucbad aitaces anJelikis melodia, TviTon iyo gakvirvebuli amiT da didi Txovna arc cekvaze asayolieblad dasWirvebia, mTeli darbazi rogor wamoxta fexze da daiwyes cekva, am emociam yvela moicva. ase, rom danamdvilebiT SemiZlia vTqva, rom gaamarTla programam.
possible that our listeners may not have known about Angelique Kidjo, but I was surprised that they knew her songs by heart. Paquito D'Rivera has been performing for so long, with his very interesting story and musical career, that it was understandable that he was popular with our audience as well. As for Kurt Elling, on the one hand, he continues Sinatra’s aesthetic, but on the other hand, he is a very jazzy singer, the virtuosity of what he does with his vocals sets him apart from Frank Sinatra’s academic style and even surpasses his abilities. I thought it would be interesting to show different poles, and today I can already say that this approach turned out to be the right one, because there were three completely different concerts, and most importantly, it was all acceptable to our listeners. I want to thank the listeners, because their vocal involvement was necessary, as in Rivera’s concert, where they sang everything, and they sang Mozart’s music more than he expected, and they continued until the end (laughs). They also suddenly picked up on Angelique’s melody, she was surprised by it and didn’t even need to encourage the audience to dance, the whole hall jumped up and started dancing, this emotion covered the whole building and the orchestra. So, I can definitely say that the program paid off. The professionalism of these stars is that it doesn’t matter to them how many people are sitting in the hall and in which country, when they stand on stage, they become the servants of their profession and work hard not to lose quality, so it is a great pleasure to cooperate with them.
– All performers came with their groups and played with the orchestra at the concert. You stood there as you conducted, I wonder how you would evaluate this complex process, the collaboration between the orchestra and the bands? I must say that our orchestra is historically very flexible. They often play film music, and because of me, they sometimes have to play such a repertoire that there are elements of jazz, jazz-rock, or jazz-folk. Here, for example, in these scores, it is often written just the word – “swing”, that is, the brass should play the swing, and there is no problem, they play the swing directly, and they do not need to spell it out exactly, so the orchestra is very sensitive and reacts accordingly. Of course, we need some time to prepare. Sometimes we go through rehearsals separately to see if there are any mistakes, and what is difficult to play, then the musicians practice individually, and gradually these rehearsals become more complete. However, it can’t be completely perfect, because the rhythmic base is very important in this music, and these musicians, the rhythm group, arrive the earliest, usually the day before, and you have to be ready for it in such a way that all the components: our orchestra, The band and the singer must suddenly band together. Imagine that there may be up to 20 compositions to be made. Therefore, these days are very intense and require a lot of concentration. So far, we have had no problems and all the musicians are happy.
– This is thanks to you too, since you work with the orchestra in many musical directions.
am varskvlavebis profesionalizmi ki swored is aris, rom maTTvis mniSvneloba ar aqvs ramdeni kaci zis darbazSi da romel qveyanaSia, roca scenaze dganan, isini xdebian Tavisi profesiis msaxurni da bolomde ixarjebian, raTa xarisxi ar daaklon, amitom erTi didi siamovnebaa maTTan TanamSromloba.
_ yvela Semsrulebeli Tavis jgufTan erTad iyo Camosuli da koncertze orkestrTan erTad muzicirebda. Tqven ideqiT sadiriJoro pultTan da xelmZRvanelobdiT, mainteresebs rogor SeafasebT am rTul process, orkestrsa da sxvadasxva bends Soris TanamSromlobas?
_ unda vTqva, rom Cveni orkestri istoriulad Zalian moqnilia. xSirad ukraven kinomusikas, aseve Cem gamo uwevT xolme iseTi repertuaris dakvra, rom iq aris jazis, aseve jaz-rokis Tu jaz-folkis elementebi. ai, magaliTad am partiturebSi xSirad weria, ubralod sityva _ swing, anu svingi unda daukras liTonis Casaberebma, aranairi problema ar aris, pirdapir ukraven svings, ar sWirdebaT zustad amowera amisi, amitom orkestri Zalian mgrZnobiarea da yvelaferze reagirebs. rasakvirvelia, Cven gvWirdeba garkveuli dro mosamzadeblad. zogjer calke gavdivarT repeticiebs, rom vnaxoT sadme ar iyos Secdomebi, ra aris rTuli dasakravi, mere musikosebi individualurad mecadineoben da nel-nela es repeticiebi xdeba ufro srulyofili. Tumca, srulad unaklo mainc ver xdeba, radgan am musikaSi Zalian didi mniSvneloba aqvs ritmul bazas da ai, es musikosebi, ritm-jgufi, yvelaze adre, rogorc wesi wina dRes Camodian xolme da ise unda iyo mzad amisTvis, rom yvela komponenti: Cveni orkestri, bendi da momRerali uceb unda Seikras erT mTlianobaSi. Tan warmoidgineT, SeiZleba ocamde kompozicia iyos gasakeTebeli. Sesabamisad, es dReebi aris Zalian intensiuri da did koncentracias moiTxovs. jer-jerobiT problema ar gvqonia da yvela musikosi kmayofilia.
_ es Tvqeni damsaxurebac aris, vinaidan araerTi musikaluri mimarTulebiT muSaobT orkestrTan. _ Cemi damsaxureba ki ara, Cemi bralia (icinis).
_ rogorc TqviT, saiubileo festivalisTvis male daiwyebT mzadebas, rame siurprizs xom ar unda velodoT, magaliTad Tu movismenT Tqvens axal nawarmoebs.
_ Cemi axali nawarmoebi SeiZleba ver moisminoT, magram mocemuloba rom aviRoT, es aris 2025 weli, rac erTi mxriv jansuR kaxiZis 90 wlis iubilea da logikuri iqneba, rom erTi koncerti mieZRvnas mas; vfiqrob, mxolod simRerebi ar iqneba da rames movifiqreb, rom es iyos rogorc informaciuli, aseve musikalurad saintereso. meore mocemuloba is aris, rom New York Voices 2026 wels amTavrebs karieras, vinaidan isini pirvel festivalze
– It’s not thanks to me, it’s my fault (laughs).
– As you said, you will soon start preparing for the anniversary festival, should we expect some surprise? will we hear your new musical piece?
– You may not be able to hear my new piece, but let’s look at it this way, this is the year 2025, which on the one hand is the 90th anniversary of Djansug Kakhidze, and it would be logical to dedicate one concert to him. I think there won’t be only songs and I will think of something that will be informative as well as musically interesting. The second fact is that “New York Voices” ends their career in 2026, since they were at the first festival, I think it would be good for them to come to the 10th one with a different program. So, I think it will be two concerts and I will think about the rest, we must say that everything depends on finances, the more money we have, the more quality concerts we will be able to hold, but it is not always like that and we have to adapt to what funds we get.
– What would you like to conduct?
– I have not even conducted half of what I wanted to conduct, and I think all conductors end their careers and lives in such a way that they still have unfulfilled wishes, and why?! After all, there are many works written, by the way, there are not too many bad works, most of them are of average quality, and there are millions of pages. There are also a few masterpieces, but over the course of the 21st century, these masterpieces have been accumulated in such a way that the life of one conductor is not enough for all of them. If you only went to Bach, you would spend half your life on Bach’s works, and the same goes for Mozart’s music. So, you may not be able to go past the 18th century, but how much genius music was written after that, so... (sighs)
– And yet, is there one?
– It’s probably Mahler’s 8th symphony, where there are many choruses.
– I thought you would have said the 2nd Symphony
– No, I’m not talking about the complexity of the music, it’s more complicated in terms of organization. For the 2nd symphony, you need a soprano, a mezzo-soprano, a chorus, and an orchestra, and in the 8th symphony, there are 4 choruses. This is, for example, why Stravinsky’s “The Rite of Spring” is difficult to organize, which I conducted 3 or 4 times in Moscow and St. Petersburg during the tour of our orchestra, I especially wanted to perform it there. You need five times personnel for this piece, Stravinsky’s score states that at least 110 musicians are needed. First, you must have a large group of musicians, and then it is related to money. It won’t happen in one or two rehearsals, it requires long work, and the needed musicians play in different orchestras, which makes it even more difficult to organize all this. Therefore, unless there is a great need to do it, everyone
iyvnen, mimaCnia, rom me-10 festivalzec kargi iqneba, rom Camovidnen gansxvavebuli programiT. ase, rom vfiqrob es ori koncerti iqneba da danarCenze davfiqrdebi, Tan unda vTqvaT, rom yvelaferi damokidebulia finansebze, rac metia fuli miT meti xarisxiani koncertis Catarebas SevZlebT, magram yovelTvis ar aris ase da unda movergoT imas, ra Tanxebsac movipovebT.
_ Tqven, rogorc diriJors ra gsurT rom SeasruloT? _ risi diriJorobac minda, jer yvelaferi ar amsrulebia da me mgoni, yvela diriJori ise amTavrebs karieras da cxovrebasac, rom rCeba Seusrulebeli natvrebi da ratom?! uamravi nawarmoebia dawerili, maT Soris, bevri araa cudic, es aris milionobiT furceli. aseve Sedevric cotaa, magram saukuneebis ganmavlobaSi isini ise dagrovdnen, rom erTi diriJoris cxovreba amas ar eyofa. marto baxs rom miadge, naxevari cxovreba misi nawarmoebebisTvis dagWirdeba da asevea mocartis musikac. ase SeiZleba XVIII saukunis aqeT veRarc amoxvide, arada ramdeni genialuri musikaa mas mere dawerili, amitom... (amoixvneSa)
avoids it, and by the way, not only here, but also in other countries of the world. Therefore, I don’t dream too much and I don’t make such a list for myself that I must fulfill. Sometimes, suddenly something so interesting pops up, that you feel that now is the time for it. There are times when you postpone something more than once and it probably happens that you can’t finish it in the end. I will not be heartbroken by it.
– It means, you look at it more practically – Yes, of course, more managerially.
Thank you very much for the interesting conversation, as Clint Eastwood said: “It’s always fun to talk about jazz.” I wish you to fulfill all your dreams and implement all the plans.
I would like to wish the “Djansug Kakhidze International Music Festival” a long history and an interesting anniversary!
Jazz is the music that expresses people’s feelings, dreams, and hopes. Jazz is a symbol of freedom!
_ da mainc, aris rame erTi?
_ albaT, maleris merve simfonia, sadac bevri gundia.
_ megona meore simfonias ityodiT?
_ ara, me ar vambob musikis sirTuliT, ufro saorganizaciod rTuli. meore simfoniisTvis gWirdeba soprano, meco soprano, gundi da orkestri da merve simfoniaSi oTxi gundia. ai, magaliTad ratom aris stravinskis „kurTxeuli gazafxuli“ Zneli saorganizaciod, romelic samjer Tu oTxjer moskovsa da peterburgSi gvaqvs Cveni orkestris gastrolebisas Sesrulebuli, iq mindoda gansakuTrebiT rom Semesrulebina. am nawarmoebisTvis xuTmagi Semadgenloba gWirdeba, stravinskis partituraSi uweria, rom minimum 110 musikosia saWiro. jer is, rom es xuTmagi Semadgenloba unda gyavdes da mere, TanxebTan aris dakavSirebuli. es erT da or repeticiaSi ar gamova, amas sWirdeba xangrZlivi muSaoba, saWiro musikosebi kidev sxvadasxva orkestrSi ukraven, rac am yvelafris organizebas arTulebs. amitom, Tu Zalian didi aucilebloba ar aris misi Sesruleba, yvela erideba
da sxvaTa Soris, mxolod CvenTan ara, msoflios sxva qveynebSic. Sesabamisad, Zalian ar vocnebob da iseT sias ar vdeb CemTvis, rom es aucileblad unda Sevasrulo. zogjer, ucbad iseTi saintereso raRac amoxteba, grZnob, rom axla amis droa. aris xolme, rom raRacas gadadeb, araerTxel, da albaT isec xdeba, rom bolos veRarc asruleb... da guli ar gwydeba.
_ anu ufro praqtikulad uyurebT? _ diax, rasakvirvelia, ufro menejerulad.
Zalian didi madloba saintereso saubrisTvis, rogorc klint istvudma Tqva: It’s always fun to talk about jazz (`jazze saubari yovelTvis saxalisoa~). gisurvebT yvela natvris asrulebasa da gegmis ganxorcielebas.
„jansuR kaxiZis saxelobis saerTaSoriso musikalur festivals“ ki gvinda vusurvoT xangrZlivi istoria da saintereso saiubileo weli!
jazi, xom is musikaa, romelic xalxis grZnobebs, ocnebebsa da imedebs gamoxatavs. jazi Tavisuflebis simboloa!
