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mostly partners to the invited ballet dancers or participated   audience, or ballet scholars, critics. Secondly, which was of
          in the ballet scenes of the theater productions. To master   great importance, a dancer-thinker could be educated, an
          the new repertoire it became necessary to teach the dance   intellectual. He knew he would soon address to the works
          of couples. The most beautiful scene of the classical dances   of great playwrights and for this he needed such dancers
          is just the dance of a woman and a man, in which high lifting   (we should remember here the words of  Shakespeare’s
          and complicated moves make more diverse the duet dance.   Hamlet: “Suit the action to the word, the word to the action”,
          To express love, envy or other emotions existing between   Act 3, scene 2). For Chabukiani the action – movement was
          a woman and a man the ballet becomes far more diverse.   instead of a word and this activity he had to adjust to music,
          Chabukiani, who was a wonderful partner, understood well   as to the basis of ballet. That was why he considered that in
          how important was for a man dancer strength, experience,   the School he should develop in the future dancer-actor the
          dexterity, the ability to lift a ballerina so that not to bring pain   ability of comprehending the essence of music.
          to her, to make a woman rely on him even while making the   As for fencing – Chabukiani’s main task was to form
          most complicated moves, during which he should not show   the Georgian national ballet. He would not avoid historical,
          physical tension.                                      heroic-romantic  topics,  would  he?!  In  the  future,  when
             Study of music develops artistic taste of dancers, an   Grigol Kiladze’s  “Light”, David  Toradze’s  “Gorda” and the
          ability to understand music. Melody gives birth to a dance   acme of his creative work Aleksi Machavariani’s “Othello”
          and assists a dancer to express spiritual condition, character   were staged, the scenes of fencing were most remarkably
          of a hero. Guillermo Ebro mentioned that music assisted a   outlined in the performances.
          dancer to express and make vivid the movement of spirit     It should also be mentioned that “dance with swords” is
          through his high-skilled ability. Music influences the mood   a structural component of the Georgian dances “Khanjluri”,
          and  through  the  body  forms  one  fine  harmony.  It  is  well-  “Mkhedruli”, “Tseruli”, “Mtiuluri”.
          known how diligently Chabukiani worked together with the   The lessons in historical-everyday and characteristic
          composers, how he matched music with every detail of the   dances taught the future dancers how to wear the historical
          move. The French language was taught in the School and   costumes of different epochs, the ability for special manner
          what is most important, the history of ballet and theater. It   of behavior.
          is a paradox, but French is the language of terms of the art   Vakhtang Chabukiani  among other great actors
          born in Italy. That’s why knowledge of this language, more if   became the idol of Georgians. His name attracted lots of
          one knows it perfectly, makes it possible to understand well   those, who wished to study at the Choreographic School,
          the content of each move, to imagine, to see and outline   especially  boys,  deficit  of  which  the  School  always
          practically the right way for its realization. History of ballet and   experienced (and, unfortunately, experiences now as well).
          theater is merged with each other and is closely connected   Despite strict  casting, 164 students started the  academic
          with the stages of development of the European  culture,   year.  It  seemed  difficult  to  compile  the  lessons  schedule,
          with  history  of  music,  fine  art  and  literature.  Chabukiani   as  the School did not have its  own building. Chabukiani
          could not leave his students without such extensive cultural   made use of his popular name here too and just based on
          field. He considered everything – firstly, it was not necessary   his insistent  demand  it became  possible  in 1951  to open
          at all for all the students to become dancers, and in this case   the Choreographic School in 68, the former Plekhanov and   51
          the Georgian ballet theater could receive good, educated   the present David Aghmashenebeli Avenue. It should also
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