saxelovnebo mecnierebaTa Ziebani #4 (49), 2011 ART SCIENCE ...
saxelovnebo mecnierebaTa Ziebani #4 (49), 2011 ART SCIENCE ... saxelovnebo mecnierebaTa Ziebani #4 (49), 2011 ART SCIENCE ...
UNIVERSITY' Ph.D PROGRAM DRAMA END THEATRE THEORY Head of the Program: Prof. Mikheil Kalandarishvili Maka Vasadze Second year PhD Student ESSENCE OF THEATRE LANGUAGE Summary What does “Art language” mean? Using the term “language” scientists consider all kinds of communicative system, that makes use of placed symbols with a particular model. Semiotic language is defined as a system of symbols, means of communication. In the former work we aren’t to make Linguistic analysis of the language nature, the latter possesses capacity of creating ideas, we are only to remind what kind of meaning it has got either. In the epoch of postmodernism as on the foil of the process of existancial-meaning of reflection of the Artistic works in the modern Artistic Science a question arises about it’s language, as a reflection of the common language between an author and a reader, or spectator listener and so on and so forth. Each communicative act contains for itself a transmission and receiver of an information. It’s necessary to exist a common intermediate language for a receiver to realize a message of a transmission. Modern Artistic investigators supporting upon all kinds of system which might be defined as a language just a communicative means among two or more persons, prove that various branches of Art possess a particular language. 202
To Linguasemiotics mind Art is an organized language with a special model, therefore we can speak the language of music, painting, film, theatre and etc. Before researching Robert Sturua’s Artistic Language we will try to analise “Artistic Language” in common, while talking in the Artistic Language it must be intended the whole complex of symbols, which create the very language. The language evolution, change dynamism is a law of semiotic system of a language. In his book “Empty sphere “ Peter Brooke indicates, that a theatre language should be simple, but always different depending on where and for whom you work. Tea Kakhiani Second year PhD Student CONCEPTION OF NATIONAL THEATRE IN THE GEORGIAN PRODUCTION OF 90YRS Summary I instruct the work under the direction of Drama, theatre theory and PhD programe “ modern tendencies of Georgian film production”. Research topic includes the period from 1990 till 2000. I represent review of a tendence outlined in Georgian film production at the beginig of 90yrs, which might be called the conception of national theatre. Started struggle of national liberation in Georgia, which ended with forming an independent republic of the country was reflected on Georgian theatre as a concrete form. A great majority of the staged performances express Georgian national inspiration in this period. Searches the expressive form of national features. The main line of producers research passes through the Georgian cultural herity and runs through onfolk 203
- Page 152 and 153: marika mamacaSvili SesrulebiT msaxi
- Page 154 and 155: marika mamacaSvili pirispir, SevZrw
- Page 156 and 157: marika mamacaSvili ganaviTarebdiT p
- Page 158 and 159: marika mamacaSvili monacemebze: ,,r
- Page 160 and 161: marika mamacaSvili Tavis, xelebis d
- Page 162 and 163: 162
- Page 164 and 165: Tiko qoiava doqtoranturis II kursi
- Page 166 and 167: Tiko qoiava am qaoss cvlis qalis in
- Page 168 and 169: Tiko qoiava `jalaTis~ SemoqmedebiT
- Page 170 and 171: Tiko qoiava saSualebiTa da ganaTebi
- Page 172 and 173: Tiko qoiava jer kidev,2008 wels,rod
- Page 174 and 175: Tiko qoiava kostiumebis mxatvari _
- Page 176 and 177: Tiko qoiava israelis, germaniis, ko
- Page 178 and 179: giorgi uRreliZe doqtoranturis II ku
- Page 180 and 181: giorgi uRreliZe masebis Camoyalibeb
- Page 182 and 183: giorgi uRreliZe vinaa `velosipedis
- Page 184 and 185: giorgi uRreliZe uyurebs~ 1 , _ `moq
- Page 186 and 187: giorgi uRreliZe interesebi iyo gata
- Page 188 and 189: swavlobda iv. javaxiSvilis saxelobi
- Page 190 and 191: THEATRE STUDIES Mikheil Kalandarish
- Page 192 and 193: production, it was noteworthy the r
- Page 194 and 195: Tbilisi State University. In 1996-9
- Page 196 and 197: for the best annual research in the
- Page 198 and 199: She is an author of the book German
- Page 200 and 201: MEDIA STUDIES Eldar Iberi “ENTERT
- Page 204 and 205: and mythology. Started thinking in
- Page 206 and 207: DRAMA DIRECTION Head of the Program
- Page 208: 208
To Linguasemiotics mind Art is an organized language with<br />
a special model, therefore we can speak the language of music,<br />
painting, film, theatre and etc. Before researching Robert<br />
Sturua’s Artistic Language we will try to analise “Artistic<br />
Language” in common, while talking in the Artistic Language<br />
it must be intended the whole complex of symbols, which create<br />
the very language. The language evolution, change dynamism<br />
is a law of semiotic system of a language. In his book “Empty<br />
sphere “ Peter Brooke indicates, that a theatre language should<br />
be simple, but always different depending on where and for<br />
whom you work.<br />
Tea Kakhiani<br />
Second year PhD Student<br />
CONCEPTION OF NATIONAL THEATRE IN THE<br />
GEORGIAN PRODUCTION OF 90YRS<br />
Summary<br />
I instruct the work under the direction of Drama, theatre<br />
theory and PhD programe “ modern tendencies of Georgian<br />
film production”. Research topic includes the period from 1990<br />
till 2000. I represent review of a tendence outlined in Georgian<br />
film production at the beginig of 90yrs, which might be called<br />
the conception of national theatre.<br />
Started struggle of national liberation in Georgia, which<br />
ended with forming an independent republic of the country<br />
was reflected on Georgian theatre as a concrete form. A great<br />
majority of the staged performances express Georgian national<br />
inspiration in this period. Searches the expressive form of<br />
national features. The main line of producers research passes<br />
through the Georgian cultural herity and runs through onfolk<br />
203