Tbilisi International Festival of Theatre was founded by the city government of Tbilisi 2009. The Festival Director -Ekaterine Mazmishvili and the organising staff work in several directions: International Program (2009); International program- New (2011); Georgian Productions-Georgian Showcase (2009); Master classes, trainings and exhibitions(2009), Cultural Bridge- international symposiums and meetings (2010); Festival club and special events (2009); New Market- Caucasia and Black Sea Countries (2014).

During the last six years, within the Georgian Program, 215 performances were attended by spectators, professionals and foreign experts.

In 2015 the Georgian Showcase Program presents performances staged with different theatrical forms using a big variety of drama and play scripts: Georgian and foreign classical stories; mixed performances (puppets, actors, fingers); a movement theatre; a neo classic form of the ballet, puppet theatre for children, marionette theatre, documentary theatre or verbatim, postmodern spectacles and performances representing myths and archetypes; Theatrical remakes of famous films. Above all, these are performances played by the high class professional actors.

This year original or adapted versions of the plays of classical and modern playwrights are in the repertoire of the Georgian Theatres: Euripides, William Shakespeare, Heinrich Von Kleist, Iakob Gogebashvili, Jean Anouilh, Jean Genet, Albert Ramsdell Gurney, Isabelle Dore, Dato Turashvili, David Gabunia, Nikoloz Sabashvili, Rodrigo Fisher, Antonin Marto (Irakli Kakabadze). These plays were staged by a well known director- maestro Robert Sturua, also the directors of the middle generation, who are already known in Europe and by less known young directors as well. Their names are: Andro Enukidze, Beso Kupreishvili, Soso Nemsadze, Nikoloz Tavadze, Ioane Khutsishvili, Nikoloz Haine- Shveldze, Misha Charkviani, Rodrigo Fischer, Rusudan Kobiashvili, Nikoloz Sabashvili, Salome Joglidze.

The most important thing is that the list of the recommended performance compromises not only Tbilisi theatres but also regional theatres. This year the Georgian program is engaging both by form as well as by the content.

Maka (Marine) Vasadze
Member of the Georgian section 
of the International Association of the Theatre Critics (IATC)

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