The development of scenographic thinking which corresponds to the transformation of theater is the ability to be contemporary, unique but also sincere in being oneself, understandable, in finding timeless themes and images for artistic approach…
The new cultural context – the opening of borders, freedom of mobility on the one hand, and the struggle for preserving unique and individual self-expression on the other forms a new approach. Namely:
• Modernizing the idea of borders (real and imaginary, moving, changing);
• Understanding how these borders affect the space (free and occupied, internal and external, personal and collective);
• Searching for new ways of expressing one’s identity in the context of contrasting the constantly changing local and global – in the world, in theater or in scenography.
Understanding of main issues and creating of a sublime image – a matter of talent and mastery – always remains topical. It is up to the curators to create preconditions, context for development, to prompt, unite and sometimes confront and highlight contrasts.
Correspondingly, the potential of Tbilisi Biennale of Stage Design – the possibility of creating a new place for young artists in the cross-border space for rethinking the problems that exist in local scenographic spaces, for understanding internal needs and possibilities… for the aspiration to break through borders…
Masters’ Lab –The Biennale includes an educational program Masters’ Lab, which we hope to develop further. Masters’ Lab aims to provide young participants with new knowledge and professional skills.
The space and locations of the Biennale – for the exhibitions of participating counties in 2018, we would like to use the space of two wonderful historic buildings in the heart of Tbilisi. These are the National Parliamentary Library of Georgia where the 2016 Biennale was held and Tbilisi History Museum Karvasla’s central, third-floor gallery.
Our partners are Rustaveli Theatre, Theatre and Film State University of Georgia and the Russian Center of OISTAT.
