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School. In the primary classes the teachers watch the little Bakhtadze, Tatyana Hayde, Irina Demyankova and Dina
children – how their character and endurance develops, what Khutsishvili – a living chronicler of the Choreographic School.
perspective their physical features have. Along with this, the The School has a many-year-long tradition of the
children themselves and their parents decide to continue to Georgian dance. Nino Ramishvil and Iliko Sukhishvili filled up
study ballet or not, whether the child is able to live the hard their world-renowned ensemble with the School graduates.
life of a ballerina?! Probably, it’s good to clarify the case from Omar Lomsadze and Nino Cholokava teach the Georgian
such an early stage: on the one part, a child apprehends dance.
from the beginning how hard the dancer’s work is and has Of no less importance are lessons in the history of art
no illusion that the ballet is only what is seen on the stage, and theater. Teacher of music is at present Manana Meskhi.
and on the other, the child’s psyche is not damaged, the She familiarizes her students from the primary classes with
child does not change the environment and stays with the the world of music, makes them listen to the operas and
children, to which is accustomed from the very beginning of symphonies, and delivers lessons in vocal as well. The
studies. At the same time, if a child wants and has relevant history of the foreign literature is also taught in the School
artistic potential, the School gives an ability to realize it. The (teacher – Shota Kupatadze). Since the Renaissance
School has a theater actor’s department as well. Children can main topics of the ballet performances were built on the
continue their studies in this direction. Classical, Georgian, mythological plots and samples of the world great literature.
and characteristic dances are taught here too, but in a bit less Therefore, to study this subject, on the one part, is of
degree. Actor’s skills, speech, vocal and scenography are practical importance – dancers should know not only the
taught in this department, which gives great creative potential ballet librettos, but should read the entire work in full. Often
to the youth in case they want to work in the theater. Modern the fiction works are shortened, because the ballet format
theater is known to be the synthetic art. The teachers of the requires it. Dancers should be familiarized with the epoch,
acting field are Lela Chincharauli, Maya Zurashvili and Mariam customs and habits, moral and ethic ideals, history of various
Papashvili, which work on improvement of speech, arrange trends in art to fully represent the history of their heroes. The
show appearances, stage passages and full performances, in School also has lessons in fine arts, history of theater and
which they widely use the elements of theater of movement. ballet. These subjects were taught earlier, but in less volume.
The teachers of make-up and scenography take active part Today the course in history of ballet involves five years – from
in designing the performances – Elene Loladze and David the eighth form through the twelfth. The lessons in this are led
Monavardisashvili. by professional theater and art critics.
Main priority for the School is the ballet field. That was On the basis of their own experience and the experience
why a strong group of practician teachers gathered here, of their predecessors the School teachers established the
which together with the artistic director make up the elite of firm principles of teaching, and are guided by them in their
the Georgian ballet art. They are: teachers of classical dances: work. Everything starts with the exam, during which attention
Tatyana Mtvarelishvili, Svetlana Abuladze, Lyubov Shkunova, is focused on outward appearance, proportions, though
Larisa Chkhikvishvili, Margalita Zertsalova, Nino Didebulidze, sometimes the nature violates its initial features and as the
Ketevan Motsonelidze, Nino Maghradze, Kakhaber Andriadze, teachers themselves say a girl, who had no slender body
60 Victoria Kuznetsova and Margarita Chkhenkeli; specialists characteristic to the ballet, can change her appearance like
in characteristic and historical-everyday dances: Tatyana the ugly duckling from Andersen’s fairytale, by and by acquires