In the process of Georgian staging development 1940-1950 years represent the most important part, which link with consolidation of new aesthetic principles of the stage ensuing from the political regime and require new estimations from the present standpoint.

The exterior of the residential house at 51, Tabukashvili Street is not distinguished with high artistic qualities. But the interior demonstrates the uniqueness of the building. Isarlishvily family built the house at the end of 19th century that can be confirmed by the design of the house stored in the family of Isarlishvili descendents.  The story of Isarlishvili noble family as well as the history of this house has close links with dramatic events taking place in Georgia during 19th century.

In Georgia, the Europeanization process started from the 19th century. This process was expressed in returning to the Christian mentality, supported by the literary relations, formed in the country during this period.

The issue of integration of Avant-gardism with Georgian literature was periodically rising in the culturological studies but, on different stages, averaged approach was formed, characterized by dual position: positive and negative perception of the problem.

This paper is aimed at finding out what/which music helps modern Georgian society in self-identification and what is the social psychological basis of this phenomenon.

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,

ნეპის პერიოდის კინოში აქტიურდება ბულვარული რომანის, კრიმინალური და სენსაციური ქრონიკის მოტივები და სიუჟეტები: საბედისწერო ვნება, ტრფობა და დუელი, შურისძიება თუ მკვლელობა, ცოლ-ქმრული ღალატი (რევოლუციამდელი რუსული თუ ევროპული კინოს ეს ტრადიციული  პასაჟები ექსცენტრიკულად არის გათამაშებული ფილმში „ჩემი �

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.

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”.

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.

“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

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

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?

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

March 10th 1944 - was born in Georgia
1961-64 - studied at the I. Nikoladze Tbilisi School of Art; teachers: David Urushadze, Valentine Shuhaev.
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Honoured artist of Georgia. Member of Artists Union and Journalist Federation.
He graduated from the Academy of Arts – fine arts department in 1946.
From 1947 he participated in many exhibitions in Tbilisi, Moscow, Warsaw, Vilnius.
He worked in graphic design, painting, film, theatre and book illustration.
From 1947 he worked in the children’s magazine "Dila" ("Morning").
From 1962–2000 he was its chief art-editor.

Georgian artist Giorgi (Gogi) Roinishvili (1921–2000) was born in Tbilisi.
In 1939 he entered the Academy of Arts – fine arts department. He participated in the Second World War. After the war he continued studying in Academy of Arts under Ucha Japaridze. His art-masters also were such artists of standing reputation as Joseph Sharleman, David Kakabadze, Sergo Kobuladze. In 1946 he graduated from the Academy of Arts and began to work in the children’s magazine "Dila" ("Morning"), where he was art editor for a long time.
From 1947 he was a regular participant in All-Unio
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