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be mentioned and stressed about the irreparable mistake, of teachers were added: G. Buligina, V. Mushanskaya, M.
almost a crime that happened in September of the 1985- Grishkevich, V. Dolidze, M. Kruglova, N. Lortkipanidze, I.
1986 academic year – the Choreographic School left its Metreveli, S. Machaidze, L. Mkheidze, D. Khutsishvili, etc.
native, and what is most important, built by Vakhtang Appearance of Vakhtang Chabukiani, a dancer,
Chabukiani, building and moved to rather old building in so young and still inexperienced in teaching, had one
Giorgi Chubinishvili Street; the building, which appeared more serious reason and great importance: in 1938 the
to have no foundation. The building needed reconstruction ballet “Mzechabuki” was staged specially for Moscow
and it is supposed a large amount of the state resources Decade of the Georgian Art. It was an initial variant of
was spent on it. However, this turned to be insufficient to A. Balanchivadze’s “Heart of the Mountains”, but the
reconstruct almost dilapidated and ruined building. After a performance was removed from the Decade and the fact
few years to study in this building became dangerous for the had a suppressing impact on the choreographer and main
students’ health and the need appeared for their placement role performer. The reason of this unpleasant incident was
in some other building. Again, it is thanks to the authority of named: one of the prima-ballerinas, who danced the main
the great art figure that the Choreographic School has its role, was replaced with another dancer. Lavrenti Beria, the
own building now. then first official of Georgia and one of the authors of 1937
We should respect the memory of renowned great bloody events interfered in this case. But Chabukiani did not
people, not to forget their great deeds, to preserve their change his decision. He was well-known for his unusually
memorial houses or things; all should keep in mind that how principled character. We should once more be grateful to
we want others to behave to us, we should do the same to the luck that only the performance was removed and the
others. No place was unfortunately found on the wall of the dancer was not punished by breaking feet, as the case was
building built by Chabukiani for his memorial plaque, but his with Mikeladze, a famous Georgian conductor, when an
fame lacks nothing by this. iron bar was pierced into his years. These were underwater
As we have already mentioned, Chabukiani started reefs. Now what was an official reason – the performance
his career of teaching in 1940, when he was still quite was removed due to non-professionalism of the troupe.
young – 30 years old. He was in a great hurry to share his Ballet critic Vera Krasnoskaya even writes that no ballet
knowledge and experience to his students. He was assisted troupe existed in Tbilisi. At the same time it is known that in
by Serafima Vekua, a strict woman with strong character, some scenes of the performance 150 dancers participated.
most experienced and talented teacher, awarded with good Surely, the Tbilisi ballet troupe could not be as professional
administrative skills. In the future she became head of the as that of Moscow and Leningrad, though if we take into
School; also by M. Kazanets, E. Dorofeev, V. Dolidze, A. consideration uncompromising, demanding character of
Tsereteli, G. Gelovani, S. Noniashvili, S. Solagov. Vakhtang Chabukiani, we should recognize that as he
These teachers worked at the School earlier too and to them decided to present this performance to the audience and
was added T. Vikhodtseva, a fine specialist in discovering it was removed, we can suppose the reason was different.
the best traits in students. The first four years our renowned The intrigues inside the theater and beyond it should be
ballerina Nino Ananiashvili studied under her guidance. taken into consideration. Really national performance was
52 Vikhodtseva was a pupil of A. Vaganova and this is enough formed, but probably not for the Moscow or Leningrad scene,
for characterization of this teacher. To the old generation but for a peripheral theater. Appearance of men dressed