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            โ„–3 (93). 2023
            December 31, 2023
            Evolution of the theory of theater art
            May 13, 2023
            Published by Admin on May 4, 2024
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            โ„–1 (94) 2024

            แƒฌแƒแƒ™แƒ˜แƒ—แƒฎแƒ•แƒ / Read

            แฒกแฒแฒ แฒ”แฒ“แฒแฒฅแฒชแฒ˜แฒ แฒกแฒแฒ‘แฒญแฒ
            EDITORIAL BOARD

            แƒ›แƒแƒ™แƒ (แƒ›แƒแƒ แƒ˜แƒœแƒ”) แƒ•แƒแƒกแƒแƒซแƒ”
            แƒ—แƒ”แƒแƒขแƒ แƒแƒšแƒแƒ’แƒ˜, แƒฎแƒ”แƒšแƒแƒ•แƒœแƒ”แƒ‘แƒแƒ—แƒ›แƒชแƒแƒ“แƒœแƒ”แƒแƒ‘แƒ˜แƒก แƒ“แƒแƒฅแƒขแƒแƒ แƒ˜, แƒกแƒแƒฅแƒแƒ แƒ—แƒ•แƒ”แƒšแƒแƒก แƒจแƒแƒ—แƒ แƒ แƒฃแƒกแƒ—แƒแƒ•แƒ”แƒšแƒ˜แƒก แƒ—แƒ”แƒแƒขแƒ แƒ˜แƒกแƒ แƒ“แƒ แƒ™แƒ˜แƒœแƒแƒก แƒกแƒแƒฎแƒ”แƒšแƒ›แƒฌแƒ˜แƒคแƒ แƒฃแƒœแƒ˜แƒ•แƒ”แƒ แƒกแƒ˜แƒขแƒ”แƒขแƒ˜แƒก แƒแƒกแƒแƒชแƒ˜แƒ แƒ”แƒ‘แƒฃแƒšแƒ˜ แƒžแƒ แƒแƒคแƒ”แƒกแƒแƒ แƒ˜
            Marine (Maka) Vasadze
            Doctor of Arts, Associate Professor of Shota Rustaveli Theater and Film Georgia State University

            แƒ’แƒ˜แƒ แƒชแƒฅแƒ˜แƒขแƒ˜แƒจแƒ•แƒ˜แƒšแƒ˜
            แƒ—แƒ”แƒแƒขแƒ แƒแƒšแƒแƒ’แƒ˜, แƒกแƒแƒฅแƒแƒ แƒ—แƒ•แƒ”แƒšแƒแƒก แƒจแƒแƒ—แƒ แƒ แƒฃแƒกแƒ—แƒแƒ•แƒ”แƒšแƒ˜แƒก แƒ—แƒ”แƒแƒขแƒ แƒ˜แƒกแƒ แƒ“แƒ แƒ™แƒ˜แƒœแƒแƒก แƒกแƒแƒฎแƒ”แƒšแƒ›แƒฌแƒ˜แƒคแƒ แƒฃแƒœแƒ˜แƒ•แƒ”แƒ แƒกแƒ˜แƒขแƒ”แƒขแƒ˜แƒก แƒฎแƒ”แƒšแƒแƒ•แƒœแƒ”แƒ‘แƒแƒ—แƒ›แƒชแƒแƒ“แƒœแƒ”แƒแƒ‘แƒ˜แƒก แƒ“แƒแƒฅแƒขแƒแƒ แƒ˜, แƒแƒ›แƒแƒ•แƒ” แƒฃแƒœแƒ˜แƒ•แƒ”แƒ แƒกแƒ˜แƒขแƒ”แƒขแƒ˜แƒก แƒ“แƒ˜แƒ›แƒ˜แƒขแƒ แƒ˜ แƒฏแƒแƒœแƒ”แƒšแƒ˜แƒซแƒ˜แƒก แƒกแƒแƒฎแƒ”แƒšแƒแƒ‘แƒ˜แƒก แƒกแƒแƒ›แƒ”แƒชแƒœแƒ˜แƒ”แƒ แƒ-แƒ™แƒ•แƒšแƒ”แƒ•แƒ˜แƒ—แƒ˜ แƒ˜แƒœแƒกแƒขแƒ˜แƒขแƒฃแƒขแƒ˜แƒก แƒ“แƒ˜แƒ แƒ”แƒฅแƒขแƒแƒ แƒ˜
            Gia Tskitishvili
            Doctor of Arts, Professor of Shota Rustaveli Theater and Film Georgia State University, Director of Dimitri Janelidze Scientific Research Institute of the same university

            แƒแƒœแƒแƒœแƒ แƒกแƒแƒ›แƒกแƒแƒœแƒแƒซแƒ”
            แƒฅแƒแƒ แƒ”แƒแƒšแƒแƒ’แƒ˜, แƒกแƒแƒฅแƒแƒ แƒ—แƒ•แƒ”แƒšแƒแƒก แƒจแƒแƒ—แƒ แƒ แƒฃแƒกแƒ—แƒแƒ•แƒ”แƒšแƒ˜แƒก แƒ—แƒ”แƒแƒขแƒ แƒ˜แƒกแƒ แƒ“แƒ แƒ™แƒ˜แƒœแƒแƒก แƒกแƒแƒฎแƒ”แƒšแƒ›แƒฌแƒ˜แƒคแƒ แƒฃแƒœแƒ˜แƒ•แƒ”แƒ แƒกแƒ˜แƒขแƒ”แƒขแƒ˜แƒก แƒฎแƒ”แƒšแƒแƒ•แƒœแƒ”แƒ‘แƒ—แƒ›แƒชแƒแƒ“แƒœแƒ”แƒแƒ‘แƒ˜แƒก แƒ“แƒแƒฅแƒขแƒแƒ แƒ˜, แƒแƒกแƒแƒชแƒ˜แƒ แƒ”แƒ‘แƒฃแƒšแƒ˜ แƒžแƒ แƒแƒคแƒ”แƒกแƒแƒ แƒ˜
            Anano Samsonadze
            Doctor of Arts, Associate Professor of Shota Rustaveli Theater and Film Georgia State University

            แƒœแƒแƒขแƒ แƒ’แƒ”แƒœแƒ’แƒ˜แƒฃแƒ แƒ˜
            แƒฎแƒ”แƒšแƒแƒ•แƒœแƒ”แƒ‘แƒแƒ—แƒ›แƒชแƒแƒ“แƒœแƒ”, แƒกแƒแƒฅแƒแƒ แƒ—แƒ•แƒ”แƒšแƒแƒก แƒจแƒแƒ—แƒ แƒ แƒฃแƒกแƒ—แƒแƒ•แƒ”แƒšแƒ˜แƒก แƒ—แƒ”แƒแƒขแƒ แƒ˜แƒกแƒ แƒ“แƒ แƒ™แƒ˜แƒœแƒแƒก แƒกแƒแƒฎแƒ”แƒšแƒ›แƒฌแƒ˜แƒคแƒ แƒฃแƒœแƒ˜แƒ•แƒ”แƒ แƒกแƒ˜แƒขแƒ”แƒขแƒ˜แƒก แƒžแƒ แƒแƒคแƒ”แƒกแƒแƒ แƒ˜, แƒฎแƒ”แƒšแƒแƒ•แƒœแƒ”แƒ‘แƒแƒ—แƒ›แƒชแƒแƒ“แƒœแƒ”แƒแƒ‘แƒ˜แƒก แƒ“แƒแƒฅแƒขแƒแƒ แƒ˜
            Nato Gengiuri
            Doctor of Arts, Professor of Shota Rustaveli Theater and Film Georgia State University

            แƒšแƒ”แƒšแƒ แƒแƒฉแƒ˜แƒแƒฃแƒ แƒ˜
            แƒ™แƒ˜แƒœแƒแƒ›แƒชแƒแƒ“แƒœแƒ”, แƒกแƒแƒฅแƒแƒ แƒ—แƒ•แƒ”แƒšแƒแƒก แƒจแƒแƒ—แƒ แƒ แƒฃแƒกแƒ—แƒแƒ•แƒ”แƒšแƒ˜แƒก แƒ—แƒ”แƒแƒขแƒ แƒ˜แƒกแƒ แƒ“แƒ แƒ™แƒ˜แƒœแƒแƒก แƒกแƒแƒฎแƒ”แƒšแƒ›แƒฌแƒ˜แƒคแƒ แƒฃแƒœแƒ˜แƒ•แƒ”แƒ แƒกแƒ˜แƒขแƒ”แƒขแƒ˜แƒก แƒฎแƒ”แƒšแƒแƒ•แƒœแƒ”แƒ‘แƒแƒ—แƒ›แƒชแƒแƒ“แƒœแƒ”แƒแƒ‘แƒ˜แƒก แƒ“แƒแƒฅแƒขแƒแƒ แƒ˜, แƒžแƒ แƒแƒคแƒ”แƒกแƒแƒ แƒ˜
            Lela Ochiauri
            Doctor of Arts, Professor of Shota Rustaveli Theater and Film Georgia State University

            แƒ“แƒแƒ•แƒ˜แƒ— แƒฏแƒแƒœแƒ”แƒšแƒ˜แƒซแƒ”
            แƒกแƒแƒฅแƒแƒ แƒ—แƒ•แƒ”แƒšแƒแƒก แƒจแƒแƒ—แƒ แƒ แƒฃแƒกแƒ—แƒแƒ•แƒ”แƒšแƒ˜แƒก แƒ—แƒ”แƒแƒขแƒ แƒ˜แƒกแƒ แƒ“แƒ แƒ™แƒ˜แƒœแƒแƒก แƒกแƒแƒฎแƒ”แƒšแƒ›แƒฌแƒ˜แƒคแƒ แƒฃแƒœแƒ˜แƒ•แƒ”แƒ แƒกแƒ˜แƒขแƒ”แƒขแƒ˜แƒก แƒžแƒ แƒแƒคแƒ”แƒกแƒแƒ แƒ˜ แƒ“แƒ แƒแƒ›แƒแƒ•แƒ” แƒฃแƒœแƒ˜แƒ•แƒ”แƒ แƒกแƒ˜แƒขแƒ”แƒขแƒ˜แƒก แƒกแƒ”แƒœแƒแƒขแƒ˜แƒก แƒ—แƒแƒ•แƒ›แƒฏแƒ“แƒแƒ›แƒแƒ แƒ”
            Davit Janelidze
            Professor, Professor of Shota Rustaveli Theater and Film Georgia State University and chairman of the board of the same university

            แƒแƒœแƒ“แƒ แƒ แƒ”แƒœแƒฃแƒฅแƒ˜แƒซแƒ”
            แƒกแƒแƒฅแƒแƒ แƒ—แƒ•แƒ”แƒšแƒแƒก แƒจแƒแƒ—แƒ แƒ แƒฃแƒกแƒ—แƒแƒ•แƒ”แƒšแƒ˜แƒก แƒ—แƒ”แƒแƒขแƒ แƒ˜แƒกแƒ แƒ“แƒ แƒ™แƒ˜แƒœแƒแƒก แƒกแƒแƒฎแƒ”แƒšแƒ›แƒฌแƒ˜แƒคแƒ แƒฃแƒœแƒ˜แƒ•แƒ”แƒ แƒกแƒ˜แƒขแƒ”แƒขแƒ˜แƒก แƒแƒกแƒแƒชแƒ˜แƒ แƒ”แƒ‘แƒฃแƒšแƒ˜ แƒžแƒ แƒแƒคแƒ”แƒกแƒแƒ แƒ˜, แƒฎแƒ”แƒšแƒแƒ•แƒœแƒ”แƒ‘แƒ˜แƒก แƒ“แƒแƒฅแƒขแƒแƒ แƒ˜
            Andro Enukidze
            Doctor of Arts, Associate Professor of Shota Rustaveli Theater and Film Georgia State University

            แƒแƒœแƒ“แƒ แƒแƒœแƒ˜แƒ™แƒ แƒ›แƒแƒ แƒขแƒแƒœแƒแƒ•แƒ
            แƒ™แƒ˜แƒœแƒแƒฎแƒ”แƒšแƒแƒ•แƒœแƒ”แƒ‘แƒ˜แƒก แƒ“แƒ”แƒžแƒแƒ แƒขแƒแƒ›แƒ”แƒœแƒขแƒ˜แƒก แƒฎแƒ”แƒšแƒ›แƒซแƒฆแƒ•แƒแƒœแƒ”แƒšแƒ˜, แƒแƒกแƒแƒชแƒ˜แƒ แƒ”แƒ‘แƒฃแƒšแƒ˜ แƒžแƒ แƒแƒคแƒ”แƒกแƒแƒ แƒ˜. แƒ“แƒแƒฅแƒขแƒแƒ แƒ˜. แƒ‘แƒฃแƒšแƒ’แƒแƒ แƒ”แƒ—แƒ˜แƒก แƒ›แƒ”แƒชแƒœแƒ˜แƒ”แƒ แƒ”แƒ‘แƒแƒ—แƒ แƒแƒ™แƒแƒ“แƒ”แƒ›แƒ˜แƒ โ€“ แƒฎแƒ”แƒšแƒแƒ•แƒœแƒ”แƒ‘แƒแƒ—แƒ›แƒชแƒแƒ“แƒœแƒ”แƒแƒ‘แƒ˜แƒก แƒ˜แƒœแƒกแƒขแƒ˜แƒขแƒฃแƒขแƒ˜, แƒ‘แƒฃแƒšแƒ’แƒแƒ แƒ”แƒ—แƒ˜
            Andronika Martonova
            Head of the Department of Cinematography, Associate Professor. Dr. Bulgarian Academy of Sciences โ€“ Institute of Art Studies, Bulgaria

            แƒแƒœแƒ“แƒ แƒ”แƒ˜ แƒ›แƒแƒกแƒ™แƒ•แƒ˜แƒœแƒ˜
            แƒคแƒ˜แƒšแƒแƒšแƒแƒ’แƒ˜, แƒกแƒšแƒแƒ•แƒ˜แƒกแƒขแƒ˜, แƒ™แƒฃแƒšแƒขแƒฃแƒ แƒแƒšแƒแƒ’แƒ˜, แƒ—แƒ”แƒแƒขแƒ แƒแƒšแƒแƒ’แƒ˜, แƒ›แƒ—แƒแƒ แƒ’แƒ›แƒœแƒ”แƒšแƒ˜, แƒ“แƒ แƒแƒ›แƒแƒขแƒฃแƒ แƒ’แƒ˜ แƒžแƒ แƒแƒคแƒ”แƒกแƒแƒ แƒ˜. แƒ•แƒแƒ แƒจแƒแƒ•แƒ˜แƒก แƒฃแƒœแƒ˜แƒ•แƒ”แƒ แƒกแƒ˜แƒขแƒ”แƒขแƒ˜แƒก (แƒชแƒ”แƒœแƒขแƒ แƒแƒšแƒฃแƒ แƒ˜ แƒ“แƒ แƒแƒฆแƒ›แƒแƒกแƒแƒ•แƒšแƒ”แƒ— แƒ”แƒ•แƒ แƒแƒžแƒ˜แƒก แƒ˜แƒœแƒขแƒ”แƒ แƒ™แƒฃแƒšแƒขแƒฃแƒ แƒฃแƒšแƒ˜ แƒ™แƒ•แƒšแƒ”แƒ•แƒ”แƒ‘แƒ˜แƒก แƒ’แƒแƒœแƒงแƒแƒคแƒ˜แƒšแƒ”แƒ‘แƒ แƒ’แƒแƒ›แƒแƒงแƒ”แƒœแƒ”แƒ‘แƒ˜แƒ—แƒ˜ แƒšแƒ˜แƒœแƒ’แƒ•แƒ˜แƒกแƒขแƒ˜แƒ™แƒ˜แƒก แƒคแƒแƒ™แƒฃแƒšแƒขแƒ”แƒขแƒ–แƒ”) แƒ—แƒ”แƒแƒขแƒ แƒ˜แƒกแƒ แƒ“แƒ แƒ“แƒ แƒแƒ›แƒ˜แƒก แƒชแƒ”แƒœแƒขแƒ แƒแƒšแƒฃแƒ แƒ˜ แƒ™แƒ•แƒšแƒ”แƒ•แƒ”แƒ‘แƒ˜แƒก แƒšแƒแƒ‘แƒแƒ แƒแƒขแƒแƒ แƒ˜แƒ˜แƒก แƒฎแƒ”แƒšแƒ›แƒซแƒฆแƒ•แƒแƒœแƒ”แƒšแƒ˜. แƒแƒฆแƒ›แƒแƒกแƒแƒ•แƒšแƒ”แƒ— แƒ”แƒ•แƒ แƒแƒžแƒ˜แƒก แƒกแƒแƒ›แƒ”แƒชแƒœแƒ˜แƒ”แƒ แƒ แƒŸแƒฃแƒ แƒœแƒแƒšแƒ˜แƒก โ€žแƒชแƒ”แƒœแƒขแƒ แƒแƒšแƒฃแƒ แƒ˜ แƒ“แƒ แƒแƒฆแƒ›แƒแƒกแƒแƒ•แƒšแƒ”แƒ— แƒ”แƒ•แƒ แƒแƒžแƒ˜แƒก แƒ—แƒ”แƒแƒขแƒ แƒ›แƒชแƒแƒ“แƒœแƒ”แƒแƒ‘แƒ˜แƒกโ€œ แƒ›แƒ—แƒแƒ•แƒแƒ แƒ˜ แƒ แƒ”แƒ“แƒแƒฅแƒขแƒแƒ แƒ˜. แƒžแƒแƒšแƒแƒœแƒ”แƒ—แƒ˜
            Andrei Moskvin
            Philologist, Slavologist, culturologist, theater expert, translator, dramatist professor. Head of the Central Research Laboratory of Theater and Drama at the University of Warsaw (Department of Intercultural Studies of Central and Eastern Europe at the Faculty of Applied Linguistics). Editor-in-Chief of the Eastern European Scientific Journal โ€œCentral and Eastern European Theater Studiesโ€. Poland

            แƒ แƒแƒ˜ แƒฐแƒแƒ แƒแƒ•แƒ˜แƒชแƒ˜
            แƒ‘แƒแƒ -แƒ˜แƒšแƒแƒœแƒ˜แƒก แƒฃแƒœแƒ˜แƒ•แƒ”แƒ แƒกแƒ˜แƒขแƒ”แƒขแƒ˜แƒก แƒšแƒ˜แƒขแƒ”แƒ แƒแƒขแƒฃแƒ แƒ˜แƒก แƒ’แƒแƒœแƒงแƒแƒคแƒ˜แƒšแƒ”แƒ‘แƒ˜แƒก แƒฃแƒคแƒ แƒแƒกแƒ˜ แƒšแƒ”แƒฅแƒขแƒแƒ แƒ˜. แƒ“แƒแƒฅแƒขแƒแƒ แƒ›แƒ แƒฐแƒแƒ แƒแƒ•แƒ˜แƒชแƒ›แƒ แƒ›แƒ˜แƒ˜แƒฆแƒ แƒ“แƒแƒฅแƒขแƒแƒ แƒ˜. แƒ›แƒกแƒแƒฎแƒ˜แƒแƒ‘แƒ˜, แƒ แƒ”แƒŸแƒ˜แƒกแƒแƒ แƒ˜, แƒ“แƒ แƒแƒ›แƒแƒขแƒฃแƒ แƒ’แƒ˜. แƒ“แƒ”แƒ•แƒ˜แƒ“ แƒ˜แƒ”แƒšแƒ˜แƒœแƒ˜แƒก แƒ™แƒแƒšแƒ”แƒฏแƒ˜, แƒ˜แƒกแƒ แƒแƒ”แƒšแƒ˜
            Roy Horowitz
            Senior Lecturer of Bar-Ilan University Department of Literature. Dr. Horowitz received his Ph.D. Actor, director, and playwright. David Yellin College, Israel

            แƒแƒœแƒแƒ แƒ แƒ”แƒ แƒ™แƒ”แƒ‘แƒแƒ˜
            แƒแƒฃแƒ”แƒ–แƒแƒ•แƒ˜แƒก แƒกแƒแƒฎแƒ”แƒšแƒแƒ‘แƒ˜แƒก แƒšแƒ˜แƒขแƒ”แƒ แƒแƒขแƒฃแƒ แƒ˜แƒกแƒ แƒ“แƒ แƒฎแƒ”แƒšแƒแƒ•แƒœแƒ”แƒ‘แƒ˜แƒก แƒ˜แƒœแƒกแƒขแƒ˜แƒขแƒฃแƒขแƒ˜. แƒ“แƒแƒฅแƒขแƒแƒ แƒ˜, แƒงแƒแƒ–แƒแƒฎแƒ”แƒ—แƒ˜
            Anara Erkebay
            Auezov Institute of Literature and Art. Doctor, Kazakhstan

            แฒ—แฒ”แฒแฒขแฒ แฒแฒšแฒแฒ’แฒ˜แฒ
            THEATROLOGY

            Nino (Nutsa) Kobaidze. Witold Gombrowicz – Yvonne Princess of Burgundy

            แƒœแƒ˜แƒœแƒ (แƒœแƒฃแƒชแƒ) แƒ™แƒแƒ‘แƒแƒ˜แƒซแƒ”
            แƒ•แƒ˜แƒขแƒแƒšแƒ“ แƒ’แƒแƒ›แƒ‘แƒ แƒแƒ•แƒ˜แƒฉแƒ˜ – แƒ˜แƒ•แƒแƒœแƒ แƒ‘แƒฃแƒ แƒ’แƒฃแƒœแƒ“แƒ˜แƒ˜แƒก แƒžแƒ แƒ˜แƒœแƒชแƒ”แƒกแƒ

            Nino (Nutsa) Kobaidze
            Witold Gombrowicz – Yvonne Princess of Burgundy

            แƒ•แƒ แƒชแƒšแƒแƒ“ / read more…

            Tamar Tsagareli. Postmodernism in Persian Puppet Theatre

            แƒ—แƒแƒ›แƒแƒ  แƒชแƒแƒ’แƒแƒ แƒ”แƒšแƒ˜
            แƒžแƒแƒกแƒขแƒ›แƒแƒ“แƒ”แƒ แƒœแƒ˜แƒ–แƒ›แƒ˜ แƒกแƒžแƒแƒ แƒกแƒฃแƒš แƒ›แƒแƒ แƒ˜แƒแƒœแƒ”แƒขแƒฃแƒš แƒ—แƒ”แƒแƒขแƒ แƒจแƒ˜

            Tamar Tsagareli
            Postmodernism in Persian Puppet Theatre

            แƒ•แƒ แƒชแƒšแƒแƒ“ / read more…

            แฒ™แฒ˜แฒœแฒแฒ›แฒชแฒแฒ“แฒœแฒ”แฒแฒ‘แฒ
            FILM STUDIES

            Margalita Zubashvili. The Influence of Online Streaming Platforms on Modern Cinema

            แƒ›แƒแƒ แƒ’แƒแƒšแƒ˜แƒขแƒ แƒ–แƒฃแƒ‘แƒแƒจแƒ•แƒ˜แƒšแƒ˜
            แƒแƒœแƒšแƒแƒ˜แƒœ แƒกแƒขแƒ แƒ˜แƒ›แƒ˜แƒœแƒ’ แƒžแƒšแƒแƒขแƒคแƒแƒ แƒ›แƒ”แƒ‘แƒ˜แƒก แƒ–แƒ”แƒ’แƒแƒ•แƒšแƒ”แƒœแƒ แƒ—แƒแƒœแƒแƒ›แƒ”แƒ“แƒ แƒแƒ•แƒ” แƒ™แƒ˜แƒœแƒแƒฎแƒ”แƒšแƒแƒ•แƒœแƒ”แƒ‘แƒแƒ–แƒ”

            Margalita Zubashvili
            The Influence of Online Streaming Platforms on Modern Cinema

            แƒ•แƒ แƒชแƒšแƒแƒ“ / read more…

            Maria Sichanin. Mystical Genre, Peculiarities, and Narrative Privileges

            แƒ›แƒแƒ แƒ˜แƒ แƒกแƒ˜แƒฉแƒแƒœแƒ˜แƒœแƒ˜
            แƒ›แƒ˜แƒกแƒขแƒ˜แƒ™แƒฃแƒ แƒ˜ แƒŸแƒแƒœแƒ แƒ˜แƒก แƒ—แƒแƒ•แƒ˜แƒกแƒ”แƒ‘แƒฃแƒ แƒ”แƒ‘แƒ”แƒ‘แƒ˜ แƒ“แƒ แƒ›แƒ˜แƒกแƒ˜ แƒ—แƒฎแƒ แƒแƒ‘แƒ˜แƒ—แƒ˜ แƒžแƒ แƒ˜แƒ•แƒ˜แƒšแƒ”แƒ’แƒ˜แƒ”แƒ‘แƒ˜

            Maria Sichanin
            Mystical Genre, Peculiarities, and Narrative Privileges

            แƒ•แƒ แƒชแƒšแƒแƒ“ / read more…

            Tea Chanturia. Technological Determinism in the Face of Cultural Determinism?!

            แƒ—แƒ”แƒ แƒญแƒแƒœแƒขแƒฃแƒ แƒ˜แƒ
            แƒขแƒ”แƒฅแƒœแƒแƒšแƒแƒ’แƒ˜แƒฃแƒ แƒ˜ แƒ“แƒ”แƒขแƒ”แƒ แƒ›แƒ˜แƒœแƒ˜แƒ–แƒ›แƒ˜ แƒ™แƒฃแƒšแƒขแƒฃแƒ แƒฃแƒšแƒ˜ แƒ“แƒ”แƒขแƒ”แƒ แƒ›แƒ˜แƒœแƒ˜แƒ–แƒ›แƒ˜แƒก แƒžแƒ˜แƒ แƒ˜แƒกแƒžแƒ˜แƒ ?!

            Tea Chanturia
            Technological Determinism in the Face of Cultural Determinism?!

            แƒ•แƒ แƒชแƒšแƒแƒ“ / read more…

            แฒฅแฒแฒ แฒ”แฒแฒšแฒแฒ’แฒ˜แฒ
            CHOREOLOGY

            Khatuna Damchidze, Giorgi Kraveishvili. Musical and Choreographic Creations of Muhajirs

            แƒฎแƒแƒ—แƒฃแƒœแƒ แƒ“แƒแƒ›แƒฉแƒ˜แƒซแƒ”, แƒ’แƒ˜แƒแƒ แƒ’แƒ˜ แƒ™แƒ แƒแƒ•แƒ”แƒ˜แƒจแƒ•แƒ˜แƒšแƒ˜
            แƒ›แƒฃแƒฐแƒแƒฏแƒ˜แƒ แƒ—แƒ แƒ›แƒฃแƒกแƒ˜แƒ™แƒแƒšแƒฃแƒ -แƒฅแƒแƒ แƒ”แƒแƒ’แƒ แƒแƒคแƒ˜แƒฃแƒšแƒ˜ แƒจแƒ”แƒ›แƒแƒฅแƒ›แƒ”แƒ“แƒ”แƒ‘แƒ (แƒ—แƒฃแƒ แƒฅแƒ”แƒ—แƒ”แƒšแƒ˜ แƒ™แƒšแƒแƒ แƒฏแƒ”แƒ‘แƒ˜แƒก, แƒšแƒแƒ–แƒ”แƒ‘แƒ˜แƒกแƒ แƒ“แƒ แƒแƒคแƒฎแƒแƒ–แƒ”แƒ‘แƒ˜แƒก แƒ›แƒแƒ’แƒแƒšแƒ˜แƒ—แƒ–แƒ”)

            Khatuna Damchidze, Giorgi Kraveishvili
            Musical and Choreographic Creations of Muhajirs (On The Example Of Turkish Klarjes, Lazes, And Abkhazians)

            แƒ•แƒ แƒชแƒšแƒแƒ“ / read more…

            Viktoria Kharatishavili. Bull is a Symbol of Agricultural Fertility And a Sign of Ensuring the Harvest in Wedding Ritual Dances

            แƒ•แƒ˜แƒฅแƒขแƒแƒ แƒ˜แƒ แƒฎแƒแƒ แƒแƒขแƒ˜แƒจแƒ•แƒ˜แƒšแƒ˜
            แƒแƒ’แƒ แƒแƒ แƒฃแƒšแƒ˜ แƒœแƒแƒงแƒแƒคแƒ˜แƒ”แƒ แƒ”แƒ‘แƒ˜แƒก แƒกแƒ˜แƒ›แƒ‘แƒแƒšแƒ แƒฎแƒแƒ แƒ˜ แƒ“แƒ แƒ›แƒแƒกแƒแƒ•แƒšแƒ˜แƒก แƒฃแƒ–แƒ แƒฃแƒœแƒ•แƒ”แƒšแƒงแƒแƒคแƒ˜แƒก แƒœแƒ˜แƒจแƒœแƒ”แƒ‘แƒ˜ แƒกแƒแƒฅแƒแƒ แƒฌแƒ˜แƒšแƒ แƒ แƒ˜แƒขแƒฃแƒแƒšแƒฃแƒ  แƒชแƒ”แƒ™แƒ•แƒ”แƒ‘แƒจแƒ˜

            Viktoria Kharatishavili
            Bull is a Symbol of Agricultural Fertility And a Sign of Ensuring the Harvest in Wedding Ritual Dances

            แƒ•แƒ แƒชแƒšแƒแƒ“ / read more…

            แฒ“แฒ แฒแฒ›แฒ˜แฒก แฒ แฒ”แฒŸแฒ˜แฒกแฒฃแฒ แฒ
            DRAMA DIRECTION

            Sofiko Kikabidze. The Change of Form and Appearance of Georgian Folk Dance, its Adaptation in Time

            แƒกแƒแƒคแƒ˜แƒ™แƒ แƒ™แƒ˜แƒ™แƒแƒ‘แƒ˜แƒซแƒ”
            แƒฅแƒแƒ แƒ—แƒฃแƒšแƒ˜ แƒฎแƒแƒšแƒฎแƒฃแƒ แƒ˜ แƒชแƒ”แƒ™แƒ•แƒ˜แƒก แƒคแƒแƒ แƒ›แƒแƒชแƒ•แƒแƒšแƒ”แƒ‘แƒแƒ“แƒแƒ‘แƒ แƒ“แƒ แƒกแƒแƒฎแƒ”แƒชแƒ•แƒแƒšแƒ”แƒ‘แƒแƒ“แƒแƒ‘แƒ, แƒ›แƒ˜แƒกแƒ˜ แƒ“แƒ แƒแƒจแƒ˜ แƒแƒ“แƒแƒžแƒขแƒแƒชแƒ˜แƒ

            Sofiko Kikabidze
            The Change of Form and Appearance of Georgian Folk Dance, its Adaptation in Time

            แƒ•แƒ แƒชแƒšแƒแƒ“ / read more…

            แƒขแƒ”แƒšแƒ”แƒคแƒแƒœแƒ˜: +995 32 2999411
            แƒ”แƒš. แƒคแƒแƒกแƒขแƒ: kentavri@tafu.edu.ge

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            ยฉ แƒกแƒแƒฎแƒ”แƒšแƒแƒ•แƒœแƒ”แƒ‘แƒ แƒ›แƒ”แƒชแƒœแƒ˜แƒ”แƒ แƒ”แƒ‘แƒแƒ—แƒ แƒซแƒ˜แƒ”แƒ‘แƒแƒœแƒ˜, 2022-2024
            ย แƒกแƒแƒฅแƒแƒ แƒ—แƒ•แƒ”แƒšแƒแƒก แƒจแƒแƒ—แƒ แƒ แƒฃแƒกแƒ—แƒแƒ•แƒ”แƒšแƒ˜แƒก แƒ—แƒ”แƒแƒขแƒ แƒ˜แƒกแƒ แƒ“แƒ แƒ™แƒ˜แƒœแƒแƒก แƒกแƒแƒฎแƒ”แƒšแƒ›แƒฌแƒ˜แƒคแƒ แƒฃแƒœแƒ˜แƒ•แƒ”แƒ แƒกแƒ˜แƒขแƒ”แƒขแƒ˜

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