“ When I started to work in the theatre, I had one cherished desire: I wanted the actors to speak naturally, like human beings generally do. Ever since my childhood, I have always wondered why the people on the stage spoke in a softly style, pathetically and unnaturally. Furthermore, some of the celebrated actors, who could speak their native tongue Georgian very well, used to speak it with a Russian accent and nobody cared because it was considered to be posh. So, when I started to work on my first production, my principal ultimatum was that all the actors should speak naturally, as they generally spoke in their everyday life. Nobody objected to my idea. Generally, when a beginner is producing his first performance, every actor in the theatre, engaged or not, tries to be very kind to him, they fulfill all his wishes, they try to make a good impression, they look into his eyes soothingly… To put it all into a nut-shell, it’s a real Garden of Eden all around him. But, unfortunately, my first production was not good enough. No wonder because the cast, dressed up in the fantastic costumes designed by Mamia Malazonaia and acting in the naturally. This was when I realized that the theatre had its own language and each production should have its own register and style of speech, its own melody…
                And then, there came the day when the theatre authorities told me to stage V.Rozov’s comedy of manners “Before the Supper” transtlated by Jansug Charkviani into the Georgian language. It seemed the theatre muses gave me another chance of making my experiments in the scenic speech. You may consider it strange but I still think that it was the best realistic play ever staged on the Georgian stage. Yes, yes, I’m serious! Did this bold claim make you indignant? Perhaps, it did, for it makes me feel embrassed; saying so, I even blushed and started to pull my moustache. However, none of us can deny it, for it’s the truth.
                This production assured me that no matter how realistic the play or its interpretation is, the scenic speech must differ from the everyday talk, as far as the theatre is capable to turn even the everyday life into a real poetry.”

Robert Sturua

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