Page 21 - wigni - Copy

in the Georgian national costumes was apprehended as and excitement of the School students, when Vakhtang
a revolt for independence, and the word “national” – an Chabukiani attended their rehearsals. Those, who studied
expression of Fascism. The choreographer did not put up in his period, remember well how ordinary he was in the
with this. With delicate access, characteristic to the national relations with them, He used to invent funny nicknames and
plastic art he matched to each other the moves of the how simply he explained the material, showed each pose.
Georgian and classical dances. He brought to the stage not He understood exactly what was necessary to reveal the
general Caucasian and Caucasus, but created a Georgian talent of each student. He had a sharp eye and could correct
character – true, noble and full of personal dignity, such even a minor nuance, pose or move. It should be said that
as the audience wanted. He directed the dance episodes in addition to the classical repertoire the School was forced
based on the folk dance and music. He did not enrich to stage such “vampuka” as was presented to mark 30th
his performances with the folklore insets, but just on the anniversary from the II World War. This is its content:
contrary, he enriched the classical ballet moves with the folk 1.Happy Soviet people are engaged in construction
dance. He wanted to turn “Mzechabuki” into the manifesto of work.
the new Georgian ballet and this performance was removed 2. Alarming signal is heard, which informs us about the
from the program. Chabukiani was strong and unyielding attack of an insidious enemy.
hero not only on the stage, but in life too. That’s why he 3. The socialist country is in jeopardy, the Soviet people
decided to strengthen the troupe not with those invited from turn from everyday work to the military condition.
other cities, but with those educated in the Choreographic 4. The Soviet people heroically overcome all the
School in Tbilisi. It may seem strange, but in three years he difficulties and mercilessly defeat the treacherous enemy.
managed to form such high-professional troupe, which in 5. The country and its authorities celebrate their victory.
1941 gained approval of Vera Krasnovskaya. It is clear that 6. The victorious people again turn back to construction
the Choreographic School played an invaluable role in the work and glorify great creator of the great victory.
artistic life of the theater. Such “works” were also staged in the School. However,
Teachers from Moscow and Leningrad arrived to along with them we saw on the stage the pieces and parts
Tbilisi and our teachers also used to leave for creative from the ballets based on the works of Chopin, Tchaikovsky,
trips. At the same time Chabukiani attended lessons, gave Adan and other great composers.
recommendations even to the guests. They enriched one Atmosphere in the School was warm and human for
another and educated the generations of wonderful dancers. the students. However, if any incident happened, the School
The graduates participated in all the performances of the artistic director interfered in the critical situation: the present-
leader of our ballet, both in classical and new Georgian: day students cannot imagine what administrative results
Grigol Kiladze’s “Light”, David Toradze’s “Gorda”, and what could follow if any pioneers or Komsomol members (in
is so important, Aleksi Machavariani’s “Othello”. The entire the Soviet regime were such organizations, who probably,
repertoire of the Tbilisi Opera and Ballet Theater was on were future communists) was noticed to carry a cross. One
their shoulders. woman worked in the School (though she would, probably,
Passages and whole acts from the classical ballet prefer to be called “comrade”) not only for students, but for
performances were staged in the School also separate their parents as well – she was a true representative of the 53
dance scenes. It is easy to imagine inner emotions communist epoch. The entire School, among them also the