{"id":498,"date":"2016-08-08T13:28:00","date_gmt":"2016-08-08T11:28:00","guid":{"rendered":"http:\/\/www.ytaunion.com\/yta\/?p=498"},"modified":"2016-08-08T21:41:28","modified_gmt":"2016-08-08T19:41:28","slug":"georgian-national-pavilion-pq15","status":"publish","type":"post","link":"https:\/\/yt.omni.ge\/?p=498","title":{"rendered":"Georgian National Pavilion at PQ15"},"content":{"rendered":"

18-29.06.2015<\/strong>
\nWoman’s Voice –\u00a0Georgian National Pavilion at PQ15<\/strong>
\n\/ Georgian scenography at the Prague International Quadrennial<\/a>\/
\nSponsored by the Ministry of Culture and Monument Protection of Georgia.<\/a>
\nOn June 18- 29, 2015 at PQ15 Georgia came out in the main Countries and Regions Section with the national pavilion \u201cWoman’s Voice\u201d.
\nThe subject was selected based on the analysis within the framework of \u201cReality and Dream\u201d \/2013-2014\/. The survey has revealed that in the last decade, the share of women in Georgian scenography has radically increased. The quantitative advantage of women has somehow generated new processes in this sphere and we believed it should be demonstrated at the international scenography forum. In addition, Robert Sturua\u2019s performance \u201cThe Daughters\u201d also inspired the final decision. This performance confirmed the curator\u2019s thesis that the gender theme exceeded the sociopolitical sphere and became a metaphorical means of expression of the aesthetic problems of the Georgian reality.
\nThe exhibition \u201cWoman’s Voice\u201d is based on an explicit gender process generated in the modern Georgian scenography and responds to the gender challenges emerged in the Georgian society, a clear manifestation of which is declaration by the President of Georgia of the year 2015 as the Women\u2019s Year (the year 2015 is also the twentieth anniversary of the UN Beijing Declaration \u201cOn Elimination of Violation against Women\u201d).
\nThe curatorial solution \u201cWoman’s Voice\u201d of the exposition focused on modern technologies.
\nOut of three topics of PQ15: music, politics, natural environment, the National Pavilion of Georgia based on two – politics and music.
\nThe aims of the project \u201cWoman’s Voice\u201d:
\n\u2022 Development and popularization of contemporary Georgian art and its integral part \u2013 the theater art and scenography, its integration in the cultural space
\n\u2022 Demonstration of the Georgian stage design trends in the context of the joint exhibition of 2011-2015 performances in the Countries and Regions Section of the female artists of different generations on the example of Prague Quadrennial 2015.
\nThe objectives of the project \u201cWoman’s Voice\u201d:
\n\u2022 To reveal the gender process in the Georgian scenography, as one of the manifestations of the cultural and creative reflection of the political reality;
\n\u2022 To demonstrate the significant changes in the 2010s Georgian theater art and scenography aesthetics through the visual medium of the video art;
\n\u2022 To set and develop international cultural contacts during the exposition of the Georgian theater set in Prague.
\nA number of supporting events were implemented within the project in Prague:
\n1. A small presentation-cocktail at the pavilion – 21.06.2015 17:00 –CLAM-GALLAS PALACE<\/a>
\n2. The lecture-presentation about the of the prominent figure of the Georgian theater, Peter Otskheli – 25.06.2015 16:00 – Embassy of Georgia in Prague
\nThe event was promoted and organized by the Embassy of Georgia in the Czech Republic<\/a> as a part of the Georgian culture popularization program. It took place in the space of the Embassy of Georgia in the Czech Republic. The presentation was focused on the Georgian Community in the Czech Republic, as well as on the PQ audience.<\/p>\n

Production Team:
\nNino Gunia-Kuznetsova, curator, author of theme
\nTamar Bokuchava, author of concept, co-curator
\nManana Gunia, exhibition designer & graphic designer
\nMeri Matsaberidze, PR manager,
\nMarianna Oakley, author of the catalogue text
\nAvtandil Dolaberidze, IT & technical manager
\nTatia Skhirtladze, author of video art \u201c Woman\u2019s Voice\u201d
\nMarianna Charkviani, sound designer of video art \u201cWoman\u2019s Voice\u201d
\nMerab Merabishvili, modeling & sculpture
\nLevan Kvaratskhelia, modeling, sculpture, video editing
\nMalkhaz Barbakadze, director, visual effects, video editing
\nTamar Karumidze, director
\nNestan Sinjikashvili, video editing
\nDimitry Lobjanidze, video editing
\nIrakli Khutsishvili, designer
\nNino Burduli, layout
\nTElETON Studio L.T.D, post production
\nParticipants:<\/p>\n

Tatia Skhirtladze (Video artist)
\n– Video Art \u201cWoman’s Voice \u201c, 2015.
\nGeorgian National Pavilion at PQ15 (Prague).<\/p>\n

Nino Chubinishvili (Artist, Designer)
\n– Silent talk… 2013.
\nDirector of video performance Tamar Karumidze
\nWriters House (Tbilisi).<\/a>
\nPhoto by Anna Nijaradze<\/p>\n

Nino Chitaishvili (Set and Costume Designer)
\n-T. Jejenoghlu: Avalanche, 2012.
\nDirector Rusudan Bolkvadze.
\nTumanishvili Film Artists Theatre (Tbilisi)<\/a>
\nPhoto by Demiko Loladze<\/p>\n

Manana Gunia (Set and Costume Designer)
\n– G. Rossini: The Silken Ladder , 2012.
\nDirector Alla Simonishbili.
\nTbilisi State Conservatoire (Tbilisi)<\/a>
\nDirector & visual effects of Video performance Malkhaz Barbaqadze
\nPhoto by Guram Tsibakhashvili<\/p>\n

Anna Kalatozishvili (Set and Costume Designer)
\n– R. Akutagawa : Magic , 2012.
\nDirector Giorgi Tavadze.
\nAkhmeteli Theatre (Tbilisi)<\/a>
\nPhoto by Zviad Mebagishvili<\/p>\n

Nino Kitia (Set and Costume Designer)
\n– S. Kane: 4.48 Psychosis, 2012.
\nDirector Maka Natsvlishvili.
\nMusic and Drama State Theatre (Tbilisi)<\/a>
\nPhoto by Maka Kukulava<\/p>\n

Nutsa Khidasheli (Costume Designer)
\n-U.Hajibeyli: Leyli & Mejnun, 2015.
\nDirector & Scenographer Tarlan Gorchu,
\nSculptor puppets Bachana Khalvashi.
\nMarionette Theatre of the ICHERISHEHER Administration (Baku).<\/a>
\nPhoto by Tarlan Gorchu<\/p>\n

Teo Kuhkianidze (Set and Costume Designer)
\n-W. Shakespeare: Macbeth, 2014.
\nDirector Vano Khutsishvili
\nMeskhishvili State Drama Theatre (Kutaisi)<\/a>
\nPhoto by Sulkhan Gogolashvili<\/p>\n

Anano Mosidze (Costume Designer)
\n– W. Shakespeare : A Midsummer Night\u2019s Dream, 2012.
\nDirector & Scenographer David Doiashvili.
\nMusic and Drama State Theatre (Tbilisi)<\/a>
\nPhoto by Daro Sulakauri<\/p>\n

Anna Ninua (Set and Costume Designer)
\n– P. Kakabadze: Asulni (Ascended), 2014.
\nDirector Robert Sturua.
\nShota Rustaveli State Drama Theatre (Tbilisi)<\/a>
\nPhoto by Tina Kazakhishvili<\/p>\n

Tamara Okhikyan (Set and Costume Designer)
\n-W. Shakespeare: Romeo and Juliet, 2012.
\nDirector David Mgebrishvili
\nMusic and Drama State Theatre (Tbilisi)
\nPhoto by David Chachanidze
\n-W. Shakespeare: \u201eHamlet\u201c, 2014.
\nDirector David Mgebrishvili
\nV. Gunia Poti State Theatre (Poti)<\/a>
\nPhoto by Tamara Okhikyan<\/p>\n

 <\/p>\n

Ekaterine Sologashvili (Costume Designer)
\n– H.von Kleist: Prinz Friedrich von Homburg , 2012.
\nDirector Giorgi Gorgoshidze, stage designer Nino Tatarashvili.
\nShota Rustaveli State Drama Theatre (Tbilisi)<\/a>
\nPhoto by Tina Kazakhishvili<\/p>\n

Nino Surguladze (Costume Designer)
\n– W. Shakespeare: As You Like It , 2012.
\nDirector & Scenographer Levan Tsuladze.
\nMarjanishvili State Academic Drama Theatre (Tbilisi)<\/a>
\nPhoto by John Haynes<\/p>\n

 <\/p>\n

13th International Competitive Exhibition of Scenography and Theatre Architecture
\nPrague Quadrennial 2015<\/a><\/p>\n

Woman’s Voice
\nCurator’s Introduction
\nNino Gunia-Kuznetsova – Curator, Author of the Theme
\nGeorgia’s participation in the Prague Quadrennial 2015 is particularly large-scale. Despite the fact that starting from the 1920s scenography has become a leading area of visual arts in our country, Georgia as an independent state has been participating in the Prague Quadrennial only since 2007. Thus, it is only the second time that it is represented in the section of countries and regions in 2015.<\/p>\n

Our goal is to demonstrate the panorama of Georgian theater art in PQ15 through the prism of women’s scenography. In Prague, we will show a “mosaic panel” of videos from various performances of theaters of the capital and the regions, presenting the polyphony of women scenographers.<\/p>\n

The theme of “Woman’s Voice” has both cultural and political significance. It is organically linked to the present-day Georgia. Theatre is a stage for not only artistic and metaphorical but also real interactions and, sometimes, clashes of art and politics.<\/p>\n

Georgia’s complex geopolitical environment and turbulent social atmosphere give its theatrical art a particular ability of being sensitive and reflective. This is manifested in the difficult process of re-evaluation and quests in the Georgian theater. Some of the artists of the new generation, who are the product of the new formation, have assumed a socially critical position; gender reflections have become important in their search for new identity. The sense of purpose, enthusiastic self-assertion gain strength in this group of artists. This passion transforms their creative energy into the notable cultural product that is different from that of the “fathers’ generation”. This product is characterized by the eclecticism of themes, professional signature and vision.<\/p>\n

Theater accepted the challenge and translated this social demand into its own conditional language. Today, gender balance in Georgian scenography is clearly tipped in favor of women, giving new qualities to this exceptionally important sphere.<\/p>\n

The source of inspiration for “Woman’s Voice” was director Robert Sturua’s show staged at the Shota Rustaveli State Theater based on the symbolist play “Asulni” (“Ascended”) by Georgian classical playwright Polikarpe Kakabadze.<\/p>\n

The problems of permanent expectations, hope, frustration and confinement syndrome voiced in the early 20th century fiction is important for us.<\/p>\n

The conceptual part of the exhibition is presented by the “Woman’s Voice” video piece (video art by Tatia Skhirtladze); based on various aesthetic images and modern media tools, it creates a unified character-based expression of the exposition idea.<\/p>\n

This is a “voice” of transitional times, quests and desire for revival\u2026.<\/p>\n

The Georgian National Pavilion invites you to the Georgian world of theatre so that you can partake in the search for our cultural identity!
\nhttp:\/\/dspace.nplg.gov.ge\/bitstream\/1234\/103453\/1\/Womens_Voice.pdf<\/a>
\nhttp:\/\/www.culture.gov.ge\/topicdetals-1.14277.html<\/a>
\nhttps:\/\/www.facebook.com\/media\/set\/?set=a.836854699696139.1073742943.186944358020513&type=3<\/a>
\nhttp:\/\/lashachkhartishvili.blogspot.com\/2015\/07\/blog-post_9.html<\/a>
\nhttps:\/\/www.facebook.com\/meri.matsaberidze\/posts\/10204420043202764<\/a>
\nhttp:\/\/www.radiotavisupleba.ge\/content\/georgian-in-prague\/27081866.html<\/a>
\nhttp:\/\/www.tavisupleba.mobi\/a\/27095613.html<\/a>
\nhttp:\/\/www.radiotavisupleba.ge\/audio\/27095599.html<\/a>
\nhttps:\/\/www.youtube.com\/watch?v=3_UgQOnZIoE<\/a>
\nhttps:\/\/www.youtube.com\/watch?v=2kULqaZDRz0<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

18-29.06.2015 Woman’s Voice –\u00a0Georgian National Pavilion at PQ15 \/ Georgian scenography at the Prague International Quadrennial\/ Sponsored by the Ministry of Culture and Monument Protection of Georgia. On June 18- 29, 2015 at PQ15 Georgia came out in the main Countries and Regions Section with the national pavilion \u201cWoman’s Voice\u201d. The subject was selected based […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[1,8],"tags":[],"class_list":{"0":"post-498","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-news","7":"category-projects"},"_links":{"self":[{"href":"https:\/\/yt.omni.ge\/index.php?rest_route=\/wp\/v2\/posts\/498"}],"collection":[{"href":"https:\/\/yt.omni.ge\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/yt.omni.ge\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/yt.omni.ge\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/yt.omni.ge\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=498"}],"version-history":[{"count":6,"href":"https:\/\/yt.omni.ge\/index.php?rest_route=\/wp\/v2\/posts\/498\/revisions"}],"predecessor-version":[{"id":510,"href":"https:\/\/yt.omni.ge\/index.php?rest_route=\/wp\/v2\/posts\/498\/revisions\/510"}],"wp:attachment":[{"href":"https:\/\/yt.omni.ge\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=498"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/yt.omni.ge\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=498"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/yt.omni.ge\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=498"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}