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In the Museum of Shota Rustaveli Theatre and Film Georgia State University, which exists since 1970 in different forms (“International Friendship Room”, “Theatre Room”), unique photo, painted and printed collections, related to the history of the University, and, in general, theatre and fi lm, are preserved.
Among them, there are repertoires, playbills, programs, photos, etc. of performances, staged from 1939 to date, personal archives of famous figures of art, scientific studies.
Out of the materials, preserved in the Museum, the collection of sketches is remarkable, which hasn’t been studied up to present and is unknown to specialists as well as general public.
Shota Rustaveli Theatre and Film Georgia State University, initially the Institute of “Dramatic Art”, was established in 1923 on the basis of Drama Studio, founded by Akaki Pagava. Akaki Pagava was the fi rst rector of Theatre Institute as well. In 1926, Theatre Institute ceased existence and, on September 1, 1939, on the initiative of Akaki Khorava and Akaki Pagava, on the basis of the governmental decree, was restored again. Just since that period, till 90-ies of the past century, the sketched of the performances, staged in the Institute are collected in the Museum.
The collection of the sketched of the Museum of Theatre and Film of the University is directly related to the educational process of Theatre Institute and represents the sketches, reflecting stage settings of the course and diploma performances of the Dramatic Faculty, as well as the sketches of scenery
and costumes of performances, staged in diff erent theatres (Griboedov Theatre, Youth Theatre, Batumi Theatre, etc.).
The chronology of the samples, preserved in collection of sketches starts in 40-ies of the past century and unifies about three hundred sketches. They were made by the artists, having outstanding style in scenic painting of the XX c.: Irina Schtenberg, Dimitri Tavadze, Guram Tseradze, Boris Loktin,
Parnaoz Lapiashvili, Alexandre Tevzadze, Aji Mamedov, Aivengo Chelidze, Tinatin Heine, etc. These performances were staged by Akaki Khorava, Akaki Pagava, Akaki Vasadze, Dimitri Aleksidze, Lili Ioseliani, Mikheil Tumanishvili, Giga Lortkipanidze, and other famous actors and stage directors. Some sketches show their facsimiles and inscriptions,
refl ecting the working process (“approved”, “shall be changed”, “acceptable”, etc.).
Study of the above- mentioned collection of sketches, in our opinion, will enhance our knowledge not only about Georgian scenic painting and creative work of individual actors, but, in general, about artistic education and, in particular, almost one century history of the University of Theatre and Film.