Kote Marjanishvili's artistic journey spanned 43 years—10 as an actor and 33 as a director. He passed away unexpectedly at the age of 61. The ingratitude of his Georgian students, coupled with the constraints of the Soviet system, ultimately led to the demise of an outstanding visionary who played a pivotal role in the evolution of contemporary theatrical art. A true devotee of the stage, Marjanishvili was, metaphorically, “killed” by his unwavering passion for the theater, ultimately succumbing to a myocardial infarction.

Irakli Gamrekeli was one of the founders of Georgian scenography and a prominent theater and cinema artist, futurist, and constructivist. Born on May 17, 1894, in Gori, Georgia, to a priest's family, he received his primary education at a theological school.Essentially a self-taught artist, he also spent time at the Medical Institutes in Rostov and Odessa, but failed to graduate, feeling that painting was his true calling.

Renowned for his daring approach to filmmaking, Mikhail Kalatozov redefined the possibilities of visual storytelling, leaving an ineradicable mark in the history of cinema. The techniques he used back in the 1950s and 60s, with his longtime collaborator, cinematographer Sergey Urusevsky, are unique; they stand out, even by today’s standards. His cinematic style is marked by several distinct characteristics that set his work apart and continue to captivate audiences decades after their release.

In the 1910-1920s, editing principles were introduced into almost all fields of art: painting, literature, theater… However, since editing is primarily associated with movies, these specific tools primarily used in film (screens, projectors) immediately enriched the works of innovative scenographers. The concept of editing was well-suited to the consciousness of a “new” audience who were loaded with diverse information and longed for a frequent change in the means and forms of artistic impact, visual and sound impressions. Mirroring the rapidly changing state of society that was occurring under the influence of technological advancement, the theater began actively implementing technological innovations.

The sun forms the foundation of words, names, and idioms, serving as the world's eye and a transcendental archetype of light. It symbolizes radiance, birth, and intuitive thought. Represented by various authors from different eras in Georgian culture, the sun is a symbol of fertility, hope, life, and love. It is also regarded as a symbol of Georgia itself. Referred to as the "visible face of the Lord," it signifies that a human is "part of the sun;" in other words a "part of the Lord." In this world, the sun is omnipresent.

Simon (Soliko) Virsaladze was born at the end of 1908, on New Year's Eve, and as if from Hoffmann's fairy tale "The Nutcracker and the King of Mice,"this real-life Drosselmeyer, the great master of creating magical New Year's decorations, appeared to the world.

Sergo Kobuladze (1909-1978) began working on the curtain for the Tbilisi Opera and Ballet State Theater in around 1954-1956. The creation of the curtain in the theater space has always been of special importance. For the audience, the curtain is exceptional, festive, and magnificent. The curtain is not associated with any particular performance. It forms both a real and a visual-conditional boundary of the artistic world. It is most appropriate to consider such a curtain in the context of synthesis of the arts since while being an example of monumental painting corresponding to architecture, it is often also influenced by theatrical and decorative elements.

Mariam Aleksidze was a soloist of the Tbilisi Opera and Ballet State Theater troupe when she presented her first one-act ballet premiere to the audience. Afterwards, we spoke about the notion of the choreographer, her visions for the future, the possibilities of chamber ballet development in Tbilisi, and of course about her father – the prominent choreographer Giorgi Aleksidze, to whom the novice choreographer’s first staged ballet was dedicated. Mariam said that while her father was still alive, she promised to follow in his footsteps.

The very first of Giorgi Aleksidze's performances with the Chamber Ballet already involved daring statements, inappropriate and bold steps that were incompatible with Soviet ideology. Through Chamber Ballet, the innovative choreographer Giorgi Aleksidze offered a new style and form.

It is now the 18th season that prima ballerina Nino Ananiashvili has been head of the ballet troupe of the Tbilisi Opera and Ballet State Theatre.

Sergei Parajanov (1924 - 1990) is considered as one of the 20th century's greatest masters of cinema. His free cinematic forms, expressive power and originality of visual compositions still continue to impress filmmakers today.

In the 1950s, an interview with George Balanchine was printed in one of the issues of the magazine ‘America,’ which was published in Russian language for Soviet readers. Among those who read it was his brother, the composer Andria Balanchivadze.

When Tbilisi Contemporary Ballet finished their performance, the audience was left with something they could remember - intelligence shown through a concept and an idea that was spontaneously abundant.

Alexandre Koberidze’s film “What do we see when we look at the sky?” was among the top favorites in the press after its Berlinale premiere this year. The film received critical acclaim with particular praise for the director’s refined cinematic style and ability to capture everyday moments with spirituality and a poetic touch.

Chabukiani was nine years old when he was asked to bring Christmas tree decorations from the Chevalier art workshop to Maria Perini’s ballet studio. At that time, he did not even have a primary education.

In the 1960-70s the trends taking place in the realm of visual arts have become part of the theatrical life as well and resulted in attempts of the pioneers of an environmental theatre to launch a war against traditional differentiated performing spaces (stage vs. hall).

“This film is a revelation, a moment of authentic cinema that fills the screen with flames,”- this is how Italian filmmaker Lucas Guadanino described “Beginning,” the feature debut from Georgian director Dea Kulumbegashvili.

The main square of the Georgian capital, now referred to as the Freedom Square, has been the center-stage for major dramatic events from the recent history. Back when the Russian 11th Red Army Corps staged a parade to celebrate invasion of Georgia, the square looked completely different—with merchant Tamamshev’s caravanserai at its center. On April 12, 1851, this Mauritanian-style building became home to the first opera house in the Caucasus.

In the 1920s, the way the scenography system functioned was determined by new “aesthetic discoveries”. The immediate connection between stage design and the processes taking place in the realm of fine arts contributed to the introduction of avant-garde.

Film industry in Georgia emerged soon after the first moving pictures were shown in Paris in 1895. Georgian audience already had possibility to watch Lumiere brothers’ films in Tbilisi, just year and a half later of their initial screening.