 “Let it be Art! Harold Clurman's Life of Passion ” at the 9th Annual Georgian International Festival of Arts (GIFT) in honor of Michael Tumanishvili in Tbilisi , Georgia
A Personal Experience in This Glorious Festival and the Country of Georgia
DIARY
June 3rd, 2005 Friday 5:30 in the morning
As I walk out the front door of my apartment building, a taxi appears, speeding up to me, in goes my luggage and off we fly to the Port Authority bus station – I’m on my way to Georgia!
Waiting… Waiting… Waiting… No bus. What has happened to the bus to Newark ? No one seems to know. I stand there with the others, and we all look at each other – will it ever arrive??
Finally a bus! – the other had broken down.…. and off we go Newark International Airport .
Once through customs, it’s a very few minutes before I board the huge British Air jet and settle into my seat. Out the window I watch a monorail pass, and then spy a row of empty baggage carts sitting on the tarmac quite disdainfully.
Around me whiffs of British, Welsh, and Scottish accents fill the air.
“Six hours and thirty minutes is the flight time,” the pilot determinedly announces, with extreme crispness and alacrity as we taxi towards the runway.
And off we lift – as the sky quickly approaches. Below me the Statue of Liberty stands gracefully in the harbor facing the already bustling island of Manhattan , as we turn towards the uneven streaks of light appearing in the east.
The warmth of the sun’s glow bounces off the plane’s wings and upon the top of the clouds, and then they’re gone as if in haste.
A few hours later I spy the Irish coast of Cork . And then the rolling deep-green hills of England . It occurs to me we have crossed the deep Atlantic , much like Lindbergh, except of course, that was a much different experience. There were no movies shown!
All at once the sun bursts out, and there is the Thames right below me. Yes, I spot the Tower of London , then Big Ben, the Houses of Parliament, Hyde Park , all sprawled out below me. The grand city of London!
The stopover in England doesn’t last very long, although I walk pass all the rows of airport stores, brimming with wares and people. Soon I board another plane and we taxi towards the runway. Then without hesitation we’re off – to Tbilisi , Georgia!!
A dream come true – bringing “LET IT BE ART! Harold Clurman's Life of Passion” to the world!
Time has passed and all of a sudden the sky is ablaze in the west. Bright orange and yellow colors line the horizon, much like a Hopper painting. A magnificent sight, as we leave the orbit of the Isles and cross the British channel. I can make out a shining star brightly in the west behind us, as the darkened sky to the east beckons.
All at once I spot the coast of France below. The sky soon becomes crowded with stars as we continue on our way east. And very soon morning comes and the horizon is ‘on fire’ – a ribbon of red and orange!
5am and we are 20 minutes from setting down in Georgia! I try to rest but my anticipation won’t let me. Below I can make out haphazard lights here and there, as we appear to be following a river. There are mountain ranges in the distance and below the darkened Georgian terrain, as a heavy rain pelts the plane from every direction.
I think of all the armies which have clashed upon this land for thousands of years. All seeking their glory and destiny. And the art which has been created here, in the name of religion, the rulers who decided which way the wind would blow. It is a land heavily steeped in history, with one of the oldest languages on the planet.
We seem to glide down, and all at once, we are on the ground! A liquid refreshment from heavens soaks us, as the land looks most inviting.
I need a visa to enter?? I thought it wasn’t necessary, but the woman behind the window keeps explaining in a broken English it is required. So I pay the fee, my passport is stamped and I pass through a closed ‘no man’s land.’
And there is Keti Dolidze welcoming me!!!
She embraces me as if we have been friends our entire life. She is so happy I have come (as am I) and quickly introduces me to the friends she is with. I have been up for hours and hours but it no longer matters as I am so happy to have arrived and to be greeted so warmly.
My bags are quickly taken in hand by her driver and we are off for the city. As we go she tells me all about the Festival and the different shows that are part of the amazing GIFT Festival. I spy hanging banners and signs above the road and to its sides which are still up greeting my country’s President to Georgia when he visited Tbilisi just a few weeks ago.
Soon streets appear, but there is not a soul in sight. Of course, it is still very early in the morning after all, nearly 6 am . I spy a large fortress high above the city, ‘guarding it,’ as it has for hundreds of years, and gaze upon Tbilisi ’s 5th century walls of the Old City as we cross the Mikvari River . It is truly exciting as I try to take in every sight.
Keti soon deposits me in a comfortable fifth floor room at the Casino Hotel, and departs, telling me we’ll be seeing one another very soon, and that I should rest.
Rest??!! I open the window of my hotel room and taste the fresh morning air of Tbilisi . Before me is the city – and I’m greeted by houses and apartment buildings, which appear to rush towards me in every direction. A mountain range lifts itself up above the morning mist.
I have arrived in Georgia!
June 4th, 2005 Saturday 10am
 After trying to rest for a few hours, which is practically impossible, there is a knock on my door. I open it and one of Keti’s assistants greets me warmly – Nino Tabutsadze. We soon leave the Casino Hotel and begin walking towards the heart of the city, down Rustaveli Gamziri, a bustling main avenue of this city. The sounds and smells of Tbilisi greet me immediately – it’s all so refreshing! I notice the many book and newspaper stalls along the way, and pastry shops.
We pass a tall statue of the twelfth century Georgian poet Shota Rustaveli, who has been compared to Dante and Shakespeare. On the way I quickly dart in the Post Office and am able to purchase a few postage stamps.
Soon we arrive at a café across from the Tbilisi Opera and Ballet Theater, and I’m greeted by Keti. She immediately treats me to a lunch of traditional Georgian food, delicious pastries and salad. Keti tells me she has to greet other artists arriving for the Festival at the airport, and invites Nino to take me on a tour of the city.
It is now pouring as we all bundle into a taxi. Very soon Nino and I are dropped off at the Janashia State Museum . We are taken on a tour by a guide who speaks English, viewing stunning Georgian gold artifacts, icons, and jewelry from the 3rd century up to the 19th century in the different cases. It is most rare and very beautiful artwork. The enamel work is exquisite.
The rain subsides as we make our way into the Old City . We come to the Tbilisi sulphur baths (where Alexander Dumas and Pushkin bathed) and view the Mosque nearby, the only one remaining in the city. (All the others had been destroyed in the 1930’s). Nino shows me the spot where, according to tradition, (and where beehive domes now populate the area - underneath are hot springs ), that King Gorgasoli began building the first city of Tbilisi.
I tell Nino I’d like to climb to the top of the Narikala Fortress, which dominates the skyline high above the Mikvari River . We make our way up the cobblestone streets, seeming to defy gravity, passing the ornate balconies (a memorable feature of the city streets) on practically every house. Nearby on the side of a mountain, we can see and hear a wedding celebration taking place, and watch their traditional dances for a moment. Once we arrive and enter the fortress through its main gate, we climb to the top, and are afforded magnificent vistas of Tbilisi in every direction.
Tbilisi was founded in the fifth century by King Gorgasali, and is known throughout the world for its natural hot springs . A settlement in the area dates back to the Neolithic times, but it was King Gorgasali, (as the legend goes) who was out hunting, and his hawk flew across the river after a deer or a pheasant, and the deer fell into a hot spring and was miraculously healed. The name “ Tbilisi ” comes from the Georgian word, tbili (warm), and this was one of the things that drew the King to stay here. Tbilisi was also part of the Greek and Roman trade networks to the East, as well as the Silk Road .
It was King Gorgasali who won the town back from the invading Persians in 368, and moved his capital here from Mtskheta (which I was to visit towards the end of my stay in Georgia .) In the 7th century the Arabs conquered Tbilisi and stayed for four centuries. King David “the Builder” captured the city in 1121 and made it the capital of a newly reunited Georgia . This became Tbilisi ’s golden age and the city experienced great political and cultural growth under the King and later, Queen Tamar.
But soon the Mongols arrived, then the Black Death, Tamerlane and the Persians. In the early 19th century, the Russians arrived. It’s not until 1991 that Georgia becomes an independent nation, and a new era of democracy begins in the country with the Rose Revolution, and continues today. The current President, Mikail Saakashvili, was elected in 2004.
The country of Georgia is actually bordered by the Black Sea in the west, Turkey and Armenia to the south, by Azerbaijan in the east, and Russia to the north.
 Atop the Narikala Fortress the ground is muddy and wet from all the rain. We tour the grounds and then make our way down a very steep street back into the Old City . The Old City , is known to locals as “Maidan” or “Kala.” We pass a beautiful mansion which was partially destroyed during an earthquake, it still remains an empty shell, yet there seems to be people living inside. Nino tells me there are squatters in many “closed” buildings.
We then pass the Sioni Cathedral, centre of the Georgian Church , and then visit the Anchiskhati church, the oldest church in Tbilisi , built by King Gorgasali’s son Dachi, in the 6th century. Nino purchases two candles and we light them together. There is so much history everywhere. I view many haunting and beautiful balconies which the city is known for. I also spy a battered chair hanging on the side of a wall – Nino tells me the kids who live nearby “shoot” baskets from it.
 We then walk up Leselidzes Kucha, passing the main Tbilisi Synagogue, built in 1901; the Anchiskhati Church , (standing where a church has stood since the 5th century). I then take a cab back to my hotel and try and get a little rest. Of course, in a few moments I’m up, and since I’ve brought my paints with me, I begin painting the view out my window.
When early evening arrives Nino comes and soon we’re off in a cab, across the Mikvari River , which I can see is extremely muddy and rushing along from all the rain which has been coming down. We soon arrive at the Tumanishvili Theatre of Film Actors (a lovely, modern theatre), named after Michael Tumanishvili, one of the most influential directors of Georgia . (He was Keti’s mentor, and The GIFT Festival is named in his honor).
Nino and I take our seats and watch an adaptation of the famous poem, “ 'The Knight in the Panther's Skin,” a very famous twelfth century poem by Shota Rustaveli. The adaptation is entitled: "Hey, the Knights in the Panthers Skin.” The talented cast also includes: Lia Kapanadze, Mzia Arabuli, Rusudan Savaneli, and Nino Philphani.
Nino translates at times, what the actors are saying in Georgian. The play has to do with the difficult problems that exist in life, and each actress, through words, gesture, and song, express their characters’ frustrations as well as their desires.
I learn one of the actresses in the cast, Anna (Ana Nikolashvili), is one of Keti’s assistants and that she will accompany me tomorrow to see the theatre where I will perform. At the end of the performance, we go backstage and greet Anna warmly. She is pleased I have come to see the show.
Anna later tells me: “The play itself has nothing to do with the poem. The verses we performed were written by the playwright/director, Lali Kekelidze , who is a student of Tumanishvili. After Ms. Kekelidze had studied at the GeorgianTheatre Institute, she came to the theater and is now a member of the company as an actress.”
I asked Anna when I returned to America how she felt the performance went and what it meant for her to be in the production.
She wrote me: “As you already know, this was my first performance in this play, although it was staged in 2002,” she wrote me. “From very beginning, when I was invited to participate, I was full of enthusiasm and ready to try myself on a professional stage, in a theater that carries the name of one of the greatest Georgian Directors - Michael Tumanishvili. For me it seemed a big experiment – after 2 weeks rehearsals (additionally in December I had some meetings and work only with director), without proper run through to come up on a stage.
Of course, I was nervous and I hardly remember the beginning of the play!!!
BUT when the will is too big… As Clurman says: With the passion everything is possible!!
Truly said, I can’t really speak about the results of my work, that’s in your hands to judge what you have seen, felt or experienced watching the play.
I am so grateful you happened to be there, and afterwards having the conversation about it, for your honest remarks, THANKS!!”
After the play, I am taken back to my hotel, and am amazed I have done everything I have when I’ve just arrived this very day!!
June 5th, 2005 Sunday 9 am
When I awake, I think it’s Monday. Then there is a knock on my door. It is an actor, from Lithuania , who is also in the Festival and staying in a room nearby. I ask him: “It’s Monday, yes?” He tells me: “No, it’s Sunday!” I can’t believe it, yesterday was only one day!
Coming into the foyer of the 5th floor, the table is arrayed with the most splendid breakfast - a most enchanting sight. Plates of the most different cheese, meats, and toast – Georgian style – coffee, tea and juice. Everything is quite delicious!
 After breakfast, Anna arrives, and off we go together in a taxi towards the Old City .
“The taxis in Tbilisi don’t have meters,” she explains. “They stopped working in so many cabs that they were done away with, so you tell the driver where you’re going and a price is decided upon.” I find out it’s usually 3 Lari (Georgian currency) to the theatre and back. (I also learn about the currency of Georgia – and that 10 Lari equals roughly $6).
Once we arrive at Hercules II Street in the Old City Artists Quarters, we walk a short distance to the entrance of the theatre, and I step down stairs and enter a cavern-like setting – it is the Little Theatre, very quaint, and where many one-person shows are performed. I meet the owner and then size up the space I will be performing in. It is a very different kind of space than I have ever performed in, and will be a most exciting challenge. It has a cavern-like feel to it and is very intimate.
Anna and I then walk through the Old City , and down to the Mikvari River . We look at many paintings and art work set up by the artists of Tbilisi along the River. Then make our way through back alleyways, and then take a taxi back to my hotel.
 After a bit of a rest in the afternoon, I dress and am soon picked up by taxi by Nino and Anna as we are heading for the gala opening of The Festival at the Tbilisi State Opera and Ballet House.
When we arrive, Nino ushers me in through the stage door (as a special guest, as Keti has asked me to make a speech after her). She guides me backstage, and up to the theatre. Keti is there and introduces me to the Russian Ambassador to Georgia and the Georgian Minister of Culture. I’m also introduced to the renowned Russian director/filmmaker, Andre Koncholovsky, the well-known Russian filmmaker who has worked extensively in Russia and the United States . His acclaimed films include "A Romance about Lovers,” "Sibiriade,” "Tango and Cash,” and the TV miniseries "The Odyssey.” He is still preparing the slides for that evening’s first performance of his company’s presentation of Anton Chekhov’s “The Sea Gull.” We shake hands, and then Keti introduces me to the Russian Ambassador to Georgia and the Georgian Minister of Culture.  She then asks me to read my speech to her, and she makes a few helpful suggestions. Nino practices saying each sentence in Georgian as she will be translating.
Then I’m taken backstage, and I’m now standing directly behind the huge curtain, as I prepare my speech (and hear the audience out front).
Soon the Tbilisi State Opera and Ballet Theater is filled with an audience of over 1200 and the Gala Opening Ceremony begins. I continue preparing my speech, as Keti begins hers. Soon Nino and I make our way closer to the stage.
Keti’s words are in Georgian (Nino translates a part of it) I am including here, her words from The GIFT Festival program:
“This is the ninth time that the GIFT Festival will be held in Georgia . The more care children need the mother loves them. This Festival is like that child to us. We are striving to keep it alive and to let it survive. We extend our gratitude to all who insists we take good care of the Festival, save it, as throughout the last nine years it has brought nothing but warmth, kindness and goodwill. Thanks to all, whoever rendered assistance. Special thanks to Mrs. Ludmilla Shvetosova whose dedication is so remarkable. Let such people be plenty on this earth!”
After huge applause, Keti presents a special award for Lili Ioseliani. She is the first professional woman-director in Georgia . She has been teaching since 1947 at the Tbilisi Shota Rustaveli Theatrical Institute.
Ms. Ioseliani is the professor of the Drama Direction Chair at the Shota Rustaveli University of Theatre and Cinema, (where I would have the delight and honor of attending the students examinations as well as teach). She has directed many productions at the Tbilisi Kote Marjanishvili State Academic Theatre, The Tbilisi Theatre of Young People, the Tbilisi Shota Rustaveli Academic Theatre, the Gori Giorgi Eristavi State Drama Theatre, and the Kutaisi Lado Meskhisvili State Academic Theatre.
Then I hear Keti announce my name and Nino and I enter, to very warm applause. I take my place at the microphone and begin to speak. I say one sentence at a time as Nino translates beautifully. My first few sentences in Georgian bring some applause and smiles.
This is the speech I share with the audience:
“Didi Madloba (Thank you), Keti. Batano President Michael Saakashvili, honored guests and friends, gamarjobat (Hello)! Tu schidziba, ukatrovad, ar vitsi kartuli. (Please, excuse me, I do not speak Georgian).
But I do want to express my deep gratitude to Keti Dolidze and the 9th Annual Georgian International Festival of Arts for the great honor and delight of appearing in my play, “LET IT BE ART! Harold Clurman's Life of Passion” here, together with Andre Koncholovsky and Anatole Vasillev.
Harold Clurman, whom I embody in my play, was the “elder statesman of the American Theatre.” He was an “ambassador of reason and compassion,” and the same can certainly be said for your very own Keti Dolidze.
How did it occur for my play, “LET IT BE ART! Harold Clurman's Life of Passion,” to come here to Georgia ? When Keti brought her extraordinary play, “Self Portrait of My Generation” to America , I had the great joy and honor of interviewing her for my Newspaper, “The Soul of the American Actor,” which is the only newspaper in my country about the art of the theatre. When Keti heard about my play, she then invited me to come here to this amazing Festival.
Harold Clurman was once asked: "What is your greatest accomplishment?” Even though he had directed plays all over the world, he replied: “My birth!” So I am very glad he was born, as I am Keti was too! So – once again, thank you, Batano President.”
When I end my speech, there is very warm applause from all the tiers of the Opera Theatre. It is indeed a magnificent sight to be on such a stage, and such a thrill and honor to be able to talk about Harold Clurman, to represent America , and the American Theatre.
Andrei Konchalovsky is then presented with a special award. He has come to The GIFT Festival with a production he has directed of “The Sea Gull” with the actors of the State Academy Theatre named after Mossovet.
 The State Academy Theatre was founded in 1923 the collective was known as the theatre of Moscow Province Trade Union Soviet. In 1940 the collective was headed by Yu Zavadsky, a pupil of and Stanislavsky and Vakhtangov. He was the director of the theatre until 1977. In the 80’s, P. Homsky became the art director of the theatre. The Company has toured throughout Russia , Europe , Israel and America , and now includes more than 70 actors! Their theatre repertoire includes plays by Shakespeare, Ostropsky, Dostoyevsky, Bulgakov, Brecht, and Chekhov.
After my speech I stand on stage next to Keti and listen to Koncholovsky’s speech in Russian. Then Nino and I follow Keti offstage to immense applause and we make our way to a box seat (which is actually on stage directly above the playing area) as the lights in this stunning opera and ballet theatre go down.
We watch “The Sea Gull” come to life through the talented Russian actors of State Academy Theatre. (This production is also the theatre directing debut of Koncholovsky).
Even though I speak no Russian I have seen several productions of this play, (having recently also seen the Public Theatre/NYSF production by The Public Theatre in Central Park with Meryl Streep, Kevin Kline, Christopher Walken, Philip Seymour Hoffman, Larry Pine, and Natalie Portman, directed by Mike Nichols.
I find this production allows the actors to bring to life all the complexities and character flaws these human beings possess. The audience is thoroughly enthralled by those on stage, especially the passionate characterizations of Julia Vysotskaya's Nina, Alexi Grishin, as the young writer, Treplev, Irina Rozanova's Arkadina, and Anatoly Adoskin’s Sorin. I’m also taken by the exquisite costumes created by Rustam Khamdamov.
At certain points, because of where we’re sitting, I can watch Julia Vysostskaya, who has just come offstage, and is now behind the set, dealing with the props she carried off (she blows out a candle from a lantern and deals with the shoes she has taken off during the scene), and then I watch as she prepares herself for her next scene. It is a special “window” one rarely ever sees and I love it!
At one point, the young actor playing Treplev, makes such an emotional display before he leaves the stage after his final appearance, there is loud applause which stops the action of the scene. (I learn this is a Russian theatre tradition by the audience when they want to recognize a special performance). I felt the young actor captured the deep love, hunger, and frustration of Treplev.
At intermission, Keti and I give TV interviews for Imedi TV and TV channel MZE. At the conclusion of the performance, there are numerous bows, and bouquets of flowers given to all the women in the company.
 Soon I meet everyone backstage, and then we bundle into cars. We’re driven several miles out of the city (as the rain is now coming down “in buckets.) We arrive at a banquet hall, where there are long tables laid out with plates and plates of delicious Georgian food. This is my first experience of the traditional Georgian supra, (or feast). It is a formal dinner, and throughout the course of several hours I am there, the table becomes stacked with plates three or four levels deep. There are cheese dishes, various salads, beef, pork, fish, lamb dishes, delicious long shaped bread, and of course wine and vodka!
A Tamada, the “master of ceremonies” leads all the toasts. The toasts made are to the country of Georgia , to the GIFT Festival, to Georgian women, the dearly departed, to peace and friendship, to the honored guests of the Festival. When toasts are made, everyone’s glasses must be always be full. I especially like the Georgian dish – hachapuri, a cheese pie, sort of like pizza, but with no sauce, and the cheese is on the inside, not on top. A quartet of men with instruments and very loud recording equipment play and sing traditional Georgian songs as some of those at the table arise and begin to dance.
I’m finally driven home around 1:30am , and fall into bed somewhere around by 2:20 in the morning. The evening has been so absolutely thrilling!!
June 6th, 2005 Monday 6 am
I am awoken quite early by shouts in Georgian from outside, as Elton John music wafts up from somewhere amongst the apartment buildings and houses.
Finally I arise and then have another exquisite breakfast. Then I’m off for a walk down Rustaveli Gamziri, to the post office. I also take a walk in the opposite direction, passing the University, examining the facades of the different apartment buildings. It is a feat of courage to cross the street as it is rare traffic ever stops. But I am careful and am able to cross whenever I have to.
I am also able to find an internet café and send some email messages back home.
In the early afternoon Nino comes to my hotel and we head off by cab to the Tumanishvili Theatre. Once there, three members of the cast of “The Sea Gull” also arrive. I approach them and we shake hands, and soon I strike up a conversation with the very talented actress, Julia Vysotskaya, (she is also the wife of Koncholovsky and played Nina in “The Sea Gull”). She speaks English very well and I ask her about what roles she’s currently playing in repertory. Besides the role of Nina, she tells me, she is also performing as Miss Julie with the Company. She tells me: “We had 8 weeks to work on “The Sea Gull,” whereas with “Miss Julie” we needed an extra two weeks, because the notion of a servant not being equal is something we needed to get to understand.” It is very stimulating talking with her, and I promise to stay in touch to learn more about her work.
Then Keti and Koncholovsky arrive and we all greet one another warmly. Soon everyone steps outside and we take photos together in front of the unique statue of Tumanishvili. (The famous director in the sculpture has been placed by the sculptor in a chair that is balanced on its two rear legs, as if in motion – extremely theatrical and dramatic).
After many warm goodbyes, I am driven back to my hotel to rest. That evening there is another performance of “The Sea Gull,” but I decide I need to rest.
Once “The Sea Gull” has ended, I am picked up at my hotel by Ana and Nino, and we drive out of the main part of the city, and up into the mountains overlooking Tbilisi ’s sparkling lights.
We arrive at Temur Chkonia’s gorgeous home, which sits high, on the side of a mountain. The evening has grown quite cooler. It is a very beautiful home and in the spacious dining room there is a spectacular dinner all laid out. Plates and plates of delicious Georgian food are soon brought; it is an exquisite Georgian supra.
I am escorted to sit at the same table with Keti, Andrei Koncholovsky, Temur Chkonia, and the legendary film director of Georgia, Eldar Shengelaia. I have a most stimulating conversation with Anatoly Adoskin, an ‘Artist of the People,’ and whom I just saw perform as Sorin (Ana translates our conversation, I speak in English, he in Russian.) We discuss the production and different moments that he worked towards, and then soon begin a lively discussion about acting in America, about Stanislavski’s production of “The Sea Gull” and the Moscow Art Theatre, and of course, Ygeveny Vakhtangov and Nemorovich-Danchencko. He tells me that as a young actor, Nemorovich-Danchencko was in the lobby of the theatre when he was there, he says, with his eyes glowing, “I reached out and touched his back.” His eyes glisten as he talks about Stanislavski and Vakhtangov. His teacher was a pupil of Vakhtangov’s. We talk further about this moment in world theatre, and he tells me about his years as a young artist on the stage. He is a ‘living legend’ in Russia . It means so much to me to be able to share our love for the theatre together.
 Then all of a sudden security guards appear, and President Michael Saakashvili arrives. He greets everyone, and then Keti introduces us to one another. It is a great honor and joy, and we shake hands warmly. He says to me: “You are the actor and director from America , yes?” I say “Yes, I am honored to be in The GIFT Festival and to play one of America ’s greatest directors.”
 Then I have the distinct honor of sitting opposite him, and engage him in conversation at various moments, mentioning my country’s President’s visit just a few weeks ago. I told him I the speech he made. (I had read it in “The New York Times” before I left.)
There are several toasts during the course of the evening as the table becomes filled with plates of the most delicious cheese dishes, salads, beef, shish kabob, and lamb. Koncholovsky makes a toast to the President, thanking him for the opportunity of performing in Georgia , there are several more toasts and then President Saakashvili stands and makes a toast.
It is very special indeed, as Keti translates for me as he speaks. His words touch me deeply as he talks about how much it means to have such distinguished visiting artists come, from America , from Russia , from several counties, to Georgia to share their culture and their performances, and how much it means for the people of Georgia and their culture and their art. This especially means a great deal to me to hear such special words about art and culture from the President of a country.
Then we all share dessert together (which is the richest whipped cream on top of fresh strawberries – so delicious!) and then he stands, and we all do, and everyone says their goodbyes, and we shake hands once again as he departs surrounded by his security men.
When I arrive back at my hotel room, I am still quite dazed after such a momentous evening!
June 7th, 2005 Tuesday
In the morning I take a walk down Rustaveli Gamziri, visiting several stores. (One of the hardest things to find in Tbilisi are postcards, but after a while, I find a few at a store near the post office). I enjoy the hustle-bustle of the streets of Tbilisi , the tempo and atmosphere of the city.
In the early afternoon Anna comes and off we go to The Little Theatre to set my lighting and sound cues for my tech rehearsal. Anna, as it turns out will be my technical director, so I am in very good hands.
There is also going to be a performance that evening of “Judas’ Betrayal,” a solo play performed by Egidijus Stancikas, the actor from Kaunaus, staying right next door at the hotel. He begins to set up the stage with his props and set.
I now am also introduced to Anne Westphal and Susanita Freire, two artists from Brazil , who are performing their performance one acts, “Flamingo” in The GIFT Festival.
With Ana, Anne and Susanita, we grab a quick lunch nearby of pizza, and then begin to tour The Old City together. We walk down the streets, and then cross the Mikvari River to the Left Bank . Below us the swirling muddy waters of the Mikvari are intense. We walk up steps to the dramatic cliff where a statue of King Gorgasali stands next to Metekhi Church .
According to legend, the first church was built here in the 5th century, and the early Christian martyr St. Shuchanik is buried here. The original church was destroyed by the Mongols in 1235. The church was rebuilt between 1278 and 1289. Over the next 700 years, it was reconstructed many times, a prison at one time, and it was even converted into a theatre. But finally in the 1980’s it was re-consecrated as a church.
It is especially moving inside the Metekhi Church , as I view the deep solemnity and devotion of the Georgians at prayer, listen to the choral singing, and take in the impressive icons and paintings on every wall and pillar.
I’m dropped off at my hotel to relax, and then I go out for another brief walk nearby.
In the evening I’m picked up by car and driven to The Little Theatre (where I will also be performing) and attend Egidijus’ performance as Judas in “Judas’ Betrayal.” Though it is performed in Lithuanian, the conclusion is especially moving as I can sense Judas’s desolation and immense guilt. Watching his show in the space gives me a good idea as to the use of the space when I will perform.
June 8th, 2005 Wednesday
 As this is the day I am performing “LET IT BE ART! Harold Clurman's Life of Passion,” I choose to do very little other than a walk nearby. I so enjoy viewing the different architecture of Tbilisi ’s apartments, buildings and homes. There seems to be a great deal of statues and plaques of famous Russians and Georgians almost everywhere you turn, in parks, at the front of apartment buildings, on the walls of state buildings.
 I’m picked up in the afternoon by Ana and off we go to the theatre. I immediately get settled, putting out all my props, setting up the stage for ‘Harold’s apartment.’ Then begin my make-up a little before 5pm , as my performance is scheduled for seven o’clock curtain.
As my dressing area is right off of where the audience sits, as I prepare, I can hear the immense buzz from the audience, all in Georgian.
And then it is time to share Harold Clurman with the Georgian people!
Keti Dolidze stands and greets everyone in Georgian, welcoming them to the performance, and talks glowingly of having “LET IT BE ART! Harold Clurman's Life of Passion” as part of The GIFT Festival.
As I enter and make my way to the stage, in cape and fedora as Harold Clurman, there is a warm murmur that passes through the crowd.
The performance is a great delight as there are many laughs and great concentration from the audience. (And even though perhaps more than half the audience understands English, they are extremely involved throughout).
At the conclusion of the performance, there is a resounding ovation by everyone. The audience is so packed, there are people standing and sitting on the steps in every direction.
Keti Dolidze, after my curtain calls, standing, makes another speech and tells all those present “that the play and the performance epitomizes exactly what The GIFT Festival stands for. In every way it represents the spirit, the soul of The Festival, and that it is such a joy to have Ronald Rand and “LET IT BE ART! Harold Clurman's Life of Passion” here in Tbilisi!”
 I then make a short speech thanking Keti, The GIFT Festival, the President and the country of Georgia for the great honor of having “LET IT BE ART! Harold Clurman's Life of Passion” here. TV camera crews appear and I am interviewed about appearing in The GIFT Festival by Imedi TV Channel MZE (Sun) and by Tina Didava from “Fingerprint” Magazine. And many different Georgians and those who also from America, and England who are in Georgia come up to greet me and they are all delighted by the performance and by experiencing LET IT BE ART! Harold Clurman's Life of Passion’s tremendous ideas and passion.
Keti has arranged a special supra to celebrate, and we are drive to a beautiful restaurant for a most delicious dinner of and a memorable celebration! I think when I arrive back at my room it almost 3:30 in the morning! What an evening!! Who can sleep!!!!!
June 9th, 2005 Thursday
After another delicious breakfast, I’m picked up by Nino and I’m in for a special treat (with immense thanks to Keti who wants me to see more of the country of Georgia ).
We head north on the main Gori highway out of Tbilisi into the region around the capital known as Kartli. It is named after the mythical father of the Georgian people, Kartlos. I learn that nobody can truly understand Georgian spirituality without visiting the ancient city of Mtskheta , and that is where we heading. Here St. Nino converted the Georgian people to Christianity in the 4th century. (Also Gori lies in the region, where Stalin was born.) The historic city of Mtskheta is roughly only 45 minutes out of Tbilisi .
On the way the driver tells me he is a university professor, as is his father, but they are unable to get work at the University. Plus he makes three times as much as a driver. (Approximately $60-75 a month) He also tells me that the pension for those who retire is approximately $23 a month!)
 In the distance a large monument is pointed out to me that stands next to the great reservoir which serves Tbilisi ’s citizens. The countryside is extremely beautiful on this bright, sunny and quite warm day.
As we get closer I can spot the famous Jvari Church, dating back to the 5th century, high on a mountain top. We begin our assault, up a winding road, passing beautiful fields, as sparkling yellow flowers appear on both sides of us. The Jvari Church is truly an architectural gem, inside and out. Once we enter through its imposing doors, we can see at the top of the dome, an outline in white of all that remains of the original paint from the 11th century. Outside the vistas on both sides are spectacular, with the city of Mtskheta laid out below, as the Mikvari and Aragvi Rivers meet one another, and the mountains spread out in every direction.
We then drive down and cross the rushing Mikvari River , into Mtskheta. It feels like a sleepy pleasant town. We arrive and park near the enormous and grand 11th century Sveti-Tskhoveli Cathedral; it remains today the largest functioning cathedral in Georgia . This is where, supposedly Jesus’s robe is buried.
 As we walked around the outside of the Cathedral, Nino points out to me at various places on the façade where the original red stone from the 11th century still remains. The first church was built on the site in the 4th century and was replaced in the 6th century. The present church was begun in 1010. Inside there are stunning frescos on the sides of the walls of representations of a coronation procession. You can also see everywhere that some of the faces pf the saints have been defaced by the forces of Tamerlane in the 14th century. The tombs of the Kings Gorgasali, Irakli II, and Giorgi XI, the last king of Eastern Georgia are on the stone floor at various spots. (It reminds me sort of Westminster Abbey in a way.)
 The drive back is again beautiful, and after a small lunch, I walk down Rustaveli Gamziri, and arrive at the accorded the privilege of talking with the renowned Georgian director, David Sakvarelidze, now the Director of the Tbilisi Opera and Ballet. In his office we first talked about his having been a part of a special workshop for directors with Peter Brook. “I received a letter. “Where are you?” it said. They wrote me that I was in the group and that I had to come to England and they were waiting for me. It was not an easy thing to get a visa to go, but I was able to. I wondered why he had invited me. When I told my father, (he is an old Georgian patriarch with a great sense of humor.) He said to me: “Is it good for you or good for him?” To be influenced by Peter Brook was a great experience for me.” I asked what he took away from working with Mr. Brook. “What ingredients have to be in the cooking of the production,” he made me think about. I knew about the technical things that went into working on a play. Peter explained to me that what’s beyond this is the “magic.” This was his real teaching. It made me think about great directors and what they did to make to make a great production. If such a great thing is done in a space, it’s still there, we have to know “how to catch it.” I discovered this technique, I discovered it in me. It’s what makes an exciting production.”
I was eager to know what excited him now at this time in Georgia . “After the Rose Revolution, we understood the feeling of being in the center of the process. It drives us in a good way. It’s an exciting time; I can’t sleep like a normal person with this kind of a feeling. We can’t be calm. We want to do something. It drives us. It’s something in our blood. It comes from being an ancient people; we feel these roots deep within ourselves. We are the same people, and we express this feeling through our art. Not in nationalistic movements or in military ways, but especially through the arts. We express our soul in art. We used to be this way and we still are. We’re an artistic people, you see our great directors such as Mikheil Tumanishvili and Robert Sturva. We’re a small country with great artistic expression.
I then asked about his work before he became Director of the Tbilisi Opera and Ballet Theatre. “I was founder of the Kockazin Theatre Lab,” he told me. “And it’s a very important part of my work. We used to make a lot of experiments and work with many new playwrights. I discovered a lot of things which I have begun to transfer onto the classical stage. We’re making a transition here; it’s quite an interesting time. I will go on experimenting, discover new steps, another “language” of my generation. It’s a way of thinking, steps of thinking which are completely different than other ones. It’s an important period; there’s a new energy. We’re a young country full of feeling.”
I then walk and meet Ana at the entrance to the Shota Rustaveli State Institute of Theatre and Film. We climb two flights of stairs and enter a very crowded large room with a large black velvet curtain before us which separates us from the playing area. I am invited to sit at the examiner’s table next to the teachers, meeting the Director of the State Institute, George Margvelashvili , and the Head of the group, Prof. Nana Pemetrashuili (Ana’s mother). There are dozens of students bunched everywhere behind me, sitting, standing, straining to watch the upcoming final examination.
The students appear in scenes (in Georgian) from “The Seagull,” “Tartuffe,” plays by Georgian writers – “I See the Sun” by N. Dumbadze, Nino Maisuradze’s “The Spring Behind the Windows by L. Tabukashvili,” “Tedore,” and K. Buachidze’s “The Dog in the Yard.”
While I don’t understand what they are saying, I understand the action and characters of each scene, and I watch the different choices the actors have made in bringing the scenes to life. They are all focused and committed, with a great deal of energy. After each scene, a curtain is drawn by the actors who had previously done their scene. There is a real spirit of comradery present but I can also sense the tension in the air as this is an examination, and the Director and other teachers are taking a great deal of notes.
I then have the delight of greeting the students who had appeared in the scenes: Nini Gorgadze, Mamuka Xmaladze, Zura Lomsadze, Khatuna Lomidze, Lika Davitashvili, Natia Tedeluri, Nino Archaia, Salome Vahslomidze, Meri Nakashigze, Dati Mgeladze, Levan Gogoladze, Juna Tumanishvili, Zaza Dogsanovi, Nino Maisuradze, and Avto Bajelidze.
 In the evening I walk down the Rustaveli Gamziri, walk through a mall, see the monument for those who lost their lives in a rebellion, and have some coffee sitting in a café.
I also had the opportunity of talking with a very unique performing artist Anne Westphal, who collaborates with Susanita Freire (both from Brazil , they performed their performance piece, “Flamingo” in the GIFT Festival. I asked Ms. Westphal about her performing and her passion. “I can’t say what I have to in words, it something very strong inside that must be communicated through movement and sound. I was an engineer then I studied music and dance. Every creation is like a child to me. I love them equally. I create what I feel I have to do. As an artist you have to keep your passion alive, it can vanish one day to the next. Suddenly it comes; you must keep it alive through discipline. I keep on working everyday, doing exercises, whether I feel good or bad. It also becomes a compromise. I learned a lot from the Nikolay School ; to improvise with a body language. Acting and interacting develops an awareness of yourself and an understanding and an awareness of good taste. I try to do what I see.”
June 10th, 2005 Friday
In the morning I again have a delicious breakfast, and go for my final morning walk down the Rustaveli Gamziri.
 In the early afternoon I return and meet Ana at the front of the Shota Rustaveli State Institute of Theatre and Film. She leads me upstairs to classroom, and meet Prof. Nana Pemetrashuili again. Eventually the class of students, which I watched the day before, arrive. I invite them to join me in a circle as I lead them in a physical and vocal warm-up. I also ask them to do some ‘passing of energy’ exercises.
 It’s very exciting for me to be able to have this opportunity of doing a workshop with the students. I then tell them a little about myself, my acting career, how I created my play, and how I came to be able to perform my play here in Tbilisi, (with Ana doing a wonderful job of translating). Then I perform a portion from “LET IT BE ART! Harold Clurman's Life of Passion,” (with each line translated into Georgian as I performed by Anna) for them. I say one line, hold while Ana translates, and then say the next and so on. It’s quite a challenge but it seems to work very well as the students glow from having felt Harold Clurman’s passion when I end.
We then talk about the scenes I had seen them perform the day before. They each ask me to make specific comments, so I focus on their preparations on entering the scene, their actions, the temperature and climate of where they are, clothing, and why they came into these particular given circumstances. It’s a stimulating workshop, running several hours beyond the time I had planned.
Mari Kintsurashvili, an inspiring young writer, who writes for “The Georgian Press” also arrives and watches. I had met her the previous evening at the performance of (You can find a delightful article written by her in this issue.) Every student, I can sense, has taken something away with them that they have learned, which means a great deal to me. I give each of them a sheet about “LET IT BE ART! Harold Clurman's Life of Passion,” which they ask me to sign and so I personalize each sheet for each student.
 At the end of the session, Professor Pemetrashuili tells me (through Ana’s translation), that she is so happy to see that Stanislavski’s technique is being taught so well in America, and that I am able to share what I have learned with her students. We all say fond farewells to one another and I hope they will continue to grow and have enriching careers as artists of the theatre.
In the afternoon, I take another walk in the opposite direction, and then in the evening, I’m taken to see a presentation by actors from Anatoly Vasiliev’s Moscow theatre company, School of Dramatic Art . The actors’ voices are riveting, and the audience is enthralled by the performance.
I meet Vasiliev again backstage (I had met him previously at the hotel as he is also staying just a few rooms down from mine). And I also meet the exquisite company of actors.
 Soon Keti takes all of us out to another magnificent supra, on the East Bank of the city, in a lovely private room. Soon the table is filled with the most delicious Georgian cheese dishes, salads, meat and fish dishes, and several toasts are made. I even make one myself, in honor of Keti Dolidze and the art of the theatre, and toast the very talented actors at the table. We are serenaded by three musicians on Georgian instruments. One of them takes apart his flute and he keeps playing a smaller and smaller one he finds and then keeps playing as he puts it all back together! One of the actors recites a risqué version of Pushkin and at Keti’s suggestion; I even share some lines from “LET IT BE ART! Harold Clurman's Life of Passion” with all those at the table. It is most exquisite and joyful experience!!
June 11th, 2005 Saturday
I am up very early for my early morning flight departure from Tbilisi . Nino arrives and soon we hop into a cab and off we go to the airport. The city is drenched in bright sunlight as we make our way passing the Old City (which I know very well now). At the airport, I say a fond farewell to Nino and cross through customs to my airplane. I feel I have made so many new friends and feel close to this very beautiful country. It has been a dream come true.
Soon we taxi down the runway and up we go, as I wave goodbye to this very special city. Out the window I can now see the high ranges of the Caucasus Mountains , and Russia beyond. In the other direction below me in the distance is Armenia , the peaks of Lebanon and beyond is Syria . We cross the Black Sea , Turkey , Rumania , Hungary , Germany and fly into Heathrow where I switch planes and cross the Atlantic .
On the way, I am watching the film on board, they are playing “Hitch,” which happens to be one of the films I had worked on in the past year, and then see myself, at 37,000 feet crossing the Atlantic Ocean!
Soon we touch down, (only after an almost 15 hour flight all together) and I am back in the Big Apple!!
It is especially gratifying to have been a part of The 9th Annual Georgian International Festival of Arts, and I’m indebted to Keti Dolidze, the Festival Committee, and the entire Georgian people for the unique experience of being able to share Harold Clurman through my solo play, “LET IT BE ART! Harold Clurman's Life of Passion.”
For info: Keti Dolidze, Festival Director, Georgian International Festival of Arts (GIFT), 8, Marjanishvili str., Tbilisi 0102, Georgia, gift@giftfestival.ge, www.giftfestival.ge Ronald Rand
A review and interview which appeared in “The Georgian Press”
June 12, 2005
‘ If This Be Magic, Let It Be Art! If this Be Art, Let It Be Magic!’
by Mari Kintsurashvili
What exactly do these words mean to us all? Why is this phrase so important for contemporary art? Ask yourself these questions after hearing this simple phrase from a very interesting person who came to Georgia at the invitation of Keti Dolidze for the 9th Annual Georgian International Festival of Art ‘Gift’. His name is Ronald Rand, and he is well known throughout the United States and all over the world.
Ronald Rand, actor, playwright and publisher of the only American newspaper dedicated to art and theatre, The Soul of the American Actor, began his acting career as a child, appearing in over 250 plays with a professional children’s theatre in Florida . His Off-Broadway debut in Julius Caesar at the Brooklyn Academy of Music with Richard Dreyfuss and George Rose was followed by numerous New York appearances, including his performance as Hamm in Endgame, directed by Joseph Chaikin; the lead in Goldoni's The Liar; as the First Gravedigger in Hamlet; leads in several of Bernard Shaw's plays; and all three male roles in Perfect Crime for two years. Mr. Rand also toured for five months throughout 35 European cities as the Fool in King Lear.
He has appeared on more than 30 television programs. His film appearances include: the upcoming Palace Thief with Kevin Kline; as Richard Nixon opposite Eric Roberts in Rude Awakening; In & Out; Jerky Boys; and Robert Redford’s Quiz Show. Rand was fortunate enough to study with Harold Clurman and Stella Adler, and also with Jerzy Grotowski, Bobby Lewis, Joseph Chaikin, and at New York University ’s School of Arts , and the Royal Academy of Dramatic Arts.
As a playwright, he penned The Group!, about the life of the famed Group Theatre. His new solo play, LET IT BE ART! Harold Clurman's Life of Passion, which had a special engagement at The Gift Festival in Georgia , was directed by Gregory Abels, and was recently seen in an acclaimed 3-week run Off-Broadway in New York City .
I met Mr. Rand after his performance of LET IT BE ART! Harold Clurman's Life of Passion at the Little Theatre in Tbilisi . This play immediately thrusts the audience into a world of boundless passion for the theatre, taking them on an inspiring journey through Clurman’s fascinating creative world. So inspired by the enormous artistic energy put into the play itself, and into the bright, lively and very ‘human’ personage, I went up to Mr. Rand. When I looked in his eyes and started talking with him, I realised that he was completely different from the man who had stood before me on the stage several minutes earlier. From that moment, I couldn’t stop thinking about how surprising the transformation was that brilliant Stanislavsky and Vakhtangov taught their students almost a century ago.
When the actor took questions from the audience together with Ms. Dolidze, the Artistic Director of the festival, I kept hearing just one phrase from Mr. Rand that deeply touched my heart: ‘Speaking of the phrase I’ve mentioned: “If This Be Magic, Let It Be Art! If this Be Art, Let It Be Magic!” He said in his remarks: “I always remember that Stella Adler would say: “When you take the stage, you represent 2,000 years of theatre, so you’d better be very sure about what you have to say.” And also, Harold used to tell us: “Have fun – make magic!” And I think that ultimately this is the ritual of the theatre, as it should be’.”
And I realised: this is exactly what Mr. Rand meant. An half an hour earlier he had made everyone see a miracle - the great miracle of transformation and art, and he made us believe.
I was fortunate to communicate with Mr. Rand for a couple of days, during and after other performances of the festival, and simply walking the streets of Tbilisi . I also had an opportunity to attend his master class at the Tbilisi State Theatre Institute.
Ronald Rand also publishes The Soul of American Actor newspaper, which he founded in 1998, and serves as editor-in-chief. I became extremely interested in this because it is the only free newspaper in America celebrating the art and craft of the actor and the art of the theatre. We managed to interview this outstanding playwright and actor, a man who has studied his art with the best representatives of the US theatrical culture.
Q: Do you think it is important for traditional theatre to exist in the 21st century in its primary form, or should completely new standards be created?
A: I think this is actually like Harold Clurman said in my play: it’s up to each person to do what they can to touch human values. And we see great artists and directors – like Grotowski, for instance, whom I studied with. He knew where Stanislavsky had taken us, and then he wanted to go a little further. But he always believed in Stanislavsky’s work. The important thing is that you never forget your traditions, because they give you the strength to go further, and there is no limit to what you can do. Seeing actresses like Keti (Dolidze), Vanessa Redgrave, Julie Harris – They understand what tradition means, and they go further to wake us up and show us our potential.
Q: You told one of our colleagues from Georgian TV that even though you have performed in numerous musicals, TV projects and films, your desire is to embody different ideas. What are they?
A: The ideas that, in a sense, Harold and Stella stood for: love of art, compassion for mankind, reason, and love of life. Harold said to live life to the fullest. There are so many amazing things in this world: so many thrilling books to read, performances to go to, that every day is full of wonder. And he said we should fill ourselves with all that excitement. When I was with him, I would leave his classes floating on air because I couldn’t believe he had so much passion at 80 years old. That’s what we really stand for – it is love – love for one another through art, always inspiring yourself through art, through great books, great plays and great movies. We should remember that there is always something to give.
Q: You put these wonderful ideas into the articles of your newspaper, don’t you? What is The Soul of American Actor like?
A: I started the newspaper eight yeas ago in New York City , because I felt there was such an emphasis on the commercial side and business. People weren’t talking about the art of the theatre or the craft of the actor. There was no other newspaper about this art in the country, so I thought this would be something very exciting to do. However, I really didn’t know how to make a paper. I was actually approached by the artistic director of a small theatre. This woman had her own newsletter and some extra money that she didn’t know what to do with. So I thought perhaps I might use it to begin a newspaper. I went to a graphic designer and we made the paper looked that way I wanted it to. Then I called some of the greatest actors in America : Julie Harris, Anne Jackson, Marian Seldes, and many other outstanding people, and they all agreed to be in my paper. And that’s how it was born, and ever since, I’ve had amazing artists in the Newspaper, like Arthur Miller, Jacques D’Amboise, Elie Wiesel, James Earl Jones, among other, many other of America ’s most important artists. So, in a sense, what it does is to share with the community all about the art and crafts. For me this is the most important thing.
Q: How has your paper evolved?
A: When I began it was only 8 pages long, and now it is 28 pages. Many people support us. Arthur Miller, before he died, gave us permission to publish part of his works in the paper. I’ve also had permission to publish excerpts from Grotowski’s books. I have many things written by avante-garde artists in America . Another thing I do in the paper is interview artists. They talk about the craft: how they build character, why they care so much about art and theatre. I’ve had articles about the past, such as a piece by Isadora Duncan and those kinds of artists from years ago. Young students need such education, especially in the USA , especially when we don’t even have a national theatre in America .
Q: What’s your opinion of the state of art and theatre in Georgia ?
A: I was very pleased to learn that you have so many theatres in Georgia . However, I know that the conditions for actors are not good enough. The same is true in our country. It is extremely important that the government care for its artists. What does history preserve? The great masterpieces of the past.
Harold Clurman, who was so articulate and a great speaker about art and culture, used to tell us: ‘You have to get people excited and convince them that this is important because you have a responsibility.” That’s what I learned from Stella Adler and Clurman. We have the responsibility as artists to improve life. Their motto was: Change the World! Many people thought, ‘How can theatre change the world?’ If you change people, you change the world, right? Because any one person can ultimately change the world.
Yes, the government should support actors and other artists, but we should all fight for our rights, for our responsibility. When we had dinner with Georgian President Saakashvili, I was very happy to hear how he repeated the words ‘culture’ and ‘art’ several times. I was very glad, because we should fight for art and art theatre!
I am also very grateful to Keti and Anna, and her mother who is a professor there, for inviting me to attend the exams at the Georgian Theatre Institute of Theatre. The students were amazing. So talented. Oh, it is just wonderful!
Q: Will you return to Georgia ?
A: Oh, I’d love to! I love this country and the people’s warmth. The audience is wonderful – so receptive, so caring, so loving. I feel the warmth and hospitality in everyone. So it is really so special to be here. The country has so much to give to the world, and when I am back in the United States I am going to write a big article about the whole festival to let Americans know how wonderful it is.
Essay by
Mari Kintsurashvili
Traditions and Talents in the ‘ Land of Rustaveli ’
What can Georgia surprise foreigners with? Why are most tourists who have ever visited ‘the land of Rustaveli ’ eager to return? Why is this country so magnetic and original? What do we know about Georgian history, art and customs? The key lies in the talents and hospitality of the Georgian people, who sit their guests down on ‘pardagi’ carpets, serve them famous Georgian wine, and give them souvenirs of ceramic and metalwork with wonderful ornamentation.
WINE
Georgia has an ancient tradition of winemaking dating back 5,000 years, and many historians believe that Georgia is the birthplace of viticulture. Georgians have preserved this tradition and continue producing fine wines today.
Archaeological studies show that winemaking was common in Georgia as long ago as the 4th century, BC. In addition, many linguists believe that the word ‘wine’ originates from the Georgian word ghvino, which was subsequently adopted by peoples throughout the world as the universally recognized word for ‘wine’.
Several company shops commonly called ‘wine houses’ can be found in the centre of Tbilisi . Quaint, distinctive bottles, high awards, famous brand names on the shop windows and counters –this all draws the attention of connoisseurs, tourists, and common dwellers known for their hospitality, fun-loving nature, and merry mood. Different winemaking companies offer quality Georgian wines to clients of their company shops.
Winemaking is common throughout Georgia . However, the historical centre for winemaking is the Kakheti region in Eastern Georgia . Most Georgian grape varieties grow in this area, which has ideal soil and weather conditions. For instance, the vineyards and wine cellar of the Sagarejo Export Wines Company of Sameba are in the heart of the Kakheti region. Companies like Sameba, Vaziani, GWS, etc, as well as private entrepreneurs making wine all by themselves in their villages, offer a great assortment of Georgian wines. These are semi-sweet red wines like Khvanchkara, Kindzmarauli, Mukuzani, and Akhasheni; different brands of Sameba (dry, semi-dry, white, red and rose wines); and quality Georgian dessert wines offered by SEWCo Sameba that have won numerous prizes and awards at international and local competitions.
The ancient tradition of winemaking has been developing in all regions of Georgia for centuries, and it’s still improving. Georgian and international experts and connoisseurs value the taste of our original quality wines, made with unique technology, and with the Georgian people’s sweat and blood.
CARPETS
As I approach to the colourful and bright Caucasian Carpets Gallery, I can distinctly hear jolly and slightly coquettish chat in broken English. It turns out that four Italians in the uniforms are haggling with the young shop assistant. They want to buy an Azeri carpet but the price doesn’t suit them. They go out, then come in again, and finally both sides come to an agreement…
As seen in this situation, the carpets market can be very lively. Carpets galleries usually offer carpets from different periods and different Caucasian and Asian countries. There are modern carpets as well as those 30, 50, or 100 years old. Most carpets are made with natural dyes. Apart from carpets, there are also pardagis - Georgian national carpets made with a specific knitting technique that is much more delicate than the carpet knitting technique, and also sumakhis made using an embroidery technique. Caucasian carpets sold include those made by Georgian, Azeri, Armenian and Daghestani masters. The technique, ornament, colour, texture, etc. differ greatly from region to region. Every nation, every village, and every tribe had its own unique style of carpet making. Perhaps the most expensive are old Persian carpets.
Different souvenirs are made from the remains of old carpets: beautiful decorative bags in Georgian national style and ornament, tea cloths decorated with Eastern elements, special large bags for dowries, decorations for walls and doors. Some of these carpet shops and souvenir salons also sell dolls in the national dress of different Georgian regions: Khevsureti, Adjara, Imereti, Kartli – and in the special attire of Tbilisi and other cities. These dolls are made by popular Georgian artists. For instance, the Caucasian Carpets Gallery sells dolls made by Tamar Mamuchishvili.
As for Georgian national carpets, the delicate pardagis, in its time the most expensive and popular was the Tushetian pardagi, remarkable for its high-quality technique and natural colours. It was so popular that during the Soviet period most Tushetian pardagis were exported for sale abroad. Nowadays this carpet is a rare find in the Georgian market.
The Georgian carpet itself is also very rare, and always under the influence of the Persian, Azeri or Middle Asian carpet making cultures. Azeris who lived in the territory of Borchalo (present-day Marneuli) made unique carpets, and Borchalo carpets are well known in the international market.
These shops buy most old carpets from Tbilisi residents. Even those Georgians who can afford to buy very expensive carpets are not usually interested. The clients are mostly foreign tourists or professional artists who need carpets for their work.
SOUVENIRS: ENAMEL, JEWELLRY, CERAMICS, AND TAPESTRIES
In the centre of Tbilisi , and especially in the Old Town , there are many galleries, souvenir and jewellery shops which are studios where skilled masters create arts and crafts. Most of these things are then sold. Nowadays enamel jewellery has become very popular: rings, pendants, bracelets, earrings, etc.
Enamel art has existed in Georgia for centuries, and is today experiencing a revival. This applies not only to jewellery. There are famous decorative panels and other works made with this technique. Enamel incense burners, bowls, icons and crosses are widely used in churches and sold in religious galleries. Here it is important to mention a wonderful sceptre of gold, silver and enamel that belongs to Ilia II, Patriarch of the Georgian Orthodox Church, and a precious enamel Easter egg presented to Russian Patriarch Alexy II.
From the collection of enamel masters, the medal ‘Ambassador of Peace’ made by Giorgi Agiashvili and Nino Burkadze is remarkable. Three copies were made of this medal, including one for the Georgian First Lady Sandra Roelofs, and for the Artistic Director of the Tbilisi Opera and Ballet, Nino Ananiashvili.
One skilled workmen at a studio on Shardeni Street told GT, ‘Georgians have used enamel technique for centuries. However, what you see today can hardly be called true enamel works. Real enamel must be connected to a metal base, while modern enamel is just assembled on the base, which is why it’s rather fragile. Georgia is experiencing an enamel boom. This has already begun to diminish, because true art shouldn’t be controlled by fashion. We still have lots of orders for enamel jewellery, mostly from foreigners’.
Enamel masters successfully take part in local and international exhibitions and competitions. Georgian ornament and themes are very interesting for foreigners, and talented artists choose original and suitable colours.
As for jewellery, we’ll touch upon original cameos, which have become rather popular recently. In the ‘Cameo’ art gallery you can see cameos from Besarion Darjania’s private exhibition. He makes cameos from ivory. One of his best works is the image of Georgian Queen Tamar. Mr. Darjania also makes cameo portraits to order.
In the ‘Cameo’ gallery, as well as in many other galleries in Georgia and abroad, there are pieces of decorative art by well-known artist and designer Zanda Chitiashvili. These include tapestries, ceramics, silver ornaments, etc. She is the most skilled artisan of her kind in Georgia . Her works are sold in France , Italy , the US , Japan , and Russia . Her ceramics are very interesting and lively. One Russian tourist was so impressed by a ceramic fish she had made that he even smelled it to express his great impression.
Ceramic works in this sphere are very diverse. Late artist Mr. Tashlashvili knew the unique Georgian national technique for making white glaze that had been lost centuries ago. His jugs and vases are famous all over the world.
Chitiashvili told GT, “Our duty is to revive the pure traditions of Georgian national art. Georgia possesses the richest cultural heritage, and first of all it is very important for Georgian themselves to learn about this and to be proud of it. Many experts and tourists are interested in Georgian art. But we still have to popularise what we have among the international community and our people.” It’s hard not to agree. •2005
Note: (I am indebted to a great deal of the information about Georgia found in Lonely Planet’s informative guidebook).
|
