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from the country where she spent more than half of her teachers. He invited from Leningrad such high-rank teachers,
lifetime – 48 years and served this country with all her as A. Vaganova, M. Kozhukhova and M Romanova. In
heart. Probably, she had to thank them for not being shot 1941/42 within the academic year Elizaveta Gerdt, prima-
together with her husband; to thank for sending her to her ballerina of the Bolshoi Theater taught and guided the
home country Italy, where she found the last abode of her academic program in the School. She was famous for her
life. Most of the victims of the 1937 terror did not even reach virtuoso technique, filigree manner of performance and
Siberia, some were simply thrown out of trains as a wood artistic talent. Other invited teachers were: M. Grishkevich
logs (we should remember here a shocking episode from – teacher of Leningrad Choreographic School, and M.
Tengiz Abuladze’s film “Repentance”) and their graves Kamaletdinov, premier of the Tbilisi Ballet troupe.
did not exist. A part of the Soviet intellectuals perished in David Javrishvili, as a teacher of the special subject
these sacral years, because the revolutionaries did not like and scientist-researcher, was well aware that along with
thinking personalities, considered them to be disgusting the technical perfection a ballet dancer needed wide
worms, maggots and wanted to compress them with heels comprehensive education, deep comprehension of the
(V. I. Lenin); they were ready to raise a revolver as soon as dance. John Weaver said: “No good, but stupid and
they heard the word “intellectual” (Gebels); main motto of uneducated dancer exists… But what can we call those
the tyrants, in general, is “Death to Intelligentsia” (Franco); impudent, who as if fly, jump, move but, don’t animals do
they consider intellectuals the worst among all the criminal all this better?!”. “Dancer should know the history of dance
groups (Mao Tse Tung); they want to wash away the and its related fields of art. Ballet is a synthetic art and
intellectuals, i.e. thinking individuals, but thanks to the will merging of dance, music, drama and pantomime should be
of God or human being, finally they are washed away by the harmoniously conducted in it” (Lucian).
history, which never forgets anything. Just with the purpose of to study different fields of art
and aesthetic perfection of dancers Javrishvili invited to
the School the art critic, academician Vakhtang Beridze,
SCHOLAR-CHOREOGRAPHER theater critics, professors Dimitri Janelidze and Natela
DAVID JAVRISHVILI Urushadze, theater director Dimitri Aleksidze. Who if not
him should undertake the course in actor mastership. As
After Perini’s departure David Javrishvili continued her the former School student and already renowned theater
work with no less efforts and devotion. He appeared to be the director Dimitri Aleksidze perfectly knew all the nuances of
most observant organizer, fine researcher of the Georgian the method of work for the ballet dancers in understanding
folk choreography and he was the first to write the scientific the characters they had to dance. He knew that any
works: “Dance Kartuli”, “Mtiuluri Dances”, “Georgian Folk move would be empty and vain if the dancers could not
Dances”, and what is most important, “Conventional Signs comprehend their roles, could not follow their each move
to Write Down Georgian Dances”. Thus, he formed “Notes and gesture with the “subtext”. Classical dance is the form
of Dance”, i.e. conventional signs, which made it possible to of transferring the human emotions into a move, isn’t it? It is
write down and to read the Georgian dances. poetry of a human move as well as music or dance. Dancers
As head of the Choreographic School, David Javrishvili should understand, feel this move, emotionally apprehend 49
largely contributed to improvement of qualification of the the essence of acting, and should build on it the acting of