Significance and Particularity of Cultural Heritage

თანამედროვე ეტაპზე კულტურულ მემკვიდრეობასთან დაკავშირებით მრავალ თეორიულ და პრაქტიკულ პრობლემებთანერთად არა ნაკლებ მნიშვნელოვან საკითხად დგება მისი საფუძვლიანი წარდგენის-ექსპოზიციის სისტემის ან სტრუქტურისჩამოყალიბების პროცესი. ქართული კულტურული მემკვიდრეობა დღეს საკმაოდ ფართო დიაპაზონითაა გაშლილი და თითოეული მიმართულების, როგორც დაცვის სისტემა, მისი მართვა, ასევე საზოგადოებისათვის წარდგენა-გაცნობა განსხვავებული სახითაა შემუშავებული.


Significance and Particularity of Cultural Heritage Exposition
(Theatrical Costume)

Urushadze Tea
University "Litera" At modern stage, in connection with the cultural heritage, to gether with many theoretical and practical problems -it's basic study and analyze is quite enough an important question in the first place, and only afterwards a process of its representation and exposition or workingout of structure.
At present the Georgian cultural heritage is revealed with suffi ciently wide range and control of each direction as a defense system, so its representation and exposition to the society is passing with a different shape.
At modern stage of art development various aspects required modern systems of its exposition.
New technological means promoted to it fruitfully, which changed the principles of art material world and heritage demonstration of cre ators thoroughly, enriched substance of structure, character and aim of the exposition.This process was also connected ingeniously with the matter, that various kind of substance world undergone growing diversity on this stage.
In nature the theatrical staging is a composed art among the arts and is limited by a definite time of existence on the stage.Artistic ap proaches do not lose so rapidly its actuality in any kind of art, so as in the theatre.This process concerns to the artistic decoration and re quires renovation and development.In the works of theatrical artists a notable role always is conferred to the process of a costume forma tion.The costume is a composition core of the staging decision, where an aspect of a dramatist, a director and an actor itself is combined.For abovementioned the actor was making the stage model of the concen trated world in the closed space, the composition center of which was a man, who was becoming a hero of the play.The actors were making the heroes on the stage.
Among the multifacial, varied staging approaches of the Georgian theatre artists an important place was conferred to the theatrical cos tume, its role represented an important part of facial and plastic deci sion, which was becoming a carrier of asocial information and in active forms transformed elements.In the course of time the theatrical cos tume was inheriting the name of its heroactor, afterwards it was tak ing its proper place in Georgia culture annals and was kept in the theatre storehouses.Their anew presentation, recollection and intro duction to the society are the merit of the Art International Center "Historial".
In October, 2010 the Art International Center "Historial" pre sented two impressive expositions to Georgian society at ten years in terval.The expositions represented the world of theatrical costumes of the actors, who acted is the past performances, cinema and various branches of art.
From the point of view of comparison the difference between these expositions is only on a scale, by context both expositions were exclusive by history and the collection of a masterpiece estimated by time.
One of the main tasks of both expositions was to make such artis tic and compositional environment, where the functional affect and meaning of each one would be reflected, though this process never theless was a matter of some difficulty, as an activity of the theatrical costume always was in close connection to timespacious act.In spite of the definite obstacles, both expositions were able to open the face of the forgotten theatrical costumes and their confrontation with a dramatist, time and an actor.
The exhibition, which was carried out ten years ago by the Art In ternational Center "Historial" had become the distinguished phenom enon for the Georgian society.Active staging faces, acute picturesque costumes, which promoted revealing of the hero's psychological char acter, his passion, internal world with a whole wealth had become a pledge of our rich theatrical history and our future also.Natela Urushadze, the famous critic of the theatre gave the following estima tion to the first exhibition: "The present youth have to know, that an army of clever, unique persons stands behind these exhibited clothes, which all the painted sketches transformed into the clothes on the stage."(I).The hero's costumes, which were presented at the exhibi tion, were making very interesting environment by their style, color construction, historicism and their different drama ability.
Conception of the exposition, which was workedout by the Art International Center "Historial" was established by the integration principle of such categories as following: "History", "Style" and "Cos tume" and envisaged an union of basic style and genre tendencies of various decennials.The exposition was transformed to a new level by representing the cultural heritage with such a system.
The creative group of the Art International Center "Historial" (the curators: Maka Dvalishvili, Maka Bakhtadze, Thea Gotsiridze, Nino Kurashvili, Eka Dvalishvili) professionally established novelties in modern exposition business by the exposition conception and creative innovation approached to the form, they made correlation of Georgian culture original character to it and in both cases to achieve right defi nition of their aim, they made the costumes and artistic forms inter esting integration in the material world and provided their unity with fully solid loading.
The first exhibition got a lot of higher appreciations, among which the famous designer-Viacheslav Zaitsev left the following inscription: "I'm enchanted and delighted!I admire these brave professional women, who make happy the human beings, especially the youth -as to achieve and feel richness of the theatre culture and in the first the artistic art of theatre and opera.Thank you very much, that you make me to be a witness of your triumphs!" The first exhibition was left in memory of the society for a long time.It's quite right, that the presented artists and actors of various generations were different from each other with efficient marks di rectly, but they were united with magnificent and invisible power line and at present higher professional level of the Georgian theatrical cul ture annals is underlined once more.
In October, 2010 newly restored foyer of J.Kakhidze Musicasl The atre selected for the exhibition was in organic union with each other.Ornamental forms of painting of walls and ceiling, whole coloring range, texture preserved the invisible mystery of visages of history stages and fully answered the principles of varied integration of the exhibition, which was intermingled with the artistic microworld.
The exposition "History", "Style", "Costume" was skillfully in stalled in this space.The exhibition space was divided in some micro artistic world, where its vital principles and environment were restored for each costume as far as possible, and enriched by the names of Georgian stage leading figures (coryphaeus).In each micro world there was an aspiration for a performance, the theatricality, a metaphor with basic theme of the exposition.They were enriching each other and got a character of the artistic individuality totally."His torial" solved one important theme interestingly, which concerned to style of historicity and environment historicity.The style historicity and the environment historicity bear a relation to the past differently.If the style resists the past the environment easily absorbs it and main tains vitality for the present.In this case there is going a conjunction of the historical reality with the generalized environment, when the ensemble, or the composed unity is obtaining a new content and is get ting a new visage of entirely new context."Historial" solved both ex positions considering these significant tasks.
The presented costumes were provided with a powerful individ ual color, the created world around them and the used modern tech nological means, videoinstallations, banners of the staging performances, enlarged photos of the artists' sketches, the actors pho tos, soundtracked monologues, characterized properties, various type illuminations enriched their gust, strengthened their activity and com pliance to their heroes.Artistic visage of each hero, their transforma tion coordinated to rather difficult process sufficiently, when their dressing and fitting always played a solving role.In this process it seems, that the dressing lightly opens the curtain of its secret of trans formation and helps to achieve the hero's psychological world pro foundly.
A.Sumbatashvili -Yoozhin's theatrical costumes are of the oldest specimen of the exposition.
Her theatrical activity started in 1876; she performed many heroic and romantic roles.From 1882 she acted as a manager of the Maly Theatre of Moscow, afterwards she acted as a deputy director.D Chkhikvishvili, the researcher of her creative work's activity men tioned: "The contemporaries considered her as the first tragic actor, the first actor of the romantic plan and the first actor of the comedian genre, her theatrical effectiveness revealed not only on the stage, but in life too… She consolidated Shakespearian, Schiller, Hugo's heroic and romantic drama together with Ermolova and Lensky.(2).In spite of, that A. Sumbatashvili was a representative of the Russian theatre, she had always a close contact with Georgian colleagues and their pro fessional skill was greatly respected by her.She loved her country too.During her last years of life she watched current processes of Georgian theatre with great attention.Therefore, when her testament was opened, it was not a surprise for anybody, that she transferred her much loved theatrical costumes and accessories to Shota Rustaveli Theatre.The exposed specimen was a part of above mentioned collec tion.At present it is very difficult to perceive to which personage be longed the clothes, but behind them there is a signmanual of the fa mous artist and the spirit of the famous actors.
Irakli Gamrekeli and Peter Otskheli had an eligible place in Geor gian staging history.Their novitiate staging decisions and new ways of stage space interpretation established very solid support not only for artistic face of Georgian staging, but for the principle of making of theatrical costumes too."Hamlet" of W. Shakespeare performed in 1925 at Shota Rustaveli Theatre had become a great phenomenon.Akaki Phagava mentioned: "Hamlet" was performed many times, but the present performance is very great an magnificent..I consider it for one of the great achievement for our theatre, which had grown up very much in last years, The artist -Irakli Gamrekeli strengthened it with the costumes color range against a background of laconic, composition tied scenery.Opheli -Veriko Anjapharidze's costume and the cos tumes of the actors taking part in the mass scenes, instead of the actors displacement, regarded harmoniously to the scene space with its ele gance.Individuality of color nature of the presented expositions is very reserved, successive is a part of the decorative system, as of linear, so the color structure Historical method of the costume silhouette is un derlined by the characterized details.Veriko Anjaparidze in her mem ories mentioned: "Kote's (Marjanishvili) eye, the teacher's glowing eye, was looking to the birth of an artist with delight.
"Uriel Achosta", which was performed in 1929 by K. Gutskov re vealed another clever artist of theatre -Peter Otskheli to Georgia so ciety.Ushangi Chkheidze mentioned: "The sketch was really magnificent, starting from the face up to the fingers, but Marjanishvili was astonished, and everybody was surprised too by the clothes: acute and strict, straight lines fulfilled only by black and gray tones".( ) Main hero's costumes, presented in various foreshortening at the exhibition, confronting with black and white, were strengthening their generalized character.Their silhouettes carried an echo of the deco rative forms.The system of illumination of each microworld and the actors photogallery with insignificant scattered objects carriedout at the exhibition, were transiently reviving the performance.
In W. Shakespeare's "Othello" -Akaki Khorava's costume is deter mined with modern plastic ways, and has very strong individual view.It makes us think, that the object of our attention is not a style or a cos tume of the epoch, but the hero, it's character, its hero's -actor's mo tivation.
The famous actor Vasil Kachalov mentioned: "It's ages as I've not a sense of such great spirit and renovated joy, as your Othello granted tome".( ) The famous theatrical artist Soliko Visaladze made Akaki Khorava's interesting, distinguished historical image by means of a costume in V. Soloviov's performance "The Great King", "Ivan the Ter rible"'s role was comprehended in AkakiKhorava's creative work with different interpretation.Akaki Vasadze mentioned: " In the King Ivan's image Akaki Khorava presented himself before the spectators with sce nic expressiveness and fully new appliances" -he forced his way with the crooked shoulders, bended head, sedated steps and without the eyes"… Akaki Khorava remained in the spectators memories with such artistic image.
We may talk about uncommon harmony of painting decisions on sketches of costumes for V.Hugo's "RuiBlaz", carried out by Helen Akhvlediani.The duchess Dalbukerg -presented at The exhibition by Sesilia Takaishvili's image is a clear example."I'd like to live in all places, Which are made by her.I'm admired by the colors of this world, and I believe in her achievement..She is a very rare artist, she'll be able to help an actor in selecting and fitting of a Costume exactly and effi ciently', writes Sesilia Takaishvili.Helen Akhvlediani paid a great at tention to process of costumes making in every staging work.In her linear structure all part were played with individual, expressed color.The costumes of famous actors of Z.Phaliashvili Opera and Ballet The atre were exposed at the exhibition.The costumes of a singer -Merry Nakashidze were among them, who occupied very distinguished place in Georgia Opera history.
"Merry Nakashidze reminded representatives of Italian School's bellcanto with her singing…Especially, when I listened her in Viol ertta's party of J.Werdy's Opera "Traviatta"….Medea Amiranashvili was writing.The costume's color successive course, delicacy and construc tion of the singer reproduced the spiritual world of the hero and actor wholly.
Impressive world is opening with the costumes of Vakhtang Chabukiani.R.Glier's -'Red Poppy" -the Phoenix.Typical, independ ent visage in L.Minkcus's "Bayadera" -Solor.The Famous "Othello" by W. Shakespeare as well.Development, style, volume of color and form are basic means of expression of stage time.Evolution of spiritual world, their feelings and emotional experiences are reflected in variability of representative visages.A spirit of mag nificent performance anda visage of the legendary dancer were revived in micro, spacious environment at the same time.Maya Plysetskaya wrote: "Deep idea, rich fantasy of the authors (Othello) are mingled with clear staging.The performance is perfect emotionally and artis tically.The producer, composer and artist decided successfully not only the theme of W. Shakespeare, but the ballet they raised to the tragedy of Shakespeare.
The separate microworld had a mantlet of Ameia of F. Schiller's "Robbers" at the exhibition.
It was wearing by Tamaz Tsulukidze.Michael Tumanishvili wrote: "The artist Irakli Gamrekeli's decoration was extremely laconic.It was an unusual world… The exposed mantlet was one of the important part of the per formance general visage.
In 1950I960 Joseph Sumbatashvili and Pharnaoz Lapiashvili made costumes on various dramatic composition material -"The King Edip" -Edip -Akaki Khorava, "DonCarlos" -Marlen Egutia (Pharnaoz Lapiashvili), "Romeo and Juliet" Lady Capulet -Marine Tbileli, Romeo -Shota Khintibidze, Mercutio -Edisher Maghalashvili, Tibalti -Jacob Tripolski, "Richard the Third" -Lady Anna Medea Japaridze (Joseph Sum batashvili) .They reflected the current research process of the theatri cal stage.Each theme dictated special stylistic decision.Both artists are characterized by painting artistic visage generalization and indi vidual plasticity.Their research process reveals in coloring of the cos tumes, preserving a style of the epoch.The exhibited costumes coloring, their emotional visage were worked out to reveal the basic idea of the performance, as to mingle painting gamma of the costumes and decoration fundamentally.
The artists ideas were set in motion by the actors of various gen eration, whose names are left in the spectators memories forever.
The expositions, which were carried out by "Historial" worked out an interesting system of theatrical costumes showing, which was one of the forgotten visage of cultural heritage.It was estimated by higher artistic convincing degree, and each costume, placed in its microenvironment was obtained "a new visage" in our time.