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subjects were taught at the School: 1. Classical dance, culture and to transfer them to the future generations. From
2. Characteristic dance, 3. Style, i.e. historical dance, 4. this aspect the Sukhishvili Ensemble largely contributed to
Dance methodology. Minor subjects were: 1. Plastic, 2. this. Today their grandchildren continue their work.
Mimic, 3. Dance of couples, 4. History of dances, 5. History As we speak about the work continued in the
of costumes, 6. Makeup. Renowned representatives of art generations, we should remember other names too – the
actively participated in the School work: Zakaria Paliashvili, families of Aleksidze, Kipshidze, Makharadze. When Dimitri
Meliton Balanchivadze, Dimitri Shevardnadze, Giorgi (Dodo) Aleksidze (future famous theater director) studied
Zhuruli, Aleksandre Tsutsunava, Modest Ippolitov-Ivanov at The Perini School, he was so successful that in one of
(later one of the founders of the Tbilisi Conservatory), his publications poet Ioseb Grishashvili mentioned how the
Mikheil Mordkin, Aleksi Aleksidze, Evgeni Mikeladze (he audience liked dance “Kartuli” performed by him. Dimitri
was a conductor of the performances directed for children). Aleksidze himself did not continue his dance career, but his
Only to mention their names was enough for increase of son – Giorgi Aleksidze, founder of the new Georgian modern
the School prestige. Of the greatest importance was also ballet, became artistic head of the Choreographic School
that the School gave wide education. The society was most after Vakhtang Chabukiani. We would write about him below.
attentive to the School life and each public appearance of Mariam Aleksidze – ballerina and ballet choreographer -
the School. The then journals and newspapers wrote about Dimitri Aleksidze’s granddaughter also works in ballet.
them. Famous Georgian actor Kote Makharadze studied at
The School first graduates played an enormous role The Perini School. One of his photos is preserved from
in different branches of the Georgian art and culture: Iliko “The Nutcracker”. He stands so gracefully, seems so self-
Sukhishvili and Nino Ramishvili founded the Georgian confident in his brocade costume with a jabot, that a future
state ensemble of folk dances. This ensemble united in actor is seen in him. He does not worry at all that his “lady” is
its creative work folk and classical plastic culture, refined taller than he is. Neither Kote Makhatadze followed the ballet
and made more scenic the Georgian dance structure and road, but whoever saw his determined walk on the stage or
outline. It should be mentioned by all means that the way in life, will never forget it. His daughter Maka Makharadze
chosen by the ensemble caused acute discussions then. became a ballerina and for a long time beautified the Tbilisi
Its opponents considered Sukhishvili-Ranishvili tandem lost ballet stage. His granddaughter and great grandson also
folklore directness, made folk dances too much “refined” and continue life in the dramatic theater.
“cultural”. One can agree or disagree with this discussion, On the color-lost playbill of “The Nutcracker” the name
but it is doubtless that the creative work of Iliko Sukhishvili of Elene Kipshidze is mentioned. She played the role of
and Nino Ramishvili showed to the world the beauty of the Masha. Trace of the Choreographic School was well seen
Georgian folklore. It has to be mentioned that in the Soviet in her and not only in the performances at the Marjanishvili
Union it was not an accepted practice for the national republics Theater, in which according to her roles she had to dance,
to popularize their culture (except Russian). Even more, by but also in the performances, where she should have
“silent” consent of Moscow all the representatives of all the problems in move as her heroine was too much fat. Just
nations living in the “Great Soviet Union” were considered to here Elene Kipshidze displayed virtuoso ability to master her
46 be Russian. Main contribution of each academic ensemble body. She did not spare her most charming appearance and
of the folk art was to preserve the monuments of spiritual through special clothes appeared swollen on the stage in