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S. Beckett

Waiting for Godot

Waiting for Godot
Waiting for Godot
Director Robert Sturua
Set and Costume Design Mirian Shvelidze
Music Giya Kancheli
Cast Zaza Papuashvili, Levan Berikashvili, Georgi Gvelesiani, Amiran Amiranashvili, David Gotsiridze

Robert Sturua was born in 1938 in Tbilisi (Georgia). After graduating from the director's faculty of the Tbilisi Theatre Institute (1962) he worked at the Rustaveli Drama Theatre. Since 1979 he is its artistic director, since 1980 artistic manager. Productions: 'The Witches of Salem' by A. Miller, 'Doctor Stockman’ by H. Ibsen, ‘Kvarkvare’ by P. Kakabadze, 'The Caucasian Chalk Circle’ and 'The Good Person of Szechwan’ by B. Brecht, 'Richard III', 'King Lear’ and 'Macbeth' by W. Shakespeare, ‘Life is a Dream’ by Calderon, 'The Snake Woman' by Carlo Gozzi, etc. He has worked at theatres in Germany, Great Britain, Finland, Argentina, Greece, Italy, and Russia. Among his most recent productions: 'Hamlet' by W. Shakespeare at the Satirikon Theatre (1998), 'Shylock' by W. Shakespeare at the Theatre «Et Cetera» (2000), ‘Signor Todero, the Master’ by C. Goldoni at the Satirikon Theatre (2002), Krapp’s Last Tape' by S. Beckett at the Theatre «Et Cetera» (2002).

The Rustaveli Academic Drama Theatre, the oldest drama theatre of Georgia, was founded in 1879 (named after Shota Rustaveli in 1921). The most striking periods in the history of the theatre are connected with K. Mardzhanishvili ('The Sheep Well’ by Lope de Vega, 1922' 'Hamlet' by W. Shakespeare, 1925), S. Akhmeteli (‘Lamare’, The Robbers' by F. Schiller, The Break’), M. Tumanishvili ('People, Be Vigilant', The Spanish Priest’, 1954, 'When there is such Love', 1959, 'Chinchraka', 1963, 'Antigone', 1968). In 1960 a new generation of directors came to the theatre, among them R. Sturua. In different years the troupe has worked with A. Khorava, A. Vasadze, S. Zakariadze, U. Chkheidze, R. Chkhikvadze.

The director Sturua follows the basic instructions of the playwright, but thanks to the actors the solid Beckettian constructions are coloured from within through their temperament... Beckett’s subtexts glow in the bursts of the actor's organic temperament. The purpose is clear, though it may seem paradoxical: dramatizing a situation of hopeless and senseless expectation of an unknown person Robert Sturua removes the plot from life, but at the same time brings out closer
Sturua, with his skill to bring a certain clearness to the most complex worldview, facilitates the spectators’ meeting with Beckett's masterpiece. And we, intently expecting this encounter, first timidly, then joyfully plunge with surprise into this unusual performance, which seemingly leaves nobody untouched. Even if only because of the desire to understand it.
Svobodnaia Gruzia

june 03,04
Mossovet theatre