Abstracts - International Initiative for Georgian Cultural Studies
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Abstracts - International Initiative for Georgian Cultural Studies

Abstracts - International Initiative for Georgian Cultural Studies Abstracts - International Initiative for Georgian Cultural Studies

symposiumgeorgia.org
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03.06.2013 Views

MODERNISM IN GEORGIA Tea Urushadze I. Javakhishvili Tbilisi State University. Georgia Peculiarity of Constructivism in Georgian Stage Design The historical circumstances coupled with the processes unfolding in the dramatic arts and the emerging principles of director-artist cooperation in the early 20 th century contributed to the development of decorative systems of a new style of stage design. World art at the time was marked by the advancement of the avant-garde movement. This movement affected stage design by fostering the development of expressive theatre aesthetics. It was also connected to Constructivism, which characterized the Soviet art of the period and provides an interesting segment of the history of decorative art. The concept of constructivist stage design rests on two major principles. It implies the presence of a monolithic structure throughout a performance and functional scenography. The latter implies giving functional importance to adjustable elements attached to the main structure. Functional scenography builds on the compositional unity of the design. Each element of such structure adds to the “narration” of dramatic materials and formation of its plastic form. Constructivism also rejected the use of easel painting. It thus played an important role in the renewal of stage art and found different manifestations on various stages throughout Georgia. The artists who were at the root of Georgian decorative art took advantage of Constructivism and developed it in their own way by reorganizing the stage space, adding functionality to installed structures and introducing the principles of a disordering stage floor, expressive conventionality, an intensive use of color and light, laconism of expressive vocabulary and, most importantly, historical specificity and meaningful content to this system of design. The development of Constructivism brought about an extensive change to “object space” and contributed to the establishment of a new environment and to the creation of new world outlook. The solutions found at that time, as well as the emergence of features characterized by a mixture of styles and their transformation into artistic forms set conceptual grounds which shaped the image of Georgian decorative art in the years to come. The growing interest in the works of stage designers active in the 1920s-30s is largely due to the Constructivist ideas that manifested in different ways in the history of Georgian stage design, and which still have a distinctive image and perspectives for further development. 117

118 sastendo moxsenebebi / Poster Presentations TaTia Rvineria. Tbilisis saxelmwifo samxatvro akademia. saqarTvelo elene axvledianis Semoqmedebis ucnobi aspeqti (parizuli periodis studiur Canaxatebze dayrdnobiT) Tatia Ghvineria. Tbilisi State Academy of Art. Georgia The Unknown Aspect of the Art of Elene Akhvlediani (Based on The Studio Sketches of Parisian Period) naTia ebanoiZe. Tbilisis saxelmwifo samxatvro akademia. saqarTvelo organuli formis sakiTxi Salva qiqoZisa da elene axvledianis SemoqmedebaSi Natia Ebanoidze. Tbilisi State Academy of Art. Georgia The Issue of Organic Form in the Art of Shalva Kikodze and Elene Akhvlediani qeTevan cecxlaZe. Tbilisis saxelmwifo samxatvro akademia. saqarTvelo qarTuli modernizmi -tradicia da Tanamedroveoba Ketevan Tsetskhladze. Tbilisi State Academy of Art. Georgia Georgian Modernism -Tradition and Contemporariness qrinstine darCia. Tbilisis saxelmwifo samxatvro akademia. saqarTvelo klara kveesis Semoqmedeba (XX saukunis 20-iani wlebis qarTuli ferweris ucnobi furceli) Kristine Darchia. Tbilisi State Academy of Art.Georgia The Art of Clara Kvees (The Unknown Page of Georgian Painting of 1920s)

118<br />

sastendo moxsenebebi / Poster Presentations<br />

TaTia Rvineria. Tbilisis saxelmwifo samxatvro akademia. saqarTvelo<br />

elene axvledianis Semoqmedebis ucnobi aspeqti (parizuli periodis studiur<br />

Canaxatebze dayrdnobiT)<br />

Tatia Ghvineria. Tbilisi State Academy of Art. Georgia<br />

The Unknown Aspect of the Art of Elene Akhvlediani (Based on The Studio Sketches of Parisian Period)<br />

naTia ebanoiZe. Tbilisis saxelmwifo samxatvro akademia. saqarTvelo<br />

organuli <strong>for</strong>mis sakiTxi Salva qiqoZisa da elene axvledianis SemoqmedebaSi<br />

Natia Ebanoidze. Tbilisi State Academy of Art. Georgia<br />

The Issue of Organic Form in the Art of Shalva Kikodze and Elene Akhvlediani<br />

qeTevan cecxlaZe. Tbilisis saxelmwifo samxatvro akademia. saqarTvelo<br />

qarTuli modernizmi -tradicia da Tanamedroveoba<br />

Ketevan Tsetskhladze. Tbilisi State Academy of Art. Georgia<br />

<strong>Georgian</strong> Modernism -Tradition and Contemporariness<br />

qrinstine darCia. Tbilisis saxelmwifo samxatvro akademia. saqarTvelo<br />

klara kveesis Semoqmedeba (XX saukunis 20-iani wlebis qarTuli ferweris ucnobi<br />

furceli)<br />

Kristine Darchia. Tbilisi State Academy of Art.Georgia<br />

The Art of Clara Kvees (The Unknown Page of <strong>Georgian</strong> Painting of 1920s)

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