saxelovnebo mecnierebaTa Ziebani #4 (53), 2012 ART SCIENCE ...

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nino gunia-kuznecova3. dramatul TeatrSi scenografiuli kompoziciaupiratesad daxurul xasiaTs atarebs, rac kompoziciisTviTkmarobasa da dasrulebulobas gulisxmobs.postdramatuli Teatris,performansebis scenografiulikompozicia upiratesad Riaa, rac performanssa dahepeningSi narativis gaqrobis tendencias gamoxatavs.gamoyenebuli literatura• gunia-kuznecova n., scenografiis tipTa msgavseba dagansxvaveba robert sturuas TeatrSi, saqarTvelos SoTarusTavelis Teatrisa da kinos saxelmwifo universitetis2006 wlis samecniero konferenciis _ qarTul kulturaSimimdinare procesebi XX saukunis 90-iani wlebidan dRemde_ masalebi, Tb., 2006;• gunia-kuznecova n., urbanuli kulturuli sivrceebisvizualuri saxeebi warmodgenaTa procesSi, saqarTvelos<strong>mecnierebaTa</strong> akademia, `macne~ d. uznaZis sax. fsiqologiisinstitutis perioduli Jurnali, #2, 2005, Tbilisi, 2005;• Бачелис Т. И. Эволюция сценического пространства. (ОтАнтуана до Крэга)В кн.: Западное искусство ХХ века. М.: Наука, 1978.С.148 –212;• Берёзкин В. В. Искусство сценографии мирового театра.I-II тома. М., 1997-2001• Симмат В. Е. Семантический дифференциал какинструмент искусствоведческого анализа. В сб.: Семиотикаи искусствометрия,. М., 1972;• Шапиро М. Некоторые проблемы семиотики визуальногоискусства. Пространство изображения и средства созданиязнака-образа. В сб. Семиотика и искусствометрия,. М.,1972;• Шеповалов В. Сценография в театральном искусстве. C.-Пб., 2003;• Laurel Brenda, Cоmputer as Theatre . Reading MA, AddisonWesley Longman, 1993.• Schrum A. Stephen, Thеatre in Cyberspace, New York, Peter lang,1999; Picco A. Theatre and Multimedia, Venecia, 2003;38
natalia diRmelaSvili,saqarTvelos SoTa rusTavelis Teatrisa da kinossaxelmwifo universiteti,dramis fakultetis doqtorantixelmZRvaneli daviT kobaxiZeTanamedrove midgomebis danergva cekvisswavlebaSisaqarTvelos SoTa rusTavelis Teatrisa da kinossaxelmwifo universitetSi cekvis swavlebis problemayovelTvis yuradRebis sagani iyo.Tanamedrove Teatri msaxiobisgan moiTxovsmravalmxrivi profesiuli unarebis qonas. aq igulisxmeba,rogorc wminda aqtioruli xelovneba, ise metyvelebismaRali kultura da daxvewili plastika. Sesabamisad,Teatraluri skolisgan msaxiobis yovelmxriv momzadebasda srulyofil mamoZravebel aparats moiTxovs. ùmaRlesTeatralur saswavlebelSi, moZraobiTi disciplinebiTmecadineobebis Sedegad, momavali msaxiobis organizmSixdeba progresuli funqcionaluri Zvrebi, anuxorcieldeba centralurTaSorisi urTierTobebisSegueba sajaro Semoqmedebis, scenis moednis pirobebTan.es ki, Tavis mxriv, iwvevs msaxiobis profesiuli teqnikisgamomxatvelobis amaRlebasa da srulyofas~, 1 – werdan. ionaTamiSvili naSromSi `msaxiobis teqnikis Sesaxeb~.msaxiobis mamoZravebeli aqtivobis SeswavlaSi cekvisdadebiTi mxare udavoa, magram es saganic mudmivad undasrulyofdes programis Semadgenlobasa da swavlebismeTodikas, Seesabamebodes Tanamedrove moTxovnebs.gasul saukuneSi Teatrebi ZiriTadad literaturul1n. ionaTamiSvili. msaxiobis teqnikis Sesaxeb. saqarTvelos SoTarusTavelis saxelobis saxelmwifo Teatraluri institutis, sasceno-moZraobiskaTedris samecniero-kvleviTi Sromebi (xelnaweri),1980/81 sas. w.39
Page 1 and 2: saqarTvelos SoTa rusTavelis Teatris
Page 3 and 4: Shota Rustaveli Theatre and Film Ge
Page 5 and 6: manana lekboraSvilimontaJi da redaq
Page 7 and 8: CONTENTSTHEATRE STUDIESGVANTSA GULI
Page 9 and 10: NINO TSITLANADZEGeorgian Theatre As
Page 11 and 12: Teatrmcodneoba11
Page 13 and 14: Teatrzec. revoluciuri kataklizmebis
Page 15 and 16: Tanamedrove qarTuli Teatris problem
Page 23 and 24: a) speqtaklis, performansis ganxorc
Page 25 and 26: ugulebelyofs da dros sivrciT urTier
Page 27 and 28: moCarCoebul sivrcesa Tu sibrtyeSi g
Page 29 and 30: cenografiuli kompoziciis sakiTxisaT
Page 33 and 34: aqtualuria, oRond dro ara marto aCq
Page 37: cenografiuli kompoziciis sakiTxisaT
Page 41 and 42: Tanamedrove midgomebis danergva cek
Page 51 and 52: stilisturi forma ki araa, sxva form
Page 53 and 54: mdgomareobs, rom is saSualebas mogv
Page 55 and 56: Mmsaxiobis ostatobis sxvadasxvameTo
Page 57 and 58: Tamar firosmanaSvili,saqarTvelos So
Page 59 and 60: qoreografia dramatul speqtaklSi da
Page 61 and 62: qoreografia dramatul speqtaklSi da
Page 63 and 64: da mimdinareobas ver mivakuTvnebT.
Page 65 and 66: avgust strindbergisìntimuri Teatri
Page 67 and 68: koleqtiuri kiTxva da personaJebis a
Page 69 and 70: avgust strindbergisìntimuri Teatri
Page 71 and 72: (idealur SemTxvevaSi _ guli plus go
Page 73 and 74: pirovnebis mniSvneloba samsaxiobo x
Page 75: kinomcodneoba75
Page 78 and 79: Tamar barTaiaamis gamo uars nu ityv
Page 80 and 81: Tamar barTaiasadac orjer ori aucile
Page 82 and 83: Tamar barTaiargoli unda iyos. maSin
Page 84 and 85: Tamar barTaiagaumarTlebeli iqneba a
Page 86 and 87: maka doliZefaSizmi~ 1 warmoadgens a
Page 88 and 89:
maka doliZeeniWeboda. 1939 wlidan g
Page 90 and 91:
maka doliZefilmebic, magaliTad, reJ
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maka doliZevaJis cudi zegavlenisaga
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maka doliZeda misi adgili SeevsoT f
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96nikoloz kereseliZe,saqarTvelos So
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nikoloz kereseliZesaCvenebeli da Su
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nikoloz kereseliZerogorc `Teatris p
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nikoloz kereseliZeteleviziaSic, Toj
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nikoloz kereseliZesanaxaobiTi xelov
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nikoloz kereseliZevaldebulebebs am
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manana lekboraSvili,saqarTvelos SoT
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manana lekboraSviligadabma xdeboda
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manana lekboraSviliklasikuri montaJ
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manana lekboraSviliikiTxeboda. amgv
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manana lekboraSvilimusikalur klipeb
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manana lekboraSvilifilmebSi adrinde
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120mzia manjaviZe,saqarTvelos SoTa
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mzia manjaviZesubstancia Seaqvs fil
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mzia manjaviZefaseulobaze. filmSi a
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mzia manjaviZebedis ZebnaSi, xolo m
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naTia mefariSvili,saqarTvelos SoTa
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naTia mefariSviliisini axdendnen am
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naTia mefariSvilipenis filmi amerik
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naTia mefariSvilistandartebi, roca
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naTia mefariSvilisistemas, miznobri
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naTia mefariSviligamoyenebuli liter
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giorgi uRreliZ(1910) pirvelad gamoi
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giorgi uRreliZekranze xedavda ambav
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giorgi uRreliZmontaJi SeiZleba real
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146
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148
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nino dondolaZemas analogi ar moeZeb
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nino dondolaZesanaxaobisamebr, saqa
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nino dondolaZeam dros gaaSiSvlebdne
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nino dondolaZemama avTandil giorgob
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nino dondolaZetardeboda, rasac XIX
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nino dondolaZe`bekikeebi~ #6`gvergv
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Tamar sarCimeliZeriTmi xelovnebaSir
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Tamar sarCimeliZeSinaarsobrivi dina
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Tamar sarCimeliZeriTmulobidan gamom
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Tamar sarCimeliZeganvixiloT ufro de
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Tamar sarCimeliZegaremo da formac w
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Tamar sarCimeliZesur. 7 lakazisur.
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174qeTevan oCxikiZe,saqarTvelos SoT
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qeTevan oCxikiZeZiriTadad, `jojoxeT
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qeTevan oCxikiZedavadginoT maT Sori
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qeTevan oCxikiZexarisxis gamo, amis
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qeTevan oCxikiZeTiToeuli maTgani ga
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qeTevan oCxikiZeredaqciiT aris moce
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qeTevan oCxikiZegamoyenebuli litera
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Sorena fxakaZe2009-dan dRemde - ton
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Sorena fxakaZeaxal Strixad iqca mxa
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Sorena fxakaZexelovnebis axal etapz
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avTandil CaCava,saqarTvelos SoTa ru
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avTandil CaCavaimereTSi niRabs `kva
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avTandil CaCavaxaris rqebs imagrebd
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avTandil CaCavapatarZals ganasaxier
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avTandil CaCavaerTmaneTs maTi mzera
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204
Page 206 and 207:
vladimer (lado) tatiSvilime rwyu li
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vladimer (lado) tatiSviliwyo bi le
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vladimer (lado) tatiSviliwons, mo i
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vladimer (lado) tatiSvilireklamas S
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mzia zautaSvilistiliT Semoifargleba
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mzia zautaSviliratom TiToeuli saleq
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mzia zautaSvilimeSveobiT daganaxebT
Page 220 and 221:
mzia zautaSviliteleJurnalistika, mx
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222
Page 224 and 225:
malxaz Rvinjiliaar iTxovs, radgan a
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malxaz Rvinjiliaavadmyofobis gamo,v
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malxaz RvinjiliadazRvevis saerTaSor
Page 230 and 231:
magda cocxalaSvili,saqarTvelos SoTa
Page 232 and 233:
magda cocxalaSvilidakavSirebuli Rir
Page 234 and 235:
magda cocxalaSvilikulturuli fena, u
Page 236 and 237:
magda cocxalaSvili`literaturuli saq
Page 238 and 239:
magda cocxalaSviliuzrunvelyofa da o
Page 240 and 241:
nino wiTlanaZe,saqarTvelos SoTa rus
Page 242 and 243:
nino wiTlanaZedaTvlasa da Sejamebas
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nino wiTlanaZeefeqturi amuSaveba);_
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nino wiTlanaZeiseTi Tanamedrove teq
Page 248 and 249:
Nino Gunia-Kuznetsova,Shota Rustave
Page 250 and 251:
the plastic characteristics of the
Page 252 and 253:
the victory or labor. So, in antiqu
Page 254 and 255:
is the title and not only the profe
Page 256 and 257:
he shows us that fascism is an eter
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participates in scenic creativity,
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Together with music special sound e
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uilding. When we put the bricks cor
Page 264 and 265:
In village, Putieti, the weekly rit
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integrity is the rhythm.Rhythm (Gre
Page 268 and 269:
The academy has two centres. The fi
Page 270 and 271:
MEDIA STUDIESMzia Zautashvili,Shota
Page 272 and 273:
called musical therapy - . In the
Page 274 and 275:
Magda Tsotskhalashvili,Shota Rustav
Page 276 and 277:
of target audience.The theme also i
Page 278 and 279:
278
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280
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