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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.
In the condition of “Soviet regime” requirements were represented to control context and form of new works. Such regularity in the art caused a great damage to its development and retarded the natural development of productivity forces. Though, it must be mentioned, that the development and strengthening of the artistic variety turned in the definite frames was passing distinctively and was representing a necessary property of the socialist realism. In the 1920-30 passing processes in the Georgian theater, the researches of the Georgian stage managers (producers), especially K. Marjanishvili and Al. Akhmeteli, made a social foundation for staging and enveloped distinguished originality and independence, which required the development of new productive tendencies in the following years. New cultural politics of the 1940-1950s brought important changes in the Gepgian theatre and artists’ works, among which a question to preserve a national form and style was the first. The works carried out on the stage with various artistic approaches, corresponded superficially with the requirements of the “Soviet regime” in the most cases, although they were internally transformed rather hardly and characterized by individual qualities for each. Next to the artists of previous generation Ir. Gamrekeli, D. Kakabadze, P. Ozxeli there came a new generation of artists in the theatreD. Tavadze, G.Khimshiashvili, S. Virsaladze, V. Shukhaev. I. Sumbatashvili. In their works there appeared various artistic decisions turned in the frames of the socialist realism on the stage. Different dramatic material and stage managers (producers) conceptions made a substitution to the artists to represent the varied painting sceneries on the stage. In the most cases the basic accent during the performance staging was constructed on the principle of optimum using of the back scenery. The decorative system arranged on the stage space was taking an interesting artistic feature. In each case the artists did not violate general composition and structure including the various oration elements by means of modifying and underlining them. They were approaching to the designing essence successively by understanding the work structure and inherent laws and were carrying out various staging ways on the stage. The sketches of many costumes preserve the character and general style of performing. The structure of their construction is laconic, expressing the epoch style. The character of performing is reflected in typification of personages, in their attitudes, gesticulation, and dressing. The problem of painting is solved individually as in decoration, as well in the costumes in each work of the artists, which is distributed in whole stage space. The artists are able to use all methods, which are gained in Georgian decoration art, they skillfully subject to certain requirements, and they are able to be original in each case. In 1940-1950 the artists’ staging decisions not only slowed down the development of the Georgian staging art, but enriched and filled it. The character of their decisions is revealed in the process of constant searching and is characterized by the distinguished individuality, effecting and emotional painting. At present there should be carried out perception of their works, estimation of their artistic and aesthetic values and concrete definition stipulating existing of certain conditions of that period, which intensify the artistic value of their works once more. In 1940-1950 the artists, who were working in the theatre took an important place in the Georgian staging history and made a solid foundation for further development.

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