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the performance “The Wicked Dog in the Yard”. The woman, production of Andria Balanchivadze’s ballet “Heart of the
who was round as a basket, she whirled lightly on the stage, Mountains”. It was he, who created, based on the national
played a sexual scene, ran up and down the stairs like a basis, such ballet costume that was very convenient for
lightning and she did all this with such genuine comic that dancing. National dress of a Georgian woman is too heavy,
caused Homeric laughter in the audience. Her son Zurab embroidered in golden thread, with long sleeves, without
Kipshidze and grandson Giorgi Kipshidze are also actors. It a décolleté, and should cover the ankles. Virsaladze had
seems that in The Perini School the students received such to overcome psychological barrier and had to shorten, to
charge, such important things that “sacrificed” them for the make lighter, and to adjust the Georgian dress to ballet.
theater forever. It should have been this way – the School The artist so organically connected to each other airy multi-
was under such great attention that graduation parties layered tulle ballet skirt and the Georgian headwear “chikhti-
and performances were led by very renowned conductors, kopi” that virtuous appearance of Manige, main heroine of
such as Evgeni Mikeladze and Odysseus Dimitriadi, which the ballet, was not shadowed and no one expressed any
was such a great experience for the students. Harmonious claim in regard to this either. Virsaladze never formed
merging of dance and music, work on music, thinking was environment or costume convenient only for dance. He
for the ballet dancers the only and necessary way to open was always co-participant of the ballet director’s idea,
the main character’s mood, spiritual world. The directors’ forming such costumes, which “danced” together with the
work was most valuable experience for the dancers and dancer, telling the audience about the heroine’s mood and
mostly for the beginners. spiritual composition. From the dancers’ bodies he modeled
The first graduates of the School were: Elene graphically refined forms, sculptural compositions of the
Gvaramadze, Vronski (his real name was Vakhtang Renaissance scale. It was so when he painted costumes and
Nadiradze), Mariam Bower, Serafima Vekua, Anna Tsereteli, decorations for the performances of classical ballet (“The
Ketevan Nadareishvili, Tamar Chabukiani and, what is Swan Lake”, “The Nutcracker”, “The Sleeping Beauty”) or
most important – Vakhtang Chabukiani … The future of the modern ballets (”Othello”, “Spartacus”, “Legend of Love”,
Georgian ballet theater! etc.). Just while he studied at the The Perini School, he
Elene Gvaramadze danced in classical ballets and she deeply penetrated and understood essence and character
was the performer of main roles in the first Georgian ballets of the ballet. In his very essence he felt what Othello should
– Tsiala in Sh. Taktakishvili’s “Maltakva” and Manige in A. wear, when he was declaring love to Desdemona…
Balanchivadze’s “Heart of the Mountains”. Short fragments S. Virsaladze worked with pleasure for the Perini School.
of the tape exist in which E. Gvaramadze dances the He was a designer of the first ballet performance”The
“Kartuli” and even this short episode has great influence Nutcracker”, directed in the The Perini School. Maria Perini
on the audience. Further on this brilliant dancer became a was a fine organizer of teaching process. She invited her
researcher of the Georgian dance and the author of many former students M. Bauer, M. Kazinets, L. Gvaramadze, I.
scientific works in this branch of art. Aleksidze, S. Vekua, T. Vikhodtseva, A. Tsereteli and others
Maria Perini’s name is connected with the cultural to the position of teachers to enable the School by its own
explosion in the Georgian art. We should mention here force to educate numerous new generations. The School
Simon Virsaladze, who became co-author of the very first students permanently participated in the theatrical life and 47
choreographic gigantic step of Vakhtang Chabukiani – the within the production practice danced in classical ballets