Grigol Robakidze’s Dramatic Writing

Abstract

Grigol Robakidze’s (1880-1962) unique dramatic heritage is a prominent part of the Georgian History of Dramatic Art, including not only the plays by the writer, but also their representation on Georgian and Soviet stages, the history and fate of both the author d his works. The writer, who was educated both n Europe and Russia was able to absorb his contemporary literary-aesthetic principles and tendencies, transform them according to the national spirit and implement in the most interesting way. Hence, his works “Londa”, “Maelstrom”, “Lamara”, “Kardu” and “Udega” can be termed as the outstanding samples of the Georgian Drama in the first part of XX century- the period, which was not especially rich in the perspective of dramatic writing.

The stylistic features, architectonics, rhythm and musicality of Grigol Robaidze’s plays were the embodiment of symbolist and expressionist drama aesthetics and introduced the form of modernism, where the Georgian phenomenon played a special part. The audience was first charmed by the “magic ad inner musical composition” of the mystery “Londa” (1917-1919), written in “free verse”, which was followed by the “musical architecture” of “Lamara” (1924).

Grigol Robakidze’s dramatic writings are among the few works of the writer, maintained in the language of the original and it makes their profound analysis the matter of our focal interest, in order to discover all stylistic and compositional characteristics of his plays. Naturally, we pay special attention to the theoretical works, letters and essays of the author on various issues of literature and theatre. We also find rather noteworthy the history of the creation of the plays and their fate during the totalitarian Soviet period and after the death of their author, their place in the history of Georgian literary criticism and drama.