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FASHION OF “NEP” PERIOD AND CULTURAL GUIDELINES OF GEORGIAN CINEMATOGRAPHY |
OLIKO ZHGHENTI
Batumi Art Teaching University
The Cinematography of “NEP” (New Economic Policy) epoch (1921-1927), as the form of cultural memory, was rarely considered in the view of national identity. Therefore, it was hardly a subject of art historical research,
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BOOK ILLUMINATION: METAMORPHOSIS PAR EXCELLENCE? (MODERN GEORGIAN MINIATURE PAINTING: TRADITION AND IDENTITY) |
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NINO CHINCHARAULI
George Chubinashvili National Research Centre
for Georgian Art History and Heritage Preservation
Tbilisi State Academy of Arts
During the last decade, artistic phenomenon executed in miniature technique and style can be singled out. The miniaturists hardly introduce any stylistic innovations, basing their creative work, mainly, on medieval art.
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20th CENTURY GEORGIAN STAGE DESIGN: TRADITION AND INNOVATIVENESS |
MARIANA OAKLEY
George Chubinashvili National Research
Centre for Georgian Art History and Heritage Preservation
The 20th century Georgian stage design occupies an important place not only in the history of Georgian art and theatre but also in the research of stage design in general.
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THE RESEARCH OF LINKS BETWEEN THE PROBLEM OF ETHNICAL IDENTITY AND CULTURAL INTEGRATION AMONG GEORGIAN ART AND SOCIAL ORGANIZATION IN THE BEGINNING OF XX CENTURY |
IRINE ABESADZE
Shota Rustaveli Theatre and Film Georgian State University
The subject of approach to mental heritage of ethnical minority of Tbilisi has always been important for the politics of “The Association of Georgian Art Men”.
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CIVILISATION IDENTITY OF GEORGIA IN TERMS OF RETROSPECTIVE AND MODERN REALITY |
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EMZAR KAKHIDZE
Batumi State Maritime Academy
Georgian civilization was formed in the presence of ancient oriental hegemony, although our region has not become its organic part.
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THEATRE IN THE NONTHEATRICAL SPACE |
KETEVAN SHAVGULIDZE
Tbilisi State Academy of Arts
Grigol Robakidze University
Ivane Javakhishili Tbilisi State University
“The idea of theatre is lost because it is content with the status of a spectator, an observer… Accordingly, indifference of the audience towards the theatre and interest in the cinema and music hall is understandable.” Antonin Artaud
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“KIMERIONI” IN 1919-1920 - ART CAFE OF DECADENT ARTISTS OR THE TEMPLE OF “NEW ART”? |
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NINO CHIKHLADZE
Georgian National Museum. Museum of Fine Arts
In the early 20th century artistic café clubs and café cabarets, as the places of gathering for art leaders’ and venues of creativity events, were spread in Europe and Russia. Similar places were also available in Tbilisi
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ჩანაფიქრიდან რეალიზაციამდე, მიხეილ თუმანიშვილის სპექტაკლების მხატვრული გადაწყვეტის პრინციპი (რეჟისორის მოსაზრებათა მიხედვით) (ნაწილი II) |
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There are no translations available.
ელენე თუმანიშვილი
გიორგი ჩუბინაშვილის სახელობის ქართული ხელოვნების ისტორიისა
და ძეგლთა დაცვის კვლევის ეროვნული ცენტრი
რუსთაველის თეატრთან შედარებით გაცილებით მცირე ზომის კინომსახიობთა თეატრი და მისი სცენა უფრო კამერულ, ინტიმურ გადაწყვეტას ითხოვს, მაყურებელთა დარბაზთან მაქსიმალურად მიახლოებული ფიცარნაგიდან, როგორც ხელისგულზე, ისე მოჩანს მსახიობის
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FROM THE INTENTION TO THE REALISATION – THE PRINCIPLE OF ARTISTIC CONCEPT OF MICHAEL TUMANISHVILI’S PLAYS, ACCORDING TO THE OPINION OF THE STAGE DIRECTOR |
ELENE TUMANISHVILI
George Chubinashvili National Research Centre
for Georgian Art History and Heritage Preservation
The problem, discussed in the paper concerns the following issues:
1. What was the creative creed of a theatre director M. Tumanishvili? What kind of theatre was he aspired to create? To what an extent were these plays, their ideas and messages, up to date and responding to the reality?
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Specifics of Modernistic Artistic Worldview |
Giorgi Khoshtaria
The basis of our article is the paradox, which, in my opinion, characterizes worldview of Modernistic fine Art. With its specifics Modern time is distinguished from ancient times.
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Page 16 of 17 |
