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latter fact directly meant that he was not a favorite artist of name them below). Exams, open public lessons were held,
the Soviet government ). Goleizovski, who was an honest after which serious discussions were arranged, minutes
and worthy person, in addition to being a great artist, did were formed, which unfortunately are not preserved in the
not write a negative conclusion, which was demanded School archives now. As for the graduation parties, they
from him. Next in the list was Piotr Gusev, who only wrote were arranged and the most renowned representatives of
why the grave mound in “Gisele” was replaced by a grave the Georgian art attended them: Nino Ramishvili and Iliko
stone. This was the main defect, “discovered” by Gusev Sukhishvili. Zurab Anjaparidze, Jansugh Kakhidze, Guram
in Chabukiani’s activity. Chief choreographers of Kishinev Meliva, Otar Koberidze, Lia Eliava and others. No less
and Tashkent Opera theaters arrived – S. Tolubeev and cynical was the statement made by Otar Egadze – why R.
M. Akimov. Both of these cities have never been the Tsulukidze and A. Chichinadze were not received in the
world ballet capital cities (it should also be mentioned theater, as if he did not know that one left for abroad and
that neither of these “choreographers” is enlisted in the the other - for Moscow, which was most beneficial for them,
ballet encyclopedia). They severely criticized Chabukiani’s mostly leaving for abroad. The article, from which we cited
creative and teaching activities. Famous Soviet and party these main and most unjust excerpts, was published in the
figure Otar Egadze wrote about these events in his articles journal “The Soviet Art”, # XI, 1972. The article caused the
in the “Choreographic Diary” (except Goleizovski’s case). He effect of thermo-nuclear explosion. The case came to the
wrote that V. Chabukiani had long been criticized in journals, point that they sat on the stairs of the School Hall and blocked
newspapers; also by Minister of Culture Tengiz Buachidze, the way to Chabukiani’s room… and the great maestro left
Pavle Khuchua, Gulbat Toradze, Archil Chimakadze, Anton the theater and the School! It was so strange to accuse him
Tsulukidze, Akaki Dvalishvili and a certain post-graduate of damaging the future of the Georgian ballet. The teachers,
student Shumilova – he did not listen to us and his work should which in Otar Egadze’s words knew nothing, remained at
be severely punished, should be discusses organizational the School. S. Vekua also preserved the position of the
results and should be decided whether he should be School principal.
dismissed from all his positions and, what is most important, Great maestro was even accused of the fire that
from the Choreographic School, they said. Otar Egadze broke in the theater in 1973. It seems the dishonesty has
said the School did not give good education to boys and no borders. It was the last that broke him. Theater critics
girls, because the School teachers were not professionals, Vasil Kiknadze and Eteri Gugushvili defended him, but in
no graduation parties were arranged, no performances and vain. Theater critic Nodar Gurabanidze wrote in his book
concerts were held. Chabukiani suppressed his students, “Theater of My Life”: “After suspicion this world renowned
did not give good dancers possibility to dance, he said. It is innovator was seized by the claws of terrible repression. He
interesting to note that if Chabukiani suppressed the young was in deep depression… I know he even wanted to commit
dancers, then how new performances were staged in the suicide. The only way out for him was to leave somewhere
theater; if the teachers were not good, then who trained those far away, for a remote place. At that time the Ministry of
young dancers – just they (who were said to be suppressed) Culture received a letter from Japan with the official request
participated in the new performances of the choreographers. – they invited Vakhtang Chabukiani to Japan to the position
When Chabukiani left the Choreographic School, in a year of head of the Choreographic School (it seems Japanese 55
where a new generation of dancers appeared from (we’ll were not familiarized with the conclusion of two “giants” of