saganmanaTleblo-sazogadoebrivi Jurnali
sarCevi / CONTENTS
2 givi Sahnazari - didebuli epoqebi... / GIVI SHAKHNAZARI – GREAT EPOCHS...
6 is / IS
zRvarze
dexviris arqeologiur-eTnografiuli muzeumi Ria cis qveS
38 kaci Ronieri xelebiT / A MAN WITH STRONG HANDS 44 yvelaferi isea, rogorc unda iyos / EVERTYHING IS AS IT SHOULD BE
(avto)portreti dumilis TanxlebiT
62 varskvlavuri saubrebi winandlis festivalidan - janandrea nozeda da joSua beli STAR CONVERSATIONS AT THE TSINANDALI FESTIVAL: GIANANDREA NOSEDA AND JOSHUA BELL
72 UNUGESO FIQREBI / INCONSOLABLE THOUGHTS
76 zuriko... / ZURIKO...
80 TuSuri Canawerebi / TUSHETIAN JOURNAL
90 axali qarTuli JReradoba / NEW GEORGIAN SOUND
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: irakli suTiZe _ lanselotis cxeni. 91X130. tilo, zeTi. 1997
Cover: Irakli Sutidze – Lancelot’s Charger. 91X130. Oil on canvas. 1997
foto: iuri akuliani
Givi Shakhnazari
Zneli, Zalze Zneli yofila kulturaze saubari... gansakuTrebiT maSin, roca winasaarCevno qaosi mosvenebas gikargavs da aRar ici, saTqmels Tavi rogor unda moaba... usmen da Sehyureb mtyuan-marTalTa am daundobel brZolas, siZulvilis am eniT uTqmel nTxevas da, cxadia, ara gjera, rom samSoblos ukeTesi momavlisTvis `mebrZolebi~ ase unda irjebodnen!.. yovelive amas didi gulistkivili maTqmevinebs, Torem SesaZloa vinmem mikiJinos kidec, erT-erT pirvel saparlamento debatebSi aki Tavadac iyavi CarTulio, magram, damijereT, maSin, da Tu gnebavT merec, sxvaTa qcevis avkargianobis pasuxismgebeli me ver viqnebodi, radgan _ `saca ara sjobs, gacla sjobs~ _ yovelTvis cxovrebis wesad mqonda... oRond, gTxovT, rasac axla getyviT, `gaclad~ ar CamiTvaloT.
diaR, oTxmocdaaTian wlebSi CemTvis sasurvel liberal-demokratebTan erTad araerTgzis mec momiwia amomrCevlebTan Sexvedra (ZiriTadad TbilisSi). rusTavelis sazogadoebis gazeT `mamulSi~ Cemi Tavi partiuli siis meeqvse nomrad rom vixile, gameRima; aravin icoda, rom me parlamentSi Sesvlas ar vapirebdi da mxolod TanapartielTa Tanadgoma mqonda ganzraxuli... pativmoyvareobisa ra mogaxsenoT, magram adamianurad mesiamovna kidec, aseTi Sansi rom momeca. oRond, es kia, roca specialuri blanki gadmomces da parlamentSi warsadgenad monacemebis Sevseba mTxoves da Cemgan Sesvlaze uari moismines, zogierTebma eWvis TvaliTac ki Semomxedes, albaT ifiqres, am kacs gana iseTi ra vawyenineTo, magram!..
ara, batono, wyena arafer SuaSi iyo. me Cemi TanapartielebisTvis, rac SemeZlo da rogorc SemeZlo ise gavisarje da gamixardeboda Tuki Cems adgils romelime ekonomisti, iuristi an politikuri piri daikavebda.
It turns out to be very, very difficult to talk about culture...
Especially when pre-electoral chaos won’t let you draw breath and you forget how to express your stance amidst the confusion...
You look and listen to the ruthless confrontations, wondering who is right, who is wrong; this overflow of hate beyond description, and, naturally, you think that these ‘warriors’ for a better future for their homeland shouldn’t be quite so zealous...
I am saying all this because this situation hurt me; otherwise, someone might reproach me for taking part in the first parliamentary debates myself, but believe me, at that time, and even after that, I couldn’t have been held responsible for the good or bad deeds of other people, as “When it doesn’t feel right, one should get away” has always been my rule of life...
But please, don’t think this letter is a way of escaping anything.
Yes, during the 1990s, I had to meet the electorate with the LiberalDemocrats, who were my party of choice, several times (mainly in Tbilisi).
When I saw myself listed in Rustavelisociety’s newspaper ‘Mamuli’ as the party’s No. 6, it made me smile; nobody realized that I wasn’t planning on getting into parliament, and that I only wanted to support my fellow party members...
I’m not a man who likes honors, though I was glad to have such an opportunity. But when they gave me the special registration form and asked me to fill in my data, I refused to enter parliament, and many looked at me with suspicion; they must have asked themselves –What did we do to offend him so much?
But no, Sir, there was no offence taken at all.
I did what I could for my fellow party members, and I would have been happy if my place could have been taken by an economist, a jurist, or a politician.
gamixardeboda, radgan, ase megona, saqveyno saqmes parlamentSi isini ukeT aubamdnen mxars... Sevcdi!
mere da mere, roca TiTqmis yvelgan da yovelmxriv `monasteri airia~, roca sul axlad Sobili naninanatri damoukidebloba safrTxis winaSe daayena `fsevdoTavisuflebis~ TavaSvebulobam, roca es uJamobis qaosi adamiansa da adamianobas dasaRupad imetebda, roca mavani da mavani pirovnebis sisxlis analizs da maTi warmomavlobis am gziT dadasturebas iTxovda, ai, maSinRa vinane parlamentSi Seusvleloba, radgan amiT saqveynod gasacxadebeli saprotesto erTi xma Cems Tavs Tavadve wavarTvi... xolo roca yviTeli presis aCrdilma Cveni mwerlobis erTaderT tradiciul gazeTsac gadauara da ise moiwamla, toli aravis daudo, guli Camwyda da protestis Jini verafriT Cavicxre... iyo dro, roca arcTu iSviaTad gaigonebdi _ eTnikuri niSniT CvenTan aki arc aravin damcirebulao da warmoidgineT, aseTi Znelad warmosadgeni azric ki maSin ar gvaRizianebda, radgan im jojoxeTur sabWour yofaSic ufro `tolerantulebi~ viyaviT...
I thought that it would have been more appropriate, as they would better fulfill this public duty at parliament.
I was wrong!
Little by little, when almost everything collapsed in every possible way, when the long awaited and newly found independence was put under threat by dissolute “pseudo-independence”, when this chaotic epoch saw a failing to look after people and their human nature, when some people were asking for blood analyses in order to prove one’s origins, this is when I regretted not entering parliament, which is why I took the chance to raise my voice to protest... And when the shadow of yellow press attacked, the only respectable traditional newspaper we had at that time, and wrote horrible things of an unseen level, I became dispirited and couldn’t appease my wish to protest more... There was a time when you could quite often hear that no one was discriminated against in this country, and imagine that even this hard-to-believe opinion was no irritation to us at that time, because even in those hellish Soviet times, we were “tolerant”...
axla? amJamad ra xdeba?!
And now? What’s happening right now?!
Did we accept and are we using the computer, one of the first ambassadors of the establishment of globalization in this world, as a most ancient country with great culture and traditions should have?!
samyaros globalizaciis damamkvidrebeli Cveni erTerTi upirvelesi `mter-moyvare elCi~ kompiuteri _ viTom ise miviReT da vimsaxureT _ rogorc es ZvelTuZvelesi, didi kulturisa da tradiciebis Cvens qveyanas Sehferoda?! iqneb mxedvelobidan gvrCeba am eniT uTqmeli, progresuli SesaZleblobebis `manqanis~ meore, saxifaTo Riaoba, nebismieri ucxo Tu Sinauri mtris saasparezod rom qceula?!.
`SebrZandiT~ internetsa Tu `feisbuqSi~ da Tavzari dagecemaT...
maSinac ki, roca Cvens sakuTar samSobloSi arabi, sparsi Tu osmalo didi xniT batonobda, dampyrobelTa ers augiT aravin ixseniebda, miuxedavad imisa, rom maTi uRlisgan gaTavisufleba qveynis upirvelesi sawadeli iyo yovelTvis... gaixseneT istoria, gansakuTrebuli tolerantulobiT daviTis, Tamarisa da erekles epoqebi gamoirCeodnen, bagrationTa dinastiis am didebuli sameulis epoqebi... sxvaTa Soris, ramdenime wlis winaT `wlis tolerantad~ mec viyavi dasaxelebuli. amis gaxseneba, etyoba, erTi ramis saTqmelad Tu damWirda. es iyo oTxmocdaaTiani wlebis miwuruli, roca marTalia `kompiuteruli siZulvilis Sadrevani~ sayovelTaod jer kidev ar `Cqefda~, magram gansakuTrebiT teleJurnalistika am snebisgan `Tavisufali~ ver iyo... dadiodnen da gvekiTxebodnen _ meramdene Taobis Tbiliseli brZandebiTo... TiTqos es Tbiliseloba RvTiT boZebuli sxva ram jildo yofiliyo! mere, sul raRac erTi kviris `manZilze~, roca erovnul galereaSi ukve meore Jurnalistmac analogiuri kiTxviT mommarTa, vkiTxe, am uazro statistikis `Sesadgenad~ vinme axirebulis davalebas xom ar asrulebT-meTqi. samSoblo, Tavisi sasicocxlo organoebiT, erTi sxeuliviTaa. dedaqalaqi gulia misi. da vinc saqarTvelos nebismieri kuTxis Svilia da misi Sviloba, misi moqalaqeoba eamayeba, yvela Tbiliselia!
ise, Cemi ambavic Tu gainteresebT, me SuSanikis mayrions Camovyevi TbilisSi, qorwilSi qali momewona, davrCi aq... da mas mere, Cveni ori qristiani eris kulturas vemsaxurebi da dRemde arc `sxvaTa~ siyvaruli da msaxureba maklia.
Perhaps we have neglected another potential of this allcapable machine leading us to progress – its transformation into an arena for any foreign or local enemy.
Just go on the Internet or on ‘Facebook’ and you will be terrified...
Even when Arabs, Persians or Ottomans were dominating our territory, nobody referred to the occupying nations in a bad way, despite the fact that freeing ourselves from their yoke was always every Georgian’s foremost aspiration...
If we look back at history, at the reigns of King David, Queen Tamara and King Erekle, we see how the three great representatives of the Bagrationi dynasty distinguished themselves with remarkable tolerance...
I was almost considered “the most tolerant person of the year” a few years ago. I’m mentioning this in order to introduce the following story. It was at the end of the 90s, when, it has to be said, “computer hatred” wasn’t at its full yet, but TV journalism in particular was already doing the job...
They were coming and asking us from which generation our families had been established in Tbilisi... As if being from Tbilisi was a special reward from God himself!
When, after only one week, another journalist asked me the same kind of question at the National Gallery, I asked her if she was carrying out this “research” on the orders of some stubborn superior.
A country is like a body, with vital organs. The capital is its heart, and whoever is the child of any region of Georgia and is proud of being its citizen can be considered as coming from Tbilisi!
By the way, if you are interested in my own story, I came with the bridal suite of Shushanik (a christian martyr from the 5th century AD), I enamored a woman at the wedding, and I stayed... And since then, I’ve been serving the cultures of our two Christian countries, and they’ve been giving it back.
sofiko qeburia
netav ramdenjer unda Caxedo cxens sevdian TvalebSi, ramdenjer unda gadausva xeli mbzinav fafars, ramdenjer unda gauyaro fexi uzangs, ramdeni aRviris Tu unagiris kerviT daisisxliano TiTebi, rom araTu Tavisianad migiRos da Tvinierad dagemorCilos _ ara, metic, iseTad dagenaxos, rogoradac aravis unaxavs, samaradisod mxolod Senad, Seni samyaros nawilad iqces, sxvaTaTvis
How many times must one gaze into the sorrowful eyes of a horse, run one’s hand over its lustrous mane, place a foot in the stirrup, or endure the sting of bleeding fingers while fashioning a bridle or saddle, for the creature to not only accept you as one of its own and submit willingly, but also for you to perceive the horse as no one ever has before? To become an indelible part of your world, untouchable by others and beyond imitation? While running through the mountains and valleys,
SOPHIKO KEBURIA
cxeni. 104X130. tilo, zeTi. 1996 THE HORSE. 104X130. OIL ON CANVAS. 1996
xelSeuxeblad, vergasayalbeblad?! mTasa da velze erTad navardSi, mxedris Ronieri xeliT cxenis ferebasa da am oris erT mTelad gancdaSi, Tanxvedri ritmiT sunTqvaSi iSvnen irakli suTiZis _ „Cala“, „yabardouli“, `lurja~, „axalTequri“, `apaluza~, `xolstomeri~ da sxva, oqrosfrad Tu vercxlisfrad manaTobel-molivlive cxenebi. da ukve veRar xvdebi, mxatvarma moaTviniera isini tiloze Tu Tavad gadawyvites, gaendoT sakuTari arsi, Tavad gamocxadebodnen fermwers, Tavis mesaidumled gaexadaT „is“.
irakli suTiZis cxeni, viri, zebra, aqlemi, xari, mgeli, batkani Tu kalmaxi isevea danarCeni samyarosgan gancalkevebuli, personificirebuli, axlo xediT
the strong hand of a rider caressing the horse and feeling the two as one whole, within the harmonious rhythm of breathing, Irakli Sutidze’s horses were born, shimmering with golden and silver lights – “Chala,”“Kabardin,” “Lurja,”“Akhaltekuri,”“Appaloosa,”“Kholstomer,” and others. It becomes impossible to tell whether the artist tamed these majestic creatures on canvas, or if they, of their own accord, chose to reveal their essence, entrusting the painter with their secret.
Irakli Sutidze’s portrayals of horses, donkeys, zebras, camels, bulls, wolves, lambs, and even trout are distinguished from the ordinary world, personified and rendered in intimate detail, much like the iconic works of Niko Pirosmani. Yet, these creatures are filtered through the unique vision of another artist. They possess a duality that is both wild and tender, audacious yet fragile. They stand there, in silence, where the artist
devi. 78X91. tilo, zeTi. 2022 DEVI. 78X91. OIL ON CANVAS. 2022
naCvenebi da iqve xatad qceuli, rogorc niko firosmanis suraTebze, oRond aq isini sxva mxatvris TvaliTa da damokidebulebiT gvevlinebian. aris maTSi raRac erTdroulad veluric da saTuTic, gauxednavic da faqizic. garindulni dganan iq, sadac mxatvarma miuCina adgili _ cimcima kesanebiT mofenil, Calisfrad gaxunebul mindorze. es mxolod foni araa. es maTi habitatia, erTdroulad bunebrivic da mxatvrulic. mxatvarma is sagangebod maTTvis Seqmna, gamorCeuli rbili sinaTliT, notio siTboTi _ mzisgan gadRabnili mzeriT danaxuli garemo. am garemos ormagi ferweruli kideebi ise rbilad gadaedineba erTimeoreSi, xvdebi, rom
has designated – a straw-colored faded field adorned with shimmering forget-me-nots. This setting is not merely a backdrop; it is their natural and artistic habitat, crafted specifically for them. It is characterized by soft light and a humid warmth, viewed through a sun-drenched lens.
The dual pictorial boundaries of this environment flow together so effortlessly that it becomes evident the artist rejects confining the space within the frame’s limitations.The texture of the canvas or cardboard, enhanced with glazing techniques and broad strokes and scrapes from a palette knife, creates a multi-dimensional depth – as if these creatures might disappear there the moment you look away. As you look, they reappear, standing and allowing you to immerse yourself in a world beyond time, a world envisioned by Irakli Sutidze.
flora. 70X91. tilo, zeTi. 1998 FLORA. 70X91. OIL ON CANVAS. 1998
tyaSmafa. 91X130. tilo, zeTi. 1997 QUEEN OF FOREST. 91X130. OIL ON CANVAS. 1997
mizanSi srola. 65X52. tilo, zeTi. 2022 SHOOTING AT TARGET. 65X52. OIL ON CANVAS. 2022
mxatvars ar surs sivrcis CarCoSi momwyvdeva. tilos Tu muyaos faqtura lesirebis teqnikiT, mastixiniT dadebuli farTo monasmebis da anafxekebis wyebasTan erTad qmnis mravalSrian siRrmes _ iseTs, TiTqos Sig gauCinarebac SeeZloT am arsebebs, rogorc ki Tvals moarideb. Sexedav da kvlav gecxadebian, dganan da gacdian, auCqareblad datkbe irakli suTiZis mier gancdili, drois miRma arsebuli samyaroTi. aq verafers naxav wuTiers, droebiTs, warmavals. aq araferia TxrobiTi da xvdebi, rom cxovrebaSic sityvaZunwi da mokrZalebuli unda yofiliyo.
irakli suTiZis samyaro keTilia, zRapruli, miTebiTa da legendebiT gaJRenTili, aramiwieri da lamazi _ kentavrebiT, unikornebiT, mkerdmoReRili loyebRaJRaJa tyaSmafebiT, mindorTbatonis nebieri qaliSvilebiT, Ripiani devebiTa da maTi kekluci, mZivebasxmuli colebiT dasaxlebuli. netarad wamokotrialebulni, moWutuli TvalebiTa da odnavi RimiliT Semogvcqerian. TiTqos raRac ironiac sWvivis maT ierSi, oRond es TviTironiaa Tu Cveni, banalur yofierebaSi CaZiruli, momxmarebluri samyarosadmi ironia, _ mayureblisTvis migvindvia. visTvis _ rogor.
Here, nothing is momentary, transient, or fleeting. There is an absence of narrative, suggesting that the artist himself was perhaps reserved and modest in life.
Irakli Sutidze’s world is kind, enchanting, brimming with myths and legends, unearthly and beautiful. It is a place inhabited by centaurs, unicorns, forest fairies, voluptuous daughters of the lord of the field, bellied devis, and their coquettish, adorned wives. These fantastical beings gaze at us with narrowed eyes and slight smiles, as if amused. There is an undercurrent of irony in their expressions, though whether it is self-irony or a commentary on our consumerist world immersed in banal existence is left to the viewer’s interpretation. For each, it may mean something different.
The humor characteristic of Irakli Sutidze is evident even in the titles of his works, such as “Vozhdi” (not a “Leader”) and “Vozhdi’s Horse” (not the “Leader’s Horse”), which bring a smile to the viewer’s face. The Russian word “Vozhd” conjures the ironic exclamation “Hait!” almost instinctively, infusing the artwork with a cheerful charm. This playful spirit is also reflected in the inscriptions on his graphic sketches, with titles like “Dura” [fool], “Dochturi” [doctor], “Ribakic” [son of a fisherman] “Zvigenich” [son of shark] and “Sitting on a Kabardin.” These titles and inscriptions add a layer of whimsy and irony, inviting viewers to engage with the art in a light-hearted and reflective manner.
kalmaxi. 56X91. tilo, zeTi. 2000 THE TROUT. 56X91. OIL ON CANVAS. 2000
kukuSka. 78X130. tilo, zeTi. 2009
KUKUSHKA. 78X130. OIL ON CANVAS. 2009
irakli suTiZisTvis damaxasiaTebeli iumori misi tiloebis saTaurebidanac sCans: `voJdi~ (da ara `beladi~), `voJdis cxeni~ (da ara `beladis cxeni~) Rimils hgvris mnaxvels. am rusuli sityvis wakiTxvisas Tu warmoTqmisas TiTqos TavisiT modis gunebaSi ironiuli intonaciiT Seferili SeZaxili `hait!~ da maSinve xalisiani xibliT ivseba suraTi. an Tundac grafikul eskizebze gakeTebuli minawerebi rad Rirs: `dura~, `doxturi~, „ribakiCi“, „zvigeniCi“, `yabardoulze jdia~...
zogjer saTaurs wminda werilidan citata aqvs miwerili, mag.: `aqlemi~ _ `uadviles ars manqanisa sabeli xurelsa nemsisasa ganslvad~ (luka, 18.25, giorgi mTawmindelis redaqcia); an: `batkani~ _ `aha, RvTis kravi...~ (ioane, 1.29); `ucxo Citi~ _ `mixedeT frinvelTa cisaTa~ (maTe, 6.26); `ori Tevzi~ _ `da moiRo xuTi puri da ori Tevzi~ (maTe, 14.19); „Rvinis WurWeli~ _ `sarwyulni qvisani equsni mdgomareni...~ (ioane, 2.6). kiTxulob saTaurebs da xvdebi, rom es ubralod
spilo. 120X125. tilo, zeTi. 1997 THE ELEPHANT. 120X125. OIL
mxatvris fantaziiT Seqmnili cxoveli Tu sagani ki ara, aramed sakraluri Segonebebis, wminda werilis vizualuri gansxeulebebia.
80-ianelTa Taobis mxatvrebisTvis miTuri, bibliuri Tu zRapruli samyaro, saqarTvelos istoriuli warsulidan aRebul TemebTan erTad, ukuRmarTi realobisgan gasaqcev TavSesafrad iqca. sabWoTa kavSiris daSla gardauvali Canda. Zveli, sabWouri paradigmidan axal, ucnob momavalSi gadadgmuli nabijebi Tavisuflebas mowyurebul xalxs imediT avsebda. mxatvroba idealis Ziebam moicva. TiToeulma xelovanma sakuTari, warmosaxviTi oazisi Seqmna, Tavisi esTetikiT, ikonografiiT Tu teqnikuri `arsenaliT~. irakli suTiZe saTaviso „samoTxes“ istoriis wignebSic poulobda, wminda werilSic, raindul romanebSic,
Sometimes the titles of Irakli Sutidze’s works include quotes from the Holy Scriptures, adding a deeper layer of meaning. For example, “Camel” is paired with the phrase, “For it is easier for a trunk to go through the eye of a needle” (Luke 18:25, as edited by George the Hagiorite). Similarly, “Lamb” is accompanied by the verse, “Behold, the Lamb of God...” (John 1:29); “Foreign Bird” cites, “Look at the birds of the air” (Matthew 6:26); “Two Fishes” references, “Taking the five loaves and the two fish” (Matthew 14:19); and “Vessels of Wine” connects to, “Now there were six stone water jars...” (John 2:6). These titles suggest that the depicted animals and objects are not merely creations of the artist’s imagination, but rather visual embodiments of sacred admonitions and scriptural teachings.
For the artists of the 1980s generation, the mythical, biblical, and fairy-tale worlds, along with themes drawn from Georgia’s historical past, served as a sanctuary from a distorted reality. The collapse of
aqlemi. 52X65. tilo, zeTi. 2019
THE CAMEL. 52X65. OIL ON CANVAS. 2019
beberi Tevzi. 78X130. tilo, zeTi. 2008 / OLD FISH. 78X130. OIL ON CANVAS. 2008
xalxur TqmulebebSic da kesanebiT mofenil velze cxeniT jiriTSic.
swored iq dakrifa mxatvarma mindvris cimcima yvavilebi, Taigulad da gvirgvinad miarTva JRalTmian grZneul qals, romelic uyvarda. qeTi korZaxia misi samyaros jadoqari, haeri, niadagia, devis colicaa da tyaSmafac, Worfliani kalmaxic, abuzuli beRurac da samsxverplo batkanic. iyo... amieridan qeTi mxatvris xsovnis yvelaze erTguli mcvelicaa. ai, iraklim rom daxata, swored iseTi skivri... am zafxuls qeTim iraklis sxva namuSevrebTan erTad es skivric gamofina qarTuli saxviTi xelovnebis muzeumSi. iqve, Tivis Zirebze misive unagirebi gadakida, ferweras grafika, eskizebi da fotoebi daamata _ mxatvris mTeli samyaro Tu ara, misi nawili mainc gadagviSala. ase
the Soviet Union seemed inevitable, and the transition from the old Soviet paradigm to an uncertain future filled the people with hope and a thirst for freedom. In their quest for an ideal, painters delved into a search for a personal utopia. Each artist crafted his own imaginary oasis, defined by unique aesthetics, iconography, or technical “arsenal.” For Irakli Sutidze, this original “heaven” was found in history books, the Holy Scriptures, chivalric novels, folk tales, and in riding the horse through the field covered with forget-me-nots.
In that place, the artist gathered the vibrant flowers of the field and arranged them into a bouquet and wreath for the gingerhaired sorceress whom he loved. Ketie Kordzakhia, a witch of hisown world, embodies the air and soil; she is the wife of Devi and the queen of forest, the freckled trout, the stooped sparrow, and the sacrificial lamb. She was… From that moment on, Ketie became the most faithful guardian of the artist’s memory, a keeper of his legacy. Just like the chest that Irakli had drawn.
yabardouli. 84X105. tilo, zeTi. 1998 KABARDO HORSE. 84X105. OIL ON CANVAS. 1998
ucxo Citi. 104X78. tilo, zeTi. 2014 STRANGE BIRD. 104X78. OIL ON CANVAS. 2014
devis coli. 70X95. tilo, zeTi. 2002
DEVI’S WIFE. 70X95. OIL ON CANVASI. 2002
kameloti. 140X120. tilo, zeTi. 1998
CAMELOT. 140X120. OIL ON CANVAS. 1998
miuloca dabadebis dRe. Cven ki damSvidobebis saSualeba mogvca.
wels irakli suTiZes 70 weli Seusruldeboda. ar ewera. wavida, gauCinarda Tavis gaxunebul Calisfer mindorSi. iq daikava adgili, suraTis CarCos miRma. es mas uWiravs cxenis aRviri, ubralod Cven ver vxedavT... ver vxedavT, radgan yofierebaSi CaviZireT, mgrZnobeloba davkargeT, miTebi, zRaprebi, legendebi, Tqmulebebi daviviwyeT. da Tu sakuTari TavisTvis im gaxunebuli samyaros gacocxleba, Sexseneba daapiroT, irakli suTiZis tiloebs SexedeT. iqidan gamogxedavT devis didroni TvalebiT da qveda kuTxeSi miwerili inicialnacvalsaxeliT _ „is“.
This summer, Ketie displayed this chest, along with other works of Irakli, at the Georgian Museum of Fine Arts. There, she hung his saddles on haystacks, and added graphics, sketches, and photos to the paintings, offering a glimpse into the artist’s world – or at least a part of it. This was her birthday tribute to him, a farewell gesture for the rest of us.
This year, Irakli Sutidze would have turned seventy. He left, vanishing into his faded straw-colored fields, taking his place behind the picture frame. He is there, holding the horse’s bridle, but we do not see him. We cannot see him as we are lost in existence, having become desensitized, forgetting myths, fairy tales, and legends. If you vow to revive, to remember that faded world, just look at the canvases of Irakli Sutidze. There, he will gaze back at you with Devi’s huge eyes, with his initials – ”I.S.” – inscribed in the lower corner.
`voJdis~ cxeni. 91X117. tilo, zeTi. 2009 THE CHIEF’S HORSE. 91X117. OIL ON CANVAS. 2009
zRvarze ar esmiT, ara, Cemi qarTuli...
zaza TvaraZis literaturuli memkvidreoba dRemde ar aris saTanadod dafasebuli. `masobrivi~ mkiTxvelisTvis misi inovaciaTa buneba Seucnobelia. Tavis droze, CemTvisac namdvili Soki iyo `wiTeli ZaRlebis~ wakiTxva, magram raRacam maiZula, am avtoris nawerebs dakvirvebiT CavRrmavebodi. ase `aRmovaCine~ zaza TvaraZe. 90-ianelTa Taobis prozaikosebi Tanamedrove Tbilisis, zogjer erTmaneTisgan mkveTrad gansxvavebuli, magram mainc Cinebuli `koloristebi~ arian.
zaza TvaraZis Tbilisi sakmaod pirquS da fantasmagoriul qalaqad warmogvidgeba; sizmarSi nanaxs ufro waagavs, vidre realur dedaqalaqs, romelic mTeli TaobebisTvis sanatreli `mcire samSobloc~ iyo, dedamiwis zurgze usayvarlesi adgilic da sulieri navsayudelic. mweralma moTxrobaTa pirveli krebulis saTauri `moxetiale~ (1999 w.) Zalze zustad SearCia, radgan misi personaJTa umravlesoba swored rom `moxetialeni~ arian. Sin misasvlelad maT didi gzis gavla uwevT, zogjer ki ikargebian maTTvis sruliad ucxo, absurdul garemosa Tu metros ararsebul sadgurebSi moxvedrilni.
zaza TvaraZis filosofiuri, inteleqtualuri proza, Txrobis TavSekavebuli, mSrali da mkacri stili ufro siRrmeebis wvdomas isaxavs miznad, xolo mkiTxvels araerTxel Caafiqrebs sakmaod rTuli qveteqstebi da simbolika.
cxovrebis sizmareuloba, amaoeba, adamianis maradiuli mimoqceva mojadoebul wreSi, mistikurisa da yofiTis, realurisa da daujereblis `mSvidobiani~ Tanaarseboba, aRqmis konstantobis rRveva, yofis absurdulobisa da tragizmis SegrZneba, da, ra Tqma unda, metyvelebis Sesabamisi stili, _ ganapirobeben zaza TvaraZis moTxrobebis sirTules da mkiTxvelisganac garkveul inteleqtualur daZabvas iTxoven.
salvador dalis paradoqsebidan gansakuTrebiT mizidavs erTi maTgani _ `nu cdilob Tanadrouli gamoCnde, esaa _ vai rom! _ erTaderTi ram, rasac, rac ar unda ecado, ver gaeqcevi~ (`erTi geniosis dRiuri~, jumber TiTmerias Targmani). zaza TvaraZes arasodes dauCemebia ultraTanamedroveoba, es arc esadageboda mis bunebas. mcirericxovan interviuebSic mxolod Tavmdabali,
zaza TvaraZe
keTilad ganwyobili, araambiciuri avtori Cans, romelic sakuTari Tavis mimarT maqsimalur momTxovnelobas avlens.
araerTgzis SeuniSnavT, rom avtoris pirovnuli, yofiTi fizionomia zogjer Zireulad gansxvavdeba misi Semoqmedebisgan. rogorc Cans, zaza TvaraZec am rangis mweralTa ricxvs miekuTvneboda; Tamaz Cxenkelis Tqmuli moviSvelioT: `mis TvalSi fasi dahkarga RirebulebaTa didma nawilma da es maSin, roca SenarCunebuli hqonda moyvasTa mimarT siyvaruli da saTno guli~. amgvari ambivalenturoba (siyvaruli _ siZulvili, mrisxaneba _ mimtevebloba, sarkazmi _ Sebraleba da sxv.) misi prozisa da poeziis Tanamdevia. mis nawerebs erTianad msWvalavs Tanadroulobis mZafri gancda; misi Txzulebani am mxriv ganuyofelia. samwuxarod, Semoqmedebis zenitSi myofi zaza TvaraZe ver moeswro misi wignebis gamocemas. 2008 wels, 51 wlis avtoris gardacvalebis wlisTavze `bakur sulakauris gamomcemlobam~ dastamba misi `sityvebi~, rubrikiT _ `yvela drois saukeTeso qarTuli mcire romani~; xolo 2016 wels _ `licenzonenburgi. moTxrobebi. piesa~. daumTavrebel poemas `mxiarul landebs~ (gamomcemloba `nekeri~, 2011 w.) araferi etyoba dausruleblobisa, literator manana jiqias ZalisxmeviT, niWiT, unariT da, rac mTavaria, meuRlesTan sulieri Tanaziarobis wyalobiT, poema TavisTavadi Rirebulebis mqone, `daumTavrebel savsebad~ warmogvidga.
`mxiaruli landebi~, rogorc ityvian, `kbilebis RrWialiT~ dawerili aRsareba Tu tragikuli anderZia... SoTa iaTaSvili zaza TvaraZis Semoqmedebas moiazrebs
Cveni drois `poeturi welTaRricxvis~ erT-erT niSansvetad (ix. `mxiaruli landebis~ winasityvaoba `bedisweris mravalwertili~), poemas mware tragikomediad aRiqvams, _ uimedo isteriiTa da nevroziT.
TviTmxilvelis mowmobiT, `mxiaruli landebi~ iwereboda didxans, simwriT, wvalebiT. zaza gamudmebiT asworebda ukve dawerils, umatebda da aklebda nawilebs. mas undoda, bolomde gamoexata is, rac duRda mis gulSi, rac Trgunavda, aRizianebda, agiJebda, poemaSi ar aris arc erTi umarTlo sityva, SeniRbuli Tavismotyuebis aranairi
lali avaliani
aCrdili, egotizmis nasaxi. aris simware da uaryofa, uaryofa imisa, riTac moculia yvela da yvelaferi...“
poema, zogadad, Cveni istoriis da, kerZod, bolo aTwleulebis anareklia: marTali, ukompromiso, gabeduli, gajerebuli tkiviliT, undoblobiT, uilajobiT da frustraciiT.
mTavari ki, albaT isaa, rom `weras atanili~, zRvarze myofi avtori emociuri zemoqmedebis did Zalas flobs, iseT uSret energias da vnebas asxivebs, rom mkiTxvels gasaqans ar aZlevs...
swored amitom uwodes zaza TvaraZes `poeziis salosi~; `roca es davwere, `mxiaruli landebi~ wakiTxuli ar mqonda, es nawarmoebi ki, SeiZleba iTqvas, rom misi salosuri Zeglia, misi mTavari salosuri qmnileba, amaze meti ukve SeuZlebelia!~ (SoTa iaTaSvili).
zaza TvaraZe SeuTavseblis SeTavsebis, SeusabamobaTa Sexamebis ostatia. maqsimalurad `aRvirawyvetili~, ekleqtikuri poema mainc mTlianobaSi aRiqmeba da mkvidrad Sekruli kompoziciis iluziasac badebs (`mxiaruli landebis~ qvesaTauria `11 saga eqoebiT da finaliT~). avtori aris: mamxilebeli publicisti, sarkastuli
da mkacri polemisti, realisti da mistikosi, moTamaSe da mistifikatori, fantomebis kunstkameris mflobeli, leqsTwyobis eqsperimentatori... da yovelive es emorCileba `nakads~ _ mouxelTebel fenomens: `leqsi ar aris sityvebi _ ar aris riTmebi, ar aris metaforebi da saerTod, araferi ar aris! leqsi aris raRac nakadi, romelic sadRac daiwyo... es nakadi uxilavia~ (fragmenti misi interviudan).
SoTa iaTaSvilma, romelic `mxiarul landebs~ `wminda wylis Sedevrs~ uwodebs, sxartad da lakonurad daaxasiaTa poema da avtoris `literaturul Tu enobriv decitaciebs~ marTebulad miuCina jerovani adgili: `poema mimdinare qarTuli yofisa da misi mankierebebis did speqtrs ireklavs, yovelive amas literaturuli Tu enobrivi decitaciebis daxmarebiT hyveba, hyveba jadoqrulad, erTdroulad mxiarulad da sastikad~. poemis pirquS garemos da zogjer gausaZlis fons ki `TamaSi~ da ironia aneitralebs: satira da sarkazmi, TviTironia, e.w. karnavaluroba, wreze uazro triali xan haqslis `masxruli ferxulis~ asociacias iwvevs, xanac felinis `rvanaxevrisa~.
poema 11 sagisgan Sedgeba: avtori zogis Sinaarssa Tu saTaurze Tavad migvaniSnebs, zogis saxelwodeba mxolod savaraudoa: saga RameTa, saga dilisa, saga warsulis, saga landebis, saga mSobluri, saga balaxTa, saga (parodiuli) faseulobaTa Canacvlebaze, knini Tanamedroveobis saga, winaparTa saga, mijnurTa saga, saga sawuTros simuxTleze, saga cis miraJze, etlTa-bedisweraTa saga, 90-iani wlebis qarTuli saga, saga wertilze, finaluri saga... sagaTa `Tematika~, mTels poezias miesadageba _ antikuri da bibliuri samyarodan dRemde. da yovelive es, erTob uCveulo nairferovani interteqstis moSveliebiT, gaazrebulia qarTvel da araqarTvel (SedarebiT iSviaTad) poetTa xedviT.
esaa warsulis poeziis xelaxla gaazrebis, gadafasebisa Tu `gamarTlebis~ mcdelobac da romantikuli namyos dasamarebac; esaa SeuniRbavi mxilebac damdablebuli, mdabiuri, CixSi momwyvdeuli Tanamedrove komerciulkoniuqturuli arzac-xelovnebisa; esaa usamano tkivili WeSmariti mwerlobis devalvaciis gamo, esaa `ukuRmarTuli~, magram mainc `qarTuli~ axlo warsulis monatreba da didi winamorbedebis dauZleveli nostalgia. vis ar SexvdebiT `mxiarul landebSi~: galaktionsa da bloks, iliasa da vaJas, mixeil javaxiSvilsa da tician tabiZes, akakisa da daviT kldiaSvils, paolo iaSvilsa
da valerian gafrindaSvils, nikoloz baraTaSvilsa da daviT guramiSvils, rusTavelsa da Tagors, edgar posa da apokalifsis mwvane mxedars, ioseb griSaSvilsa da irakli abaSiZes, kolau nadiraZesa da gogla leoniZes, simon Ciqovansa da ana kalandaZes, `wminda ninos cxovrebis~, antikuri miTologiis, qarTuli folkloris personaJebs da bibliur gmirebs. Satobrianis `ukanasknel abenseraJs~ da goeTes fausts... did winaprebTan (winamorbedebTan) Sexmianeba zogjer uSualoa: Tqven, Cemno orno winamorbedno, / uZvirfasesno didno papano, / qarTul bneleTSi da yiameTSi / mzis naTliT saxe-gadanabanno...
* * *
win gamiZexi, gmiro mgosano, didxans mdumare nuRa iqnebi: gvWirdeba mxolod hune frTosani da siorZile blagvi riTmebis...
* * *
Sen, vinac Zalad moikal Tavi Tbilisis daRlil qaris TareSSi,
visac mogtiris gaubedavi munji msaxuri, pirisfareSi...
avtors maTi gadauxdeli vali awevs:
TviTon vali gaqvs Zvel poetebis da sul amaod ancob da celqob...
erTaderTi sfero, sadac poets srulyofileba da harmonia eguleba (`zecisa da miwis Serwyma~), qarTuli mwerlobaa. swored amitom mieltvis warsuls `samoTxidan gamoZevebuli~ Semoqmedi.
_ saqarTveloSi ca da miwa arasodes gayrilan, Cven axlac gulgrilad vumzerT idealizmisa da materializmis duels; poeziis cisfer yvavils saqarTveloSi Rero mudam wiTeli hqondao, _ ase miaCnda ociode wlis tician tabiZes (axla, roca mavanni `zemodan~ dahyureben cisferyanwelebs, miCndeba kiTxva: icnoben ki gamowvlilviT maT Semoqmedebas an, saerTod, qarTuli literaturis istorias?!)
maqsimalistisa da maradiuli disidentis zaza TvaraZis (dRevandel qarTvelobas, Cveuli daurideblobiT `brmebis legions~ rom uwodebs) yvelaze didi tkivili poeziis gzis gamrudeba da sakuTari `xelmocarvaa~: mec albaT unda davsva wertili, / ver SevZle zecis da miwis Serwyma...
paTetikuri wiaRsvlebi Zalze iSviaTia: ufro xSirad, citacia parodirebis, ironiuli gaTamaSebis, azris yiramala amotrialebisTvisaa gamoyenebuli: „wiTel ZaRlebis veluri xrova / damSral ReleSi isvris nafotebs: / `amxanagebo! axla ki droa / Tqveni Tavebic sadme dagordes!“
aseTi enobriv-stilisturi parodia (rogorc mixeil baxtini ityoda _ `Segnebuli hibridi~), sruliadac ar gaxlavT TviTmiznuri; esaa faseulobaTa gadafasebisa Tu
Canacvlebis diskursi. zaza TvaraZis survils, _ yvelaferi moecva am didi poemiT, rogorc Cans, unda Canacvleboda `wertildausmelobis mtanjveli egzistencia adamianSi~ (SoTa iaTaSvili).
misi poema imiTac aris unikaluri, rom masSi weris, Txzvis procesis, leqsTwyobis eqsperimentuli variaciebis `ambavia~ moTxrobili; SemoqmedebiTi, `laboratoriuli~ Ziebani, TxzulebaSive, Cven Tvalwin isxamen fer-xorcs. moZvelebuli sityva `tamburmaJori~ (mTavari medafdafe frangul jarSi), `JorasTan~ dawyvilebuli, _ umwvaves sarkazms rom gamoxatavs, amaSi yvela dameTanxmeba. `es mTvareuli da miraJebiT mTvrali eris~ arCevania (Tu aradani?).
ase mgonia, rac ufro mets vfiqrob am poemaze, miT ufro iolad misxlteba xelidan misi Canafiqri: erTmaneTisgan radikalurad gansxvavebuli tonaloba, moulodneli zigzagebi, amaRlebulisa da damiwebulis xSiri monacvleoba.
erTi monakveTi mama-papuri qoqolas dayra, ufro gadapranWulad rom vTqva, tragikomikuri inveqtivaa:
waiRes tvini nihilistebma, bazrobis xmebma waiRo Wkua, qarTulma rokma, popsam da repma waiRo yuri da daayrua.
SeWames guli farisevlebma, erisSvilebma, jilagma, jiSma, SeWames guli, dalies suli (mendeT, aq `suli~ arafers niSnavs).
gaaSres sisxli cru raindebma, cru wmindanebma waiRes zahla, CarTav sinaTles _ ar ainTeba, gaxval quCaSi _ viRaca dagklavs...
rogorc Cans, avtors `Tilismurad~ akinZuli poemis damTavreba ewada:
_ maS kargi! kmara! davsvaT wertili! davafiqsiroT boloSi gvari...
`izmebis~ moyvarulT, SesaZloa, daebadoT kiTxva, miekuTvneba Tu ara zaza TvaraZis Semoqmedeba egzistencializms? amis Taobaze hoc iTqmis da arac; radgan mis nawerebSi TiTqmis Tanabrad daiZebneba argumentebi pro et contra. rac umTavresia, zaza TvaraZe 90-iani wlebis `axali talRis~ Rirseuli Semoqmedia; mis inovaciaTa gaTvaliswineba axalgazrdul poeziasa da prozasac didad waadgeba.
dexviris arqeologiur-eTnografiuli muzeumi Ria cis qveS
`dexviris arqeologiur-eTnografiuli muzeumi Ria cis qveS~ leCxumSi, sofel dexviris Tavze mdebareobs. sofeli dexviri ekuTvnis cageris municipalitets da cageridan 3 kilometriTaa daSorebuli. muzeumi mdinareebis _ cxeniswylisa da rionis wyalgamyofi qedis wverzea, dexviris goraze, zRvis donidan daaxloebiT 1000 m-is simaRleze da ulamazesi xedebi aqvs yvela mxridan. dexviris arqeologiur-eTnografiuli muzeumi Ria cis qveS istoriuli `sadexviros~ teritoriaze 2013 wels
dafuZnda. is am profilis (arqeologiur-eTnografiuli) erTaderTi muzeumia saqarTveloSi. muzeumis amgvari koncefcia ganapiroba misma istoriulma mdebareobam da arqeologiur-eTnografiulma garemom _ muzeumi garemoculia sami periodis arqeologiuri ZegliT _ gviani brinjaos xanis, antikuri periodis, Suasaukuneebis, eTnografiuli sayofacxovrebo nagebobebiTa da artefaqtebiT. muzeumis teritoriaze dacul kulturuli memkvidreobis uZrav Zeglebs _ `dexviris cixeTa
nino sulava
kompleqss~ saqarTvelos mTavrobis dadgenilebiT (# 533) erovnuli mniSvnelobis kategoria mieniWa. mcire istoriul mimoxilvas Tu daveyrdnobiT, dexviri werilobiT wyaroebSi pirvelad ixsenieba XVII saukunis II naxevarSi. gamoCenili qarTveli geografi, istorikosi da kartografi vaxuSti batoniSvili, avtori samecniero Txzulebisa, _ `aRwera samefosa saqarTvelosa~, romelSic moTxrobilia saqarTvelos istoria uZvelesi droidan XVIII saukunis Sua xanebamde, dexviris cixes da mis mniSvnelovnebas ase aRwers _ `leCxumis saSualsa, cxeniswylis zeiT kldezed ars cixe kldesa zeda Seni, dexviri, Tavi Takuerisa (anu centri leCxumisa _ n.s.), rameTu romelsa upyravs igi, morCilebasa missa Sina arian sruliad~ (qc 4: 749,4-6). dexvirs radgan Takvers ukavSirebda, vaxuSti batoniSvili Tvlida, rom dexviris cixe Sua feodaluri xaniT SeiZleba daTariRdes. misive azriT, dexviris cixis strategiul mniSvnelobaze misi mdebareobiT SegviZlia vimsjeloT, radgan igi md. cxeniswylis xeobidan md. lajanas xeobaSi mimaval gzebs akontrolebda. aqedan kargad Cans cageris qvabuli da lajanas xeoba, anu leCxumis ori provinciis (`queynis~), ori xeobis, `gadaRma leCxumisa~ da `gadmoRma leCxumis~ udidesi nawili (qc 4: 749,4-6). dexviris cixis mflobelis TvalsawierSi eqceoda samegrelosken, svaneTisa da raWisken mimavali gzebic. gvian SuasaukuneebSi dexviris flobis mniSvnelovnebaze miuTiTebs isic Tu XVI-XVIII saukuneebSi dexviris cixis gamo rogor ecilebodnen erTmaneTs imereTisa da samegrelos samTavroebi _ XVIII saukuneSi leCxumi da dexviris cixe samegrelos samTavros
SemadgenlobaSi Sevida; 1717-1718 ww. beJan dadianma Tavisi Zma manuCari daamwyvdia dexviris cixeSi (qc 4: 878,23); 1703-1711, 1714-1716, 1718-1720 ww. igive beJan dadianma dexvris cixeSi gamoamwyvdia imereTis mefe giorgi VI-is colyofili Tamari (qc 4: 882,22); xolo 1802 wels kvlav imereTis mefe solomon II-m daikava da Sig 17 mecixovne Caayena; ramdenime wlis Semdeg igi ruseTis xelisuflebam kvlav samegrelos mTavars daubruna.
dexviris gegma dasavleT saqarTvelos sxva mniSvnelovan cixeebTan erTad aRniSnulia ucnobi avtoris dasavleT saqarTvelos rukaze (imereTis samefos ruka), romelic 1737 wliT TariRdeba. gegmis mixedviT, igi ori sxvadasxva zomis erTmaneTisgan daSorebuli ramdenime sarTuliani koSkisgan Sedgeboda da SemosazRvruli iyo maRali galavniT (T. beraZe).
iohan giuldenStedti dexviris cixes moixseniebs im punqtebs Soris, romlebic qalaqs edrebian.
m. alaviZisa da d. berZeniSvilis mixedviT, sadexviro ewodeboda rion-cxeniswylis wyalgamyof qedze aRmarTul dexviris cixes eqvsi sofliT: cxeTa, lasxana, Txizurga, lesindi, laSata, wilamieri (zogierTi cnobiT CvalbeCic); XIX saukunis sabuTebis mixedviT sadexviro 9 soflisgan Sedgeboda. d. berZeniSvilisve aRweriT, dexvirSi SemorCenili cixis nangrevebi, romlebic mTel sadexviros dahyurebs da azidul borcvebze nagebi masiuri koSkebi, romlebsac galavani aqvs Semovlebuli da mogvianebiT damatebiT terasulad ganlagebuli zRudeebi uCndebaT, dexviris irgvliv mTliani sistema unda SeeqmnaT. dexviri gvian Sua saukuneebSi leCxumis centri unda yofiliyo,
`leCxumis Tavis~, `leCxumis batonis~ ZiriTadi sayrdeni (alaviZe 1951: 27, 128; berZeniSvili 1983: 37, 66).
xalxuri gadmocemis Tanaxmad wm. maqsime aRmsarebeli Tavdapirvelad dexviris cixeSi mosula, xolo mezobel sof. CxutelSi misi saxelobis mamaTa monasteri arsebobda; rac aq, dexvirSi, adreqristianuli samSeneblo fenis arsebobis varaudis saSualebas iZleva. amas dexvirSi gamovlenili akldamis saZirkvlis savaraudo TariRic uwyobs xels da am teritoriis gansakuTrebul mniSvnelobaze miuTiTebs. sainteresoa n. maris mier gamoTqmuli mosazreba, rom _ Takჳriis cixe _ dexviria. Tumca, s. yauxCiSvilis azriT, maqsimes erT-erTi mowafe TakჳriaSi (cagerSi) iyo moTavsebuli (s. yauxCiSvili 1941). z. kiknaZis kvlevis Tanaxmad, maqsimes miTosi adgilobrivi leCxumuri warmoSobisaa. misteria, maqsimes miTis safuZvelze imarTeboda dexviris soflebis monawileobiT. sadexviros istoriis retrospeqtulad moTxrobiT, gviani Suasaukuneebidan moyolebuli, mivuaxlovdiT im
adreul monacemebs, sadac ukve arqeologia ambobs Tavis sityvas _ sadexviros teritoria mniSvnelovani iyo Zv.w. I aTaswleulidan moyolebuli gviani Suasaukuneebis CaTvliT. cageris istoriul muzeumSi wlebis ganmavlobaSi Sedioda masalebi sadexviros teritoriidan _ brinjaos zodi, kolxuri culi, lagami da boTliseburi sakinZi, antikuri xanis samarxeuli masalebi _ aleqsandre makedonelis stateri da misi minabaZebi, brinjaos mcire zomis figurebi, sxvadasxva masalisgan damzadebuli mravalferovani mZivebi da sxv. sadexviros teritoriaze, yvaviqedas ferdze gasuli saukunis 60-70-ian wlebSi ori arqeologiuri eqspedicia Catarda arqeolog lamara saxarovas xelmZRvanelobiT _ gaiTxara antikuri xanis cxeTis samarovani (exla nasoflaria), romelic moicavs Zv.w. IV-ax.w. IV saukuneebs da kolxuri nasaxlari, romelic TariRdeba Zv.w. VIII-V saukuneebiT.
samarovani moicavda epoqisTvis damaxasiaTebel artefaqtebs, rogoricaa _ brinjaos samajurebi da sayure rgolebi, tansacmelTan dakavSirebuli nivTebi, mZivsamkauli, rkinis iaraRi, keramikuli WurWeli. gamTxrelis skrupulozuri savele dRiuris mixedviT arqiteqtorma (i. esvanjia) moaxerxa gaTxrebis situaciuri gegmis aRdgena samarxebis ganlagebiT. nasaxlarze aRmoCnda didi raodenobiT tipuri kolxuri keramika, qvis mcire zomis unikaluri yalibi, romelic gankuTvnili iyo kolxuri marTkuTxa brinjaos abzindebis Sesamkobeli svastikiseburi sainkrustacio firfitebis Camosaxmelad, widebi, ori sacxobi Rumeli da marcveulis danaxSirebuli grovebi. 2012 wlamde sadexviros teritoriaze arqeologiuri samuSaoebi ar Catarebula. am wels SemTxveviTma aRmoCenam (sur. xari) safuZveli daudo arqeologiuri samuSaoebis ganaxlebas. daiwyo dexviris cixeebis Seswavla (arqeologebi r. isakaZe, S. buaZe) _ gaiwminda safortifikacio nagebobebis nawili da gamovlinda marani (sur. marani), gaiTxara mcire nagebobis saZirkveli (eklesia Tu akldama), gakeTda sadazvervo Txrilebi dexviris dedacixis irgvliv da mimdebare teritoriaze SemTxveviT aRmoCenili brinjaos xanis savaraudo warmomavlobis (samarxiseuli?) dasadgenad.
2014 wels gagrZelda samuSaoebi kolxuri nasaxlaris arealSi.
2015 wels im adgilas, sadac 1962 wels gamovlinda cxeTis samarovani, romlis masalac monografiulad Seswavlilia da gamoqveynebulia, teritoriis uxucesma mflobelma ufleba mogvca kvlav gvesinja bedi. amjerad gavTxareT antikuri xanis 5 samarxi (arqeologi n. sulava). 2018 wlis CaTvliT Seswavlilia 18 samarxi.
2016 wels sadazvervo Txrilis gavlebisas adgil gvarinaze gamovlinda axali samarovani, sadac Seswavlilia qalis samarxi Zv.w. IV-III ss-T daTariRebuli mravalferovani inventariT _ brinjaos samajurebi, beWdebi, rgolebi, fibula, zarakebi da mZivebi.
2017 wels, gvarinaze, ramdenime metris moSorebiT qalis samarxidan, iqve, Tanamedrove gzis piras, gamovlinda gvianbrinjao-adrerkinis xanis samarxis naSTi am periodisTvis damaxasiaTebeli brinjaos inventaris narCenebiT _ Tmis spiraluri xviebis, qinZisTavebisa da raRac foTliseburi nivTis fragmentebi. rogorc Cans, samarxis ZiriTadi nawili gzis gayvanisas dazianda. es pirveli SemTxvevaa leCxumSi am xanis samarxis aRmoCenisa.
2019 wels amave teritoriaze warmoebuli gaTxrebis Sedegad mxolod erTi samarxi aRmoCnda Suasaukuneebisa, romelic dazianebuli iyo CaSvebuli ori qvevriT.
aseTia is konteqsti, arqeologiuri garemo, rac akravs dexviris arqeologiur-eTnografiul muzeums Ria cis qveS.
koncefcia, rac muzeumis Seqmnis safuZvelia,
kompleqsuria _ arqeologiuri garemos gamovlena da Seswavla, eTnografiuli yofis aRdgena, da bolos, yovelive amis safuZvelze saswavlo saganmanaTleblo centris daarseba. am Canafiqris etapobrivi ganxorcieleba araerTi proeqtiT vcadeT, radgan perspeqtiva didia.
upirveles yovlisa, igegmeboda: _ muzeumis Tundac elementaruli infrastruqturis mowyoba _ sainformacio banerebi, dasasvenebeli merxebi, Wis Semosva.
_ dexviris cixeebis gawmenda-konservaciis Semdeg da Zv.w. VIII-V ss-is nasaxlaris arqeologiurad Seswavlili ubnebis damcavi gadaxurvebis mowyoba.
_ muzeumis teritoriaze antikuri xanis cxeTis samarovnis rekonstruqciis modelis instalacia (avt. sulava, esvanjia 2021).
eTnografiuli da kulturuli turizmis konteqstSi igegmeboda:
_ leCxumis yurZnis (usaxelouri, colikouri), xilisa da marcvleulis (maxa, zanduri) adgilobrivi unikaluri jiSebis gaSeneba saCvenebel nakveTebze, risi STamagonebelic iyo vaxuStis gamonaTqvami _ `Tumca ars leCxumi mTis adgilad Tqmuli, garna ars venaxiani,
xiliani, movals yovelni marcvalni Tჳnier brinjbambisa...~.
_ leCxumuri saxlis restavracia eTnografiuli inventariTa da sadegustacio marniT. etapobrivi proeqti _ `dexviris Ria cis qveS muzeumis prevenciuli samuSaoebi, infrastruqturuli elementebi da adgilobrivi mosaxleobis roli~, Setanil iqna kulturis saministroSi 2017 wels da upirveles yovlisa ori Zeglis prevencia unda ganxorcielebuliyo _ `dexviris Ria cis qveS arqeologiur-eTnografiuli muzeumis prevenciuli samuSaoebi (Suasaukuneebis marani da eklesia)~, romelmac samwuxarod ver miiRo dafinanseba. proeqtis ganxorcielebiT _ daculi iqneboda kulturuli memkvidreobis Zeglebi; muzeumi popularuli da mimzidveli gaxdeboda turistebisTvis da aqtiurad Caebmeboda turistul marSrutSi; adgilobrivi skolebisTvis SesaZlebeli iqneboda Ria gakveTilebis (sakvirao skola), sportuli TamaSebisa da kostumirebuli eTnografiuli xasiaTis festivalebis mowyoba, rac aamaRlebda kulturuli memkvidreobis Zeglisadmi axalgazrdebis damokidebulebas; adgilobrivi mosaxleoba dasaqmdeboda rogorc muzeumis samSeneblo samuSaoebsa da suvenirebis warmoebaSi, aseve adgilobrivi produqtis miwodebaSi turistebisTvis, riTic gaizrdeba maTi Semosavlis wyaro. kulturuli memkvidreobis
Zeglis statusis mqone muzeumis Zeglebis prevenciiT, adgilobrivi mosaxleobis CarTviT am saqmianobaSi, dasaqmebiT, turistul marSrutSi aqtiurad CarTulobiT, amaRldeboda regionis kulturul-socialur-ekonomikuri done.
arqeologiuri garemos gamovlena da Seswavla, mcire dafinansebis miuxedavad grZeldeba: iTxreba cixeebi; antikuri xanis cxeTis samarovanze 2015-2018 wlis CaTvliT Seswavlilia 18 samarxi da eqsponirebulia cageris istoriul muzeumSi. 2016 wels ax.w. I saukunis samarxis saaRapo WurWelSi palinologiuri kvlevis Sedegad dadasturda Rvinis naSTebi (palinologi m. WiWinaZe). es aRmoCena unikaluria, radgan avsebs saqarTveloSi Rvinis kulturis aTaswleulebis tradiciis jaWvis erT rgols dexvirSi 2000 wlis winandeli Rvinis naSTis aRmoCeniT. es pirveli da erTaderTi SemTxvevaa leCxumSi uZvelesi 2000
wlis winandeli, Rvinis dadasturebisa. da bolos, Cveni yvelaze didi Canafiqria, rac muzeumis Seqmnis koncefciis safuZvelia, da rac zemoT ukve vaxseneT _ saswavlo-saganmanaTleblo centris daarsebaa. aq arqeologiur gaTxrebze imuSaveben rogorc adgilobrivi, aseve sazRvargareTidan Camosuli studentebi da mecnierebi, leqciebs moismenen da codnas gauziareben erTmaneTs. gaimarTeba samecniero konferenciebi, rogorc adgilobrivi masStabis, aseve saerTaSoriso, sadac warmodgenili iqneba samecniero miRwevebi Zveli kolxeTis da masTan dakavSirebuli preistoriuli samyaros qveynebis arqeologiasa da sabunebismetyvelo kvlevebSi. vfiqrobT es Canafiqri, uaRresad did rols Seasrulebs mTiani kolxeTis umSvenieres kuTxeSi _ leCxumSi, misi kulturulsaganmanaTleblo-socialuri standartebis amaRlebaSi.
sofiko qeburia
kaci Ronieri xelebiT
SOPHIKO KEBURIA
A MAN WITH STRONG HANDS
arqeologiuri artefaqtebi, istoria, miTebi, legendebi, matiane, qronikebi, adamianebi... moqandake gia jafariZe maT nakvalevs mihyveba da roca saTqmels Caswvdeba, Ronier xels CasWidebs, maSinve myar formas aZlevs, Tixis, qvis an brinjaos „memorialad“ aqcevs. mexsiereba myife ramaa. neironebis ablabudaSi momwyvdeulma warsulma daviwyeba icis. ai, Tixa, qva, brinjao _ xsovnis ukvdavyofis saSualebaa, SesaZloa xelovanis individualuri warmosaxviT saxecvlili, magram drois qariSxlebis mimarT gamZle.
Archaeological artefacts, history, myths, legends, annals, chronicles, and people – Sculptor Gia Japaridze traces their footsteps with meticulous care. Once he fully comprehends his subject, he seizes it with a firm hand and swiftly brings it to life, rendering it into a clay, stone, or bronze monument. Memory is a fragile thing; the past, confined within the intricate web of our neurons, is easily forgotten. Yet clay, stone, and bronze serve as vessels for immortalising memory – perhaps altered by the artist’s imagination, but steadfast against the ravages of time.
jer kidev bavSvobaSi, raWaSi, gia jafariZe carcnarevi qvisgan Tlida naTesavebis portretebs. ardadegebze, imereTSi _ ayalo (wiTel) miwas zelda. maSin gaugo gemo masalis Camoqnas, modrekas, damorCilebas. Semdeg pionerTa sasaxleSi zaqro krawaSvils daemowafa. dRemde madlierebiT ixsenebs. samxatvro akademiis studentobisas (1962-1968 ww.) nikoloz kandelaki eubneboda Turme _ „konstruqcia unda icode, rom forma igrZno da xorci Seasxao“. imasac eubneboda, „me rom damemsgavso, saflavSi gadavbrundebi, Sen Seni Tavi ipoveo.“ da iseve, rogorc „msuye da ferxorciani“ burdelis moswavlem, „xorcganZarcvulma“ da „gamomSralma“ alberto jakometim, gia jafariZemac monaxa pedagogisgan gansxvavebuli, sakuTari stili. ufro sworad, stilizaciis formebi.
Zalian mravalferovani eqsperimentatori gamodga. ai, ferwerisTvis wamyvani saSualeba xom feria, grafikisTvis xazi, qandakebisTvis _ forma. gia jafariZe am dargebis mxatvrul enebs Soris zRvars Slis _ xan sqeli mavTulis „konturebiT“ moxazavs siluetebs da maSin isini
Even as a child in Racha, Gia Japaridze carved portraits of his relatives from limestone. On holidays, he would mould the red soil in Imereti. It was then that he first experienced the sensation of working with and shaping material. Later, he became a student of Zakro Kratsashvili at the National Youth Palace, a period he recalls with gratitude. When he studied at the Academy of Arts (1962-1968), Nikoloz Kandelaki would say, “You have to understand construction to feel and embody form.” He also told him, “If you become like me, I’ll roll over in my grave; you must find yourself.” Just like Alberto Giacometti, the “fleshless” and “dried-out” student of the “full and fleshy” Bourdelle, Gia Japaridze found his own style, distinct from his teacher’s – specifically, forms of stylisation.
He turned out to be a highly versatile experimenter. Colour is the primary medium for painting, line for graphics, and form for sculpture. Gia Japaridze blurs the boundaries between these artistic languages – sometimes drawing silhouettes with thick wire “contours,” which read as graphic signs, almost like pictograms of the “Argonauts” or the “Trojan Horse.” Other times, he transforms figures into pictorial objects, adorning their surfaces with enamel and semiprecious stones. In the sculptor’s workshop, one encounters a variety
grafikul niSnebad, „argonavtebis“ an „troas cxenis“ lamis piqtogramebad ikiTxebian; xan ki figuras ferwerul obieqtad aqcevs, minanqrisa da naxevradZvirfasi qvebis zedapiriT.
moqandakis saxelosnoSi uamrav sxvadasxva masalas waawydebiT _ brinjao, spilenZi, Zvirfasi liTonebi, xe, qva, oniqsi, minanqari, tonirebuli TabaSiri da Sereuli keramika. ostati, maTi faqturuli da feradovani kontrastebiT harmoniis ZiebaSi, xelSi stekiT, skalpeliT, CaquCiT, greinderiT, pnevmaturi iaraRiT, avtogeniT, argonis da eleqtroSeduRebis aparatiTa da bolos zumfariT, xan saCamomsxmelo cexSi dgas, xan gamosawvav RumelTan. Zerwavs, asxams, aduRebs, Wedavs, aprialebs... xSir SemTxvevaSi konstruqcia gia jafariZisTvis TviTkmaria. SeiZleba mZime iyos da materialuri an piriqiT, haerovani da dinamikuri. yvela Temas calkeuli
of materials: bronze, copper, precious metals, wood, stone, onyx, enamel, toned plaster, and mixed ceramics. In pursuit of harmony through the contrasts of texture and colour, the master alternates between the forge and the furnace, wielding a range of tools: staff, scalpel, hammer, grinder, pneumatic instruments, autogen, argon, and electric welding machines, and finally, sandpaper. The process involves sculpting, casting, welding, forging, and polishing… In many cases, construction is self-sufficient for Gia Japaridze. It can be substantial and material, or conversely, light and dynamic. Each subject demands a distinct approach. For instance, the figure of a woman or a horse should exhibit plastic grace and elegance. At times, he distorts the form, making it appear contracted, fragmented, or brittle. He enjoys extending proportions and pushing stylisation to its limits.
Balzac has Frenhofer say: “The mission of art is not to copy nature, but to represent it. You are not an abject copyist, but a poet… It is
midgoma emCneva. qalisa Tu cxenis figura plastikurad moxdenili da graciozuli unda iyos. zogjer formas kumSavs, texils, msxvrevads xdis. uyvars proporciebis dagrZeleba da stilizaciis ukiduresobamde miyvana. balzaki aTqmevinebs frenhofers: „xelovnebis misia is ki araa, rom sinamdvile gadaxato, aramed is, rom igi gamoxato! Sen aslis beCavi gadamRebi ki ar unda iyo, aramed _ poeti!.. Cven unda daviWiroT movlenaTa azri, suli, xasiaTi. STabeWdilebani!.. forma ufro mouxelTebeli da ufro uxvia Tavisi aTasgvari variaciebiT... mxolod xangrZlivi brZoliT Tu aiZuleb mas, gaCvenos Tavisi namdvili saxeo.“
mixeil TumaniSvilis namdvili saxe xom arc anatomiur parametrebSi yofila da arc xmel proporciebSi. reJisoris xasiaTi, Sinagani buneba, xatovani fiqrebi, SemoqmedebiTi artistizmi swored aseT mixra-moxraSi, poza-JestSia _ angariSmiucemlad, ayiravebul skamze jdomaSi, msaxiobTan saubrisas energiulad gawvdil xelSi, portfelSi rom udevs, im CanawerebSi.
mixeil TumaniSvilis Zegli kinomsaxiobTa TeatrTan; „deda-Sviloba~ _ WavWavaZis gamzirze, 55-e skolasTan; karibWe, „arlekini~ da sxva, aw ukve ganadgurebuli figurebi _ mziuris kompleqsSi; „apoloni da muza“ _ aRmaSeneblis gamzirze skverSi; lomebi _ galaktionis xidze; „axalgazrdoba“ _ baraTaSvilis xidze; „dionise“ _ ritualebis sasaxlis win; saiaT-nova vaxtang gorgaslis moedanze...
CamoTvla gagvigrZelda, magram aseTia gia jafariZis Tbilisuri „topografia“. dadixar qalaqSi da gzadagza mis qandakebas awydebi. umetesoba dRes turistul RirsSesaniSnaobadaa aRiarebuli, magram stumari modis da midis. masze metad Cven gvWirdeba esTeturad moxdenili qalaqi. arc mxolod esTetikaSia saqme. Tu obieqts „margi qmedebis koeficienti~ ar gaaCnia, maSin arc moqandakisTvisaa saintereso. gia jafariZisTvis isaa mniSvnelovani, Tu vis an ras aniWebs ukvdavebas. aRtacebis gareSe arafers akeTebs. Tavad unda gaitacos ideam an pirovnebis Rvawlma, formad rom aqcios. es an konkretuli adamiania, romelmac kvali datova, an zRapris, qarTuli folkloris Tu antikuri miTis personaJi, romelzec Taobebi izrdeba, an krebiTi figuratiuli saxe-xati, silueti, romelic Tvals mogtacebs, xedvas gagikeTilSobilebs. yvela SemTxvevaSi, esaa urbanul garemos eleganturad morgebuli forma, azrobrivi da plastikuri aqcenti, dasmuli iq, sadac sivrce mis gareSe ukve warmoudgenelia. gia jafariZis qandakebebi qalaqis samkaulebad iqca. TiTqos araa cota, magram kargi xom arasdrosaa bevri. amitomac, xelovanma Tbiliss kidev erTi sivrce aCuqa _ sakuTari saxelosno aqcia galeread, romelic dazguri, kameruli qandakebisTvisaa gankuTvnili. kedlebze grafikaa,
our mission to seize the mind, soul, and countenance of things and beings. Effects! The form is more authentic and richer in its myriad variations only if you compel it to reveal its true face through a prolonged struggle.” The true essence of Mikheil Tumanishvili was not found in anatomical measurements or dry proportions. Rather, the director’s character, inner nature, figurative thoughts, and creative artistry are reflected in his gestures and postures – such as sitting on a leaning chair, extending his hand energetically while speaking to an actor, and in the notes he keeps in his portfolio.
Monument to Mikheil Tumanishvili near the Theater of Film Actors; “Motherhood” on Chavchavadze Avenue, near the 55th school; “Harlequin” in the Mziuri complex; “Apollo and Muse” on Agmashenebeli Avenue; Lions on the Galaktion Bridge; “Youth” on the Baratashvili Bridge; “Dionysus” in front of the Palace of Rituals; SayatNova on Vakhtang Gorgasali Square…
We may have listed quite a few, but this represents the Tbilisi “topography” of Gia Japaridze. As you walk through the city, you come across his statues. While many are recognised as tourist attractions today, visitors come and go. We need these statues more than the tourists. It’s not merely about aesthetics; if an object lacks “energy conversion efficiency,” it is not of interest to the sculptor. For Gia Japaridze, it is important to whom or what he grants immortality. He undertakes projects only when inspired by an idea or the
sadgamebze _ skulptura.
_ am namuSevrebis Semxedvares, gegoneba, altamiras asakis iyoT. _ veubnebi xumrobiT.
_ Cven yvelani altamiradan movdivarT... win unda gaixedo, oRond im saZirkvelidan, rac winaprebma Segiqmnes.
marTlac, gia jafariZe Tavis TavSi itevs saTaveebis gamocdilebasac (paleoliTi, arqaika, etruskebi...) da xvalindel dResac, arqetipebsac da Tanamedrove formebiT miseul TamaSsac.
saxelosnoSi ramdenime sadgamze misi momavali proeqtebis eskizebia _ TabaSirSi Tu brinjaoSi
Camosxmuli moculobiTi modelebi. erT-erTi, romelze muSaobac gia jafariZem axlaxans daasrula, cxenebze amxedrebuli quji da farnavazi arian, Targamosis ZeTa, egrosis da qarTlosis STamomavalni. pirveli _ vinc pirad ambiciebs saqarTvelos samefoebis gaerTianeba amjobina, meore _ vinc qarTvelebs qoronikoni da damwerloba mogvca, maRla aRpyrobil xelSi gragniliT. am gragnilze saqarTvelos istoriis qronikebia, Rirseuli mmarTvelobis matiane. mefeebi, vinc imad gvaqcia, ranic varT, Tavis adgils elian sadme, STamomavalTa TvalsawierSi, Ria sivrceSi, im miwa-wyalze, romelze zrunvaSic ganlies cxovreba. es Cven gvWirdeba da ara maT _ Rirsebis magaliTi, „Sublis ZarRvi~ rom ar gagviwydes. pativis migebas elis don qristoforo de kastelic,
significance of a person, transforming it into a form. Whether it’s a notable individual, a character from a fairy tale, Georgian folklore, or an ancient myth on which generations have grown up, or a collective figurative icon that captures and enhances the visual experience, his work is always an elegantly integrated feature of the urban environment – a thoughtful and sculptural accent in spaces where it otherwise seems unimaginable.
The sculptures of Gia Japaridze have become jewels of the city. It might seem that there is no such thing as too much of a good thing. That’s why the artist has given Tbilisi another space – by turning his own workshop into a gallery intended for easel and chamber sculpture. The walls are adorned with graphics, and there are not a small number of sculptures displayed on stands.
– “Looking at these works, one would think you were from the time of Altamira,” I say jokingly.
– “We all come from Altamira… You have to look ahead, but from the foundation that your ancestors created for you.”
Indeed, Gia Japaridze holds in his mind the experience of the beginnings (Paleolithic, Archaic, Etruscan) and the promise of tomorrow, playing with forms and merging archetypes with modern expressions.
On several stands in the workshop are sketches of his future projects – voluminous models cast in plaster or bronze. One of these, recently completed by Gia Japaridze, is Kuji and Farnavaz riding horses – descendants of Togarmah’s sons, Egros and Kartlos. The first – who preferred the unification of the kingdoms of Georgia to his personal ambitions, and the second – who gave Georgians the Koronicon (calendar system) and writing system, the one who made us who we are,...holding scrolls high in their hands.
Inscribed on this scroll are the chronicles of Georgia’s history, detailing the annals of noble governance. The kings who forged our identity await their rightful place before their descendants, in the open air, on the very land and waters they dedicated their lives to safeguarding. It is we, not they, who need this reminder – an enduring example of honour, ensuring that we do not lose our sense of conscience.
me-17 saukunis Teatineli beri. TiTqmis ocdaaTi weli gaatara saqarTveloSi da es qveyana Tavis satrfod aRiara. gia jafariZis proeqtiT, daRlili mamakaci skverSi zis. zurgsukan misive dRiuris Canaxatia marmarilos stelaze amotvifruli. kalTaSi rveuli udevs, romelSic uamravi saintereso ram Cawera Cven Sesaxeb _ evropelis TvaliT danaxuli saqarTvelos avkargi. ase gadauxada moqandakem madloba ucxo qveynisTvis damaSvral misioners. TbilisSi, wereTlis gamzirze mdebare erT-erTi skveri italieli beris mSobliuri, TbilisTan daZmobilebuli qalaq palermos saxels atarebs. Canafiqris Tanaxmad, swored iq unda Camojdes misioneri. esec xom Cven gvWirdeba, da ara mas _ mexsiereba da madlierebis grZnoba rom ar davkargoT. gia jafariZe qarTuli kulturis mematianea, istoriis mcveli, kaci Ronieri xelebiT, romelic Tvlis, rom kacobrioba xelovnebis gareSe ver Sedgeboda.
Don Cristoforo de Castelli, a 17th-century Theatine monk, is also awaiting honour. He spent nearly thirty years in Georgia and came to regard this country as his beloved. A weary old man sits in the garden, as envisioned by Gia Japaridze. His own sketch is engraved on a marble stele at the back. A notebook rests on his lap, filled with observations about us – the good and the bad of Georgia as seen through the eyes of a European. This is the sculptor’s way of honouring the missionary, worn out from a distant land. One of the gardens on Tsereteli Avenue in Tbilisi is named after Palermo, the native city of the Italian monk, which is twinned with Tbilisi. According to the sculptor’s idea, this is where the missionary is intended to be seated. This is something we need, not him, to ensure that we retain our memory and sense of gratitude.
Gia Japaridze is a chronicler of Georgian culture, a guardian of history, and a man with strong hands who believes that humanity could not exist without art.
yvelaferi isea, rogorc unda iyos
EVERTYHING IS AS IT SHOULD BE
musikis _ gitaris, sinTezatoris da dasartyamebis (gansakuTrebiT mkveTrad _ dramis TefSebis) xma jer kidev maSin ismis, sanam yvelaferi daiwyeba (TiTqos sadRac repeticiaa). da Semdeg aRar wydeba, dasasrulamde. dasasrulamde ki Soria da bevri ram moxdeba. mravalni xazgasmiT aRniSnaven da mec vityvi (radgan es erT-erTi da sagangebod Segnebulad gansazRvruli faqtoria), rom „qalaqis Teatris“ axali speqtaklis qronometraJi oTxi saaTia (zogjer metic), erTi antraqtiTa da plus _ 24.00 saaTze _ gamosamSvidobebeli Tavis dakvrisTvis gankuTvnili wuTebis xangrZlivobis damatebiT. myari konstruqciis, zust „meqanikaze“, mkafiod gansazRvrul tempo-ritmze, improvizaciebsa da gaTamaSebul improvizaciebze, interaqciaze awyobili speqtaklis Semdeg ki, aplodismentebis xangrZlivoba imazea damokidebuli, rogor wavida im dRes warmodgena da vin, rogori auditoria ijda darbazSi.
„qalaqis Teatris“ (es axali, axalgazrduli da axali Taobis Teatri, SemoqmedebiTi amocanebis mimarTulebiT,
Everything is as it should be: the guitar, synthesizer/sampler (?), and drums – particularly the cymbals – can be heard even before the performance begins, almost as if a rehearsal is taking place nearby. And then, the music continues without pause until the very end. But we are far from the end, and much will unfold in the meantime. Many have noted, and I must also mention (as this is one of the most deliberate choices), that the new production at the “City Theatre” runs for four hours (sometimes even longer), with one interval. Additionally, at midnight, a few minutes are set aside for the final farewell chapter.
The performance is built on a solid structure, with precise mechanics, a carefully defined tempo and rhythm, moments of improvisation, and rehearsed interactions. The length of the applause depends on how the show unfolds that day, and, of course, on the type of audience seated in the hall.
The play Berserks II - Sunny Side (produced by “Haraki”) has been added to the already diverse and dynamic repertoire of the City Theatre. (This new youth-oriented theatre, driven by unique creative tasks, distinct principles, and an unconventional operational system,
lela oCiauri
LELA OCHIAURI
cxovrebisa da qmediTi sistemis Taviseburi wesebiTa da principebiT, calke saubris Temaa) sakmaod uxv da Wrel repertuars mimatebuli speqtakli _ „berserkebi II _ mziani mxare“ (kompania „harakSi“, hainer miuleris mixedviT dadgmuli „berserkebi I _ misias“ Semdeg) qarTul saTeatro sivrceSi axalgamoCenil, reJisor giorgi jamburias meore speqtaklia saqarTveloSi (germaniaSi saqmianobis paralelurad) da pirvelTan erTad, axali da TavisTavadi Teatraluri azrovnebisa da xedva/xelweris gamoCenis morigi dasturia CvenSi. „mziani mxare“ _ „berserkebis“ [damoukidebeli proeqtis, xuT nawilad Cafiqrebuli ciklis (produserebi _ mariam paiWaZe, lizi tyeSelaSvili) II nawilia], 1970-1990-ianelTa Taobis mweral qeTi niJaraZis romanisa da misi, sxva Janrisa da tipis nawerebis/Canawerebis mixedviT. (qeTi niJaraZe da misi Semoqmedeba aseve calke saubrisa da ganxilva-Sefasebis, gadafasebis, dagvianebuli, magram yuradsaRebi Temaa). gasceniurebuli teqstebi TiTqos dRiurebia, XX saukunis 70-90-iani wlebis siSoridan, mogonebebis, gancdebis, SegrZnebebis anabeWdebi da
is a topic worthy of separate discussion.) After the production, based on Heiner Müller’s Berserks I - Mission, this is the second work by Giorgi Jamburia, who has recently made his mark on the Georgian theatre scene, balancing his work in both Georgia and Germany. Together with his first play, this new production further confirms the rise of a fresh, original theatrical perspective and distinctive directorial style.
Sunny Side, the second part of Berserks [an independent project envisioned as a five-part cycle (producers: Mariam Paichadze, Lizi Tkeshelashvili)], is based on a novel by Keti Nizharadze, a writer from the 1970s-1990s generation, along with her works from other genres and forms of writing. (Keti Nizharadze and her oeuvre are themselves deserving of separate discussion, evaluation, and longoverdue recognition). The texts staged in the play resemble diaries from the 1970s to the 1990s, capturing memories, emotions, sensations, and episodes from the life of the protagonist/author and the country. These personal reflections are interwoven with the memories of others, narratives from different voices, and both historical and contemporary descriptions.
The central thread, which drives the narrative, is the life of a young
epizodebi _ protagonistis/avtorisa da qveynis cxovrebidan, romlis „qargaSi“ sxva/sxvebis mogonebebi, sxvebis gadmocemebi, istoriuli da Tanadrouli aRwerilobebia CarTuli.
ZiriTadi, rogorc gamWoli moqmedeba, axalgazrda qalis cxovrebis xazia (nini iaSvili) da mis „saxesa“ da bedisweras misdevs. pirovnebis, sakuTari da ganumeorebeli samyaros arsebobis niSnebiT _ Tanamedrove samyaroSi, rogorc diskriminaciis, moraluri da fizikuri Zaladobis msxverplisa da droisa Tu saerTo, sazogadoebrivi „kanonebis“ CarCoebidan amovardnili axalgazrda qalis.
movlenebis rigi, ZiriTadad, avtoris mogonebebzea awyobili, cxovrebis im fragmentebze, romelnic bevris cxovrebas „imeoreben“ da samyaroSi, Tvalsa da xels Sua rom iryeva, viRacis cxovrebis mdore dinebas an dasasruls gviCvenebs. nini iaSvili aramorCili, Tamami, damkvidrebuli wes-Cveulebebis winaaRmdeg Sinagani TavisuflebiT dajildoebuli da moazrovne personaJis saxes mkveTri da araerTgvari niuansebis erTobliobiT agebs da yvela process, faqtobrivad, marTavs. misi ambavi TiTqos piradia da Tan bevris analogiur, msgavs an asociaciur istorias imeorebs an upirispirdeba.
woman (Nini Iashvili), tracing her journey, her “face” and fate, as she navigates her own unique existence in the modern world. She is portrayed as a victim of discrimination, both moral and physical violence, and the pressures of time, embodying the plight of a young woman who has fallen outside the bounds of societal “laws.”
The sequence of events is primarily drawn from the author’s memories, fragmented pieces of their life that “recur” and reflect the experiences of many in a world marked by instability, revealing the swift passage or sudden end of a life. Nini Iashvili crafts the image of a rebellious, bold, and contemplative character, endowed with inner freedom, standing against established customs. Through a sharp and nuanced performance, she takes control of every aspect of the unfolding events.
Her story appears deeply personal, yet it echoes or mirrors the experiences of many others, or even stands in contrast to them. In its shadow and parallel, images of public life – perceived and portrayed in various ways – also disintegrate, creating a complete cycle of individual and collective portraits, illuminated only by fleeting, weak rays of sunlight (occasionally bright). Sometimes, the searchlight breaks through the darkness of this world and the “reign of darkness” within people.
Berserks II: Sunny Side is a visual and physical manifestation of the director’s thoughts, attitudes, and perceptions. The presentation is a mix of elements from an asynchronous world (accompanied by asynchronous music, live performances by Zurab Babunashvili and Sandro Tediashvili), yet it follows an internal logic, blending reality with imagination. It explores reactions to events and the subsequent reactions to those reactions, emphasizing an emotional response over factual accuracy. The result is a highly dynamic and impactful experience, both literally and figuratively.
The setting is predominantly dark, with a stark black-andwhite palette pervading the environment, costumes, and props. Costumes by Tamara Maglaferidze, who also designed the set, contribute to the cohesive vision of the director. A golden, nonluminous painted sun rises over this monochrome space. Black, non-standard roller tables, both above and below the surface, become central to the action.
The entire auditorium functions as part of the set, featuring primary and secondary elements, and windows without curtains. Behind the bare glass, the “real” environment – such as the theater yard and nearby buildings – can be seen. This external space changes with variations in lighting or weather, such as rain, wind, or calm. This integration of the outside world into the performance underscores the presence of the “other,” hinting that similar stories and dramas are unfolding beyond the stage.
On the back wall of the stage, there are graphic images featuring various figures, child-like drawings, Georgian-English inscriptions, reminiscent of stencils, alongside of an uneven, irregularly shaped sun with rays. This wall, like the rest of the set, “comes alive” intermittently.
The action is driven by a group dressed in black (Sofiko Gvimradze, Gvantsa Enukidze, Mariam Gabunia, Eto Aleksashvili), resembling
mis CrdilSi da paralelurad, sazogadoebis cxovrebis suraTebic (Taviseburad aRqmuli da damontaJebuli) iSleba, individualuri da zogadi portretebis jamuri cikliT, romelsac mzis mxolod susti sxivebi (iSviaTad, kaSkaSa), da isic drodadro, anaTeben. zogjer proJeqtoris Suqi arRvevs am samyaros sibnelesa da adamianebSi „wyvdiadis meufebas“.
„berserkebi II. mziani mxare“ reJisoris fiqrebis, damokidebulebebis, aRqmebis vizualuri, plastikuri gamoxatulebaa. aCexili, awewili, TiTqos asinqronuli samyaros (asinqronuli musikis TanxlebiT, zurab babunaSvilis da sandro TediaSvilis cocxali SesrulebiT), magram Sinagani logikiT, asociaciebiT ganpirobebuli, raRac ararsebul realobas _ sinamdvilesa da nafiqrals Soris. reaqcia movlenaze da Semdeg reaqcia reaqciaze. ufro emociis emociuri aRqma, emociuri mexsiereba da ara imdenad faqtis fiqsacia. da es yvelaferi Zalian xmaurobs, Zalian qmediTia. pirdapiri da gadataniTi mniSvnelobiT. aq umetesad bnela. arc ferebia. yvelaferi Savi da TeTria _ garemoc, kostumebic, rekvizitic (kostumebi _ Tamara maRlaferiZe, dekoraciac misive, reJisoris myari koncefciis gamomxatveli). am mxareSi, romelsac Tavze oqrosferi, aramanaTobeli, daxatuli mze adgas. Savi, arastandartuli formisa da konstruqciis gorgolaWebiani (moZravi) magidebi, moqmedebis ZiriTad adgilebad iqcevian _ zedapirzec da mis qvemoTac. darbazis mTeli sivrcec, praqtikulad, dekoraciaa, ZiriTadi da „gverdiTi“ datvirTviT; fanjrebic (fardebis gareSe), romelTa `SiSvel~ minebs miRma arsebuli „realuri“ garemo, Teatris ezo da `raRac~ Senobebi sCans. gare sivrce imis mixedviT icvleba (SeiZleba Seicvalos), anaTebs Tu ara, romeliRac, arc ise Soreuli oTaxis sarkmelSi naTura, an, rogori amindia _ wvims, qaria Tu simSvidea. amas moqmedebaSi „sxva“, namdvili cxovrebis fragmentebic, arsebobis faqti Semoaqvs, SexsenebasaviT, rom iqac igive SeiZleba xdebodes, iqac viRacis ambavi miedineba, SeiZleba, iqac igive drama TamaSdeba. scenis/darbazis ukana kedelze TiTqos bavSvis xeliT mijRabnili araTanabar, uswormasworo formisa da sxivebian mzesTan erTad, sxvadasxva figuris grafikuli gamosaxuleba da qarTul-inglisuri minawerebia (stensiliviT). es kedelic (rogorc yvelaferi garSemo) drodadro „aqtiurdeba“ da „cocxldeba“. moqmedeba mihyavs Savsamosian qoros (sofiko gvimraZe, gvanca enuqiZe, mariam gabunia, eTo aleqsaSvili), romlis wevrebic svavebs gvanan, an yornebs (jdomis maneriTac, plastikiTac da metyvelebis TaviseburebiTac), da maT sakuTari bediswera aqvT da Tavad arian `bediswera~. isini periodulad, „protagonistebad“ an meore-mesame personaJebad iqcevian. cvlian Janrs, „ampluas“, Sesrulebis xerxsa da maneras. maT gverdiT, movlenebis gamtaris misia
cinereous vultures or ravens in their posture, movement, and speech. They embody the concept of fate, often becoming protagonists or secondary characters. They shift genres, roles, and performance styles throughout the play.
Accompanying them are the main and secondary male “heroes” (Mate Khidesheli, Temo Rekhviashvili, Beka Khachidze, Irakli Chkhikvadze), who frequently alter their appearances and roles, both collectively and individually. These actors portray characters with diverse natures, types, functions, and tasks, which also shift throughout the performance. For instance, Mate Khidesheli presents a unique, free-form anecdote about Ocho and Bombora, while he and Gvantsa Enukidze deliver a well-staged etude of Adjarian lovers in “shairi” form. The actors also explore gender transformations (notably Beka Khachidze’s impressive female disguises) and portray a range of characters from grotesque and parodic to dramatic and tragic.
The director subjects the actors to intense demands, and in turn, they, along with the musicians, push the audience to the limits both morally and physically. The performance involves relentless and aggressive dialogue, delivered in a fresh, non-traditional acting style. This dialogue is characterized by its continuous, climactic intensity, extending in duration and pronunciation to the point of exhaustion.
akisriaT, aseve araerTxel saxe da poziciaSecvlil _ mTavar da meorexarisxovan „moqmed“ mamakac „gmirebs“ (maTe xideSeli, Temo rexviaSvili, beqa xaCiZe, irakli CxikvaZe), erTad da damoukideblad, saerTo wridan gasvliT. isini warmoadgenen sxvadasxva xasiaTis, tipis, funqciis, amocanis mqone personaJebs _ romlebic aseve icvlebian (vTqvaT, maTe xideSelis, araordinalurad da Tavisufal maneraSi moTxrobili, oCosa da bomboras anegdoturi istoria, an aWareli Seyvarebulebis „gaSairebis“ formis, mSvenivrad dadgmuli etiudi, maTe xideSelisa da gvanca enuqiZis mSvenivrad gaTamaSebiT). isini „icvlian“ sqessac (beqa xaCiZis, qalebad mSvenieri gadacma/gardasaxvebi) da personaJebad mravldebian, groteskidan, parodiidan dramamde, saxasiaTo da utrirebul, tipur da tipaJur personaJebamde da SeiZleba, tragediamdec. tragediis gmirebamde.
reJisori „Zaladobs“ msaxiobebze da Semdeg isini, musikosebTan erTad, „prototipebis“ wesebisa da Tvisebebis mixedviT, Zaladoben mayurebelze da aramxolod moralurad, „fizikuradac“. dausrulebeli da agresiuli saubriT, kidev ufro usasrulo da agresiuli, axal,
The actors, including Irakli Chkhikvadze and Beka Khachidze, engage in monologues that are vigorous and dynamic, sometimes reaching the point where they might need a physical or moral break, such as water or lemon juice.
The musical score is not merely a background element but, along with the musicians, acts as a full-fledged and constant participant in the performance. The music, which can be cacophonic, delirious, or meditative, plays a role akin to that of a prompter – always present in the shadows, eagerly awaiting its own solo performance.
The central and secondary roles shift rapidly and unexpectedly. Despite this apparent disorder, the sequence of events is structured within a solid system, even when the actors improvise or feign improvisation, expressing spontaneous or involuntary thoughts.
The dialogue covers a wide range of topics: past and present events, life, theatre, those working in theatre; music, relationships, dogs, love, loneliness, pain, doctors, abortion, each other, families, friends, places, and the passage of time.
The conversation flows endlessly with varying intonations and
arabanalur samsaxiobo manerasa da xarisxSi Sesrulebuli, „saetapo“, uwyvet kulminaciur registrSi warmoTqmuli, „zRvars gacdenili“ (xangrZlivobiTa da warmoTqmis intensiuri, dinamikuri, energetikuli maneriT, xmis CaxleCamde, wylisa Tu limonis wvenis miSvelebac rom sWirdebaT da albaT, xangrZlivi fizikuri Tu moraluri Sesvenebac), irakli CxikvaZisa da beqa xaCiZis monologebiT; uwyveti „kakafoniuri“, deliriuli Tu meditaciuri musikaluri foniT. ufro zustad, musika, ara foni, aramed, musikosebTan erTad, speqtaklis sruluflebiani da mudmivmoqmedi monawilea. TiTqos mudam CrdilSi myof sufliorTan erTad, romelsac iseve, rogorc yvela moqmed gmirs, bolos solo gamosvla elodeba. centraluri da meore xazis rolebi/saxeebi swrafad da moulodnelad icvlebian. Tumca, movlenebis, erTi SexedviT, uwesrigo rigi, sakmaod myar sistemaSia moqceuli, maSinac ki, rodesac msaxiobebi improvizeben an `viTom~ improvizeben da spontanur, uneblie, Tu im wams gaelvebul fiqrebsa Tu azrebs axmovaneben. isini saubroben yvelaferze, rac xdeboda da xdeba _ cxovrebaze, Teatrze, adamianebze, romlebic TeatrebSi arian dasaqmebuli; musikaze, urTierTobebze, ZaRlebze, siyvarulze, martoobaze, tkivilze, eqimebze, abortze, erTmaneTze, ojaxebze, megobrebze, adgilebze, warmaval droze...
dausruleblad grZeldeba sxvadasxva intonaciiT, arabunebrivi xmebiT, Tu „gulamoskvniT“ teqstebis gasrola, xazgasmulad specifikuri metyvelebiT, arastandartuli da araCveuli maxvilebiT sityvebze, bgerebze, maTi TavisTavadi warmoTqmis maneriT (ritmi. motorika).
TiTqos ara adamianebi/msaxiobebi, aramed irealuri, xazgasmiT xelovnuri, pirobiTi Strixebis erTobiT awyobili meqanikuri „Tojinebi“, miTuri arsebebi arian, romeliRac iluzorul garemoSi. zogjer da umetesad, monologebs, dialogebsa Tu calkeul frazebs mkafiod da xazgasmuli „agresiiT“, sixSiriT warmoTqvamen. xmamaRla, erTad, individualurad, sinqronSi an asinqronulad; kontrapunqtulad da organulad. mSvenivrad gaTamaSebuli scenebia. Tavisuflad da laRad. maTi da mTlianad speqtaklis saerTo da gamokveTili niSani swored es _ aseTi _ Tavisufleba da silaRea. zogjer teqsts musika faravs, zogjer teqsti faravs teqsts, zogjer sityvebi „iylapeba“, erTi da igive gawelil da swrafad monacvle tempo-ritmze agebuli epizodebi (cal-calke da erTad) usaSvelod grZeldeba. avanscenis da moqmedebis ZiriTad adgilebs miRma msaxiobebi mudmivad midi-modian, daexetebian. roca undaT da roca „gaaxsendebaT“. an vTqvaT, sigaretis mokideba sWirdebaT (bevrs ewevian), an vTqvaT, namwvis Caqroba / Caferfleba, an vTqvaT, SemTxveviT aweuli maisuris
unnatural sounds. When the actors speak “from the heart,” their speech is marked by emphatic specificity, unconventional language, and spontaneous rhythm and motor skills.
The actors often appear not as people, but as unreal, distinctly artificial, mechanical “dolls,” created from a series of stylized, mythical elements within an illusory setting. Monologues, dialogues, or individual phrases are delivered with varying degrees of emphasis and frequency – sometimes clearly, aggressively, or with synchronized and contrapuntal rhythms. There are wellexecuted scenes that are performed freely and engagingly. The defining feature of both the actors and the performance is their sense of freedom and audacity.
At times, the music overpowers the text, and at other times, the text overshadows the music. Words may be “swallowed,” and episodes – whether performed individually or collectively – continue with a consistent, fast-paced rhythm.
Behind the main stage and action areas, actors move in and out of the scene as they please. Whether they need to smoke a cigarette (which they do frequently), extinguish a cigarette stub, adjust a shirt, or raise a boot collar, they do so without concern for formalities. They sit along the side walls or deep within the stage, engaging in conversations off to the side. They enter and exit the hall, drink water, coffee, or possibly alcohol, and sometimes break glasses or make noise. They write or scribble on the walls. Essentially, their behavior reflects the natural chaos of a theater environment, whether in a conventional or highly unconventional play. Some actors, alone and in solitude, often wander the hall, moving towards and away from the exit. Similarly, musicians may also move around, contributing to the ongoing activity.
Characters who are not actively involved in a scene and have a brief respite are still visible to the audience and become distinct presences in their own right. Sometimes, nothing significant happens, and the audience, left waiting for the action to resume, observes silent, live interactions occurring behind the main stage action, deep in the stage, or along the side walls.
The actors are clearly engaged in manipulation. They may use spontaneous, nameless improvisation or skillfully feign it, pretending that their actions are random or accidental. Gestures, phrases, and extended monologues can be either instinctive or momentarily inspired by emotion.
The actors playfully interact with each other and with the audience. When they spot a familiar face, it becomes a target, as does everyone present or absent. They might quote scenes from other plays, dismantle archetypes, or mention names to challenge the surrounding myths. Both the audience and the performers are subject to continuous waves of mockery and ridicule, reflecting varying degrees of intensity.
In this playful and provocative dynamic, the actors seem united in their effort to challenge, captivate, and overwhelm the audience. Through a cascade of transformations, they convey important and simultaneous messages.
gasworeba, an Ceqmis yelis aweva, formalobas ar icaven. gverdiT kedlebTan, an scenis siRrmeSic sxedan da iqac raRacaze, umoqmedod da „miRma“ saubroben. darbazidanac gadian, Semodian, gadian. svamen wyals, albaT _ yavasac. SeiZleba, alkoholsac. amsxvreven Wiqebs, xmauriT uSveben scenis bols, raRacas weren Tu kawraven kedelze. mokled, iqcevian ise, rogorc TeatrSi, an yvelaze arabanalur speqtaklSic ar iqcevian xolme. viRac erTi _ TavisTvis da ganyenebulad _ xSirad seravs darbazs, gasasvlelisken da ukan brundeba. an musikosebi iwyeben gadaadgilebas da ase... uwyvetad da usasrulod. personJebs, romlebic romeliRac konkretul scenaSi
CarTuli ar arian da wuTSesveneba aqvT, mayureblisTvis aRar „scaliaT“ da TavisTvis saubroben. zogjer, saerTod aRaraferi xdeba da mitovebuli da moqmedebis gagrZelebis momlodine mayurebelic suls iTqvams, Tan mSvenivrad xedavs (sic.), scenis, centraluri moqmedebis miRma, mimdinare cocxal, Tumca, Cum dialogebSi... msaxiobebi aSkarad manipulireben. zogjer iyeneben saxeldaxelo da `umtkivneulo~ improvizacias da zogjer ostaturad tyuian, TvalTmaqcoben, rom improvizireba da SemTxveviTobaa _ wamocdena an Jesti. Tumca Jestic SeiZleba Tavisufali da instinqturi iyos, frazac da monologis vrceli monakveTic, aseve SemTxveviTi, imwamieri emociiT nakarnaxevi da warmoTqmuli. eTamaSebian da aRadaveben (bodiSi slengisTvis) erTmaneTs da maT, vinc darbazSi zis. Tu nacnob saxes mohkraven Tvals, samizne is xdeba, zogadad ki, samiznea yvela, vinc eswreba speqtakls da vinc ar eswreba. an romeliRac sxvisi speqtaklis scenebs citireben, arqetipebs angreven, an viRacis saxels axseneben da maT garSemo miTebis Seryevis mizani aqvT; dascinian da aSarJeben yvelas da yvelafers, gareT da SigniT. uwyvet nakadad da sxvadasxva simZlavrisa da zomis talRebad. msaxiobebi TiTqos erTobian da am garTobagarTobaSi, TamaS-TamaSSi, mayurebelze Zaladobis, misi daTrgunvis, „xelSi ayvanisa“ da datyvevebis mcdelobaSi, gardasaxvebisa da gadasxvaferebis uwyvet kaskadSi, mniSvnelovan da Tanadroul gzavnilebs gzavnian. ekleqturoba, gamarTlebuli da xerxadqceuli ekleqtizmi. qaosi, romelic samyaros cxovrebis qaoturobas da adamianebis Sinagan diskomforts gamoxatavs (rac Semdeg mayurebels uqmnis diskomforts). umciresi detalebis aqtiuri CarTulobiT da gaTvaliswinebiT, zogjer sruliad „uadgilod“. iseTi detalebisac ki, rogoricaa welSi garWobili uzarmazari butaforuli Cangali an erT-erTi personaJis maisuri pirveli „berserkebidan“. (speqtakli ar minaxavs, fotoebze vnaxe).
energias TviTonac usazRvrod xarjaven da mayurebelsac aclian. energetikuli vampirebi, moZaladeebi, gamanagdureblebi da TviTgamanadgureblebi.
Eclecticism is both justified and transformed into a method. The chaotic nature of the world and the inner turmoil of individuals are expressed through a deliberate disorder that, in turn, creates discomfort for the audience. This chaos is meticulously detailed, sometimes featuring elements that seem entirely out of place, such as a large dummy fork stuck in the waist or a T-shirt from the first Berserkers (though I only saw it in photos).
The actors expend boundless energy, depleting the audience’s energy in the process. They act as energy vampires, abusers, narcissists, and self-destructors, striving to overwhelm the audience. The only aspect they refrain from is engaging the audience directly in dialogue or action, aside from a few lines. They temporarily step out of their roles, pretending to remove their masks, but each revealed mask is just another layer.
From their perspective, this is “ordinary” violence – albeit justified and permissible – serving the artistic purpose. The performance is characterized by constant climax, tension, and passion, with only brief pauses interrupting the relentless intensity.
The tension remains unrelenting. The anticipation for the progression of events, understanding the sequence or text, and receiving the next development never wanes. Despite the evident use of this form of violence and persistent attempts to capture attention, emotions, and influence, the events, news, and issues are not dramatized. There is no sign of the emotional destruction often seen in traditional theater.
At times, the connection falters, requiring a sort of mental “reboot.” Events and news are fragmented and interspersed, leading to many elements slipping past the audience’s notice or memory. It is expected that some things may go unheard, unseen, or misunderstood. Yet, there are crucial elements not to be missed – many puzzles remain unsolved, and some codes remain locked. The audience is left wondering what the actors and director are conveying, hinting at, or concealing.
The timing of the play and the development of events are deliberately irregular. It defies conventional flow, creating a sense of disarray, disorientation, and frustration.
Several factors contribute to the sensation of infinity: the endlessness of real time, the ambiguity of internal time, and the sense of dependence and conditionality. Even though the issues Keti Nizharadze addresses remain as pressing today as they were over 25 years ago, it feels as if time itself has not advanced. The boundaries of time, space, and dimensions seem to collapse, affecting our perception of reality. There is a sense of weightlessness and instability, not in the sense of freedom but rather as a blockage or confinement. This creates an atmosphere of discomfort and a feeling of homelessness.
At times, viewers may feel disoriented or hope for the end, anticipating a break or the end of the performance. However, this sense is illusory and part of the ongoing experience. The performance continues until it truly concludes, often when least expected.
mayurebels Trgunaven maqsimalurad. erTaderTi, riTac TiTqmis ar „awuxeben“, misi dialogSi Tu moqmedebaSi Cabmaa, erTi-ori replikis garda. cota xniT toveben „rolebs“, viTom niRbebs ixsnian, magram esec axali niRabia. pirvelis qveS Sefaruli. Semdeg kidev sxva niRabia. Semdeg _ sxva. ase usasrulod. maTi mxridan, „Cveulebrivi“ Zaladobaa. Tumca gamarTlebuli. dasaSvebi. mxatvrul amocanas emsaxureba da gavlenas axdens. sul kulminaciaa. sul daZabuloba. sul vnebebi. mcire pauzebs Tu ar CavTvliT. daZabuloba ar neldeba. ar neldeba movlenebis ganviTarebis, wyebis Tu teqstis gagebisa da momdevnos miRebis survili da molodini. Tumca, Zaladobis aseTi formisa da yuradRebaze, emociebze gavlenis daJinebuli moxdenis mcdelobis siaSkaravis miuxedavad, movlenebi, ambebi, problemebi aradramatizebulia. aq araa TeatrSi tradiciadqceuli emociuri ganadgurebisken swrafvis arc erTi niSani.
In this artistic environment and self-contained world, there are no false promises or illusions. The performance neither enchants with deceptive fantasies nor convinces us of the triumph of virtue.
At last, the play transitions to an apocalyptic phase, altering its form once again. A new element enters the stage, and the action shifts beneath a black cloth that also covers the audience. Under candlelight, the scene transforms into a reading of the novel directly from the book. A new character, the prompter (the real assistant director Shalva Devdariani), emerges from the “pit” of dictation to join Temo Rekhviashvili in performing a new etude, utilizing a fresh staging method and opening the door to another dimension.
The Berserks leave us in a state of disorientation for an extended period before gently guiding us back to reality. The magical ritual concludes with the revelation of the actual time – midnight – inviting us to return home and bidding us farewell.
The berserks, as historically and mythologically depicted, are characterized by their exceptional combat skills, extensive battle
raRac SemTxvevebSi kavSiri wydeba da gadatvirTvaa saWiro. aqac aWrili da aCexilia dro, movlenebis Tu ambebis ganviTareba da arseboba. bevri ram yuridan „gisxlteba“ da bevri Tvalidan, mexsierebidan. magram es araferia. raRac SeiZleba verc gaigono da verc dainaxo, verc gaigo. Tumca, aris raRac, rac ar unda gamogrCes. Tavsatexic bevria, rasac ver Sifrav. zogi kodi ar ixsneba. ver xvdebi, ras amboben „amiT“ msaxiobebi da reJisori, raze migvaniSneben da ras gvimalaven. speqtaklis msvlelobisa da movlenebis ganviTarebis droc, iseve, rogorc sxva yvelaferi, kontrversiulia. ar mihyveba Cveul dinebas, darRveulia. araTanabaria. uwesrigo. Tavbrudamxvevi. Semawuxebeli. usasrulobis gancdas bevri faqtori iwvevs: realuri drois usasruloba, Sida drois ganurCevloba, pirobiToba, damokidebuleba. Tundac is, rom problemebi, romlebzec qeTi niJaraZe saubrobs, dResac iseTive mwvavea, rogorc 25 Tu meti wlis winaT. TiTqos es dro ar gasula. ar iqca warsulad. TiTqos, yvelaferi darRveuli, moSlilia _ dro, sazRvrebi, ganzomileba, sivrce. ufro zustad, sivrcis SegrZneba, drois SegrZnebac, realobis aRqmac. raRacnairi uwonadobis mdgomareobaa. ara simyaris. oRond ara Tavisuflebis, piriqiT, Seborkilobis Tu SeboWilobis. uxerxulobisa da miusafrobis gancdaa. aramyudro da aramSvidi atmosferosi.
raRac etapze da an bolomde mayurebelma SeiZleba Tavbrusxvevac igrZnos, an imedianad egonos, rom ukve dasasrulia. rom SeiZleba an Seisvenos da saerTodac, ukve saxlSi wasvlis droa. magram es SegrZneba kidev didxans _ iluzia da TamaSis gagrZelebaa. manamde, sanam yvelaferi marTla ar dasruldeba, oRond iq da maSin,
rodesac aRaravin elodeba da aravin fiqrobs, rom es finalia.
mxatvruli sivrcis amgvarobisas, yalbi imedebiT aravin gvavsebs, cru iluziebiT aravin gvajadoebs da aravin gvxiblavs, arc sikeTis arsebobasa da gamarjvebaSi gvarwmunebs.
bolos, apokalifsis Jamic dgeba da speqtaklis formac isev icvleba. sivrceSi axali obieqti Semodis da moqmedebac Savi qsovilis (romelsac mayurebelsac afareben) qveS inacvlebs da Camowolil ukunSi, sanTlebis Suqze, romanis teqstis pirdapir wignidan kiTxvis etapi dgeba. procesSi axali personaJic erTveba, manamde, TavisTvis mjdomi da axla mokarnaxis „ormodan“ amosuli `sufliori~ (reJisoris realuri TanaSemwe Salva devdariani), romelic Temo rexviaSvilTan erTad morig, axal sadadgmo xerxSi gadawyvetil etiuds gaiTamaSebs, axal sivrceSi, sxva sibrtyeze `karis SesaRebad~.
„berserkebi“ isev didxans gvabrueben da bolos martivad gvabruneben realobaSi. magiuri rituali dasrulebulia. iqve arkveven namdvil dros, gvatyobineben, rom Ramis 12 saaTia, Sin wasvlisken mogviwodeben da gvemSvidobebian.
maT, pirobiTad, prototip Tu mosaxele _ berserkebs (rogorc istoria, miTi Tu legenda gvamcnobs) _ brZolis SesaniSnavi unari, didi sabrZolo gamocdileba aqvT, daundoblebi da moZaladeebi arian da tkivilis atanac SeuZliaT. tkivilis (rogorc fizikuris, ise moraluris) gamZleoba ki Tanamedrove samyaroSi sasurveli, aucileblad saWiro unari da Tvisebaa.
giorgi jamburias „berserkebi. II. mziani mxare~ amisTvis karg pirobas qmnis, TiTqos amgvari realobis an gansacdelisgan gadarCenis gzebs miuTiTebs, TiTqos xels
giwvdis sayrdenad da sibneleSi, uimedobasa da myarad gamjdar SiSebSi mzis sxivebis naTebas aCvenebs. isic udavoa, rom „berserkebi“ naTebis axali nakadia uaxles qarTul sinamdvileSi. axal enaze, Wrilsa da formebSi ametyvelebuli Teatris axali ganzomileba.
msaxiobebisa da musikosebis yurebiTa da mosmeniT ki, ubralod SegiZlia datkbe da aRiaro, rom maT SeuZliaT siaxleebis, axali SemoqmedebiTi azrovnebis miReba da gaTaviseba. SegiZlia darwmunde, ra rTul barierebs ra iolad, Tavisuflad da Tamamad gadian isini. rogori mravalferovania, Tumca, Zalian specifikuri maTi axali metyveleba da moZraobac. es is silaRe da Tavisuflebaa, razec speqtaklia dafuZebuli da rac ase sWirdeba cxovrebasac da Teatrsac.
da Senc, rogorc mayurebeli, TavzexelaRebuli berserkebis gundis nawilad da mediumad qceuli, amdeni gansacdelis, terorisa da Zaladobis Semdeg da Sedegad, cecxlSi, wyalsa da Tunuqis milebSi gamowrTobili gamodixar da bevrad Tavisuflad grZnob Tavs, vidre speqtaklis xilvamde iyavi.
experience, and merciless nature. They endure pain – both physical and moral – a quality that remains both desirable and essential in the modern world.
Berserks by Giorgi Jamburia, specifically Berserks II: Sunny Side, exemplifies the possibility of escaping harsh realities and trials. It offers a hand of support and shows rays of sunlight piercing through darkness, hopelessness, and deep-seated fears. Undoubtedly, Berserks represents a new stream of light in contemporary Georgian reality, introducing a new dimension to theater through innovative forms and language.
Watching and listening to the actors and musicians, one can appreciate their ability to embrace and integrate new creative thinking. Their performance demonstrates how effortlessly, freely, and boldly they overcome significant barriers, with a new language of speech and movement that is both diverse and highly specific. This grace and freedom, central to the play, are crucial for both life and theater.
As a spectator, you become part of the berserker ensemble, transformed into a medium. After enduring the ordeal, terror, and violence – symbolized by fire, water, and tin pipes – you emerge feeling much freer than you were before experiencing the play.
cxovrebis dardebs Soris, erTi bavSvobidan momyveba _ xatva ar SemiZlia. miT ufro, portretebis. magram Cven xom yvelaze metad imas miveltviT, rac ar SegviZlia? eg vneba horizontiviTaa _ gizidavs da giaxlovebs, Tumca geometriiT ver daSifrav, uxilavia. zustad im energiis msgavsi, romliTac, saerTod, iwyeba qmnadoba. am metafizikur TavgadasavalSi mTavari gmiris gamo Sevdivar _ misi SemoqmedebiTi polifoniuroba, mxatvrul/ azrovnebiTi sivrceebi, mudmivi maZiebloba, aRmafrena da siaxle _ mamxnevebs da maintrigebs. megzurobas vTxov, Tumca vici, ra Sorsac ar unda SevcuroT, mainc mkafiod iqneba daculi Cven Soris sazRvrebi. es misi individualobis nawilia. misi taqti, Tavisufleba da usazRvro siyvarulic _ adamianis mimarT. es manana menabdea _ musikosi, reJisori, mwerali, fotomxatvari. kidev SeiZleba sxva profesiebis CamoTvlac, magram es xom mainc yvelaferi pirobiTia im did da namdvil samyarosTan SedarebiT, manana menabdis samyaro rom hqvia. vTxove, erTad SevqmnaT-meTqi Seni warmosaxviTi portreti, xatvis principiT. bavSvuri siwrfeliT da azartiT iRebs Cems gamowvevas. didi momzadeba arc sWirdeba _ is yovelTvis SemoqmedebiT gunebazea, sul damuxtulia, „CarTulia“. saxatav masalaze vfiqrob _ saRebavis nacvlad sityvebi dagvWirdeba, ferTa da konturTa magivrad _ movlenebi, mogonebebi, STabeWdilebebi, fiqrebi... xolo CarCo ki... CarCoze bolos. manamde _ ivlisis qarian saRamos, me mananas (avto)portretis xatvas viwyeb.
manana menabde: mamasTan erTad siCume miyvarda, radgan es siCume savse iyo. ase didxans SegveZlo, erTmaneTis gverdiT yofna. es siCume ar saWiroebda aranair Sevsebas, remarkebs, replikebs, Tandebulebs da `Suamavlebs~... es siCume prustiseuli Savi xaverdis msgavsi idumalebiT iyo aRvsili, radgan swored am Sav xaverds aqvs is siRrme, rac sxva qsovils ar gaaCnia... es is siRrmea, sadac sxeulis yvela ujredi muSaobs, magram msubuqi da Tavisufalia, radgan ici _ arsadaa tyuili da aq mxolod siyvaruli sufevs. es sulis ganumeorebeli mdgomareobaa. albaT esaa netareba.
mananas saubari xmamaRla fiqrs hgavs _ sadRac, fanjris miRma iyureba da saubrobs. me warmosaxviT molbertze tilos vamagreb da `viTom~ palitraze sityva-saRebavebs vimzadeb. Tavdapirveli fonisTvis feris SerCeva aRarc mWirdeba _ is Cemma Tanaavtorma TavisTavad mikarnaxa _ foni siCumea. didi, oqrosferi dumili.
manana menabde: didi xania vfiqrob ganmartoebaze. absolutur simartoveze, ufro gandegilobaze, vidre monazvnobaze, radgan monazonsac ara aqvs is siCume, rac dayudebul mamebs. ramdenime uaxloesi adamianis mimarT pasuxismgebloba rom ar mqondes aRebuli, aucileblad gavyvebodi im Zaxils, romelic mudmivad Camesmis. magram esec unda vTqvaT, raxan ase ar xdeba, ese igi mzad ar var sruli gandegilobisTvis. Tuki es CemTvis danamdvilebiT saWiro Seiqmneba, asec moxdeba, radganac RvTis nebas win veravin aRudgeba. fatalisti var da SemTxveviTobis ar mjera: xma, romelic maqvs, uflisganaa, weris unari da sxva unarebic. es erTdroulad saCuqaricaa da didi gamocdac _ raxan mogeca, yvelaferi keTilsindisierad unda gaakeTo. aq SeRavaTebi ar arsebobs. Seni pasuxi am jildosTvis _
srulyofilebisTvis dauRalavi da daundobeli Sromaa. cxovrebaSi sul sami diski maqvs Cawerili. warmoudgenelia, ranairad SeiZleba ormoci diski Cawero musikosma (arian aseTebi) da arcerTi ar hgavdes erTmaneTs?.. mTeli kovidis ganmavlobaSi vmuSaobdi, wami ar damisvenia. magram ruseT-ukrainis omi rom daiwyo, Zalian gamiWirda. ramdenime axlobel adamians am omma damaSora. ar mesmis, rogor SeiZleba omi gaamarTlo da miT ufro qalma, Svilic rom ar hyavdes. qali xom potenciuri dedaa. CemTvis es damangreveli iyo da aris. SeiZleba ar gamovxatav, da aqtiurad ar var CarTuli saprotesto aqciebSi, magram ase vfiqrob: `saqmeman Senman gamogaCinos Sen.~ rwmena _ sasoebaa da sasoebas bevri laparaki ar sWirdeba! miuxedavad yvelafrisa, davdivar gamofenebze, prezentaciebze, koncertebze, magram ganuwyvetliv fiqri omze Sinaganad mangrevs.
saxlSi rom vestumre, musikas usmenda. maleve gamorTo, Tumca saxlis xma ar gaCumebula. aq, am patara, verandian saxlSi, yvelaferi gesaubreba _ nivTebi, fotoebi, naxatebi, gitara _ am saxlis eleganturi TanamaspinZeli, namdvili dendi. yvela kuTxe metyvelia, maspinZlis energiiT gajerebuli. veravin gadamarwmunebs, rom am saxlSi zogjer droc ar Cerdeba, an sixSireebi ar icvleba. SesaZloa, misi patronis fiqrisa da ocnebis simZlavrem RamRamobiT frTebic gamoasxmevinos da Tbilisis caze gaaqrolos. iqneb vinmes, didi simartovis STagonebiT savses, odesme am suraTisTvis Tvalic moukravs?..
manana menabde: „laparaki laparaksa, cxeni gahyva amxanagsao“, SemogvZaxebda xolme mamaCemi, telefonze laparaks Tu Zalian gavabamdiT... aseTi ambavi maxsendeba mamasTan dakavSirebiT: erTxel vjdebi 12 nomer tramvaiSi,
romelsac yovel SabaT-kviras vakidan dinamo stadionamde davyvebodi, roca CemebTan mivdiodi (bebia, deda, mama da Cemi da Tina calke cxovrobdnen, me ki ise moxda, rom meore bebia da mamida mzrdidnen) vxedav _ win mamaCemi zis. me vuyureb, is ki ver mxedavs. fiqrebSia sruliad CaZiruli. xma ar amomiRia, fiqrSi xeli aRar SevuSale. ise Cavida, verc ki SemniSna. saRamos es rom vuambe, arc ki gaioca. Tqven, axalgazrdebs mxolod ancobaze giWiravT Tvali, moclilebi xarTo, miTxra. rogor SegamCnevdi, rodesac sokrates vesaubrebodio. ho, aseTi ucnauri iyo. literatura, filosofia da istoria man Semayvara. bevri naweri datova da sikvdilamde me gadmomca, gamogadgebao miTxra.
es siCume am saxlma maCuqa. aseT siCumeSi viyavi berlinSic. es didi gamowveva iyo _ am qalaqSi, yvelaferi Sens xelTaa. SegiZlia klubebSic iaro, marixuanac mowio, raRac dajgufebebs SeuerTde, yvelafris ufleba SegiZlia misce Sens Tavs, radgan didi SesaZleblobebia, aravin gakontrolebs, Seni Tavis patroni Tavad xar da ggonia,
ai, „Tavisufleba“ Cem xelSiao... ar vici ratom, magram yvelanairi SesaZleblobis fonze, Cemi cxovreba iq ufro gavamkacre, da arc Sevmcdarvar. akrZalva sulierad gamtkicebs da gzrdis. sul ramdenime qarTvelTan vmegobrobdi. Zalian viwro wre myavda. berlinSi ori uaxloesi megobari SeviZine _ giorgi gelaSvili, daniela Sulci, romelTan erTadac 12 weli keramikaze vimuSave. danielas amohyavda formebi, me ki moxatvaze vzrunavdi. orives erTi moZRvari gvyavs. axla is lietuvaSi cxovrobs, magram erTi wamiTac ar gawyvetila Cveni kavSiri. giorgic berlinSia, magram orivesTan yoveldRiuri kavSiri maqvs. pirveli aRsarebac berlinSi, Cems saxlSi, polonel moZRvars _ mamao xendriks Cavabare. ise moxda, rom berlinSi iyo gavliT da me vumaspinZle. namdvili Semoqmedeba siCumidan iwyeba da siCumeSi sruldeba. SesaZloa bevri ilaparako, wero, imRero, xato, gadaiRo, speqtakli dadga, magram Rirebuli veraferi Tqva. mTavaria, Seni saTqmeli gqondes. saTqmeli maSin geqneba, roca sakuTar tkivilze isaubreb da Sens gancdilze
mohyvebi. xandaxan asec xdeba, rom siuJeti ar vici, magram mainc viwyeb weras... frazebsa da winadadebebs mivyvebi da TandaTan gzac ikveTeba... _ riTi daviwyoT, pirvelad ra davxatoT? ra aris mTavari, raSic suli Cans? manana menabde: Tvalebi... maTSi adamianis arsi kargad Cans. saerTod, TvalebSi bevri ram irekleba. arian iseTi adamianebi, romlebsac mzera gaurbiT. aseT adamianebs ver vendobi.
xSirad vixseneb rilkes azrs _ xeze Tu wer, xed unda iqceo, rom ambobs. marTlac asea. Tvali xSirad gatyuebs _ xedav xes, mis Suq-Crdilebs, totebs, fesvebsac, magram mis arss bolomde mainc ver wvdebi. Tuki xed ar gadaiqeci, ar igrZeni misi sixaruli da tkivili, misi aRwera zedapiruli iqneba. vfiqrob, mxolod TvaliT danaxuli, es mainc iluziaa im saganze, romelsac Sen uyureb. anu Seni warmodgenaa xeze an vinme sxvaze. amitom sagnis namdvil arss unda moeWido, Sehyve da rac SeiZleba Rrmad Sexvide mis arsSi... mihyve sadamdec SeZleb. siRrmem ar unda SegaSinos. swored am siRrmidan iwyeba idumaleba, radgan xed qcevis procesSi WeSmaritebisken saval gzas gadixar. _ rogoria es gza _ qmnadobis gza _ mtkivneulia? laRia? manana menabde: tkivilis gareSe araferi xdeba saerTod... es yvelafers Tan axlavs, magram miuxedavad yvelafrisa, piradad me Tavs kargad vgrZnob am gzaze. saerTod, mcirediT vkmayofildebi. viRacas hgonia, rom `cnobil~ manana menabdes yvelaferi aqvs _ agarakebi, manqana da a.S. arc vici ra aris, magram xom hgoniaT, rom maqvs... Cven am yvelafers ratomRac fufunebad vTvliT, es ki ubralod yofiTi moxmarebis sagnebia. aseTi ram dagvemarTa, radgan etapebis gareSe gadavediT kapitalizmze... ra Tqma unda, es yvelaferi erTi didi iluzia da didi sisulelecaa. Cemze mdidari aravin meguleba, radganac STagoneba, warmosaxva da SemoqmedebiTi unari maqvs! amaze meti simdidre rad ginda? mTavaria, adamianma ar moiwyinos sakuTar TavTan da cxovreba sicocxled aqcios. xelidan ar unda gauSva SesaZlebloba, rom yoveldRe Sedge adamianad. isev prusts davesesxebi, romelic ambobs, rom sicocxle _ es aris Zalisxmeva droSi. magram yvelaferi ar aris cocxali, rac Cven cocxali gvgoniao, gveubneba mamardaSvili. yvelafers, rasac ambob da akeTeb, Tu stereotipulia da Sen ar gangicdia, mkvdaria. cocxalia maSin, Tu Sen Tavad ganicade. yvelaze mniSvnelovani swored es aris. Torem, aba vin ra icis, ra aris WeSmariteba, uflis garda?
cxviris xatvas viwyebT. Cems warmodgenaSi cxviri _ mexsierebis sacavia. mTavari Zvali saxeze, romelic tvins ukavSirdeba da raRac mniSvnelovans inaxavs.
manana menabde: sxvaTa Soris, cxviri Zalian mgrZnobiare
maqvs _ Zalian vreagireb yvelanair surnelze. piradad CemTvis didi mniSvneloba aqvs, rogori suni aqvs saxls, romelSic Sedixar, TviTon adamians, rodesac exebi. bavSvobac surnelTan mikavSirebs. Cem garda, arc erTi ojaxis wevri deodorants ar xmarobda, magram saocari sisufTavis surneli maxsovs. magaliTad, bebias, Tamars iasamnis surneli hqonda, mamas da dedas ki, SeiZleba gagikvirdeT, magram mzis surneli. CemTvis mzes Tavisi surneli aqvs. ar vici, ratom iyo ase. iqneb surnelic Sinagani sisufTavisgan modis? es erT did gamocanad rCeba CemTvis.
bebiasac da mSoblebsac Zalian uyvardaT gogirdis abanoebSi siaruli. es xom Zalian Wkvianuria. gogirdis wyali janmrTelobis sawindaria. icodnen es Cvenma winaprebma. axla ra wyali modis onkanSi, RmerTma uwyis. me verafriT damiyolies.
saerTod, Zalian morcxvi viyavi. es simorcxve dRemde gamomyva. simarTle giTxraT, mikvirs kidec, ra manqanebiT movxvdi scenaze. vfiqrob, Tuki rame arasasurveli gamikeTebia cxovrebaSi, moridebulobam gamakeTebina. paradoqsia, magram paradoqsebisgan Sedgeba moulodneli qmedebebic. yvela Cemi protestis adresati Tavad me viyavi. yvela jaxi, konfliqti, ukmayofileba, pirvel rigSi, sakuTar TavTan mqonda...
ukve meore welia, avtobiografiul wignze muSaobs. calkeuli epizodebi wlebis win, sxvadasxva literaturul JurnalSi gamoaqveyna da mkiTxvelSi didi molodini gaaCina. am wignis mTavari vnebac gzaa _ maradiul mogzaurobaSi myofi maZiebeli gmiris gza, martoobis, dabrunebis, kvdomis, aRdgomis, sevdis da dResaswaulis... am wignSi Tbilisi cocxldeba _ namdvili, ucxoc da mSobliuric, monatrebulic da gardasulic. Tbilisi, romelic iyo da aRaraa da romelsac mwerlebi da xelovanebi aRadgenen xolme mxatvrul sinamdvileSi.
manana menabde: Tbilissac Tavisi surneli aqvs. Tavisi xmebi. SeZaxilebis periodi maxsovs, fanjris qvemodan zemoT, gadagdebuli TavebiT gogo-biWebi rom gaiZaxodnen _ mananaaa! Tinikoo! giaa! daTo! axlac gaismis, magram ukve zevidan qvemoT. dedebi patarebs uxmoben fanjrebidan da aivnebidan, aqa-iq ZaRli yefs, RamiT aqcevs qveyanas SuSxunebis baTqa-buTqi, SuaRamiT ki motocikleti bRuis da gadafxrews siCumes. yvela dros moaqvs Tavisi xmauri da suni. `laRiZis wylebSi~ rom surneli trialebda, visac es axsovs, ra daaviwyebs?! gazis burTulebi rom xtodnen WiqebSi da daxlze, TeTrebSi gamowyobili qalebi gemsaxurebodnen, Cems warmodgenaSi feriebs hgavdnen, gisxamdnen sanukvar wyals _ naRebs SokoladiT! laRiZis wylebi axlacaa, magram is aRar aris da morCa. sul sxva surneli da gemo aqvs. rusTavelis gamziris pirvel
nomerSi, anu puSkinis skveris mopirdapired, kuTxeSi xorcian Rvezelebs hyiddnen. dRemde maxsovs es gemo. rogor gvikeTebdnen aseTs, ar vici. axlac akeTeben funikuliorze msgavs Revezelebsa da „ponCikebs“, ramdenjer avsulvar maT saWmelad, magram iseTi didebia, msuqani da `gapesknili~, rom Wama aRar mogindeba. arada mTeli `muRami~ xom imaSia, „ponCikic“ da Rvezelic patara unda iyos. bevri romaa, ndomas anulebs da cota roa, maSin giCndeba zustad survili. da saerTodac, es yvelafers exeba. dafarulSi meti idumalebaa. es idumaleba cxovrebis yvela etapze gaqra. gaqra qalebsa da mamakacebs Sorisac. adre marTla sxva urTierTobebi iyo, axla ase aRar aris. mama meubneboda _ qals vaJkacoba uxdeba, magram kacs qalaCunoba aranairado. dRes qalaCunebis droa. qalma Tavisi xibli, sinaze, kacis mimarT mzrunveloba dakarga da piriqiT, kaci qals arafrad agdebs. erT-erTi pirveli qarTuli musikaluri klipi, romelic wlebis win vnaxe da movixible, manana menabdis iyo _ legendaruli iSxnelebis „isev Sen da isev Sen“. maxsovs is gansakuTrebuli xma da saintereso vizuali, momnusxveli, TviTmyofadi... maSin pirvelad vixile manana menabde da is Cems sayvarel artistad iqca. misi xma _ Soreuli eqoebiT damuxtuli _ erTbaSad eulia da polifoniuri, romelic yoveli bgeriT gulis kunWulebisken gibiZgebs, ucxo da mSobliuri horizontebisken. misi simRera odiseaa _ winaprebis JReradobidan dawyebuli, samyaros harmoniaSi ganxmovanebuli, uxvi da uSreti. manana menabde: scenis suni?.. sul sxvaa. marTla andamativiTaa. skolis gundSi vmRerodi, magram sul sxva interesebi mqonda _ mzia bagrationTan (petre gruzinskis qaliSvili) vmegobrobdi da qalbatoni aniko mgelaZe, mzias bebia Cvens Tavze cxovrobda. mzia xSirad rCeboda bebidasTan da garda amisa, qalbatoni aniko qimias gvamecadinebda orives. Cemi da mzias ocneba iyo „harlei devidsoni“ (motocikleti). magram eg ocneba rom ver avisruleT, samagierod mzias babuis _ guguli mgelaZis uzarmazari inglisuri qolga, paraSutiviT gavSaleT da giyvardes _ meore sarTulidan gadmovxtiT. gamxdrebi viyaviT da qolgam gagviZlo. ase rom, gadavrCiT. TiTqmis gadawyvetili mqonda `gepeiSi~ organul qimiaze Cabareba. magram sareJisoro fakultetma `Camikra Tvali~ da gadamibira. sareJisoroze mixeil TumaniSvilTan vswavlobdi, roca mesame kursidan wamovedi, radganac saqarTvelos saxelmwifo orkestr „reros“ konkursSi gavimarjve. konkursi didi iyo, magram mxolod me amiyvanes. swored es gaxda TumaniSvilTan konfliqtisa da sareJisoro fakultetidan wamosvlis mizezi. ramdenime weli „reroSi“ vmRerodi, magram roca mivxvdi, rom „rero“ aRarafers maZlevda SemoqmedebiTad, moskovSi sareJisoroze Cavabare, „gitisSi“ (lunaCarskis
saxelobis saxelmwifo Teatraluri instituti). „gitisi“ saocari cxovrebiseuli skola iyo CemTvis. radganac Cemi Tavis baton-patroni Tavad viyavi. Cem Tvalwin daidga efrosis saocari speqtalebi, iq iyo, zavadski, knebeli, gonCarovi, Tumanovi, filimonovi _ reJisuris mwvervalebi. didi gamocdileba SeviZine da saucxoo gza gamoviare maTTan erTad _ Cemi cxovrebis didi saCuqari iyo rixterTan Sexvedra, gidon kremerTan, brubekTan da diuk elingtonTan Sexvedrebi. xSirad erT sagastrolo mogzaurobaSi vxvdebodi xolme saucxoo musikosebs, rogorebic iyvnen liana isakaZe, marina mdivani da Tamar gabaraSvili _ klasikuri musikis saukeTeso warmomadgenelebi da adamianebi. Cven vmegobrobdiT. dauviwyari saRamoebi maqvs gatarebuli maTTan erTad. marina mdivani ki uaxloesi megobari iyo. sadRaa aseTi brwyinvale pirovnebebi, rogoric iyvnen keramikis guruebi _ alde kakabaZe, zura iaSvili, saocari _ elguja amaSukeli, zaira arseniSvili, nana xatiskaci, Tengiz maRalaSvili, inola gurgulia... lana RoRoberiZe da lia sturua, ase vTqvaT ukanaskneli mohikanebia am pleadidan da minda maT janmrTeloba da kargad yofna vusurvo. manana korZaia _ unikaluri musikismcodne, romelTanac urTierToba erTi didi dResaswaulia. bednierebaa aseT adamianebTan jer Sexvedra, Semdeg ki xSiri urTierToba da maTTan megobroba. aseTi Sexvedrebi da kontaqtebi bevrs gZens da gaswavlis. Tumca, albaT, mec movindome maTTan yofna da es rom Semdgariyo, amaze vizrune. maTze bevrad patara viyavi, magram isini ise mepyrobodnen, rogorc Tanatols. samwuxaroa, rom aRaraa cocxali nana xatiskaci, alde kakabaZe, elguja amaSukeli, nodar dumbaZe. im dros, roca sxvebi mxolod erTi SexedviT gafaseben, am adamianebma kargad icodnen Cemi sulis yvela kunWuli. roca aseTi adamianebi xelidan geclebian, es didi danaklisia. magram is, rac maTgan viswavle, sicocxlis bolomde gamyveba. amitomac isini ganuwyvetliv cocxloben CemSi. ojaxi calke istoriaa _ Cemi mSoblebi, bebiebi, winaprebi. maT gareSe ver Sevdgebodi. maxsendeba aleqsandre miqaberiZe _ mamaCemis mxridan bebias Zma, romelmac pirvelma Targmna qarTulad „elinuri miTebi“. aleqsandre babua ilias, vaJas, kita abaSiZis axlo megobari iyo. axla „ilias universitetSi“ mzaddeba wigni aleqsandre miqaberiZeze, romelsac male ixilavs Cveni mkiTxveli. mas 4 Svili hyavda _ 3 vaJi da erTi qaliSvili. ori vaJi dauxvrites, mxolod imis gamo, rom germaniaSi hqondaT umaRlesi damTavrebuli. agentebad monaTles. umcrosi Zma, romelic gadarCa, biZia levani, kviraSi samjer mainc modioda bebia elenes, anu mamidamisis sanaxavad. samwuxaroa, rom mamas werilebi qerCidan, romelsac babua aleqsandres ugzavnida, daikarga. wakiTxuli maqvs. saocari werilebi iyo.
dRes Cem gverdiT arian adamianebi, Cemi megobrebi, visac pirvelT vuziareb Cems nawerebs, Targmanebs... aseTia CemTvis araCveulebrivi mTargmneli da literatori manana RaribaSvili, poeti kato javaxiSvili, romelic Cemi ucvleli redaqtoria. aseve vuziareb xSirad Cems megobars, mTargmnelsa da literators, gaga lomiZes. maT SeniSvnebs yovelTvis viTvaliswineb. Tumca aris kidev erTi momenti, mama metyoda xolme _ vTqvaT, mogces aTi SeniSvna, Seni Wkua imaSia, rom mixvde, am aTidan Seni SeniSvna romeliao. gzadagza Cemive Secdomebi bevr rames maswavlian.
_ erTi vnebac eg gaqvs _ maradiuli mowafeoba... manana menabde: sxvanairad aba rogor... `me vici is, rom araferi ar vici~. marTlac asea. bolo-bolo marTlac gamodis, rom arc araferi viciT. gaaCnia, codnas ras veZaxiT. codna xom mxolod bevri wignis wakiTxva ar aris. saerTod, filosofosebi miyvars _ platoni, aristotele... magram piradad CemTvis sokrate sul sxvaa... ici ratom? mowafeebs mxolod esaubreba. arafers iwers. ra simaRleze unda idge rogorc pirovneba, adamiani, filosofosi, ra Sinagani Tavisufleba unda gqondes, rom araferi datovo da mainc darCe. sokratem WeSmaritebas sicocxle Seswira. gasaocaria, sikvdilis win ki qnarze dakvras swavlobda.
sxvaTa Soris, merab mamardaSvils Tanamedrove sokrates eZaxdnen. me mgonia, rom merabic WeSmaritebis msxverpli
gaxda. jvarze gaakres, radgan Tqva _ `WeSmariteba samSobloze maRla dgas~. ra Tqma unda, asea, radgan WeSmariti mxolod ufalia da ufalze didi ki aravin da araferi meguleba. Tanamedrove filosofosebidan merab mamardaSvili da piatigorski miyvars. radganac gasagebi eniT mesaubrebian gaugebarze.
piris xatvas viwyeb... piria is, saidanac gamodis adamianis Sinagani... sityva da suli... dRes imdens laparakoben, iseTi xmauri da aurzauria samyaroSi, rom adamianebs erTmaneTis aRar esmiT. „kacs tirili surda, magram gaixed-gamoixeda da axlomaxlo rom veravin SeniSna, gadaifiqra. / kacs sicili surda, magram gaixed-gamoixeda da axlomaxlo rom veravin SeniSna, gadaifiqra. /kacs Zalian undoda gaxareboda, magram ar SeeZlo, radganac mdgomareoba ar uwyobda xels.“ (manana mendabde. igavarakebis krebulidan „da dro gadioda“).
manana menabde: tuCebi sqeli da lamazi mqonda. magram, rogorc Cans, iseTi cxovreba wavida da piri imdenad movkume, rom tuCebma amis gamo deformacia ganicada. Cumad sjobs yofna. radgan sityva mainc raRac sisuleleSi da sibriyveSi Segityuebs... ai sokrates magaliTiT Tu vimsjelebT, araferi ar ikargeba. baxis Sesaxeb 400 weli aravin icoda. ase ar aris? da uceb amobrwyinda. ase getyvi, Tavic rom moviklaT, mainc is darCeba, rac dasarCenia, rac ara da ukvalod gaqreba! sworad gacemuli energia aucileblad dabrundeba.
rogor, rodis, sad, visTan miva _ es mxolod ufalma icis. ras gveubneba maleviCis `Savi kvadrati~? yvelaferi ukve iTqva da axals verafers vityviTo. yvelaferi usasrulobidan modis da yvelaferi usasrulobaSi miedinebao... anu siCumidan iwyeba da siCumeSi midiso... ZiriTadi siuJetebi bibliidan modis. da erTaderTi rac SegviZlia, is aris, rogor mohyvebi piradad Sen am siyvarulze, siZulvilze, sikeTesa da borotebaze. xom xedav, isev iq mivdivarT, Sens Sinagan patiosnebasTan da sakuTar gancdebTan. Sen unda ganicado, rom sxvas ganacdevino. amitom am maleviCis kvadratis siSaveSi unda CayvinTo da Tu Tavi geqneba, kvlav amoyvinTo. wera pataraobidanve daviwye. meoTxe klasSi viyavi, Cemi patriotuli leqsi rom daibeWda „dilaSi“. pirveli seriozuli teqsti ki igav-arakebis krebulia _ „da dro gadioda...“. wera germaniaSi daviwye, qarTulad da rusulad. saerTod, `orenovani~ var. bebiam rusuli gimnazia daamTavra, bebia Tamaris meuRle `TeTri~ oficeri iyo _ ioseb deisaZe, „kadetTa korpusi“ hqonda damTavrebuli. rusuli da franguli icoda kargad. simRera leqsiviTaa. oTar WilaZe da daviT werediani gandegilebiviT cxovrobdnen. „viT“ ki ara da gandegilebi iyvnen. araviTar wreebSi ar gaTqvefilan, iyvnen TavisTvis da qmnidnen kidec did literaturasa da poezias. niWs movla
sWirdeba, radgan is saCuqaria. RvTis saCuqari. amitom, gansakuTrebulia. amas veravin mouvlis Sen garda. Tu ver mouare, dakargav. bevrma ver mouara am saCuqars. _ vxatav yurebs!.. manana menabde: yvelafers arc vismen da arc yurs vugdeb. verc xelaRebiT vakritikeb sxvas, radgan SeiZleba mec SemeSalos rame da am kritikis dros, raRac Cavkla masSi. _ weRan rom Semovedi, raRac kargs usmendi. manana menabde: anuar brehemia. iseT musikas wers, suls rom exeba. am bolo dros TiTqmis sul amas vusmen. vusmen _ baxs, qarTul xalxurs, hamlet gonaSvils, iSxnelebs. sul vekiTxebodi Cems Tavs, ratom gaxdnen iSxnelebi ase gamorCeulebi am momReral saqarTveloSi-meTqi. da mivxvdi _ maT sul sxvanairi JReradoba aqvT da garda amisa, aravisgan arafers iTxoven, rogorc beRurebi sxedan TavisTvis da siyvaruls umRerian da Tavad arian siyvaruli. amitomac arian gansakuTrebulebi _ Tu Sen Tavze meti ar gaxdi, araferi gamogiva. musikas weris drosac vusmen. magaliTad, bil evanss, romelic yovel jerze, raRac axals matyobinebs. miuxedavad imisa, rom didi xania cocxali aRar aris. saocaria ara? magram asea, es did musikosebs sCveviaT, ramdenjerac ar unda mousmino maT, yovel jerze raRac axals aRmoaCen. CemTvis esaa yvelaferi WeSmaritis sazomi.
aseTia iulian brehemi _ saocari gitaristi da Tundac, segovia. nina simone, frenk sinatra, bili holidei, elis rejina... adre, faliaSvilze rom vcxovrobdi, Cems oTaxSi gavaxeldi Tu ara Tvals, diliT, gavwevdi xels (gverdiT tumboze firfitebis sakravi ido), CavrTavdi da segoviaTi viRviZebdi; vusmendi mis mier Sesrulebul baxs da vivaldis... saocari vinmea. ai, pianino da gitara xom gansxvavebuli instrumentebia. gitaras qvevidan ukrav, pianinos _ zevidan. segovia ki axerxebs, gitaraze zevidan daukras. amitom mis bgeras sul sxva siRrme aqvs da elferi... ar vici, rogor axerxebs amas.
warmoudgeneli ambavia... amas espanelebi `duendes~ eZaxian. ai, rogorc lorkasTan, rilkesTan da weredianTan. Zalian miyvars kidev arturo benedeti miqelanjeli, gasuli saukunis sruliad gamorCeuli da calke mdgomi italieli pianisti. gamorCeuli bgeriT, teqnikiTa da dakvris maneriT.
_ uSualod Sens msmenelze miTxari... manana menabde: roca axalgazrda viyavi, ufrosebisken viltvodi, radgan is ar vicodi, rac didebma ician. 50-s rom gadavcdi, daviwye axalgazrdebisken ltolva, radgan me aRar vici is, rac maT ician. amitom maTTan urTierTobisas Cems „Sav xvrelebs“ vavseb. maTTan erTad vakeTeb proeqtebs. isinic modian CemTan winadadebebiTa da proeqtebiT. minda giTxra, rom Cemi auditoria gaaxalgazrdavda. CemTvis Zalian mniSvnelovania, rom axalgazrdebs uCndebaT interesi.
_ saTvale _ stili, individualizmi... manana menabde: usaTvalod didxans davdiodi da... saTvale ukve 30 weli mikeTia; amitom roca vixsni, Camqrali mzera maqvs, radganac ver vxedav. saerTod, CemTvis mTavari stilia. moda icvleba, stili ki rCeba, radgan moda mxolod garegnuli da vizualuria, xolo stili adamianis Sinagan bunebasa da mis sulier mdgomareobas gamoxatavs. 70-ian wlebSi, saqarTveloSi, pirvelma Sarvali me Cavicvi da maxsovs, `TeTri yvaviviT~ viyavi. xalxs Cemi garegnuli ieri aRizianebda. ar dagimalav da sazogadoebisgan didi wnexi ganvicade. magram rogorc xedav, gadavrCi. gadavrCi, radgan Cemi dasaxuli miznisTvis ar miRalatia. wnexs mxolod tansacmlis gamo ar ganvicdidi, niWsac ar mpatiobdnen. ise, minda giTxra, rom Tu vinmes rames vuSavebdi, isev da isev mxolod sakuTar Tavs. adamianebi daundoblebi arian. igive adamianebi, romlebic makritikebdnen, dRes ise miyureben TvalebSi TiTqos arc araferi eTqvaT Cemze. magram es maTi satarebelia. ras izam, adamiani susti arsebaa. isini miyvaran iseTni, rogorebic arian. arc RvarZliani var. vinc Cemze cuds laparakobda, mzad var maTac davexmaro, Tuki dasWirdebaT. wyenas advilad viviwyeb. isini, vinc
dRes komplimentebiT mavseben, darwmunebuli var, aucileblad Camqolaven, Tuki xval fexi gadamibrundeba. amitom, augsac da qebasac erTi Zala aqvs CemTvis. warmatebasa da warumateblobasac mSvidad vxvdebi. miuxedavad imisa, rom Caketili var, adamianebs mainc vexebi. sxvagvarad, Tu marTla monazoni da dayudebuli beri ar xar, dro da dro unda ikontaqto xalxTan. aseTi xistic ar var, miyvars adamianebTan urTierToba. Tanac vwer da mwerlisTvis, Tu SemiZlia Cems Tavs ase vuwodo, mniSvnelovania kontaqtebi, tipaJebi, xasiaTebi da... urTierTobebi. cxovrebis ganmavlobaSi bevri saintereso adamiani aRmomiCenia! mec xom maTi nawili var. amas versad wauxval. maSin kasrSi unda icxovro diogenesaviT. saerTod, niWieri xalxi miyvars. niWieri yvelaferSi niWieria _ simReraSic da puris cxobaSic. erTxel, soWidan adleramde avtobusiT vimgzavre. Zalian rTuli gzaa. iseTi xveulebi iyo, rom guli miskdeboda, ai, axla gadaviCexebiT-Tqo. magram mZRolma ise virtuozulad atara, ise migviyvana daniSnulebis adgilamde, rom megona, akvanSi viweqi da viRac marwevda. ase rom, mTavaria kargad flobde Sens saqmes.
_ vfiqrobdi, am portretisTvis xelebi mimexata Tu ara... manana menabde: yovelTvis aRniSnaven Cems TiTebs. ar vici, ra moswonT maTSi, mudam gamoarCeven. bevri komplimentic mimiRia. madloba ufals am xelebisTvis, ara imitom, rom „lamazia“ an viRacas „moswons“, aramed _ yvelanairi saqmis keTeba rom SemiZlia am xelebiT _ kervac, xatvac, gitaraze dakvrac da mgoni, sxvac... mWadis mozelvac da saWis trialic... ai, saWezed TbilisSi uari vTqvi. am qalaqSi es warmoudgenelia. wess Tu daicav, ueWvelad xaTabalaSi gaexvevi. CvenTan wesebi ar uyvarT _ sakmarisia is daicva, rom maSinve jvarze gagakraven. amitom, `saca ara sjobs gacla sjobso~, xom gagigia... hooo... asec viqcevi.
warmosaxviTi tilo TiTqmis dasrulebulia. CarCoze vfiqrob, Cems Tanaavtors vekiTxebi, rogor urCevnia. manana menabde: CarCoebi ar miyvars. ai Sexede, uCarCoo naxatebi mikidia. miuxedavad imisa, rom Tavisufleba didi Sinagani wesrigi da imis keTebaa, „rac ara gwads“, magram CarCo mainc ar miyvars. es portretic CarCos gareSe davtovoT, Tu SeiZleba.
ivlisis Camavali mze rbilad aSrobs Cvens Sesaqmes. wamier eiforias vgrZnob _ kargi iyo xatvis procesi. portrets TvalebiT vimaxsovreb da vidre kibeze daveSvebode, uceb minaTdeba goneba: naxati uxilavia, ese igi, misi saidumloc dafarulia. yvelaferi ki winaa _ bgeriT, sityviT, feriT da harmoniiT misi amoxsnis mcdeloba!..
yvelaferi winaa _ manana menabdis samyaro, savse oqrosferi dumiliT da SemoqmedebiT.
varskvlavuri saubrebi winandlis festivalidan
janandrea nozeda da joSua beli
STAR CONVERSATIONS AT THE TSINANDALI FESTIVAL: GIANANDREA NOSEDA AND JOSHUA BELL
maRali xelovneba, istoriuli garemo da qarTuli tradiciuli maspinZloba, nebismieri asakis, gemovnebisa Tu interesebis mqone adamians izidavs da... ukve, 2019 wlidan dawyebuli, msoflios sxvadasxva qveynidan elis stumrebs winandlis festivali. festivalis meeqvse sezoni, 31 agvistodan 8 seqtembris CaTvliT, 9-dRiani musikaluri programiTa da 17 dauviwyari koncertiT aRiniSna. rogorc yovelTvis, wlevandel festivalzec, diriJorebis varskvlavuri Semadgenloba da virtuozi solistebi iyvnen warmodgenilni da rom ara, daviT sayvareliZis CarTuloba da daxmareba, rTuli iqneboda varskvlavebTan interviuze nebarTvis mopoveba. didi madloba mas, rom or kaSkaSa varskvlavs: janandrea nozedasa da joSua bels Segvaxvedra.
maestro janandrea nozedasTan interviu imdenad moulodnelad daigegma, rom gzaSi daviwye SekiTxvebis Camowera. Tumca, masTan Sexvedrisas, es kiTxvebi sul gamefanta da interviuc Zalian uSualo saubriT daiwyo: _ gamarjoba maestro, sad girCevniaT, rom davsxdeT?
High art, a rich historical environment, and traditional Georgian hospitality attract people of all ages, tastes, and interests. Since its inception in 2019, the Tsinandali Festival has welcomed visitors from various countries around the world.
The sixth season of the festival, held from August 31 to September 8, was marked by a nine-day music program featuring 17 unforgettable concerts. As always, this year’s festival showcased a stellar line-up of conductors and virtuoso soloists. Without the involvement and assistance of David Sakvareldze, it would have been challenging to secure permission to interview these stars. I extend my heartfelt thanks to him for introducing me to two bright stars: Gianandrea Noseda and Joshua Bell.
The interview with Maestro Gianandrea Noseda came together unexpectedly, prompting me to jot down questions on the way. However, upon meeting him, those questions were quickly overshadowed by the directness of our conversation:
– Hello, Maestro. Where would you like us to sit?
– It’s better in the garden, outside, in the fresh air.
– Of course, it’s better in the garden. Thank you very much for meeting with me; it’s a great honor to interview you. Before we
Tea muqeria
THEA MUKERIA
_ baRSi sjobs, gareT, haerze.
_ ra Tqma unda, baRSi sjobs. didi madloba SexvedrisTvis, CemTvis didi pativia TqvenTan interviu. sanam winandlis festivalze daviwyebdeT saubars, mainteresebs ras fiqrobT qarTul kulturaze?
_ saqarTvelo didi istoriis mqone qveyanaa. miuxedavad imisa, rom geografiulad did teritorias ar moicavs, igi erT-erTi umniSvnelovanesia tradiciebiT, kulturiT, istoriuli memkvidreobiT. namdvilad araCveulebrivia, ara mxolod misi ganTqmuli samzareuloTi, RviniT
Tu stumar-maspinZlobiT, aramed niWiT, musikiT, literaturiTa da mxatvrobiT, rogorc Zvel kulturaSi, aseve TanamedroveobaSi.
_ rogor fiqrobT, winandlis festivali ramdenad mniSvnelovania Tanamedrove qarTuli kulturisTvis da saerTaSoriso asparezze gaiTqva saxeli?
_ me mjera, rom musikas aqvs is Zala, rasac nebismier qveyanaSi, msoflios nebismier kuTxeSi, SeuZlia adamianebis gaerTianeba. konkretulad winandlis festivals rac Seexeba, kaxeTis regions, kerZod ki winandals, 10 dRis ganmavlobaSi stumroben saerTaSorisod aRiarebuli musikosebi. yvelaze mniSvnelovani, albaT, mainc pan-kavkasiuri orkestria, romelic kavkasiis regionidan Sekrebili, 18-dan 26 wlamde asakis axalgazrda musikosebisgan Sedgeba da amgvarad,
discuss the Tsinandali Festival, I’m curious about your thoughts on Georgian culture.
– Georgia is a country with a long history. Despite its small geographical size, it is significant for its traditions, culture, and historical heritage. It is truly extraordinary—not only for its renowned cuisine, wine, and hospitality but also for its talent, music, literature, and art, both in ancient times and in modern times.
– How important do you think the Tsinandali Festival is for contemporary Georgian culture, and how well has it established itself in the international arena?
– I believe that music has the power to unite people in any country and in any part of the world. As for the Tsinandali Festival, internationally recognised musicians visit the Kakheti region, specifically Tsinandali, for a period of 10 days. Perhaps the most significant aspect is the Pan-Caucasian Orchestra, which comprises young musicians aged 18 to 26 gathered from across the Caucasus region. This fosters the growth of a new generation of musicians. The orchestra brings together individuals with differing views and cultures, which is quite challenging for politicians to achieve. This process is known as soft power in international politics. Thus, the PanCaucasian Orchestra holds considerable importance and influence.
– How do you work with young people? Do you have a special approach?
– I work with them just as I would with any professional; they are already accomplished musicians. However, when engaging with a
musikosebis axali Taoba izrdeba. orkestri aerTianebs gansxvavebuli xedvisa da kulturis adamianebs, risi SeZlebac politikosebs Zalian uWirT. am process ki saerTaSoriso politikaSi `rbil Zalas~ uwodeben. rogorc xedavT, pan-kavkasiur orkestrs didi mniSvneloba da Zala aqvs.
_ rogor muSaobT axalgazrdebTan, gaqvT rame gansakuTrebuli midgoma?
_ maTTan vmuSaob iseve, rogorc nebismier profesionalTan, isini ukve profesionali musikosebi arian. Tumca, axalgazrda orkestrTan muSaobisas, aucileblad unda gaiTvaliswino, rom TiToeul Sens sityvas, rogorc sufTa furcelze, ise wer maT gulebsa da gonebaSi, rasac isini sul daimaxsovreben, es ki didi pasuxismgeblobaa.
_ ra aris diriJoris mizani?
_ diriJoris mizani, pirvel rigSi, miaxloebaa imasTan, rac partituraSi weria. ar vfiqrob, rom diriJoris mizani srulyofilebaa.
_ vfiqrob samyaroSi srulyofili araferia...
_ diax, magram miuxedavad amisa, Cven am srulyofilebisken swrafva mudmivad gvaqvs gonebaSi, gvinda rom viyoT srulyofilebi, magram ara! Cven, yovelTvis unda vecadoT, rom ukeTesad gaviazroT rasac vakeTebT da vasrulebT, rac gvaZlevs SesaZlebelobas, rom ubralod, mivuaxlovdeT srulyofilebas.
_ SesaZlebelia Tu ara, 18 wlis asakSi iyo saukeTeso diriJori, Tu fiqrobT, rom es profesia saWiroebs gamocdilebas da mravalwlian muSaobas sakuTar Tavze?
_ niWi niWia, magram niWi muSaobis gareSe aris nuli. Sevxvedrivar bevr niWier musikoss, romlebic ver ganviTardnen.
_ rogor fiqrobT, ratom?
_ SeiZleba imitom, rom ar Sexvedrian karg pedagogs, romelic faseul rCevebs miscemda. niWi is aris, rasac RmerTi gaZlevs, magram didi Sroma sWirdeba, rom es niWi sasargeblo gaxado SenTvis da garSemomyofebisTvisac. vgulisxmob, rom diriJorobis teqnikis swavla ar aris rTuli, magram gaxde diriJori, amas mTeli cxovreba sWirdeba.
_ gyavT Tqveni sayvareli diriJori?
_ diax, aris ramdenime genialuri diriJori, magaliTad, cnobili toskanini da furtvengleri. toskanini, CemTvis da ara mxolod CemTvis, dRevandeli msofliosTvis aris legenda. rac Seexeba viqtor sabatas, is ar aris toskaniniviT aRiarebuli, Tumca vfiqrob, rom namdvili geniosi iyo. toskanini udidesi diriJoria, magram sabatas zogierT Canawers rom vismen, Sinagani energetika hqonda cecxlovani. iyo agreTve berZeni diriJori dimitri mitropolusi, gonieri da imave dros Zlieri energetikiT damuxtuli, sabatasgan gansxvavebiT kidev ufro
young orchestra, one must bear in mind that each word you utter is inscribed on a clean slate in their hearts and minds—something they will always remember. This carries great responsibility.
– What is the purpose of the conductor?
– The conductor’s primary goal is to get as close as possible to the score. I do not believe that a conductor’s objective is perfection.
– I think there is nothing perfect in the world.
– Indeed, but we nonetheless strive for perfection in our minds; we aspire to be perfect, yet we are not! We must continually endeavour to better understand what we do and what we achieve, which allows us to draw closer to perfection.
– Is it possible to be the best conductor at the age of 18, or do you think this profession requires experience and many years of personal development?
– Talent is talent, but talent without effort is worth nothing. I have encountered many talented musicians who failed to develop.
– What do you think, why?
– Maybe it’s because they didn’t encounter a good teacher who could offer valuable guidance. Talent is a gift from God, but it requires a significant amount of work to make that talent beneficial for oneself and for those around. Learning the technique of conducting is not particularly difficult, but becoming a conductor takes a lifetime.
– Do you have a favorite conductor?
– Yes, there are several genius conductors. For instance, the historically renowned Toscanini and Furtwängler. Toscanini, for me and for many others, is a legend of today’s world. As for Victor Sabata, he may not be as widely recognised as Toscanini, but I believe he was a true genius. Toscanini was an extraordinary conductor, but when listening to some of Sabata’s recordings, his inner energy is strikingly fiery. Then there’s the Greek conductor Dimitris Mitropoulos, who was both intelligent and powerful in his energy. Unlike Sabata, he was even more uncontrolled—more Apollo than Dionysus. I would also mention Kleiber and Bernstein. The Hungarian conductor Ferenc Fricsay was remarkable; he was a great thinker, yet very emotional. He grasped the structure of a piece in intricate detail without compromising its architectural integrity, and most importantly, he never put on a show—he was a true musician.
– How do you approach a new piece? Where do you start when working on a new work?
– All conductors have different strategies. Some begin with a macro view and then focus on the micro details. Conversely, I prefer to first analyse the harmonic structure, instrumentation, and timbres of the work, and then attempt to create a large canvas. Some of my colleagues look at the whole picture first and then start assembling the puzzle; I think that can lead to missing important details, so I favour my method. There are conductors who play the piano and learn the piece at the outset. I’m a pianist, but I never play, because the piano doesn’t give me the feeling and sound that the orchestra does. I can’t fully appreciate its timbres and colours with just a single piano.
ukontrolo, metad apoloni, vidre dionise. agreTve, davasaxeleb klaibers, bernstains. saocari iyo ungreli diriJori ferenc friCai, didi moazrovne da imave dros Zalian emociuri; igi nawarmoebis struqturas, detalebSi ise grZnobda, rom mis arqiteqturul mTlianobas ar arRvevda da rac mTavaria, arasdros awyobda Sous, is namdvili musikosi iyo.
_ Tqven Tavad rogor muSaobT nawarmoebze, gansakuTrebiT sainteresoa axalze muSaobas saidan iwyebT?
_ yvela diriJors sxvadasxva strategia aqvs, zogierTi muSaobas iwyebs makrosistemiT da mere midis mikrosistemisken. me piriqiT, Tavidan unda gavaanalizo nawarmoebis harmoniuli struqtura, instrumentoba, tembrebi da bolos vcdilob miviRo didi tilo. zogierTi Cemi kolega jer mTlian suraTs uyurebs da mere iwyebs fazlis awyobas; vfiqrob, ase SesaZloa detalebi gamogrCes, amitom Cemi meTodi mirCevnia. arian diriJorebi, romlebic fortepianoze ukraven da Tavidan ase swavloben nawarmoebs. me pianisti var, magram arasdros vukrav, radgan roiali ar maZlevs im SegrZnebas da xmovanebas, rasac orkestri, ver vgrZnob mis tembrebs da ferebs erT roialTan.
– You are a successful conductor in both the symphonic and opera genres. How do you balance these two fields?
– How do I balance it with life? (laughs) I try to spread it evenly. As you know, I am the music director of the Zurich Opera House and the guest principal conductor of the London Symphony Orchestra. Therefore, I must devote equal time to opera and symphonic music. When I work on an opera for a few months, I miss symphonic music, and vice versa. So one complements the other, and this process helps me to always return to symphonic or opera music feeling refreshed.
– Let’s return to Georgia and Tsinandali. You presented very interesting and diverse works at this year’s festival, including Verdi’s Requiem, Mahler’s 4th Symphony, and Wieniawski’s 2nd Violin Concerto with Joshua Bell. Let’s start with Verdi’s Requiem, which has a unique specificity—it is neither a symphonic work nor an opera; it is a mass.
– Yes, I am performing this piece with the Pan-Caucasian Orchestra and the Tbilisi Opera Choir. Italian specialist Roberto Gabbiani came to work with the team. The choir is exceptionally well-prepared, but Maestro Gabbiani has focused on refining their Italian style; I wanted to infuse more Italian spirit into the performance. For the young orchestra, working with voices is
_ simfoniur da saopero JanrSi erTnairad warmatebuli diriJori xarT, rogor abalansebT am or sferos? _ rogor vabalanseb cxovrebasTan? (icinis) vcdilob Tanabrad gavanawilo. rogorc iciT, ciurixis saopero Teatris musikaluri direqtori da londonis simfoniuri orkestris miwveuli mTavari diriJori var. Sesabamisad, miwevs, rom operas da simfoniur musikas Tanabrad davuTmo dro. roca ramdenime Tve vmuSaob operaze, simfoniuri musika menatreba da piriqiT, simfoniurTan ramdenimeTviani muSaobis Semdeg, menatreba xmebi. ase rom, erTi meores avsebs da Tavad abalansebs. es procesi Zalian mexmareba, rom yovelTvis ganaxlebuli davubrunde simfoniur Tu saopero musikas. _ modiT davbrundeT saqarTveloSi da winandalSi.
Zalian saintereso da aseve erTmaneTisgan gansxvavebuli nawarmoebebi gaqvT warmodgenili wlevandel festivalze.
crucial—they learn breathing techniques from the singers, which is vital for the musical phrase when playing instruments. This approach significantly enhances their professionalism. As for Verdi’s Requiem, as you have mentioned, it is quite different; it is neither strictly a religious work, nor an oratorio, nor a symphony. No matter how you examine it, you cannot fully encapsulate the entire piece. I think it’s music that begins with nothing and concludes with nothing. The question arises: is this the music of a non-believer, from nothing to nothing, or is it the profound desire of a person to connect with spirituality? The final words are “Libera Me,” meaning “set me free!” I believe this is the key phrase of the work, one that answers everything. Regarding Mahler, it represents an entirely different creation from the Requiem; it offers a picture of heaven, a child’s vision of the celestial realm. This symphony is the most classical of Mahler’s works and serves as an excellent introduction to his musical style. We performed Wieniawski’s concerto with Joshua
verdis „rekviemi~, maleris meoTxe simfonia da veniavskis meore saviolino koncerti joSua belTan erTad. modiT, daviwyoT verdis „rekviemiT~, romelic gansxvavebuli specifikisaa _ is arc simfoniuri nawarmoebia da arc saopero, es mgoni mesaa. _ diax, am nawarmoebs vasruleb pan-kavkasiur orkestrTan da Tbilisis operis gundTan erTad. gundTan samuSaod Camovida italieli specialisti, roberto gabiani. gundi araCveulebrivad aris momzadebuli, magram maestro gabiani maTTan italiur stilistikaze muSaobda, metad italiuri suliskveTeba mindoda nawarmoebSi. axalgazrda orkestrisTvis ki Zalian mniSvnelovania xmebTan erTad muSaoba, isini momRerlebisgan swavloben sunTqvas, rac instrumentze dakvrisas musikaluri frazisTvis Zalian mniSvnelovania. musikosi swavlobs daukras rogorc momReralma da es Zalian zrdis mas profesiulad. rac Seexeba Tavad verdis „rekviems", rogorc ukve aRniSneT, Zalian gansxvavebuli qmnilebaa, is arc religiuri nawarmoebia, arc oratoriaa, arc simfoniaa, ra rakursiTac ar unda Sexedo da mainc ver aRwer mTlian nawarmoebs. vfiqrob, es aris musika, romelic iwyeba arafriT da midis arafrisken. sakiTxavia, es aris urwmuno adamianis musika arafridan arafrisken, Tu es aris adamianis didi survili daukavSirdes sulierebas?! bolo sityvebia _ Libera Me, gamaTavisufle! vTvli, rom es aris nawarmoebis sakvanZo fraza _ is yvelaferze pasuxobs. rac Seexeba malers, rekviemisgan absoluturad gansxvavebuli qmnilebaa, es aris samoTxis suraTi, zeciuri samyaros bavSvuri xedva. es simfonia, maleris simfoniebSi yvelaze klasikuri nawarmoebia da mimaCnia, rom misi musikaluri specifikis gasacnobad, saukeTesoa. veniavskis koncerti joSua belTan erTad SevasruleT. masTan erTad uamravi koncerti maqvs Catarebuli, magram winandalSi Cveni muzicireba namdvilad gansakuTrebuli iyo. _ didi madloba, namdvilad visiamovneT koncertebiT. maestro, risken iswrafviT?
_ rogorc musikosi Tu rogorc pirovneba?
_ musikosis da adamianis swrafvebi gansxvavavebulia?
_ ara, namdvilad ara. swrafva yovelTvis ukeTesobisken unda iyos, rom gaxde ukeTesi mama, ukeTesi meuRle, ukeTesi adamiani, iseve rogorc mudmivad unda iswrafvode gaxde ukeTesi musikosi da saerTodac, ukeTesi profesionali. sinamdvileSi, viswrafvi mivuaxlovde WeSmaritebas, rogorc cxovrebaSi, iseve musikaSi. SeiZleba is verasdros ipovo, magram yovelTvis unda ecado, rom rac SeiZleba miuaxlovde WeSmaritebas da amisTvis mudmivad win unda iaro.
_ da bolos, ras usurvebT winandlis festivals?
_ festivals vusurveb, aq Camosul adamianebs aCvenos, rom samyaro SeiZleba iyos gansxvavebuli, mSvenieri da
Bell, with whom I’ve collaborated on many occasions, but our performance in Tsinandali was truly special.
– Thank you very much; we thoroughly enjoyed the concerts. Maestro, what are you striving for?
– Are you referring to aspirations as a musician or as a person?
– Are the aspirations of a musician and a person different?
– No, not really. You should always strive to become a better father, a better husband, and a better person, just as you should aim to be a better musician and a better professional in your field. In essence, I strive to get closer to the truth—truth in life and truth in music. You may never fully find it, but you should always attempt to come as close to the truth as possible, and for that, you must keep moving forward.
– Finally, what do you wish for the Tsinandali festival?
– I hope the festival shows the people who come here that the world can be different, beautiful, and better. I don’t believe music can change the world, but it can change people’s hearts and minds. If you can change people for the better, then those improved individuals can, in turn, change the world.
I thanked the maestro for the fascinating conversation, and while Joshua Bell was resting before the concert after rehearsal, I had the opportunity to meet and talk with him. “I have a little time before the concert, but we can talk,” he told me, and I happily sat down in the chair.
– Thank you very much for this opportunity, and I will try not to take much time. As far as I know, you are not in Georgia for the first time. What do you think about our culture?
– I love Georgians very much; I have already made many friends, and you have extraordinary musicians. Of course, I love Georgian cuisine; even in New York, I often go to Georgian restaurants (laughs).
– Good! If it’s no secret, what’s your favorite dish?
– I find it difficult to pronounce (laughs).
– Khachapuri?
– Yes, Khachapuri! I love it; I love all dishes from Georgian cuisine.
– I agree; we have a really good kitchen. Let’s get back to music. What do you think about the Tsinandali Festival?
– It is an extraordinary festival. I met many familiar people from the Verbier Festival here, and the atmosphere is very homely. The panCaucasian orchestra was a discovery for me; I admire the enthusiasm of the young musicians.
– Is working with a youth orchestra different?
– Yes, you can feel a special energy here, which may be lacking in the orchestra of the older generation, and this adds even more emotion to your music performance. I should also mention Maestro Gianandrea Noseda, with whom I have played many times and who is an extraordinary conductor. I must admit that Maestro Noseda was one of the reasons why I couldn’t refuse to come here (laughs).
– What can you tell us about the program, specifically Wieniawski’s concert?
– It was my wish to perform Wieniawski’s 2nd concert because it
ufro ukeTesi. ar vfiqrob, rom musikas SeuZlia msoflio Secvalos, magram SeuZlia Secvalos adamianis guli da goneba da Tu ki Sen ukeTesobisken Secvli adamians, es niSnavs, rom am ukeTes adamians SeuZlia samyaros Secvla.
maestros didi madloba gadavuxade Zalian saintereso saubrisTvis da vidre repeticiidan gamosuli joSua beli koncertamde isvenebda, masTan Sexvedra da saubaric movaswari. `koncertamde cota dro maqvs, magram SegviZlia visaubroT~-o miTxra da mec sixaruliT movkalaTdi savarZelSi.
_ didi madloba am SesaZleblobisTvis da Sevecdebi didi dro ar wagarTvaT. rogorc vici, saqarTveloSi pirvelad ar xarT da ras fiqrobT Cvens kulturaze?
_ Zalian miyvars qarTvelebi, ukve uamravi megobari SeviZine, araCveulebrivi musikosebi gyavT. ra Tqma unda, Zalian miyvars qarTuli samzareulo, niu iorkSic ki xSirad davdivar qarTul restoranSi. (icinis)
_ ra kargia, Tu saidumlo ar aris, ra aris Tqveni sayvareli kerZi?
_ gamoTqma miWirs. (icinis) xaWapuri?
is special to me. In general, I think that this piece is one of the best violin concertos, but unfortunately, it is rarely performed nowadays. The older generation of violinists, for example, Heifetz, played this concerto often. This is a complete violin concerto written by a violinist. I must mention that my teacher, Josef Gingold, was a student of Ysaÿe, and Ysaÿe was a student of Wieniawski. That is why I feel like a continuation of this legacy and even feel obliged to play this concert.
– While playing, do you sometimes imagine how Wieniawski himself played his piece?
– It’s hard to know, but of course, I feel that when playing, you always sense the composer through the music. Whether you’re playing Schubert or Beethoven, you have the feeling that you know them, that you know their life, and their music gives you this information. It is impossible to imagine; it must be felt through music. As for knowledge, I know from my teacher how Ysa ÿ e played and how expressive his performance was. This special expressiveness, characteristic of the old generation’s school of performance, is already dying, and the performance of the younger generation is completely different. I grew up on the music of Heifetz, Perlman, and Kreisler, whose school was entirely different.
– Do you think that back then, music was performed more
_ diax, xaWapuri, Zalian miyvars, saerTod yvela kerZi miyvars qarTuli samzareulodan.
_ geTanxmebiT, samzareulo namdvilad kargi gvaqvs. modiT, musikas davubrundeT da ras fiqrobT winandlis festivalze?
_ araCveulebrivi festivalia, aq Sevxvdi bevr nacnob adamians verbies festivalidan da Zalian Sinauruli atmosferoa. CemTvis aRmoCena iyo pan-kavkasiuri orkestri, aRfrTovanebuli var axalgazrda musikosebis enTuziazmiT.
_ gansxvavebulia axalgazrdul orkestrTan muSaoba?
_ diax, aq gansakuTrebul energetikas grZnob, rac SeiZleba akldes ufrosi Taobis orkestrs da es kidev met emocias gmatebs musikis Sesrulebisas. aseve unda aRvniSno maestro janandrea nozeda, romelTan erTadac araerTxel damikravs da araCveulebrivi diriJoria. unda vaRiaro, rom erT-erTi mizezi, swored maestro nozeda iyo, ris gamoc uari ver vTqvi aq Camosvlaze. (icinis)
_ ras gvetyviT programaze, veniavskis koncertze?
_ veniavskis meore koncertis Sesruleba Cemi survili iyo, radgan is CemTvis gansakuTrebulia. saerTod vfiqrob, rom es nawarmoebi erT-erTi saukeTeso saviolino koncertia, magram samwuxarod, dResdReobiT Zalian iSviaTad asruleben, roca Zveli Taobis meviolineebi; magaliTad, haifeci am koncerts ukravda xSirad. es aris meviolinis dawerili srulyofili saviolino koncerti. aucileblad unda aRvniSno, rom Cemi pedagogi, jozef gingoldi, izais moswavle iyo, xolo izai veniavskis moswavle gaxldaT, amitomac Tavs am memkvidreobis gamgrZeleblad vgrZnob da vTvli, rom valdebulic ki var, rom es koncerti davukra.
_ dakvris dros Tu warmogidgeniaT _ Tavad veniavski rogor ukravda sakuTar nawarmoebs? _ rTulia es icode, magram, ra Tqma unda, vgrZnob. dakvris dros yovelTvis grZnob kompozitors musikiT. Suberts asruleb Tu beThovens, dakvris dros gaqvs SegrZneba, rom maT icnob, icnob maT cxovrebas da am informacias gaZlevs maTive musika. SeuZlebelia warmoidgino _ es unda igrZno musikiT. codnas rac Seexeba, Cemi pedagogisgan vici, rogor ukravda izai, ramdenad eqspresiuli iyo misi Sesruleba.
Zveli Taobis saSemsruleblo skolisTvis damaxasiaTebeli es gansakuTrebuli eqspresiuloba da gamomsaxveloba ukve kvdeba da axalgazrda Taobis Sesruleba absoluturad gansxvavdeba. me gavizarde haifecis, perlmanis, kraisleris musikaze, romelTa skola sul sxva iyo.
_ fiqrobT, rom maSin musikas ufro siRrmiseulad asrulebdnen da ar iyo amdeni Sejibri da Sou, rogorc axlaa?
_ zustad ver getyviT, magram maSin Sesrulebis metad
deeply and that there weren’t as many competitions and shows as there are now?
– I can’t say exactly, but back then, it was a freer style of performance. Now, the younger generation thinks about so many details when playing: they want to play authentically and stylistically correctly, that they lose their own feeling in the music and can no longer be sincere. The musicians of the old generation did not overthink, although most of those I have listed—Kreisler or Ysaÿe— often played their own music, which gave them that freedom. No matter whose work you perform, you must remember that you are the co-author of this music; you play it, and first and foremost, you have to feel how to play it.
– How do you define what classical music is?
– It’s a good question. I don’t have an exact definition of it (laughs). We call everything from Bach to today “classical.” However, why do we call what was written yesterday a classic?! Well, let’s call it serious music; this is also debatable. Then the question arises: isn’t jazz serious music?! Jazz is as intellectual and serious as any other classical piece. My jazz friends play it so brilliantly that how can it not be serious? So, I think the term “classical” is incorrect; the word “music” already says everything. I play both jazz and blues and pop music. For me, music is music!
– What is your favorite work?
Tavisufali stili iyo. axla ki axalgazrda Taoba imden detalze fiqrobs dakvrisas: daukras avTentikurad, daukras stilisturad zedmiwevniT sworad, rom Tavisi sakuTari SegrZneba ekargeba musikaSi da gulwrfeli veRar aris. Zveli Taobis musikosebi ki amdens ar fiqrobdnen, marTalia maTi umetesoba, vinc CamovTvale: kraisleri Tu izai, xSirad sakuTar musikas ukravdnen da esec aZlevda maT am Tavisuflebas, magram vis nawarmoebsac ar unda asrulebde, unda gaxsovdes, rom Sen xar am musikis Tanaavtori, Sen ukrav da is pirvel rigSi Tavad unda igrZno Tu rogor daukra.
_ rogor gansazRvravT, ra aris klasikuri musika?
_ kargi SekiTxvaa. ar maqvs amis zusti gansazRvreba. (icinis) `klasikurs~ veZaxiT yvelafers, baxidan dawyebuli dRevandelobamde. arada, ratom veZaxiT `klasikurs~ imas, rac guSin daiwera?! kargi, modiT davarqvaT seriozuli musika, esec sadavoa, maSin Cndeba kiTxva: jazi seriozuli musika ar aris?! jazi iseTive inteleqtualuri da seriozulia, rogorc sxva nebismieri klasikuri nawarmoebi. Cemi jazmeni megobrebi ise genialurad asruleben, rom rogor SeiZleba is seriozuli ar iyos?! ase, rom termini `klasikuri~ vfiqrob, aramarTebulia, sityva `musika~ ukve yvelaferze metyvelebs. me vukrav rogorc jazs, aseve bluzs da pop-musikasac. CemTvis musika musikaa!
_ Tqveni sayvareli nawarmoebi romelia?
_ Zalian rTulia amis Tqma.
_ maSin, Tu aris epoqa, romelic ufro mogwonT?
_ esec rTulia. (icinis) roca vukrav baxs, vfiqrob, rom saukeTeso kompozitoria, principSi asec aris. rodesac vukrav beThovens, mgonia, rom masze ukeTesi aravin aris da maSin, vin aris mocartze ukeTesi?! albaT, erT-erTi sayvareli kompozitori mendelsonia. roca misi oqteti pirvelad movismine, mivxvdi, rom is erT-erTi saukeTeso iyo. jeremi denkTan da stiven iserlisTan erTad Cavwere misi trioebi da vfiqrob, rom amaze ukeTesi kameruli musika ar dawerila. marTalia, ar CamomiTvlia XX-XXI saukuneebis musika, magram aqac aris kargi nawarmoebebi, ra Tqma unda. (icinis)
_ Tu gyavT sayvareli mevioline?
_ ukve vaxsene _ araerTi.
_ Tanamedrove meviolineebidan?
_ vinc cocxalia, yvela Cemi megobaria. (icinis)
_ ra rCevebs miscemdiT axalgazrda musikosebs?
_ axalgazrdebs ra unda vurCio, erTi mxriv, minda vuTxra, rom gaerTon, isiamovnon, datkbnen cxovrebiT da meore mxriv, aucileblad unda vurCio, rom Tavis Tavze imuSaon bevri. es aris profesia, romelic Seni cxovrebis nawilad unda iqces, misi saSualebiT fulic unda iSovo da amasTan erTad, aucileblad isiamovno. did Secdomad mimaCnia, Tavidanve miznad daisaxo solistoba, es ufro
– It is very difficult to say.
– Then, if there is an era that you like more?
– This is also difficult (laughs). When I play Bach, I think he is the best composer; in principle, that is true (smiles). When I play Beethoven, I believe there is no one better than him. And then, who is better than Mozart?! Perhaps one of my favorite composers is Mendelssohn. When I heard his octet for the first time, I knew it was one of the best. I recorded his trios with Jeremy Denk and Steven Isserlis, and I think there is no better chamber music ever written. It’s true that I didn’t list the music of the 20th and 21st centuries, but there are good works from those eras as well (laughs).
– Do you have a favorite violinist?
– I have already mentioned several of them.
– From modern violinists?
– All those who are alive are my friends (laughs).
– What advice would you give to young musicians?
– What should I advise young people? On the one hand, I want to tell them to have fun, to enjoy life. On the other hand, I must advise them to work hard on themselves. It is a profession that should be a part of your life; you should earn money through it, and at the same time, you should definitely enjoy it. I consider it a big mistake to aim to be a soloist from the beginning; that was more characteristic of the old Russian school. It was accepted that someone had to be a soloist, or a chamber music performer, or an orchestra musician. This is a big mistake. My teacher, Gingold, was a concertmaster of an orchestra; he also played in a quartet and was an extraordinary soloist. He never singled out any of them, and I am the same. I believe that the profession of a musician is very versatile.
– What do you require from yourself?
– To learn all the time and also to teach young people. It is true that I am over 50 years old, but I always consider myself a student who still has a lot to learn, and I consider this a great privilege. For example, recently, I often conduct and familiarize myself with orchestral works, adding new symphonies to my repertoire.
– Do you like conducting more or playing the violin?
– Very often I do both at the same time, and I enjoy both processes equally.
– What are you dreaming about?
– I dream of living to 100 years (laughs).
– What do you wish for the Tsinandali Festival?
– Actually, one of my dreams is to come here again. I wish the festival to continue its work. I think that the Tsinandali Festival is a great gift both for the Georgian people and for us who come to this beautiful country of Georgia.
The Tsinandali Festival is truly a great gift for our country. For these magical days, we should express our gratitude to everyone who contributed, to everyone who creates this top-quality and amazing environment. Here, you feel that art unites the world, and Georgia is an important part of this world.
Zveli rusuli skolisTvis iyo damaxasiaTebeli. ase iyo miRebuli, viRac aucileblad solisti unda gamosuliyo, an kameruli musikis Semsrulebeli, an orkestris musikosi. es didi Secdomaa, Cemi pedagogi, gingoldi, orkestris koncertmaisteri iyo, is aseve ukravda kvartetSi da imave dros iyo araCveulebrivi solisti. arasdros ar gamoarCevda romelime maTgans. mec aseve var da vTvli, rom musikosis profesia Zalian mravalmxrivia. ras moiTxovT saukTari Tavisgan?
_ sul viswavlo da aseve vaswavlo axalgazrdebs. marTalia, ukve 50 welze metis var, magram Tavs mudmivad miviCnev im moswavled, romelsac kidev bevri aqvs saswavli da vTvli, rom es didi privilegiaa. magaliTad, am bolo dros, xSirad vdiriJorob da saorkestro nawarmoebebs vecnobi, Cems repertuars axal da axal simfoniebs vamateb.
_ diriJoroba ufro mogwonT Tu violinoze dakvra?
_ Zalian xSirad orives erTdroulad vakeTeb da orive procesi erTnairad msiamovnebs.
_ raze ocnebobT?
_ 100 weli vicocxlo. (icinis)
_ ras usurvebT winandlis festivals?
_ Cemi erT-erTi ocnebaa aq isev Camovide. festivals ki vusurveb am saqmis gagrZelebas. vfiqrob, rom winandlis festivali didi saCuqaria, rogorc qarTveli xalxisTvis, aseve CvenTvis, vinc saqarTveloSi, am mSvenier qveyanaSi CamovdivarT.
winandlis festivali namdvilad didi saCuqaria Cveni qveynisTvis. am jadosnuri dReebisTvis ki didi madloba unda vuTxraT yvelas, visac ki wvlili miuZRvis. yvelas, vinc am saukeTeso xarisxs da saocar garemos qmnis. aq grZnob, rom xelovneba aerTianebs msoflios da saqarTvelo ki am msoflios mniSvnelovani nawilia.
unugeSo fiqrebi
INCONSOLABLE THOUGHTS
dro gaCerda. dro, romlis arc fasi gvcodnia da arc movfrTxilebivarT. dro, romelic gvegona, rom amouwuravi bedniereba iyo... ratom moxda ise, rom 24-saaTiani megobrobisa da urTierT sulis Sebervis pirobebSi, bolo 24 saaTi aravis gvinaxavs? (samegobros Zalian axlo garemocvas vgulisxmob...) gagvepara... oRond sad? risTvis? ratom? ratom...
es sityva yvelaze xSirad amomitivtivda mTeli cxra Tvis wvalebisa da sulis xorcisgan gaclis am sastiki maraTonis mimdinareobisas. ratom...
iqneb imitom, rom upirobod saukeTeso iyo? ara, es Zalian banaluria. karga xania gamovedi im iluziidan, rom RmerTsac saukeTesoebi mihyavs.
Time stood still. Time, the value of which we never fully grasped nor thought to question. Time we believed was endless, filled with happiness…
How is it that, over 24 hours of unwavering friendship and shared breaths, no one from our closest circle of friends had seen him in those final 24 hours? He slipped away from us… but where to? For what reason? Why?
Why…
This word often occupied my thoughts during the grueling ninemonth marathon of soul-burning and stripping away the flesh. Why?
Perhaps because he was simply the best? No, that sounds too cliché. I let go of the illusion long ago that God always takes the best. Maybe being first wasn’t just a matter of life, but of death too? He excelled in every way…
DIMITRI KHVTISIASHVILI
dimitri xvTisiaSvili
iqneb pirveloba arc sikvdilSi dagviTmo aravis? yvela mimarTulebiT xom pirveli iyo...
pirveli iyo, profesiiT damegobrebulTa Soris, romelmac institutis sakurso speqtaklSi, `mususi~, namdvil amomaval varskvlavad gaibrwyina...
pirveli iyo, bavSvobis saZmakacoSi, vinc daojaxda...
pirveli iyo, akademiur TeatrSi saqmianoba, mTavari roliT (`munjis sizmrebi~) rom daiwyo da Tan gamorCeuli warmatebiT.
pirveli iyo, did samegobroSi mama rom gaxda... aseve pirveli iyo _ papa rom gaxda... pirveli iyo...
pirveli iyo... pirveli iyo...
Tundac imaSi iyo pirveli, rom arasodes ar iCemebda pirvelobas.
imaSic pirveli iyo, rom arasodes usargeblia sayovelTao siyvaruliTa da aRiarebiT ganTqmuli mamis saxeliTa Tu gavleniT.
imaSic pirveli iyo, rom aravin gauWoravs, arc kvantis dasadebad momarTula odesme....
He was the first among his fellow professionals, shining as a true rising star in the institute’s course production of “Mususi”.
He was the first in his childhood circle of friends to marry.
He was the first to begin his career at the Academic Theatre, debuting with a leading role in “Dreams of the Mute”, met with exceptional success.
He was the first among his wide circle of friends to become a father.
He was also the first to become a grandfather.
He was the first…
He was the first…
He was the first…
He was even first in the sense that he never sought first place.
He was first in that he never relied on the name or influence of his father, who was known for universal love and recognition.
He was first in that he never gossiped about anyone, nor did he ever try to bring anyone down.
He was first in humility… more precisely, the foremost!
I could list many more of his “firsts”… and finally, I arrive at the most difficult to comprehend: his first in death.
At 1:00 p.m. on the 13th of September, the great fairy tale named Berika came to an end.
TavmdablobaSic pirveli... ufro zustad _ upirvelesi! kidev uamrav „pirvels~ CamovTvlidi... da bolos, mainc yvelaze rTulad aRsaqmel pirvelobamde mival _ sikvdilSic pirveli... im umZimesi 13 seqtembris 13 saaTze, dasrulda didi zRapari saxelad _ berika!!! dasrulda... ra rTulad gasacnobierebeli da kidev ufro rTulad Sesaguebeli realobaa... Teatris upirvelesi poetis sityvebiT rom vTqva: „sxva raRa darCa, saukuno siCume mxolod...~ arada, rogori xmauriania es siCume, rogori damangreveli, rogori unugeSo... iyo da ara iyo ra... arada iyo... Tan rogori iyo... saukeTeso... ganumeorebeli... sul veZeb im sityvas an sityvaTa wyobas, romliTac SeiZleboda mokled damexasiaTebina is, Tu rogori zura berika gvyavda... ver vpoulob, radgan am samyaroSi TviTon berikas veRar vpoulob... gulisa da gonebis labirinTebSi ki, yvelgan berikaa, Tavisi saocrad momxibvleli, odnav ironiuli RimiliT, mudam sevdiani da Cafiqrebuli gamoxedviT, mzeraSi rom ymawviluri eSmakunebi bolomde ar gahqrobia... berikaa, zomieri TviTironiiTa da ara Seuracxmyofeli satirul-skabrezuli CanarTebiT, cxovrebis xalisiT, zogjer kaxuri pirdapirobiT, zogjer ki imeruli moalerse sityvakazmulobiT... berikaa, mudam axalgazrduli, ufro metic Tineijeruli SemarTebiT da... ...da isev _ ratom... ratom ar daberda... ratom...
„firosmani _ zmaneba~ rom iTamaSa, CemTvis gavifiqre, rogor daostatda meTqi... Semdeg levan wulaZes STabeWdileba gavuziare da manac damidastura, rom aRfrTovanebuli iyo berikas namuSevriT... Semdeg „vardis sviringSi" namdvili foierverki daatriala scenaze da is-is iyo agorda speqtakli, rom pandemia daiwyo... arada, rogori saintereso cxovreba iwyeboda misTvis _ SemoqmedebiTi simwifis xana, roca yvela Semdegi namuSevari umniSvnelovanesad unda qceuliyo... daiwyo kidec... Tumca...
erT-erTi ukanaskneli speqtakli, romelSic iTamaSa iyo „SevxvdebiT samoTxeSi~, xolo sul ukanaskneli... _ „o, RmerTo~!!!
o, RmerTo! ratom?
ra dros sikvdili iyo, biWo?
P.S o, ramdens icinebdi da mere damcinebdi, am werilis wakiTxva, rom SegeZlos...
It’s over… What a hard truth to grasp, and even harder to accept.
In the words of the theatre’s first poet: “The rest is silence.”
Yet how loud this silence is – how devastating, how unbearable…
Once upon a time, there was…
And what a presence he was… the best… inimitable.
I’m always searching for a word, or perhaps a phrase, that could sum up what kind of person Zura Berika was… but I can’t find it, just as I can’t find Berika himself in this world anymore. Yet, in the labyrinths of my heart and mind, Berika is everywhere — with his irresistible charm, his slightly ironic smile, always with that melancholic, contemplative gaze, where traces of boyish mischief still lingered.
Berika, with his gentle self-irony and harmless, satirical wit, with his zest for life, sometimes delivering the blunt honesty of Kakheti, and at other times, the tender, wordy affection of Imereti. Berika, forever youthful, even more so in his teenage-like attitude and…
…and again, I ask — why?
Why didn’t he grow old?
Why?
When he performed “Pirosmani – A Dream”, I thought to myself, how masterfully he’s captured it… Later, I shared my impression with Levan Tsuladze, who also confirmed that he was struck by Berika’s performance. Then came “The Rose Tattoo”, where he ignited fireworks on stage, making the play a hit, only for the pandemic to begin right after. But what a promising life he was about to embark on — the age of creative maturity, when all his future roles should have been his most significant… it had just begun… and yet…
One of his last performances was “See You in Heaven”, and the very last… “Oh, God”!!!
Oh God.
Why?
Was it really time to leave, my boy?
P.S. Oh, how you would laugh, and keep laughing at me if you could read this letter now…
zuriko...
sandro eloSvili
SANDRO ELOSHVILI
lev tolstois uTqvams _ Tu grZnob tkivils, cocxali xar, magram Tu grZnob sxvis tkivils _ adamianio. minda mjerodes, rom zura berikaSvili im cxra Tvis ganmavlobaSi, roca qveynidan qveyanaSi, klinikidan klinikaSi, palatidan palataSi, gaTiSul mdgomareobaSi gadahyavdaT, ver grZnobda sakuTar tkivilebs, magram zustad vici, mTeli sicoxle sxvisi tkivilebiT, sxvisi sixaruliT, sxvisi emociiT da sxvisi adamianobiT cxovrobda. gamorCeulad uyvarda megobrebi da albaT, dRec ar ucxovria maT gareSe… darekavda xolme da CamoTvlida _ cota is maqvs, cota es, is mova da es ukve aq aris, gamodi, raRas akeTeb?! _ visxediT xolme gvianobamde, xSirad gaTenebamde da sul vfiqrobdi, rogor axerxebs es erTi, mudam momRimari kaci, ise gagvaerTianos amdeni gansxvavebuli adamiani, rom wlebis ganmavlobaSi misi saxlidan erTi SekamaTebis xmac ki ar gamosuliyo. mifiqria, netav ra moswons aseT cxovrebaSi, sadac misi ego ar aris mTavari, misi poziciebi umTavresi, misi gemovneba dominanturi… mokled ra moswons aseT cxovrebaSi, sadac yvelaze mniSvnelovani sxvaa. magram
Leo Tolstoy once said, “If you feel pain, you are alive, but if you feel the pain of others, you are human.” I want to believe that during those nine months, when Zura Berikashvili was transported from country to country, from clinic to clinic, and from ward to ward, in a state of disconnection, he could not feel his own suffering. However, I know for certain that he lived his entire life attuned to the pains, joys, emotions, and humanity of others.
He had a particular fondness for his friends, and I doubt there was a day that passed without them. He would often call, saying, “I have a bit of this, a bit of that; he’ll come and he’s already here! Come out with us, what are you doing?” We would sit together until late, often until dawn. I often wondered how this perpetually smiling man managed to unite so many diverse individuals, creating an environment where not a single sound of argument emerged from his home for years.
I contemplated what he found appealing about a life where his ego was not central, where his status held little weight, and his preferences were not paramount. In short, what drew him to a life that prioritised others above all else? He was, after all, caring, loving, and attentive… and above all, shy to the point of being almost selfeffacing, annoyingly humble, and nobly generous beyond measure.
aseTi iyo, mzrunveli, mosiyvarule, yuradRebiani… da rac mTavaria, uazrobamde morcxvi, Semawuxeblad Tavmdabali, camde keTilSobili. gulwrfelad vambob, Cven ufro bevri dagvaklda misi wasvliT, vidre TviTon da amas droTa ganmavlobaSi ufro mivxvdebiT, rodesac Zalian dagvWirdeba adamianis erTi Tbili sityva, erTi mokiTxva, megobris uangaro siyvaruli da amas ise lamazad ver gaakeTebs sxva, rogorc zurikom icoda xolme. bodiSi, Tuki mis Semoqmedebaze, mis sceniur rolebze, mis artistul cxovrebaze arafers vambob, es yvelaferi foto da video arqivma Tu ara, Cvenma mexsierebam mainc Semoinaxa da Segvayvara… xSirad xumrobiT imeorebda xolme akaki vasaZis sityvebs `netav iq Teatri aris?!~ da axla iq agrZelebs TamaSs, magari artistebis garemocvaSi… ubralod, minda sxva berikaze mogiyveT, im berikaze, vis gareSec Zalian Zneli iqneba cxovreba. maSin marjaniSvilis TeatrSi axali misuli viyavi, patara biWi, damwyebi reJisori. codva gamxelili sjobso da unda iTqvas, uneburad Segveyreba xolme TeatrSi pativis da didebis seni, gverdze mimoxedvas rom gvaviwyebs. varskvlavebiT mofenil marjaniSvilis TeatrSi, erT-erTi
To be honest, we lost more with his departure than he did, and we will come to realise this more profoundly over time when we truly need a warm word from someone, a simple greeting, or the selfless love of a friend. No one could offer that quite like Zuriko did. I apologise for not discussing his work, his stage roles, or his artistic life; all of that is preserved in photographs and video archives. But our memories have retained it, and through them, we have come to love him even more.
He often jokingly echoed the words of Akaki Vasadze, asking, “I wonder if there is a theatre there?” Now, he continues to perform among the finest artists in that ethereal realm. I want to share with you a different side of Berika, the one whose absence will make life profoundly difficult.
At that time, I was a newcomer to the Marjanishvili Theatre, a young boy and a novice director. It’s better to admit one’s shortcomings; sometimes, we inadvertently become ensnared by the shadows of honour and glory that the theatre casts, causing us to forget to look closely at the page. Zura Berikashvili was one of the brightest and most cherished stars of the Marjanishvili Theatre, a place filled with talent. One day, he called me and said, “I’m driving by your house, and
kaSkaSa da xalxis sayvareli varskvlavi, ra Tqma unda, zura berikaSvili iyo. erT dResac damireka da miTxra, Seni saxlis qvemoT var manqaniT da wagiyvan TeatrSio… mere mivxvdi, roca aman, xSiri saxe miiRo, SemTxveviT ki ar xvdeboda Cems saxlTan, aramed gamiznulad igrZelebda gzas da ase makiTxavda xolme, isedac uxelfasod momuSaves, romelsac saxlSi ramdenime Tvis Svili myavda, fuli transportze rom ar damexarja. damaviwydeba?! arasdros! rom veRar vpoulob dedamiwaze, veZeb da vqeqav fotoebs, xSirad sxvebsac vTxov xolme gamogzavnas, ase mivageni Cemi Svilis da mis fotos (zuriko naTliaa Cemi biWis), nikos cxvirze rom uWers or TiTs da uRimis. aq mivxvdi, rom yvelas Tavisi zuriko hyavda, me _ Cemi, Cems Svils _ Tavisi… mis Svilebs sxva, megobrebs sxva, kolegebs sxva da ucnobebs sxva, amitomac uyvarda yvelas gamorCeulad da gansxvavebulad. sikvdilic ucnauri moigona, uxmauro, Cumi. nel-nela gagvepara… tkivili cxra Tveze gadagvinawila. sul imaze mefiqreba, rodesac aRarc tvini muSaobda, aRarc sxva organoebi da xelovnurad imarTeboda misi sxeuli, guli… guli ar Cerdeboda! yvelani rom SigniT vyavdiT, is guli… erT ambavs getyviT, ar vici unda vambobde Tu ara, magram mainc… erTxel erTma adamianma SemomTavaza raRac Zalian didi finansuri garigeba, milionebze iyo saubari, Cveni mxridan ki bevri araferi iyo saWiro, xalxi unda Segvewuxebina `zemoT~. zurikos gavende, avforiaqdiT, vinerviuleT, momavali sul sxva da bednier ferebSi davinaxeT… ase viareT ramdenime dRe, Semdeg damireka, amodi saxlSi Tu SegiZliao. orni viyaviT, puri daWra, yveli gamoiRo, Rvino Camoasxa da aseTi ambavi momiyva _ erTxel, wlebis win, msgavsi ram SemomTavazes, hoda, mec sxva ra unda meqna, givisTan mivedi da vuTxari _ mama, am ambavs Tu movagvarebT, did fuls mogvcemeno… givi biZias uTqvams _ rad ginda Svilo zuriko didi fuli, mSvidad gvZinavso… mSvidad iZine zuriko… miyvarxar!
I’ll pick you up to take you to the theatre…”
Then I realised, when it took a systematic form, that his visits to my house were not coincidental. He deliberately chose a longer route and called me from his car so that I, already working without pay and with a month-old child at home, wouldn’t have to spend money on transportation. Will I forget this? Never! Since I can no longer find him on earth, I search for photos, often asking others to send them to me. I found a picture of my son with him (Zuriko is my boy’s godfather) playfully holding Niko’s nose with two fingers and smiling. In that moment, I realised that everyone had their own Zuriko: I had mine, my son had his, his children had another, friends had another, colleagues had another, and strangers had yet another. That’s why everyone loved him in their own unique way.
He made death feel strange, silent, and muted. He slipped away from us slowly… He bore our pains over those nine months, parting with his own so that we could feel less pain. All I can think about is how, even when his brain and other organs were no longer functioning, his body and heart… his heart did not stop. His heart, in which we were all held.
I want to share a story; I’m not sure if I should, but here it is. Once, a person offered me a very substantial financial deal—millions were at stake—and nothing much was required from us; we just had to seek the support of those in higher places. I shared this with Zuriko, and we were worried, envisioning the future in vibrant, happy colours. We lived with that thought for a few days until he called me one evening, saying, “Come to my house if you can.”
When I arrived, there were just the two of us. He sliced some bread, laid cheese on the table, poured wine, and began to tell me a story. He recounted that years ago, he had been offered something similar. He had gone to Givi and said, “Father, if we resolve this, they will give us a lot of money…” Uncle Givi replied, “Why do you want a lot of money, son Zuriko? Let us sleep peacefully… Sleep peacefully, Zuriko… I love you!”
qeTevan kokozaSvili KETEVAN KOKOZASHVILI
TuSuri Canawerebi
TUSHETIAN JOURNAL
TuSeTidan gamobrunebulebi, TandaTan qvemoT veSvebiT. erTmaneTSi ireva soflebis, mTebis, xevebis, koSkebisa da cixeebis ucnauri, zogjer kldeTa fiqaliviT mtvrevadi, zogjer ki rbilmelodiuri saxelebi da maTi mistikuri musika; TuSur dialeqtze molaparake lamazi cisferTvaleba bavSvebis JRurtuli da aqauri dardisamSleli simRerebis sevdiani tkbilxmovaneba; alpuri mdeloebis feradovneba da piriqiTa alaznis
Returning from Tusheti, we descend gradually, enveloped by the strange names of villages, mountains, ravines, towers, and castles. Some names feel brittle, reminiscent of the slate rocks, while others resonate with melodious tones, creating a mystical harmony. The sight of beautiful blue-eyed children speaking in the Tushetian dialect, their laughter mingling with the melancholic sweetness of local pain-relieving songs, adds to this enchanting landscape. The vibrant colors of the alpine meadows contrast with the
xmauriani SxuiliT gajerebuli garemo; bunebis TiTqmis veluri, pirvelqmnili silamaze da mSveniereba, rogorc samyaros sazrisis materialuri gansxeuleba. aq mTeli kosmosi TiTqos SiSveli dgas Sen winaSe, adamiani da bunebis yoveli arsi erTmaneTs erwymis, ise axloa, iseTi ganuyofeli da erTadmyofi. es yovelive gadumebs, laparakis survils gikargavs da aTasi metafizikuri fiqri mogicavs.
* * *
TbilisSi wvimda. Cvens megzurTan karga xniT adre viyaviT SeTanxmebulni, magram amindi gvafiqrebda. bolos mainc gadavwyviteT da wavediT. TuSeTSi wasvla ar unda gadado, Tanac mTaSi amindi swrafad icvleba, uceb wamowvims, cota xanSi ki isev gadaikarebs xolme da mze gamodis.
ulamazes storis xeobas mivuyvebiT. yovel nabijze patar-patara CanCqerebi gadmoedineba, wyali pirdapir gzaze Camodis da qvemoT, mdinarisken, ikvalavs savals.
surrounding noise of the Alazani, infusing the air with life. Here, the almost wild, primordial beauty of nature embodies the profound sense of the world. The entire cosmos appears to stand naked before you, as human and every element of nature merge into one—so close, so inseparable.
This overwhelming beauty silences you; words fail to emerge, and a thousand metaphysical thoughts envelop your mind.
It was raining in Tbilisi. We had arranged our trip with our guide well in advance, but the weather weighed on our minds. Eventually, we decided to go. One should not delay a journey to Tusheti; besides, the weather in the mountains changes quickly, with sudden rains followed by bursts of sunshine.
We followed the beautiful Stori Valley, where small waterfalls cascaded at every turn, their waters flowing directly onto the road, tracing a path down to the river. Gradually, the precipices were lapped white by a thick layer of ice—streams of water frozen over the winter, yet to melt. Vibrant foreign flowers bloomed in the bushes on the rocks, enticing me to explore up close. However, I hesitated, often unable to stop the car, especially knowing we had a long way to go.
As we continued through the Stori Valley and ascended the Abano Pass, we confirmed our progress through our guide’s phone conversation with a relative. The weather remained cloudy; it wasn’t raining, but a light drizzle accompanied the thick fog that enveloped the mountains, obscuring our view. Fortunately, the road ahead and oncoming traffic remained visible, allowing us to navigate without concern.
Abano Pass, perched at 2,800 meters above sea level on the main watershed of the Caucasus, separates the Stori River valley from the Alazani valley of Tusheti. We paused briefly at the summit for a rest
alag-alag damrec kbodeebze TeTrad laplapebs yinulis sqeli fena, es zamTarSi gayinuli wylis nakadia da jerac ver mouswria gadnoba. zed kldeebze sxvadasxva feris ucxo yvavilebia buCqebad amosuli, yvelafris axlos naxva minda, magram merideba, xSir-xSirad ver vaCerebineb manqanas, miTumetes, rom win kidev didi gza gvaqvs. storis xeobac gavlieT da abanos uReltexils SevuyeviT. e.i. ukve `SevekideT~, rogorc Cvenma megzurma telefonze uTxra Tavis TuS axlobels. amindi moJamulia. Tavsxma wvima ar aris, magram JinJlavs da mTa mTlianad nislSia gaxveuli, verafers vxedavT irgvliv. kargia, rom win gza da Semxvedri transporti mSvenivrad moCans da es mainc ar gvabrkolebs.
abanos uReltexili kavkasionis mTavar wyalgamyof qedze mdebareobs, zRvis donidan 2800 metrze maRla da mdinare storis xeobas gamohyofs TuSeTis alaznis xeobisgan. is aris gadasasvleli TuSeTis mxareSi. mwvervalze cota xniT SevCerdiT, SevisveneT da nelnela daveSviT qvemoT. xeobebSi gza, ZiriTadad, mdinaris pirs miuyveba. alaznis xeobas isev aRma avyeviT. aq mTis ferdobebze umetesad wiwvovani tyeebia. omaloSi misulebs, ukve CaxCaxa mze dagvaxvedra TuSeTma. Zalian kargi megzuri da maspinZeli gvyavs, iura. yvelafers
before slowly descending. The road in the valleys typically follows the river’s course, guiding us back up the Alazani valley, where coniferous forests blanket the mountain slopes.
As we arrived in Omalo, Tusheti welcomed us with the glow of the setting sun. Our guide and host, Iura, proved to be exceptional, providing detailed explanations despite his evident fatigue, fulfilling our every wish.
From Omalo, we ventured further, where “even Gomechar will throw a cloud, you will raise the sun on Umtero Mountain.” The Gometsri Valley lies opposite the Alazani Valley, separated by the Makratela ridge. Bochorna, the highest inhabited village in Europe at 2,345 meters above sea level, had once been abandoned and depopulated until Doctor Irakli Khvedaguridze returned ten years ago to revive the place of his childhood.
A little further down, on a small plain between the mountains, Dochu appears like a jewel of Tusheti, shimmering atop a cliff. As we journey deeper, the sky seems to draw nearer, and it feels as though the horizon merges with the earth, allowing us to reach out and touch the clouds.
Tusheti has preserved not only the ancient arrangement and appearance of its villages, houses, and castles but also a calmness and coziness that is utterly archaic. Most importantly, it harbors an untamed, spontaneous spirit, remote from the civilized world—untouched and self-contained in its high culture. This is why one doesn’t mind being
gvixsnis, bevr rames gviyveba dawvrilebiT, xom vici, Zalian daRlilia, magram Cvens yvela survils asrulebs.
omalodan ukve iq varT, sad `gomewaric gadiyrid Rrubels, mzes amoRlaleb umteros mTaze~. gomewris xeobas piriqiTis alaznis xeobisgan makratelas qedi hyofs. aq zRvis donidan 2 345 metrzea evropis yvelaze maRali dasaxlebuli sofeli _ boWorna. mitovebuli da gaukacrielebuli sofeli irakli eqimma gaacocxla, irakli xvedaguriZem, romelic aTiode wlis win dabrunda Tavisi bavSvobis adgilze. aqedan cota qvemoT, mTebs Soris moqceul patara vake adgilze, kldis Tavze, TuSeTis samkauliviT moCans doWu. rac ufro siRrmeSi mivdivarT, miT ufro vuaxlovdebiT cas da iseTi SegrZneba Cndeba, TiTqos sadRac aqve axlos, horizontze, ca da dedamiwa erTmaneTs erTvis, Sen xels aswev da Rrublebs Seexebi.
TuSeTs SenarCunebuli aqvs ara mxolod soflebis, saxlebisa da cixeebis Zveleburi wyoba da saxe, aramed sruliad arqauli simSvide da simyudrove da, rac mTavaria, Seuryvneli, TviTnabadi, civilizebuli samyarosgan moSorebuli, dRemde xeluxlebeli, TviTmyofadi maRali kulturis suli. amitomac ar gawuxebs zogierT adgilas uinternetoba, garesamyarosgan
offline in certain areas, completely cut off from the outside world. It offers the opportunity to immerse oneself in this mysterious and extraordinary space, to observe, understand, and meditate.
Here, colors flow with a clarity that avoids each other in beauty; the slopes of the mountains undulate like waves of dark and light green, interspersed with scattered cliffs adorned with brown spots and rust-colored pebbles. In the mornings and evenings, fog occasionally drapes in strips, and amidst this breathtaking beauty, in the calmness and harmony of the transparent air, time becomes an afterthought.
We had to stay in Dartlo, which led us down to the Alazani Valley. I’ve seen the Black Aragvi before, but the dark slate hue of this mountain river continues to amaze me. Most likely, some mineral within the rock gives it this striking color. Stepping out of the car, I felt strangely off balance. Have you ever seen cosmonauts in a state of weightlessness? I felt just like that—light, almost floating. We were so high up in the mountains, where the air is thin.
Carefully, I walked along the sloping precipice of the river, clutching at grass and tree roots. A steep drop lay before me, and I feared falling, but I kept pressing on, searching for the safest path. Dartlo—the most mysterious and architecturally outstanding village in Tusheti, included on UNESCO’s World Cultural Heritage tentative list—stood ahead. Its houses
sruliad mowyveta, radgan metad geZleva am idumal da uCveulo sivrceSi CaRrmavebis, dakvirvebis, am yvelafris gaazrebis SesaZlebloba da erTgvari meditaciis saSualebac.
aq ferebi Tavisi namdvili sixasxasiT ise livliveben, TiTqos erTmaneTs ecilebian silamazeSi, mTis ferdobebs talRebiviT gadasdiT gardamavali muq-Ria simwvane, alagalag kldeebis yavisferi laqebiTa da Jangisferi sipi qvebiT. dila-saRamos zogjer nisli Camoefineba zolzolad da am gulisSemZvrel mSvenierebaSi, am mistikuri garemos siwynareSi, harmoniasa da gamWvirvale haeris simsubuqeSi, drois SegrZnebas sruliad kargav.
Cven darTloSi unda davbinavdeT. amitom piriqiTa alaznis xeobaSi gadavdivarT. Savi aragvi minaxavs, magram mTis mdinaris aseTi muqi fiqalisferi mainc eucxoveba Tvals. savaraudod, kldis romelime minerali aZlevs am Seferilobas. manqanidan gadmosuls ucnauri SegrZneba maqvs, wonasworobis dacva miWirs. kosmonavtebi xom ginaxavT uwonadobis mdgomareobaSi, daaxloebiT ase var. Zalian maRal mTebSi varT da haeri gaiSviaTebulia.
and towers, typical of a mountain village, are stacked in tiers, from the valley floor to the heights above. Perhaps it was just such a village that inspired Vazha-Pshavela’s words: “The village of Tushetians looks beyond / like an eagle’s nest, / it is good to watch / like a woman’s bosom.”
We climbed to the highest point of the village, where we were to stay at the home of Rafiel Tsadzikidze, grandson of Rezo Tsadzikidze, a man many of my friends knew well. Rezo papa, the life and death guardian of Dartlo, had been deeply loyal to his home and village. He never left, staying alone through many harsh winters, embodying the strength, stubbornness, and love of a mountain man. Such solitude demands an extraordinary kind of strength—of heart, mind, and endurance—and it speaks volumes about his character. He was a caring host to all: shepherds from the lowlands, TV and film crews from Tbilisi, and every Tusheti lover who came his way.
From our balcony, we could see all of Dartlo spread out below—the village’s castle tower, the ruins of a 19th-century hall church, and the ancient Dartlo court. The court still holds twelve stone benches for its judges, the tallest-backed seat once reserved for the chief judge. Unusually for the mountains, historical reports tell us that in the 18th century, a woman presided over Dartlo’s court for ten years. She came from Tsovati, the daughter of the famed Tushetian hero Devdaraidze, and was renowned for her intelligence and eloquence.
mdinaris daqanebul kbodes frTxilad gavuyevi, balaxebsa da xeebis fesvebs veWidebi, win ufskruli eSveba da meSinia, ar gadavvarde, arada, kargi adgilis SerCevas vcdilob, jer gamoRma varT, Soridan gavyurebT sofels da aqedan unda gadavuRo foto. darTlo _ TuSeTis yvelaze idumali da arqiteqturulad gamorCeuli sofeli, Setanilia iuneskos msoflio kulturuli memkvidreobis nusxaSi (mTeli TuSeTi ki msoflio memkvidreobis sacdel nusxaSi), mTis soflisTvis damaxasiaTebeli, tradiciulad qvemodan zemoT erTmaneTze Sefenili saxlebi da koSkebi. albaT, zustad aseT sofelze dawera vaJa-fSavelam da misi sityvebis perifrazic aucileblad agekviateba aq: gaRma sCans TuSTa sofeli / arwivis budesaviTa, / saamo aris sacqerlad / diacis ubesaviTa.
soflis yvelaze maRal adgilas avdivarT, aq unda gavCerdeT, rafiel caZikiZis ojaxSi, bevri Cemi megobrisTvis da sxvebisTvisac, kargad nacnobi rezo papas, rezo caZikiZis, SviliSvilTan. rezo papa, darTlos sikvdil-sicocxlis meTvalyure, Tavisi kar-midamosa da soflis imdenad erTguli kaci iyo, aqaurobas
arasdros tovebda, wlebis ganmavlobaSi mTeli zamTari martodmarto rCeboda da mTieli kacis siZlieriT, sijiutiTa da siyvaruliT marto hpatronobda mTel sofels. sxva Zala, guli, fiqri da gaZleba sWirdeba, albaT, aseT martoobas da bevrs ambobs am adamianis pirovnul Tvisebebze. is iyo mzrunvel-damxvedri, maspinZeli da megobari gazafxulze baridan asuli mecxvareebisac, Tbilisidan Casuli mwerlebisa da telekinogadamRebi jgufebisa, TuSeTis yvela moyvarulisa da, saerTod, aqaurobis stumrebisa.
Cveni aivnidan xelisguliviT sCans mTeli darTlo: soflis cixe-koSki, XIX saukunis darbazuli taZris nangrevebi, Zveli darTlos sabWeo (igive sasamarTlo), sadac dResac dgas Tormeti qvis skami msajulebisTvis,
Dartlo is rich in cultural heritage monuments despite its small size. There’s the icon niche of Yakhsri, the shrine of Mariamtsminda, the “Maghaloeli,” ancient tombs, necropolises, and much more. In Tusheti, every castle ruin, every boulder, and every mountain carries a story or legend—each one has something to tell, and if you listen carefully, you can feel their heartbeat.
To truly understand Tusheti, you must listen with a different kind of ear to grasp even a little of its unknown language. These stories reveal the worldview, character, and customs of the Tushetians. What’s most remarkable is that here, you believe in all the myths and legends. Each story feels real; you think these things truly happened, that anything is possible in this place.
For instance, you are free to believe that the two towering peaks near Diklo—two smooth cliffs standing side by side—are lovers, frozen in time and transformed into rock. The Tushetians call this formation Tzumberekhi, or the Cliff of Love.
Satureja tea, harvested from the rocky slopes and fields of the cliffs, melts away all weariness by evening. Its distinctive aroma reveals, whispers, and shares all the hidden secrets of Tusheti’s sky and earth.
aqedan yvelaze maRalzurgiani mTavari mosamarTlisTvis yofila gankuTvnili. cota uCveulo kia mTisTvis, magram, rogorc istoriuli cnobebi gviamboben, darTlos sasamarTlos, XVIII saukuneSi, qali uZRveboda aTi wlis ganmavlobaSi. is iyo wovaTidan, cnobili TuSi gmiris, devdaraiZis Svili da am mxareSi gonierebiTa da mWevrmetyvelebiT yofila ganTqmuli. darTlos mcire teritoriaze kidev bevri kulturuli memkvidreobis Zeglia: iaxsris xatis niSi, mariamwmindisa da maRaloelis salocavi, uZvelesi akldamebi, samarovnebi da kidev bevri ram.
saerTod, TuSeTSi yoveli cixis naSali, xatis niSi, lodi da mTa raRac ambavsa da Tqmulebas ukavSirdeba, raRacas gviyveba, Sen mxolod yuri unda daugdo, unda usmino maT guliscemas, TuSeTs sxvanairad unda miayurado, rom cotaTi mainc Caswvde mis Seucnobel enas. es ambebi gvacnobs TuSebis msoflmxedvelobas, xasiaTsa da zne-Cveulebebs. yvelaze mTavari is aris, rom aq yvela miTisa da legendis gjera, yvela ambavi namdvili ggonia, fiqrob, rom marTla moxda, rom aq yovelive SesaZlebelia. magaliTad, Tavisuflad ijereb, rom diklos mxarisken mdebare cadawvdenili ori mwvervali, gverdigverd
This plant possesses the purest, most untainted scent of the alpine wilderness, untouched by dust. The locals call the tincture made from its dewy flower the medicine of immortality. As I sip the frothy tea on the balcony, breathing in the air of this place, I already begin to believe in miracles. Immersed in this entirely different world, a tinge of sadness creeps in—I cannot stay long. After October, no one will remain here; everyone will return to the lowlands.
Night falls. “Only the sound of the river can be heard”—Alazani’s once-roaring current now softens into a hum, echoing even more sharply in the villages and, as I’ve been told, reaching the peaks of the highest mountains. I gaze at the sky, wondering if the weather will change overnight, if warmth will return, when suddenly, I notice an astonishing light enveloping everything. A different kind of moon rises above Dartlo—much larger than usual, glowing bright yellow, so full of summer light that the entire area is illuminated: the tower walls, the stone-roofed houses, the river’s course below, and the dark silhouettes of the forest on the distant slope.
The following day, we head north, towards the foot of the mountains, where paths lead to Khevsureti on the left, and to the right, the peaks bordering Kisteti. Along the way, we discuss Tushetian traditions. The people here hold fast to their ancient customs. They celebrate religious holidays with particular fervor and meticulously
follow ancestral rules. The Aludi festivals take place over two weeks in July and August, moving from village to village. Each year, different clans lead the ceremonial rituals, offering sacrifices and brewing Alud, a Tushetian beer that takes about ten days to prepare in massive cauldrons. We witnessed the festivities in Girevi, where no one is allowed to leave without being invited to the table. It was here that I tasted Tushetian Kotori—a local version of khachapuri.
From Girevi, we followed the road to Parsma, then climbed to the village of Dano, eventually finding ourselves at the top of Dartlo. From here, a footpath leads down to Dartlo. Children, beautiful and lively, both on horseback and on foot, confidently navigate these uneven trails as if born to them. Across the valley lies the village of Kvavlo, accessible by another winding path.
We finally arrived in Shenakho, then Diklo, and visited the old Diklo fortress, where the lands of Dagestan can be seen in the distance. Further below are the towers of Omalo and Keselo Castle. In these ancient fortifications, the harsh history of the Tushetians is carved in stone. Facing continual threats from neighboring peoples, they often took refuge with their families in these defensive towers. Seven of the nine towers have been restored, standing tall as symbols of Tushetian bravery, resilience, and resourcefulness. These mountains and paths seem endless…
Before we left, I had heard people say that Tushetians are coldhearted. Yet, in my experience, the people here are warm, welcoming, and open-hearted, with a sharp sense of humor and a love for feasting.
“I miss you already, Khagiro, Echo, Ashtood, Mtatsver…”
wamomarTuli ori sipi klde, jer gayinuli da mere lodad qceuli, Seyvarebuli qal-vaJia. am kldes TuSebi wumberexs anu siyvarulis kldes eZaxian.
* * *
kldeebis RorRian ferdobebze da mindvrebSi dakrefili qondris Cai, saRamos yvelanair daRlilobas xsnis, misi gansakuTrebuli surneli TuSeTis cisa da miwis yvela saidumlos gimxels, giyveba da gaziarebs. am mcenares alpuri veluri bunebis yvelaze umtvero, sufTa da namdvili aromati aqvs, aqaurebi misi cvriani yvavilis nayens ukvdavebis wamals eZaxian. qafqafa Cais aivanze vsvam, aqaur haers vsunTqav da ukve saswaulebisac mjera. sul sxva samyaroSi gadasuls, Tan sevda mipyrobs, rom didi xniT darCena ar SemiZlia, oqtombris mere arc aravin darCeba aq, yvela gaikrifeba barSi.
Ramdeba. `mxolod mdinaris xma ismis“, alaznis Sleguri, xmauriani Sxuili ukve TiTqmis gugunSi gadadis, kidev ufro mkveTrad aRwevs soflamde da, rogorc miTxres, yvelaze maRali mTebis wverebsac swvdeba. cas Sevyureb, varskvlavebs vakvirdebi, mainteresebs, amindi xom ar Seicvleba RamiT, xom ar gaavdrdeba da uceb vamCnev, rom saocari naTebaa irgvliv. darTlos Tavze sul sxvanairi mTvare amodis, Cveulebrivze gacilebiT didi, uSvelebeli, yviTeli, yviTeli da iseTi Suqiani, iseTi
savse zafxulis sinaTliT, mTeli midamo mosCans _ cota moSorebiT, marcxniv, koSkis kedlebi, saxlebis mTis qviT gadaxuruli saxuravebi, qvemoT mdinaris zoli da gaRma ferdobze tyis muqi Crdilebi. meore dRes xeobas aRma avuyeviT, CrdiloeTisken. unda mivideT im mTebis ZirTan, saidanac marcxena mxares xevsureTisken gadadis biliki, marjvena mxares ki qisteTis mosazRvre mwvervalebia. gzadagza TuSur wes-Cveulebebze vlaparakobT. aqaurebi dRevandlamde inaxaven ZvelisZvel tradiciebs, sakulto dResaswaulebs (dReobebs) dRemde gansakuTrebiT zeimoben, yvela Cveul, mamapapur wess zedmiwevniT icaven. dReobebi ivlis-agvistoSi ori kvira grZeldeba da soflidan sofelSi inacvlebs. yovel wels sxvadasxva gvari uZRveba sazeimo ritualebs, swiraven saklavs, specialuri didi qvabebiT ixarSeba aludi (TuSuri ludi), mis daduRebas daaxloebiT aTi dRe sWirdeba. Cven girevSi SeveswariT medReobeebs. rasakvirvelia, aravis gauSveben ise, rom sufrasTan ar miiwvion. swored aq gavsinje TuSuri kotori (igive xaWapuri, oRond adgilobrivi wesiT momzadebuli).
girevidan gamovuyeviT gzas farsmisken, mere ki
sofel danoSi avediT da darTlos moveqeciT Tavze. aqedan fexiTac SegiZlia daeSva darTlosken. ulamazesi bavSvebi Sekazmuli da Seukazmavi cxenebiT gamocdili mxedrebiviT dajiriToben am uswormasworo bilikebze. iqve mopirdapire mTaze sofeli kvavloa, sadac sacalfexo bilikiT adixar.
bolos Senaqo, diklo da Zveli diklos cixe, saidanac daRestnis midamoebi mosCans. ufro qvemoT isev omalo da keselos cixe-soflis koSkebi. am cixeTa kompleqsSi kargad Cans TuSebis rTuli da Zneli warsuli. maT mudmivad mosazRvre xalxTan uwevdaT brZola da TavdacviT nagebobebSi zogjer ojaxebiT afarebdnen Tavs. cxra koSkidan axla Svidia aRdgenili. es cixekoSkebi simboloa TuSebis simamacisac, gamWriaxobisac da mousvenari yofisac. amouwuravia es mTebi da gzabilikebi...
wasvlamde miTxres, TuSebi civi xalxiao. Cemi dakvirvebiT ki, aqaurebi arian Zalian Tbilebi, stumarTmoyvareebi, gulRiebi, sxarti iumoriT gamorCeulebi, lxinis moyvarulebi. `raiod meta momnatrebixar, xagiro, exo, aStood, mTawver~.
vaxtang qanTaria
axali qarTuli JReradoba
NEW GEORGIAN SOUND
ukanaskneli xania, Tanamedrove qarTul scenaze uaRresad mniSvnelovani movlenebi viTardeba. gamoCnda ramdenime sruliad gansxvavebuli JReradobis
Semsrulebeli da bendi _ saavtoro da rok musikaSi. am aTwleulSi, prioritetuli, isev qarTuli ena gaxda da es tendencia, msmenelTan erTad, mzardia, rac yuradRebas da dakvirvebas saWiroebs. gadavwyviteT, ramdenime
Semsrulebels gavsaubrebodiT...
am mxriv sainteresoa Eleon-is, igive elene fifias JReradoba, sada da gotikuri romantika, sicivisa da `trauris~ efeqtiT, romelic qarTul, warmarTul, feminuri xasiaTis saritualo musikas mogagonebs, mTis paganisturi elementebiT. simRerebi gajerebulia misticizmiT, aratradiciuli, akordTa subieqturi cvliT da sinkopur, arabunebriv, ritmul monaxazs gvTavazobs. es yvelaferi, kargad igrZnoba Eleon-is rigiT meore albomSi, Ada Cosma-Si (gamoica 2023 wels, Caiwera TbilisSi), romelic qarTuli Billboard-is versiiT (avt. gia xaduri), 2023 wlis Svid saukeTeso qarTul alboms Soris moxvda. elene: `albomi Ada Cosma Soreuli wylebis, qrubidis miwis ambebs hyveba, sadac dro SeiZleba zustad ise
Recently, significant events have unfolded on the modern Georgian music scene. A diverse array of artists and bands in original and rock music has emerged, bringing a fresh sound to the genre. In this decade, the Georgian language has made a remarkable resurgence, capturing the attention of listeners and warranting close observation. We decided to interview several artists about their creative visions.
One particularly intriguing voice is that of Eleon, also known as Elene Pipia. Her sound is a captivating blend of simple gothic romance, imbued with an air of coldness and mourning. It draws inspiration from Georgian pagan and feminine ritual music, incorporating elements of mountain paganism. Eleon’s songs are rich in mysticism, featuring unconventional chord progressions and offering a syncopated, almost unnatural rhythmic quality. This distinctive style is especially prominent in her second album, Ada Cosma, which was released on November 28, 2023, and recorded in Tbilisi. According to Georgian Billboard, it has been recognized as one of the seven best Georgian albums of 2023 (author: Gia Khaduri).
Elene: “The album Ada Cosma tells the stories of the distant waters and the land of ‘Crubid,’ where time can flow as it comes, or where time exists, and we perceive it otherwise. Musically, it blends art-rock and folk elements, incorporating experimental and progressive rock; this is Georgian art-rock infused with dark folk influences.”
VAKHTANG
midiodes, rogorc modiodes, an dro iyos da gvegonos, rom ar aris. Janrobrivad es art-rokisa da folkloris nazavia. moicavs eqsperimentul, progresul qarTul artroks, bneli folkiT~.
mniSvnelovani faqtia, rom Ada Cosma didwilad qarTul enazea Sesrulebuli, vokals axasiaTebs sityvis swrafi warmoTqma da misi damasrulebeli xmovnis dagrZeleba, erTi bgeridan meoreze TandaTanobiT, gadabmiT, upauzod gadasvla (igive _ legato). sasimRero maneriT, elene Zvel qarTul duets, Veli Ulevi-sac maxsenebs (zura ZagniZe, rusudan meifariani), Tumca gacilebiT ufro bneli tonalobebiT. instrumentuli mxare ki 70-ianebis progresuli rokis wamyvan bendebs, romelTa akordTa cvlis dinamika, mizanmimarTulad ise iyo gadawyvetili, rom msmenelisTvis rTulad amosacnobi gamxdariyo is Tu ras moimoqmedebda musikosi... es intriga mimzidveli aRmoCnda maSindeli pop-kulturis qomagebisTvis. elene: `qarTuli ena Tanamedrove simReraSi gacilebiT araprognozirebadia, vidre ucxo enebze dawerili/ mosmenili simRerebi. qarTulSi yvelaze metad is momwons, rom warsulSi qeqvis saSualebas maZlevs, mSobliuria, am enaze vazrovneb da es ena mainteresebs~.
Notably, “Ada Cosma” is predominantly performed in the Georgian language. Elene’s vocals are characterized by a rapid pronunciation of words, extending their final vowels and smoothly transitioning from one sound to another without pause—essentially achieving a legato effect. In her singing style, Elene evokes memories of the old Georgian duo Veli Ulevi (Zura Dzagnidze and Russudan Meipariani), albeit with much darker tones. The instrumentation draws heavily from the leading progressive rock bands of the 1970s, whose dynamic chord shifts were deliberately crafted to create a sense of intrigue, making it challenging for listeners to discern the musicians’ intentions—a quality that resonated with pop culture fans of that era.
Elene: “The Georgian language in modern songs is much more unpredictable than those written or heard in foreign languages. What I appreciate most about Georgian is its ability to convey the praiseworthy ways of the past. It is my native language; I think in this language, and I find it most engaging.”
The lyrics of “Ada Cosma”, in addition to telling a story, serve as a complementary element to the instrumental music, creating a polyphonic texture that enriches the soundscape. The vocals embellish the music with attractive, expressive audio frequencies, notably exhibiting an abundance of high frequencies. One notable excerpt includes the lines: “Where are you, tell me? Do you want to carry the world, carry your wet hair across the distant seas? There is other waiting for me, waiting for me…” (lyrics from the song “Melis skhva”). It is worth noting that on “Ada Cosma” is self-produced and fully prefomed by Elene Pipia herself.
On May 3, 2023, the release of Aleksandre Kharanauli’s ten-song album "Dilit Amomavalo Mzeo" (recorded in Lime, France) created a sensation
ELEON - ADA COSMA. 2023
ELEON (elene fifia / ELENE PIPIA)
Ada Cosma-s sasimRero teqstebi, garda istoriis Txrobisa, instrumentuli musikis Semavsebel rgoladac gvevlineba, da polifoniuri amocana gaaCnia; cdilobs instrumentuli musika gaamdidros mravalxmianobiT, moapirkeTos mimzidveli, eqspresiuli audio sixSireebiT (vokalSi sWarbobs maRali sixSireebi). teqsti qaragmebsac moicavs _ `sad xar rom miTxra? ginda ataro samyaro, gadaataro sveli Tma Soreul zRvebSi, melis sxvacaa zRvebSi, melis…~. (teqsti simReridan `melis sxva~). aRsaniSnavia, rom albom Ada Cosma-Si, yvela instrumentze elene fifia ukravs da Tavadve uzrunvelyofs xmis reJisurasac.
sensaciad iqca 2023 wlis 3 maiss, aleqsandre xaranaulis aTsimReriani albomis _ `diliT amomavalo mzeos~ (Caiwera safrangeTSi, qalaqi limeSi) gamoCena `spotifaize~; Tu am musikis sadaurobis dadgenas SevecdebiT, didi albaTobiT, es qarTuli folkisa da amerikuli musikaluri tradiciebis sinTezad unda miviCnioT, gamyarebuli sagitaro CuqurTmebiT (rifebiT _ svlebiT). vokali erTdroulad keTilxmovanicaa da tlanqic, maskulinuria da mcire xrinwebiT idealurad erwymis bendsac, intonaciurad kvaldakval mihyveba mis JReradobas. mcirediT super bends _ Crosby, Stills, Nash & Young-ac gagaxsenebT, Tumca dabali vokaluri registriT,
on Spotify. This music can be characterized as a synthesis of Georgian folk and American musical traditions, underscored by guitar riffs. Kharanauli’s vocals are rich and masculine, complemented by subtle grooves that align seamlessly with the band’s sound. The style evokes memories of the legendary supergroup Crosby, Stills, Nash & Young, albeit with a lower vocal register and less emphasis on polyphony.
Aleksandre: “I started listening to Bob Dylan and soon discovered many other artists. I owned all of Alan Lomax’s records and loved exploring new sounds. This inspired me to do something similar in Georgian, and it was then that I realized it’s possible to sing in Georgian and convey a narrative.”
In Aleksandre’s album, the lyrics take on a subtle social significance, presenting rich narratives that reflect the lives of ordinary people— what we might call “song-novels.” This storytelling approach offers modern commentary through the lens of the past, exemplified by tracks like “Duda” and “Dursun Kvesi Oghli.” The latter recounts the tale of Dursun from Ozurgeti, who disregards his wife’s ominous premonitions and embarks on a crucial journey, only to be ambushed. “Nine bullets were put in my left side, oh, how much blood I bled,” Dursun disappears at the song’s conclusion, fading into abyss.
Aleksandre: “I primarily draw from folklore and folk poetry. I tend to write texts that tell stories rather than traditional poems.”
The album evokes the feeling of a feature film, with a protagonist armed with a flintlock gun, traversing the varied landscapes of Georgia. One can easily imagine this hero galloping on a Tushetian
BEDFORD FALLS
naklebi polifoniuri xasiaTiT.
aleqsandre: `daviwye bob dilanis mosmena. moyvnen sxvebic. alan lomaqsis yvela Canaweri mqonda, msiamovnebda axlis aRmoCena. mere mominda, igive gamekeTebina qarTulad, da ai maSin mivxvdi, rom SesaZlebelia qarTuladac imRero da ambavi mohyve~.
aleqsandres albomSi, teqsti, mcire socialur datvirTvasac iZens, metad TxrobiTia da ubralo xalxze gviambobs, SeiZleba mas vuwodoT `simRera-moTxrobebic~, is warsulis magaliTebidan gviyveba Tanamedroveobaze da amis saukeTeso magaliTebia: `duda~ da `dursun kvesi oRli~ _ es ukanaskneli gviyveba ozurgeTel dursunze, romelic colis cud winaTgrZnobas ar gaiTvaliswinebs, da mainc wava mniSvnelovan saqmeze, sadac avazakebi Causafrdebian _ `cxra tyvia marcxniv damades, oh ra sisxli ganiavda~, daiZaxebs bolos gangmiruli dursuni da simReris damTavrebasTan erTad gauCinardeba moubrunebelSi.
aleqsandre: `ZiriTadad teqstebi folkloridan, xalxuri poeziidan wamoviRe. sul vwer teqsts, romelic moTxrobaa da leqsi naklebadaa~.
albomi `diliT amomavalo mzeo~, mcirediT mogvagonebs mxatvrul filmsac, kaJiani TofiT SeiaraRebuli gmiriT, romelic mogzaurobs saqarTvelos sxvadasxva kuTxeSi, darwmunebiT SeiZleba iTqvas, rom mas maWaxelur TofTan erTad, Conguric eqneboda Semodebuli TuSuri cxenis unagirze.
aleqsandre: `qarTuli folkloris is simRerebi, romlebic, fandurze an Congurze imRereboda, dRes SeiZleba gitarazec davukraT~.
namdvilad, aleqsandres albomis erT-erTi migneba, sagitaro `CuqurTmebia~.
qarTul musikaSi uamravi magaliTi arsebobs, folkis ostaturad gaJanrulebisa klasikur/folk/
horse, a chonghur and Machakhelian rifle at his side.
Aleksandre: “Songs perfomed with Panduri or Chonghuri from Georgian folklore can certainly be adapted for guitar today.”
One of the standout features of Aleksandre’s album is the incorporation of guitar riffs.
In Georgian music, we have a lot of examples of folk masterfully turning into Classical/Rock genres. This brings to mind notable works such as Aleksi Machavariani’s “Khorumi” (performed by A. Nizharadze) and the 2000s band “Stumari,” particularly their 2009 album "Dila" featuring “Fox's Complaint.” Aleksandre’s charm and personality resonate throughout the music, enhanced by powerful guitar motifs.
Aleksandre: “What I find most exciting in today’s landscape is the gradual dismantling of the myth that you can’t sing in Georgian or that expressing certain thoughts is too challenging. I believe we’re witnessing a renaissance in Georgian pop music. While not many have noticed it yet, the time will come, and I intend to make my small contribution to it.”
Unlike Aleksandre Kharanauli and Eleon, artist Sandro Tavartkiladze has been releasing singles and albums for many years, despite his relatively young age. He has published some of his most intriguing musical works under his own name, alongside various pseudonyms, including Farghalala, lame songs, Tzerloder, and IC122. Tavartkiladze’s music is characterized as audio design, blending synthetic and acoustic sounds. His songs often delve into erotic and intimate themes, with whispered vocals that evoke the style of David Datunashvili. The lyrics tend to be humorous and absurd, often exploring the experiences of a heartbroken man who is exhausted by
4D LOBSTER MONSTERS – ERTOBA & GARTOBA. 2021
rok-musikaSi, rad Rirs aleqsi maWavarianis `xorumis~ xseneba (aleqsandre niJaraZis SesrulebiT), an Tundac 2000-ianebis bendis, `stumris~ 2009 wlis albom `diladan~ _ `melias Civilis~ aRniSvna. xaranaulis xibli, misi pirovnuli xasiaTis musikaSi gardasaxvac aris, mZlavr sagitaro CuqurTmebTan erTad.
aleqsandre: `TanamedroveobaSi, yvelaze metad is momwons, rom nel-nela imsxvreva miTi _ TiTqos qarTulad simRera ar SeiZleba, rom raRac azrebis gamoTqma rTulia da ubralod ar gamodis. yvelaze metad momwons, is rom xdeba qarTuli pop-musikis `renesansi~, romelic jer bevrs ar ugrZvnia, magram mova magis droc... gansxvavebiT aleqsandre xaranaulisa da Eleon-isa, artisti sandro TavarTqilaZe, SedarebiT mcire asakisa, ukve mravali welia uSvebs singlebs da albomebs. sxvadasxva fsevdonimiT (farRalala, banZi simRerebi, Tzerloder, IC122, Sandro Tavartkiladze da SesaZloa kidev sxv.). es audio-dizaineruli xasiaTis musikaa, orientirebuli sinTetikur da akustikur xmebze, simRerebi ZiriTadad erotikuli xasiaTisaa, vokali intimiT, CurCuliTa da bevri haeriTaa gaJRenTili (daviT daTunaSvilsac gagaxsenebT). teqstis Sinaarsi, xSirad iumoristuli, absurduli, gulgatexil kaczea, romelsac mobezrda sevda, Tumca rutinulad moiTxovs sevdaSive darCenas. teqstis gmirebi siyvarulis maZieblebs mogvagoneben, warsuli urTierTobisgan imedgacruebul gancdebTan mebrZolebs. teqstebTan erTad, musikac ambivalenturi xasiaTisaa da iwvevs Sereul grZnobebs, instrumentulad arc rokia, arc popi, arc fiuJeni, embiensi, an raime
sadness but finds himself trapped in it. The characters portrayed in his songs are reminiscent of those who seek love while grappling with disappointment from past relationships.
The music itself is ambivalent, eliciting mixed feelings; instrumentally, it defies easy categorization—neither strictly rock, pop, fusion, nor ambient. Instead, it features Lo-Fi elements and resembles an audio puzzle, contributing to the uniqueness of Sandro’s work, which is intentionally vague and elusive.
Notably, on July 9, 2023, Sandro released 11-track album titled "Tropikuli Tsvima" on Spotify. This album is filled with dialogues of a recitative nature, largely created using AI technologies, with Sandro’s voice making rare appearances. The instrumental portions are recorded with MIDI instruments and guitars. "Tropikuli Tsvima" serves as an absurd radio play from start to finish, described as “radio theater!” “A gentle northern breeze blows, in the form of a fairskinned Slavic girl” (from the song “Diazepam Samba”). Listeners are invited not only to hear the music but also to engage with the audio narrative crafted by the composer/director.
Sandro Tavartkiladze’s work, marked by a multitude of pseudonyms, may appear spontaneous and chaotic at first glance. However, it follows a deliberate structure akin to a Rubik’s Cube, where each pseudonym represents a page and each album corresponds to a color. Currently, Sandro’s musical Rubik’s Cube feels fragmented, challenging listeners to piece it together. I would refer to the genre he has invented as “Kubik Rock.”
Another exciting addition to the Georgian music scene is the indie rock band AVARA, which emerged unexpectedly last year. This group exemplifies contemporary Georgian-language indie rock, with their single “SIMARTLE” standing out. This four-chord track, with a modern alternative rock sound, evokes comparisons to American bands such as Vampire Weekend and Grouplove. AVARA’s fusion of the Georgian language with its rhythm section creates a fresh, modern sound. The
MELQO
sandro TavarTqilaZe / SANDRO TAVARTKILADZE
msgavsi atmosferuli JReradoba, mciredi Lo-Fi elementebi axasiaTebs _ audio Tavsatexia da musikis unikaluroba iqmneba _ Tumca masSi konkretuli araferia. gamosarCevad Rirs, 2023 wlis 9 ivliss, `spotifaize~, 11-simReriani albomis gamoCena _ `tropikuli wvima~. es aris AI teqnologiebiT Seqmnili reCitatiuli xasiaTis dialogebiT gajerebuli albomi, romelsac iSviaTad sandros xmac edeba, xolo instrumentuli nawili, Cawerilia MIDI klaviSiT da sxvadasxva gitariT. `tropikuli wvima~ Tavidan bolomde absurduli radio dadgmaa, radioTeatri! _ `dauberavs CrdiloeTis nazi sio, slavuri ferxorciani gogos saxiT~ (teqsti simReridan _ `dizepam samba~). albom `tropikul wvimaSi~ mxolod musikas ar vusmenT, Cven mivyvebiT audio scenars, romelic kompozitor/reJisorma SemogvTavaza. mravali fsevdonimis Sedegad, sandro TavarTqilaZis Semoqmedebas, moCvenebiTi spontanuroba da qaosuroba dahkravs, sinamdvileSi ki is `rubikis kubis~ princips mihyveba. diskografia SeiZleba diferencirdes kidec,
romelsac eqvsi feri da gverdi aqvs, misi TiToeuli fsevdonimi es gverdebia, albomebi ki _ ferebi. vfiqrob, is daSlilia da msmenelis asawyobia. mis mierve mogonil Tavsatexs da `kubik roksac~ davuZaxebdi. gasul wels, qarTul scenaze, moulodnelad gamoCnda indi rok bendi AVARA-c, (ganmarteba: usaqmuri, moxetiale axalgazrda), romelic erT-erTi saukeTeso nimuSia qarTulenovani indi-rokisa. gansakuTrebulad sainteresoa, simRera `simarTle~, oTx-akordiani singli, Tanamedrove alternatiuli rokis JReradobiT, mcirediT amerikul bendebs, Vampire weekends da Grouplove-s SegaxsenebT. AVARA-s SemoqmedebaSi, qarTuli ena ritmul seqciasTan mZlavrad aris Serwymuli, rac Tanamedrove JReradobas qmnis, jerjerobiT maT angariSze ramdenime gamocemuli singlia da imedis momcemi bendebis siaSi SegviZlia SeviyvanoT. paralelurad saintereso fenomeni viTardeba qarTuli indi-rokis saxiT, sadac teqstebi orenovania. kompromisia inglisur da qarTul enebs Soris, erT-erTi wamyvani
aleqsandre xaranauli, nodar nozaZe, Tina nozaZe / ALEKSANDRE KHARANAULI, NODAR NOZADZE, THINA NOZADZE
bendi ki bedford falls-ia, vokalisti daviT jiqiaTi. isini axlaxans evropuli turnedan dabrundnen. vokalisti orive enaze asrulebs simRerebs, Serevis principiT. qarTul enasTan msgavs inglisur sityvebs akavSirebs, da piriqiTac. maTTan erTad gamovarCevdi 4D Monster Lobstersac, imave mcdelobebiT da Mechanical Rainbow-s. es is iSviaTi bendebia, romlebsac mudmivi da aqtiuri msmeneli hyavs. maTTan erTad girCevdiT Melqo-sa da kordz-is diskografiis gacnobasac. is faqti, rom mravalJanrobriv WrilSi mimovixilavT axal qarTul JReradobas, gvaZlevs did imeds, rom musikaluri procesi, logikur gagrZelebas ipovis axali Taobis artistebSic. modi CavifiqroT keTili survilebi da warmateba vusurvoT avTentur, qarTul musikas. is did aRmoCenebs gviqadis. saqarTvelo ki _ sruliad unikaluri JReradobiT, unda warmoaCinos _ msoflio scenazec.
band has released several singles, which has granted them a position in the list of promising bands.
Simultaneously, an interesting trend has emerged in Georgian indie rock, featuring bilingual lyrics that blend English and Georgian. One leading band in this movement is Bedford Falls, fronted by vocalist Davit Jikia, who recently returned from a European tour. Their songs are crafted by intertwining English and Georgian, creating a seamless mix. Other noteworthy bands in Georgian indie scene include 4D Monster Lobsters and Mechanical Rainbow, both boasting dedicated and active fanbases. Additionally, I would also recommend exploring the works of Melqo and kordz.
The diverse exploration of the new Georgian sound across multiple genres inspires optimism that this musical movement will continue to thrive with the new generation of artists. We extend our best wishes for success to authentic Georgian music, which promises to unveil remarkable discoveries. Georgia is poised to showcase a completely unique sound on the world stage.
avara / AVARA
