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            โ„–3 (93) 2023

            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

            Ekaterine Kvirkelia. The Use of Masks in Theatrical Pedagogy

            แƒ”แƒ™แƒแƒขแƒ”แƒ แƒ˜แƒœแƒ” แƒ™แƒ•แƒ˜แƒ แƒ™แƒ”แƒšแƒ˜แƒ
            แƒœแƒ˜แƒฆแƒ‘แƒ”แƒ‘แƒ˜แƒก แƒ’แƒแƒ›แƒแƒงแƒ”แƒœแƒ”แƒ‘แƒ แƒ—แƒ”แƒแƒขแƒ แƒแƒšแƒฃแƒ  แƒžแƒ”แƒ“แƒแƒ’แƒแƒ’แƒ˜แƒ™แƒแƒจแƒ˜
            (แƒ›แƒ˜แƒกแƒ˜ แƒ’แƒแƒ›แƒแƒงแƒ”แƒœแƒ”แƒ‘แƒ˜แƒก แƒฎแƒ”แƒ แƒฎแƒ”แƒ‘แƒ˜ แƒ“แƒ แƒกแƒแƒจแƒฃแƒแƒšแƒ”แƒ‘แƒ”แƒ‘แƒ˜; I แƒ™แƒฃแƒ แƒกแƒ˜แƒก แƒกแƒแƒกแƒฌแƒแƒ•แƒšแƒ แƒžแƒ แƒแƒชแƒ”แƒกแƒ˜แƒกแƒแƒ—แƒ•แƒ˜แƒก)

            Ekaterine Kvirkelia
            The Use of Masks in Theatrical Pedagogy
            (its use Saws and tools; For the first Course learning process)

            แƒ•แƒ แƒชแƒšแƒแƒ“ / read more…

            Nino (Nutsa) Kobaidze. The Meaning of the Text in the Post-Dramatic Theater

            แƒœแƒ˜แƒœแƒ (แƒœแƒฃแƒชแƒ) แƒ™แƒแƒ‘แƒแƒ˜แƒซแƒ”
            แƒขแƒ”แƒฅแƒกแƒขแƒ˜แƒก แƒ›แƒœแƒ˜แƒจแƒ•แƒœแƒ”แƒšแƒแƒ‘แƒ แƒžแƒแƒกแƒขแƒ“แƒ แƒแƒ›แƒแƒขแƒฃแƒš แƒ—แƒ”แƒแƒขแƒ แƒจแƒ˜

            Nino (Nutsa) Kobaidze
            The Meaning of the Text in the Post-Dramatic Theater

            แƒ•แƒ แƒชแƒšแƒแƒ“ / read more…

            Tamta Kajaia. The Question of Interpretation of the New Drama in Sofo Kelbakianiโ€™s Play Freken Julie

            แƒ—แƒแƒ›แƒ—แƒ แƒฅแƒแƒฏแƒแƒ˜แƒ
            แƒแƒฎแƒแƒšแƒ˜ แƒ“แƒ แƒแƒ›แƒ˜แƒก แƒ˜แƒœแƒขแƒ”แƒ แƒžแƒ แƒ”แƒขแƒแƒชแƒ˜แƒ˜แƒก แƒกแƒแƒ™แƒ˜แƒ—แƒฎแƒ˜ แƒกแƒแƒคแƒ แƒฅแƒ”แƒšแƒ‘แƒแƒฅแƒ˜แƒแƒœแƒ˜แƒก แƒกแƒžแƒ”แƒฅแƒขแƒแƒ™แƒšแƒจแƒ˜ โ€žแƒคแƒ แƒ”แƒ™แƒ”แƒœ แƒŸแƒฃแƒšแƒ˜โ€œ

            Tamta Kajaia
            The Question of Interpretation of the New Drama in Sofo Kelbakianiโ€™s Play Freken Julie

            แƒ•แƒ แƒชแƒšแƒแƒ“ / read more…

            Lasha Chkhartishvili. Technical Progress is a Tool for Constant Renovation of the Theatre

            แƒšแƒแƒจแƒ แƒฉแƒฎแƒแƒ แƒขแƒ˜แƒจแƒ•แƒ˜แƒšแƒ˜
            แƒขแƒ”แƒฅแƒœแƒ˜แƒ™แƒฃแƒ แƒ˜ แƒžแƒ แƒแƒ’แƒ แƒ”แƒกแƒ˜ – แƒ—แƒ”แƒแƒขแƒ แƒ˜แƒก แƒ›แƒฃแƒ“แƒ›แƒ˜แƒ•แƒ˜ แƒ’แƒแƒœแƒแƒฎแƒšแƒ”แƒ‘แƒ˜แƒก แƒ˜แƒœแƒกแƒขแƒ แƒฃแƒ›แƒ”แƒœแƒขแƒ˜

            Lasha Chkhartishvili
            Technical Progress is a Tool for Constant Renovation of the Theatre

            แƒ•แƒ แƒชแƒšแƒแƒ“ / read more…

            Marina Kharatishvili. Explanation of Sandro Akhmeteliโ€™s National Spirit

            แƒ›แƒแƒ แƒ˜แƒœแƒ แƒฎแƒแƒ แƒแƒขแƒ˜แƒจแƒ•แƒ˜แƒšแƒ˜
            แƒกแƒแƒœแƒ“แƒ แƒ แƒแƒฎแƒ›แƒ”แƒขแƒ”แƒšแƒ˜แƒก แƒ”แƒ แƒแƒ•แƒœแƒฃแƒšแƒ˜ แƒกแƒฃแƒšแƒ˜แƒกแƒ™แƒ•แƒ”แƒ—แƒ”แƒ‘แƒ˜แƒก แƒแƒฎแƒกแƒœแƒ˜แƒกแƒแƒ—แƒ•แƒ˜แƒก
            (แƒจแƒแƒšแƒ•แƒ แƒ“แƒแƒ“แƒ˜แƒแƒœแƒ˜แƒก แƒžแƒ˜แƒ”แƒกแƒ โ€žแƒ—แƒ”แƒ—แƒœแƒฃแƒšแƒ“แƒ˜แƒกโ€œ แƒ›แƒแƒ’แƒแƒšแƒ˜แƒ—แƒ–แƒ”)

            Marina Kharatishvili
            Explanation of Sandro Akhmeteliโ€™s National Spirit
            (On the example of Shalva Dadiani`s play Tetnuldi)

            แƒ•แƒ แƒชแƒšแƒแƒ“ / read more…

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

            Zviad Dolidze. British Cinema in the 1970s

            แƒ–แƒ•แƒ˜แƒแƒ“ แƒ“แƒแƒšแƒ˜แƒซแƒ”
            แƒ‘แƒ แƒ˜แƒขแƒแƒœแƒฃแƒšแƒ˜ แƒ™แƒ˜แƒœแƒ 1970-แƒ˜แƒแƒœ แƒฌแƒšแƒ”แƒ‘แƒจแƒ˜

            Zviad Dolidze
            British Cinema in the 1970s

            แƒ•แƒ แƒชแƒšแƒแƒ“ / read more…

            Liana Menabdishvili. A Little About The Kino Language

            แƒšแƒ˜แƒแƒœแƒ แƒ›แƒ”แƒœแƒแƒ‘แƒ“แƒ˜แƒจแƒ•แƒ˜แƒšแƒ˜
            แƒชแƒแƒขแƒ แƒ แƒแƒ› แƒ™แƒ˜แƒœแƒแƒ”แƒœแƒ˜แƒก แƒจแƒ”แƒกแƒแƒฎแƒ”แƒ‘

            Liana Menabdishvili
            A Little About The Kino Language

            แƒ•แƒ แƒชแƒšแƒแƒ“ / read more…

            Maria Sichanin. Fear – the Starting Point of the Eternal Theme in the Mystical Genre

            แƒ›แƒแƒ แƒ˜แƒ แƒกแƒ˜แƒฉแƒแƒœแƒ˜แƒœแƒ˜
            แƒจแƒ˜แƒจแƒ˜ – แƒ›แƒแƒ แƒแƒ“แƒ˜แƒฃแƒšแƒ˜ แƒ—แƒ”แƒ›แƒ˜แƒก แƒแƒ›แƒแƒกแƒแƒ•แƒแƒšแƒ˜ แƒฌแƒ”แƒ แƒขแƒ˜แƒšแƒ˜ แƒ›แƒ˜แƒกแƒขแƒ˜แƒ™แƒฃแƒ  แƒŸแƒแƒœแƒ แƒจแƒ˜

            Maria Sichanin
            Fear – the Starting Point of the Eternal Theme in the Mystical Genre

            แƒ•แƒ แƒชแƒšแƒแƒ“ / read more…

            Nino Kavtaradze. Soviet Economic Policy in the Discourse of Confrontation Between Old and New

            แƒœแƒ˜แƒœแƒ แƒฅแƒแƒ•แƒ—แƒแƒ แƒแƒซแƒ”
            แƒกแƒแƒ‘แƒญแƒแƒ—แƒ แƒ”แƒ™แƒแƒœแƒแƒ›แƒ˜แƒ™แƒฃแƒ แƒ˜ แƒžแƒแƒšแƒ˜แƒขแƒ˜แƒ™แƒ แƒซแƒ•แƒ”แƒšแƒ˜แƒกแƒ แƒ“แƒ แƒแƒฎแƒšแƒ˜แƒก แƒ“แƒแƒžแƒ˜แƒ แƒ˜แƒกแƒžแƒ˜แƒ แƒ”แƒ‘แƒ˜แƒก แƒ“แƒ˜แƒกแƒ™แƒฃแƒ แƒกแƒจแƒ˜
            (1920-1950-แƒ˜แƒแƒœแƒ˜ แƒฌแƒšแƒ”แƒ‘แƒ˜แƒก แƒฅแƒแƒ แƒ—แƒฃแƒšแƒ˜ แƒกแƒแƒ‘แƒญแƒแƒ—แƒ แƒ™แƒ˜แƒœแƒแƒก แƒ›แƒ˜แƒฎแƒ”แƒ“แƒ•แƒ˜แƒ—)

            Nino Kavtaradze
            Soviet Economic Policy in the Discourse of Confrontation Between Old and New
            (According to the Georgian Soviet cinema of the 1920s-1950s)

            แƒ•แƒ แƒชแƒšแƒแƒ“ / read more…

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

            Viktoria Kharatishavili. Spring Gatherings (Kalmasoba) in Weather-Required Rituals

            แƒ•แƒ˜แƒฅแƒขแƒแƒ แƒ˜แƒ แƒฎแƒแƒ แƒแƒขแƒ˜แƒจแƒ•แƒ˜แƒšแƒ˜
            แƒกแƒแƒ’แƒแƒ–แƒแƒคแƒฎแƒฃแƒšแƒ แƒ™แƒแƒšแƒ›แƒแƒกแƒแƒ‘แƒ”แƒ‘แƒ˜ แƒแƒ›แƒ˜แƒœแƒ“แƒ˜แƒก แƒ’แƒแƒ›แƒแƒกแƒแƒ—แƒฎแƒแƒ• แƒ แƒ˜แƒขแƒฃแƒแƒšแƒจแƒ˜
            (แƒšแƒแƒ–แƒแƒ แƒแƒ‘แƒ, แƒ’แƒแƒœแƒฏแƒแƒแƒ‘แƒ)

            Viktoria Kharatishavili
            Spring Gatherings (Kalmasoba) in Weather-Required Rituals
            (Lazaroba, Gonjaoba)

            แƒ•แƒ แƒชแƒšแƒแƒ“ / read more…

            แฒ›แฒ”แฒ“แฒ˜แฒ˜แฒก แฒ™แฒ•แฒšแฒ”แฒ•แฒ”แฒ‘แฒ˜
            MEDIA RESEARCHES

            Mariam Bazali. Spanish Flu in the Georgian Press

            แƒ›แƒแƒ แƒ˜แƒแƒ› แƒ‘แƒแƒ–แƒแƒšแƒ˜
            แƒ”แƒกแƒžแƒแƒœแƒฃแƒ แƒ˜ แƒกแƒ”แƒœแƒ˜ แƒฅแƒแƒ แƒ—แƒฃแƒš แƒžแƒ แƒ”แƒกแƒแƒจแƒ˜

            Mariam Bazali
            Spanish Flu in the Georgian Press

            แƒ•แƒ แƒชแƒšแƒแƒ“ / read more…

            Gvantsa Liparteliani. Impacts of Cultural Multimedia Projects On Small Groups and Broad Masses of Society

            แƒ’แƒ•แƒแƒœแƒชแƒ แƒšแƒ˜แƒžแƒแƒ แƒขแƒ”แƒšแƒ˜แƒแƒœแƒ˜
            แƒ™แƒฃแƒšแƒขแƒฃแƒ แƒแƒšแƒแƒ’แƒ˜แƒฃแƒ แƒ˜ แƒ›แƒฃแƒšแƒขแƒ˜แƒ›แƒ”แƒ“แƒ˜แƒฃแƒ แƒ˜ แƒžแƒ แƒแƒ”แƒฅแƒขแƒ”แƒ‘แƒ˜แƒก แƒ’แƒแƒ•แƒšแƒ”แƒœแƒ”แƒ‘แƒ˜ แƒกแƒแƒ–แƒแƒ’แƒแƒ“แƒแƒ”แƒ‘แƒ˜แƒก แƒ›แƒชแƒ˜แƒ แƒ” แƒฏแƒ’แƒฃแƒคแƒ”แƒ‘แƒกแƒ แƒ“แƒ แƒคแƒแƒ แƒ—แƒ แƒ›แƒแƒกแƒ”แƒ‘แƒ–แƒ”

            Gvantsa Liparteliani
            Impacts of Cultural Multimedia Projects On Small Groups and Broad Masses of Society

            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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