Georgian Romantic Dramaturgy

Abstract

The XIX century was covered with the mist of heaviness and sadness. Everything faded and withered in the county that had lost its statehood, was politically collapsed and pressed by the Russian boots. The reflections and aesthetics of the romantic theatre arose in the literary gatherings and salons, all these flourished in the era when the Georgian romanticism started to evolve. The character expressing the national interests existed only in the narratives of literature and its staging was so unbelievable that was remaining in the wishes and dreams. The thoughts of the struggler character needed to be voiced, listened and shared. There were attempts of staging home performances, e.g.: Sons of Tekla Batonishvili established theatrical circle, they translated “The Familiar Stranger” vaudeville by Karatygin, but failed to stage it due to the conspiracy and absence of finances. Alexandre Tchavtchavadze salon tried to present a performance of “Esther” by Racini but did not succeed. The staging of “Sinai”, a dramatic tragedy by Cornely (translated by Al. Tchavtchavadze) in which Nikoloz Baratashvili was participating, failed as well. During these time there were no acting techniques suited to romantic performances and the arena for actors – the stage.