GEORGIAN SHOWCASE Qartuli Speqtaklebis Programa 2010
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Democratic Republic of Georgia (1918-1921) by Dr
UDC 9 (479.22) 34 Democratic Republic of Georgia (1918-1921) by Dr. Levan Z. Urushadze (Tbilisi, Georgia) ISBN 99940-0-539-1 The Democratic Republic of Georgia (DRG. “Sakartvelos Demokratiuli Respublika” in Georgian) was the first modern establishment of a Republic of Georgia in 1918 - 1921. The DRG was established after the collapse of the Russian Tsarist Empire that began with the Russian Revolution of 1917. Its established borders were with Russia in the north, and the Mountainous Republic of the Northern Caucasus, Turkey, Armenia, and Azerbaijan in the south. It had a total land area of roughly 107,600 km2 (by comparison, the total area of today's Georgia is 69,700 km2), and a population of 2.5 million. As today, its capital was Tbilisi and its state language - Georgian. THE NATIONAL FLAG AND COAT OF ARMS OF THE DEMOCRATIC REPUBLIC OF GEORGIA A Trans-Caucasian house of representatives convened on February 10, 1918, establishing the Trans-Caucasian Democratic Federative Republic, which existed from February, 1918 until May, 1918. The Trans-Caucasian Democratic Federative Republic was managed by the Trans-Caucasian Commissariat chaired by representatives of Georgia, Azerbaijan and Armenia. On May 26, 1918 this Federation was abolished and Georgia declared its independence. Politics In February 1917, in Tbilisi the first meeting was organised concerning the future of Georgia. The main organizer of this event was an outstanding Georgian scientist and public benefactor, Professor Mikheil (Mikhako) Tsereteli (one of the leaders of the Committee -
The Montage Rhetoric of Nordahl Grieg's Interwar Drama
humanities Article The Montage Rhetoric of Nordahl Grieg’s Interwar Drama Dean Krouk Department of Scandinavian Studies, University of Wisconsin-Madison, Madison, WI 53706, USA; [email protected] Received: 1 October 2018; Accepted: 10 October 2018; Published: 15 October 2018 Abstract: This essay explains the modernist montage rhetoric of Nordahl Grieg’s 1935 drama Vår ære og vår makt in the context of the playwright’s interest in Soviet theater and his Communist sympathies. After considering the historical background for the play’s depiction of war profiteers in Bergen, Norway, during the First World War, the article analyzes Grieg’s use of a montage rhetoric consisting of grotesque juxtapositions and abrupt scenic shifts. Attention is also given to the play’s use of incongruous musical styles and its revolutionary political message. In the second part, the article discusses Grieg’s writings on Soviet theater from the mid-1930s. Grieg embraced innovative aspects of Soviet theater at a time when the greatest period of experimentation in post-revolutionary theater was already ending, and Socialist Realism was being imposed. The article briefly discusses Grieg’s controversial pro-Stalinist, anti-fascist position, before concluding that Vår ære og vår makt represents an important instance of Norwegian appropriation of international modernist and avant-garde theater. Keywords: theater; modernism; avant-garde; Norwegian literature 1. Introduction The dramatist, poet, and novelist Nordahl Grieg was in many ways the most internationally oriented Norwegian writer of the first half of the twentieth century. He sailed around the world in late adolescence (in the years after the First World War), he studied at Oxford in the early 1920s, and he published travelogues from Greece and China in the late 1920s. -
February 2021. New Acquisitions F O R E W O R D
FEBRUARY 2021. NEW ACQUISITIONS F O R E W O R D Dear friends & colleagues, We are happy to present our first catalogue of the year in which we continue to study Russian and Soviet reality through books, magazines and other printed materials. Here is a list of contents for your easier navigation: ● Architecture, p. 4 ● Women Studies, p. 19 ● Health Care, p. 25 ● Music, p. 34 ● Theatre, p. 40 ● Mayakovsky, p. 49 ● Ukraine, p. 56 ● Poetry, p. 62 ● Arctic & Antarctic, p. 66 ● Children, p. 73 ● Miscellaneous, p. 77 We will be virtually exhibiting at Firsts Canada, February 5-7 (www.firstscanada.com), andCalifornia Virtual Book Fair, March 4-6 (www.cabookfair.com). Please join us and other booksellers from all over the world! Stay well and safe, Bookvica team February 2021 BOOKVICA 2 Bookvica 15 Uznadze St. 25 Sadovnicheskaya St. 0102 Tbilisi Moscow, RUSSIA GEORGIA +7 (916) 850-6497 +7 (985) 218-6937 [email protected] www.bookvica.com Globus Books 332 Balboa St. San Francisco, CA 94118 USA +1 (415) 668-4723 [email protected] www.globusbooks.com BOOKVICA 3 I ARCHITECTURE 01 [HOUSES FOR THE PROLETARIAT] Barkhin, G. Sovremennye rabochie zhilishcha : Materialy dlia proektirovaniia i planovykh predpolozhenii po stroitel’stvu zhilishch dlia rabochikh [i.e. Contemporary Workers’ Dwellings: Materials for Projecting and Planned Suggestions for Building Dwellers for Workers]. Moscow: Voprosy truda, 1925. 80 pp., 1 folding table. 23x15,5 cm. In original constructivist wrappers with monograph MB. Restored, pale stamps of pre-war Worldcat shows no Ukrainian construction organization on the title page, pp. 13, 45, 55, 69, copies in the USA. -
ROMANS SUTA's LIFE TBILISI PERIOD (1941–1944) from The
ROMANS SUTA’S LIFE TBILISI PERIOD (1941–1944) ROMANS SUTA’S LIFE TBILISI PERIOD (1941–1944) From the history of the later period of the life of a Latvian artist On the occasion of Romans Suta’s 120th birthday Nikolai Javakhishvili [email protected] The late period of life and activity of the famous Latvian painter, designer, and teacher Romans Suta (1896–1944) is connected with Georgia. The presented article dwells on Ro- mans Suta’s Tbilisi period and his nearest Georgian confreres. In the summer of 1941, Romans Suta came to Tbilisi. He started working in a Georgian movie studio as a painter. He has worked on movies: In Black Mountains (1941, Producer Nikoloz She n gelaia), Giorgi Saakadze (1942, Producer Mikhail Chiaureli), The Shield of Jurgai (1944, Pro du cers: Siko Dolidze and David Rondeli). Romans Suta’s successful career was stopped abruptly because of his arrest on 4 Sep- tember 1943. He was charged for being an “enemy of people” and for “faking bread cou- pons”. He was tried and sentenced to be shot on 14 July 1944. In 1959, Romans Suta was partly rehabilitated, because the Military Collegium of the USSR Supreme Court exculpated Romans Suta’s charge of “enemy of people”, but “faking bread cards” still remained into effect. The article shows the real reasons for accusations to Romans Suta. The me moirs of his acquaintances, kept in the archives of the Ministry of Internal Affairs of Georgia, prove that Romans Suta was a member of the Georgian anti-Soviet or ganisation “White George” (in Georgian, “Tetri Giorgi”). -
TEIMURAZ PAPASKIRI Professor, Vice-Dean of the Faculty of Humanities Ivane Javakhishvili Tbilisi State University
TEIMURAZ PAPASKIRI Professor, Vice-Dean of the Faculty of Humanities Ivane Javakhishvili Tbilisi State University THE USSR CAUSED DAMAGE/LOSSES TO GEORGIA On February 11, 1921, the Soviet Russia’s troops launched offensive against the Georgian Democratic Republic from four directions. It was the beginning of the Russian aggression, which resulted in the Soviet occupation of Georgia. Georgia became the Soviet Socialist Republic and on March 16, 1921, the Government of the Georgian Democratic Republic went to exile. Although formally Georgian SSR was declared to be a sovereign state, in truth she became annexed by the Soviet Russia, and after the foundation of the Union of the Soviet Socialist Republics on December 30, 1922, Georgian SSR was incorporated into the USSR as a part of the Transcaucasian Socialist Federative Soviet Republic (in 1936, after the adoption of the new constitution, the Transcaucasian Socialist Federative Soviet Republic ceased its existence and the Georgian SSR, Armenian SSR, and Azerbaijanian SSR became the direct members of the USSR). The Soviet occupation had the negative influence on Georgia from the very first days. It caused a lot of political, economic, and social losses to Georgia. The first and the major damage was a political one. Along with the loss of independence, Georgia quickly was deprived of some territories. She was forced by the Soviet government to pass over the part of Sochi District and Dvaleti (Northern highlands) to the Russian Soviet Federative Socialist Republic, the Lore region (South from Tbilisi) to the Armenian Soviet Socialist Republic, the Zakatala region (historical Hereti/Saingilo Eastern province) to the Azerbaijan Soviet Socialist Republic, part of Batumi district and Artvin and Ardagan (South-Western Georgia) districts to Turkey.1 Nevertheless, it was not sufficient to the Kremlin Tops, especially to the ethnical Georgians Joseph 1 Levan Toidze. -
The Socialist Construction of the Moscow Theater Festival 1933-1937
The Socialist Construction of the Moscow Theater Festival 1933-1937 A thesis submitted by Michael Leonard Kersey Morris In partial fulfillment of the requirements for the degree of Master of Arts in Drama TUFTS UNIVERSITY November 2012 © 2012, Michael Morris Adviser: Laurence Senelick UMI Number: 1531301 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. UMI 1531301 Published by ProQuest LLC (2012). Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code ProQuest LLC. 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, MI 48106 - 1346 ii ABSTRACT From 1933 through 1937, the Soviet Union invited foreigners to experience the best of Soviet theater at the Moscow Theater Festival. This thesis focuses on the festival as both an object of and vehicle for socialist construction. The first chapter explores the event as an economic activity through a consideration of the capitalist methods employed to sell the festival. The second chapter examines how the organizers focused on the festival’s increasing cultural and political significance when planning it. The final chapter reflects on the attendees’ responses to their experiences. The conclusion compares the festival to another project of socialist construction—the building of the Moscow subway— and to the Nazi Olympics of 1936. -
Avant-Garde” of Georgian Theater
“Avant-Garde” of Georgian Theater Theater set design of the 1920’s was shaped by new “aesthetic discoveries”. Application of specific visual methods and techniques of Avant-garde (Cubism; Cubo Futurism; Constructivism) on the stage was brought about through the direct connection between theatrical-decorative art and existing fine art tendencies. In searching of new forms better fitting to mechanized, industrial epoch of 1920s a group of artist-constructivists, replacing “passive reality reflection” by an active forms of Constructivism. Oriented to basic changes of the traditional stage Constructivism removed all set design out of its space and introduced completely new stage decorating and organizing methods. Theater Constructivism idea, which intended “a reasonable organizing” of the material elements conditioned by “functional necessity”, suggested a new model of the acting space for characters - a whole construction. An “Object” constructed by a designer didn’t not depict anything in its static form and only after an actor touched this transformational “construction” it used “to come to life.” Following the Russian, German, Czech and Polish theater set designers, in the early 1920s Georgian designers applied new methods of stage constructing. They introduced innovative principles of stage space planning. Constructivism was never much visibly expressed on Georgian stage. Fearless experiments, stage designing Avant-garde methods underwent a transformation within a new environment - Georgian theatrical atmosphere and resulted in basic changes in the principles of the traditional set designing. And on account of the abovementioned processes from stage decorating the emphases shifted to scenic performance designing. The process of Georgian theater reorganization is directly associated with the name of Kote Marjanishvili. -
Stalinist Terror in the South Caucasus
CAUCASUS ANALYTICAL DIGEST No. 22, 1 December 2010 2 The “Great Terror” of 1937–1938 in Georgia: Between the Two Reports of Lavrentiy Beria By Levan Avalishvili, Tbilisi Abstract In implementing the “Great Terror” in Georgia, Beria used Stalin’s directives to serve his own personal needs as well. This article lays out the key events launching the repressions in Moscow and then shows how they were carried out on the ground in Georgia. Chronology of Events in the USSR Soviet elements” and determined the composition of Historians use the term “Great Terror”1 to unite a series the “operational Troikas” for expediting the process- of repressions and political persecutions that unfolded in ing of these cases. The composition of the Troikas typ- the Soviet Union in the period between 1937 and 1938. ically included: the Commissar, or head of the NKVD, This historical phenomenon is also known as the “Great the Secretary of the Party organization and the public Purge”, “Mass Terror”, and “Yezhovshchina”. Before prosecutor of the republic, state or province3. examining the events in Georgia, it useful to recall a brief chronology of events in Moscow: The USSR Terror Machine July 2, 1937: The Politburo passed a resolution “On Sentences were imposed in absentia, i.e. without calling anti-Soviet Elements” and on July 3 sent a telegram to the defendant, and without the participation of either a secretaries of the regional organizations of the Party. defense lawyer or prosecutor, and the sentences were not The directive, signed by Stalin and Molotov -
(RMCBU) Inventory of Existing Documentation
Eastern Partnership Culture Programme Regional Monitoring and Capacity Building Unit (RMCBU) EuropeAid Contract No 2010/255-219 Inventory of existing documentations and regional/national/local initiatives in policy and legal development for the cultural sector in Georgia Studies and Diagnostics on Cultural Policies of the Eastern Partnership Countries Data for this Report has been collected by the Expert of the Regional Monitoring and Capacity Building Unit of the Eastern Partnership Culture Programme Ms. Manana Tevzadze in February 2012 and Ms. Maka Dvalishvili in December 2014. This report has been prepared with assistance of the European Union. The content of this report is the sole responsibility of the Regional Monitoring and Capacity Building Unit of the Eastern Partnership Culture Programme. It reflects the opinion of contributing experts and can in no way be taken to reflect the views of the European Commission. The RMCBU Project is implemented by the Consortium led by Deutsche Gesellschaft für Internationale Zusammenarbeit (GIZ) GmbH in partnership with HYDEA S.p.A. (Italy) and RWTH Aachen University (Germany). Inventory of existing documentations and regional/national/local initiatives in policy and legal development for the cultural sector in Georgia ____________________________________________________________________________ Table of Contents I Policy and legal framework for culture ....................................................................................................... 3 1. List of ratified international conventions -
INTERNATIONAL PROGRAM Saertasoriso Programa 2010 Sarcevi Content
INTERNATIONAL PROGRAM saerTaSoriso programa 2010 sarCevi CONTENT litva, vilniusis saqalaqo Teatri, ,,hamleti“ / Lithuania, OKT Theatre “HAMLET” italia, milanis pikolo Teatri, „arlekini, ori batonis msaxuri” Italy, Picollo Theatre, Milan, “ARLECCHINO, SERVANT OF TWO MASTERS” germania, Teatri Zafebze, „iorinde da ioringeli“ / Germany, Theatre on the Thread, “JORINDE AND Joringel” somxeTi, erevanis mozard mayurebelTa saxelmwifo Teatri, „Rrublebi“ Armenia, Yerevan State Youth Theatre, “CloUDS” estoneTi, piarnus endlas Teatri, „monatreba” / Estonia, Pärnu Theatre Endla, “THIRST” litva, Teatri meno fortasi, „hamleti“ / Lithuania, Theatre Meno Fortas, “HAMLET” safrangeTi, sasceno xelovnebis kompania, „cicino anu politikuri piesa“ France, La Compagnie L’ART SCENIQUE, “TSITSINO’S WORLD OR POLITICAL Play” xorvatia, riekas HKDHKD Teatri, „samxece“ / Croatia, HKD Theatre, Rijeka, “Menagerie” iranis Tojinebis Teatri „arani“, ,,rostami da zohrabi” Aran Puppet Theatre, Iran, “Rostam AND SOHRAB” didi britaneTi, kompania Imitating The Dog, „sastumro maTusala” / UK, Imitating The Dog, “Hotel METHUSELAH” ruseTi, giorgi tovstonogovis saxelobis didi dramatuli Teatri, ,,kopenhageni” Russia, BDT Theatre, “Copenhagen” israeli, Tanamedrove cekvis kompania kibuci, „bnel baRSi“ Israel, Kibbutz Contemporary Dance Company, “IN THE BLACK GARDEN” 21-e saukune gamorCeulia kulturis sazRvrebis programa 2010 : gafarToebiTa da meti internacionalizaciiT. am procesSi • saerTaSoriso programa yvelaze mniSvnelovani roli festivalebs ukavia _ • qarTuli speqtaklebis programa festivalebi -
No. 22: Stalinist Terror in the South Caucasus
No. 22 1 December 2010 Abkhazia South Ossetia caucasus Adjara analytical digest Nagorno- Karabakh resourcesecurityinstitute.org www.laender-analysen.de www.res.ethz.ch www.boell.ge STALINIST TERROR IN THE SOUTH CAUCASUS ■■The “Great Terror” of 1937–1938 in Georgia: Between the Two Reports of Lavrentiy Beria 2 By Levan Avalishvili, Tbilisi ■■Repressions in 1930s Soviet Armenia 6 By Eduard Melkonian, Yerevan ■■1937: “Great Terror” in Azerbaijan 9 By Eldar Ismailov, Baku ■■Mass Terror in the USSR: The Story of One Family 13 By George Anchabadze, Tbilisi Guest Editor: Giorgi Kldiashvili Resource Research Centre Center German Association for HEINRICH BÖLL STIFTUNG Security for East European Studies for Security Studies East European Studies SOUTH CAUCASUS Institute University of Bremen ETH Zurich CAUCASUS ANALYTICAL DIGEST No. 22, 1 December 2010 2 The “Great Terror” of 1937–1938 in Georgia: Between the Two Reports of Lavrentiy Beria By Levan Avalishvili, Tbilisi Abstract In implementing the “Great Terror” in Georgia, Beria used Stalin’s directives to serve his own personal needs as well. This article lays out the key events launching the repressions in Moscow and then shows how they were carried out on the ground in Georgia. Chronology of Events in the USSR Soviet elements” and determined the composition of Historians use the term “Great Terror”1 to unite a series the “operational Troikas” for expediting the process- of repressions and political persecutions that unfolded in ing of these cases. The composition of the Troikas typ- the Soviet Union in the period between 1937 and 1938. ically included: the Commissar, or head of the NKVD, This historical phenomenon is also known as the “Great the Secretary of the Party organization and the public Purge”, “Mass Terror”, and “Yezhovshchina”. -
Avtoreferati-Ing..Pdf
Department of the Social and Political Sciences of Iv. Javakhishvili Tbilisi State University Mariam Toradze Titsian Tabidze‟s P u b l i c i s m Thesis Submitted to Obtain Academic De gree of the Doctor in Mass Communications Dissertation Work is completed in Iv. Javakhishvili Tbilisi State University Scientific Instructors - Doctor of Philosophy in Journalism, Professor Dali Chikviladze; Doctor of Philology, Professor Tamaz Jologua. Tbilisi 2013 1 Introduction Titsian Tabidze‟s name in the reader 's mind is associated with the intense and brilliant poetry and modernist - avant-garde artistic quest. The general public is less interested in the publicism of Titsian Tabidze, but without understanding his very interesting publicistic letters and essays, perhaps, it would be impossible to completely see Titsian Tabidze‟s personality. Interest of the poet of his scale in publicism, clearly couldn‟t be only a fashionable passion. His publicistic work doesn‟t look like a conventional opuse of the person who discovered himself in this field by an accident. Titsian Tabidze, as well as a many prominent writers of different countries, was attracted to the journalism and publicism, perhaps because of the sharp directness, emotion and controversy which characterizes this form of the public thought. Coexistence of the symbolist and avant-garde poetry and publicistic writings in the work of Titsian Tabidze points to his broad intellectual capabilities and interests. This shows that the talents of Titsian Tabidze needed variety of means for the selfexpression. Titsian Tabidze‟s publicist works are the products of the sharp, emotional and charged with erudition thought process.