Marjanishvili, Konstantin Alexandrovich

Kote Marjanishvili was born in the town of Kvareli (now a city in Georgia ). ^[2]

He began his stage activity in 1893 as an actor of the Kutaisi Theater . In 1894 in Tiflis he made his debut in the role of Patar Kakhi in the play " Patar Kakhi " by Akaki Tsereteli . ^[2]

Since 1897 he served in Russian theaters. In 1901, he staged his first performance on the stage of the Vyatka Theater - “ Uncle Vanya ” by A. P. Chekhov ^[3] , ^[2] .

Moscow Art Theater

In 1910-1913 he worked at the Moscow Art Theater , with whom he was brought together by the principles of a high ideological repertoire, realism in acting. In the Moscow Art Theater, Marjanishvili staged the performances “At Life in the Claws” of Hamsun ( 1911 ), “ Per Gunt ” Ibsen ( 1912 ), took part in the creation of “The Brothers Karamazov” according to Dostoevsky ( 1910 ).

Free Theater

The time after the first Russian revolution was a time for Russian culture to search for new forms of work, interesting experiments and discoveries, which official Soviet critics often touted as “formalism”.

This process did not leave aside Mardzhanov, who sought to implement the idea of ​​synthetic theater art and educate versatile actors acting in opera, operetta, drama and pantomime. Apparently, at this time the desire for greater entertainment, elation and inspiration of theatrical art took shape. In the 1910s, a form of dramatic pantomime emerged, to which Mardzhanov responded by staging the pantomime “Tears”.

In 1913, in Moscow, Mardzhanov with entrepreneur V.V. Sukhodolsky created the Free Theater , which existed for only one season, but was such a vivid phenomenon in theatrical life that it fit into the history of Russian theater. The theater was conceived as a synthetic one, covering all types of stage art.

The troupe of the theater included actors A. G. Koonen , O. A. Golubev , N. F. Monakhov , N. P. Aslanov. At that time, artists K. A. Somov , V. A. Simov , A. A. Arapov worked in the theater. On the stage of this theater, Mardzhanov staged Offenbach 's The Beautiful Elena. He also directed the production of other performances. The outstanding director Alexander Yakovlevich Tairov began his career in the Free Theater, where he staged the play “Yellow Jacket” by Heselton-Fürst (1913) and the pantomime “Pierretta's Veil” by Schnitzler (music by Donagni , 1913). Outstanding director Alexander Akimovich Sanin also worked in the theater. A significant event in cultural life was the production of the comedy opera Sorochinskaya Fair , unfinished by MP Mussorgsky on October 8, 1913 (a libretto by the composer with the participation of A. A. Golenishchev-Kutuzov , based on the novel by N. V. Gogol . Musical material in edition A K. Lyadova , V. G. Karatygin and N. A. Rimsky-Korsakov (“Night on the Bald Mountain”) are partially finished and instructed by Yu. S. Sakhnovsky .) Pieces of the Gogolev text were mounted in the play. The conductor was Sarajev, Konstantin Solomonovich , who at that time was in charge of the musical part of the Free Theater. Artist - V.A.Simov . The roles were performed by Khivrya - Makarova-Shevchenko , Parasya - Milyavskaya, Popovich - Monakhov , Cherevik - Draculi, Gritsko - Karatov . ^[2]

Financial circumstances and Mardzhanov’s conflict with entrepreneur VV Sukhodolsky led to the closure of the Free Theater, which lasted only one theater season (from October 21, 1913 to May 2 (15) May 1914 ). ^[2]

After the Free Theater closes

Mardzhanov led the theater in Rostov-on-Don (1914-1915), then the Buff Theater in Petrograd (1916-1917), and in one and the other cases he strove to realize his idea of ​​a holiday theater. ^[2]

Marjanov enthusiastically accepted the Great October Socialist Revolution . One of the first he stood in the ranks of the creators of the Soviet theater. In 1918, in Petrograd , in the Summer Theater “Passage”, he staged the operetta F. Lehar “ Count of Luxembourg ” (conductor Varlich , in which Maria Kuznetsova-Benois , Pozemkovskaya, Zbrozhek-Pashkovskaya, Radoshansky, Yaron participated). ^[2]

Kiev

In 1919, K. Mardzhanov was appointed commissar of Kiev theaters. Here he staged Lope de Vega 's play Fuente ovejuna (Sheep Spring), in which the heroism and pathos of the revolutionary era were embodied. The characters of classical plays were reinterpreted in these performances, they turned out to be close to the audience with their heroism, rebellious protest, readiness to fight in the name of great ideas. The heroic role of Laurencia was played by V. L. Yureneva . The performance was warmly received by the Red Army and workers - spectators of revolutionary Kiev. In 1922, Mardzhanishvili returned to staging this play in Tbilisi, on the stage of the Theater named after Rustaveli.

In 1919 in Kiev he directed the play “Stenka Razin” by the poet and playwright V.V. Kamensky . ^[2]

During his stay in Kiev, K. A. Mardzhanov taught at the Jewish theater studio, established in 1919 under the Kiev Cultural League. In it, in particular, studied with Mardzhanov Naum Borisovich Loyter , director, Honored Artist of the Belarusian SSR. ^[2]

In 1919, Mardzhanov, together with Yu. Ozarovsky and F.N. Kurikhin, organized in Kiev the pop theater “Curved Jimmy”. ^[2]

Petrograd

New monumental forms of popular mass festivities arose after the October Revolution . In July 1920, in Petrograd, under his leadership, with the participation of directors N. V. Petrov , S. E. Radlov , A. I. Piotrovsky and artist N. I. Altman , a large-scale, spectacular production of “To the World Commune” was carried out. The staging, put on the stock exchange portal , was attended by 4 thousand workers and Red Army soldiers, and the number of spectators reached 45 thousand. ^[2]

The State Theater of Comic Opera under the direction of K. A. Mardzhanov was created in June 1920 in Petrograd. The performances were held in the buildings of the summer theater "Buff" on the Fontanka and the "Palace Theater". The theater was conceived as a musical experimental one and began to stage not only comic operas, but also operettas and dramatic performances. At the opening on June 5, 1920 in Petrograd, G. Donizetti 's opera Don Pasquale was staged. ^[2]

Drama actors E.P. Korchagina-Alexandrovskaya , B.A. Gorin-Goryainov took part in the tetra troupe; artists of the opera A. B. Ter-Danielyants, M. I. Osolodkin; ballet dancers - E. V. Lopukhova , A. A. Orlov ; operettas - N. I. Tamara , M. A. Rostovtsev , G. M. Yaron , A. N. Feona; operetta and pop artists A. A. Orlov , I. S. Gurko . ^[2]

The director, in addition to K. A. Mardzhanov, was G. K. Kryzhitsky ; conductors G. Varlikh , V. S. Maratov; artist N. A. Ushin , A. A. Radakov . The satirical cabaret “Lame Joe” and the drama studio “Worker Theater” functioned at the theater. In 1921 the theater was closed. ^[2]

In Georgia

In 1922, Mardzhanishvili returned to Georgia and joined in the active work to create the Georgian Soviet theater. The theater encyclopedia called him the founder and reformer of the Soviet Georgian theater. In the Georgian theater in the late XIX - early XX centuries there were complex and contradictory processes of formation. Under tsarist rule, Tiflis became not only the administrative, but also the cultural center of Transcaucasia; not only Georgian, but also Armenian and Azerbaijani national theaters developed in it. In the city there was a spectator who needed spectacles. However, theater troupes, private enterprises without material support from the state, either went bankrupt or were forced to focus on financial success. As a result, the national repertoire, both dramatic and musical, was not developed. With the formation of an independent state, the formation of a national theater became a necessity recognized by society. In 1919, national operas were staged at the Tbilisi Opera House.

With the establishment of Soviet power in Georgia, the line on the development of the national theater was continued. The other side of the official policy course was internationalism and the support of currents in world culture, recognized as advanced. It was at that moment that Mardzhanishvili appeared in Georgia. An artist of wide views, a highly professional and versatile master, he easily joined the work already underway to create a national repertoire, although before that, working in Russia, he had not participated in the formation of the Georgian theater. Particularly important was his involvement in world cultural processes. His creative credo - the art "should be as great as our present is great" - set high goals for the theater.

Immediately after the arrival, Marjanishvili put on the stage of the theater to them. Rustaveli's play Lope de Vega “Fuente Ovehuna” (1922), already tested in Kiev and Petrograd. The play played an important role in the ideological renewal of the Georgian theater. The play of Lope de Vega was interpreted by Marjanishvili as a revolutionary, heroic performance about the struggle of peasants with feudal lords. It combined heroic and festive, revealing the awakening of the people to life. The performance served as an example of how classical drama can serve the solution of the tasks of the revolutionary era.

This performance was followed by the main performances from the organic national repertoire Eclipse of the Sun in Georgia by Zurab Antonov (1923), which recreated vivid realistic pictures of the life of old Tiflis and the revealingly sharp “Section” of G. Eristavi (1923). The following year, 1924, Mardzhanishvili turns to the masterpieces of world drama, putting on the comedies of Moliere's “ The Tradesman in the Nobility ” and Shakespeare's “ Windsor Gummies ”, and after that, “ Hamlet ”. He carried out many productions together with A. Akhmeteli .

Evidence of the relentless search for new means of theatrical expression can serve as the setting of the pantomime "Mzetamze" (1926). Among the unrealized plans of these years is the intention to put V. Mayakovsky in the open air on the Mystery-Buff mountain plateau.

At that time, many significant masters with different views on art gathered under the same roof at the Rustaveli Theater. In an effort to cut the knot of accumulated contradictions, in 1928 Marjanishvili left the theater and created a new theater in the city of Kutaisi , when it was created, it was called the 2nd State Theater of Georgia . Already in 1930, the theater was transferred to Tbilisi. In 1933, after the death of Mardzhanishvili, the theater received his name.

Kote Mardzhanishvili suddenly died on April 17, 1933 in Moscow, where he was invited to stage performances of Don Carlos by Schiller at the Maly Theater and Offenbach's Bat at the Moscow Operetta Theater. He was buried in Tbilisi in a park near the Opera House . In 1964, he was reburied in the pantheon of Mtatsminda . ^[2]

• Parents - Alexander and Elizabeth Marjanishvili.
• The sister - the schema of humiliation Tamar (in the world Tamara Marjanishvili, 1869-1936), canonized.
• Wife - Nadezhda Dmitrievna , granddaughter of the famous actor V. I. Zhivokini , daughter - D. V. Zhivokini ^[4] .
  • Son - Marjanishvili, Konstantin Konstantinovich (1903-1981) - mathematician, academician of the USSR Academy of Sciences.

Theater Roles

• " Patara Kakhi " Akakiy Tsereteli - Patara Kakhi (translated as "Little Kakhi")

Theater Performances

In Kiev

• 1919 - The Fuente Ovejuna Lope de Vega
• 1919 - “Stenka Razin” by V.V. Kamensky .

Performances by the Comic Opera Theater in Petrograd

• 1920 - Don Pasquale by Donizetti
• 1920 - “Secret Marriage” comic opera by D. Cimarosa (libretto by J. Bertati according to the comedy of D. Garrick and J. Colmen Sr.),
• 1920 - “Abduction from the Seraglio” opera (singspiel) by V.A. Mozart (artist - Radakov; Constanta - Ter-Danielyants, Chief overseer of the harem - Rostovtsev)
• 1920 - “All Do It” by V.A. Mozart’s opera,
• 1920 - The Bronze Horse by D. Ober
• 1921 - The Game of Interests by Benavente
• 1921 - "Geisha" by S. Jones ,
• 1921 - “ Songbirds ” (“Perikola” by J. Offenbach ,
• 1921 - "The Tradesman in the Nobility," a play by J. B. Moliere .

At the Tbilisi Theater S. Rustaveli

• November 25, 1922 - “Fuente Ovehuna (Sheep Spring)” Lope de Vega (starring: Laurencia - T. I. Chavchavadze , Mengo - A. A. Vasadze , Commander - D. I. Chkheidze , Frondozo - G. M. Davitashvili ; music - T.N. Vakhvakhishvili ),
• January 2, 1923 - "Eclipse of the Sun in Georgia" is a comedy of one of the first Georgian playwrights of the new time Z. Antonov , in which vivid realistic pictures of the life of old Tiflis were recreated. Written in 1852, the play as a result firmly entered the repertoire of Georgian theaters (artist Sidamon Eristavi; Cast: Minasov - Abashidze, Geurk - N. Gotsiridze, Nene - Cherkezishvili, Ripsime - Javakhishvili, Chishmakov - Vasadze, Ivane - Zurabish official "- A. I. Yuzhin),
• 1923 - accusatory-sharp play "Section" of the founder of Georgian realistic drama G. Eristavi ,
• 1923 - "Game of Interests" by Spanish author Benavente ,
• 1923 - The Blue Spider by Belgian author C. Lemonier
• 1923 - "Muscott" by Chicot, Dure
• 1923 - “Roman” play by American author E. Sheldon ,
• 1923 - “Hero” of Singh (together with C. Akhmeteli ; starring: Mike Pegin - T.I. Chavchavadze , Christy Megon - G.M. Davitashvili ),
• 1923 - "The Man-Mass" of a German playwright close to the expressionism of E. Toller (together with M. Coreli ),
• 1924 - " Tradesman in the nobility " J.-B. Moliere (with Corelli),
• 1924 - “Hero Hereti” (“Memorial Service for a Whip”) by S. Shanshiashvili ’s play about a peasant uprising in Georgia (together with Akhmeteli),
• 1924 - “Light” by Gedevanishvili, (together with Akhmeteli, artist I. Gamrekeli ),
• 1924 - " Shakespeare's Windsor Gummies " (together with Akhmeteli;; starring: Miss Page - T. I. Chavchavadze ),
• 1925 - " Hamlet " by W. Shakespeare (together with Akhmeteli, artist I. Gamrekeli ; Hamlet - U. Chkheidze , G. M. Davitashvili , Ophelia - V. Anjaparidze , Claudius - A. A. Vasadze ),
• 1925 - The Deserter of Asiani (together with Ahmeteli),
• 1926 - “Lamara” by Vazha Pshavela (together with Akhmeteli, artist Lado Gudiashvili ; starring: Mindia - G. M. Davitashvili ),
• 1926 - pantomime "Mzetamze" (together with Akhmeteli, artist Lado Gudiashvili ).

Note. Most of the performances of 1920-1924 were made by the artist Sidamon Eristavi .

Performances at the Tbilisi Opera Studio

• “Secret Marriage” comic opera by D. Cimarosa ( libretto by J. Bertati based on the comedy by D. Garrick and J. Colmen Sr.),
• "Clowns" opera R. Leoncavallo .

At the Georgian Opera and Ballet Theater

• 1923 - “The Legend of Shota Rustaveli ” by D. I. Arakishvili ;
• December 19, 1923 - “Daisi” premiere of the opera 3. P. Paliashvili (libretto by V. Gunia according to his play; conductor - composer, starring: Malkhaz - Sarajishvili, Maro - Popova, Kiazo - Krzhanovsky, Tsangala - Isetskiy, Tito - Tumanishvili );
• 1924 - “Abesalom and Eteri” opera 3. P. Paliashvili on the plot of the folk legend “Eteriani”;
• 1924 - “Lohengrin” by R. Wagner ;
• 1924 - The Golden Cockerel by N. A. Rimsky-Korsakov ;
• 1927 - Dinara (Life is Joy) by D. I. Arakishvili ;
• 1927 - "Bocaccio" operetta of the Austrian composer F. Zuppe ;
• 1931 - “William Tell” by Rossini's opera (artists Nino Davidovna Tsereteli and S. Virsaladze ).

2nd State Theater of Georgia

• 1928 - “Hop-la, we live!” By a German playwright close to Expressionism by E. Toller (director Antadze , artist Kakabadze);
• 1928 - The Holy Virgin by B. Shaw (director V. Abashidze, artist Charlemagne);
• 1928 - “The Sheep Spring” by Lope de Vega (director Antadze, artist Sidamon-Eristavi);
• 1928 - “Into the Heart”, premiere of the comedy of the Georgian playwright S. N. Dadiani (director Gogoberidze, artist P. G. Otskheli ; in the role of Kvezhenadze - U. Chkheidze );
• 1929 - “Rails Buzz” by V. M. Kirshon, the first Soviet play dedicated to the heroes of the working class, the builders of the first five-year plans (director Suliashvili, artist Akhvlediani);
• 1929 - Uriel Acosta, a tragedy by German author Karl Ferdinand Gutzkow, dedicated to the life of the Dutch philosopher, Spinoza's predecessor, against the suppression of freedom of thought and religious obscurantism. The tragedy played a prominent role in the history of Georgian theater (director Suliashvili, artist P. G. Otskheli ; Uriel - U. Chkheidze , Kobakhidze, Judith - V. Anjaparidze , de Santos - Imedashvili , Sarauli, V. Godziashvili, de Silva-Gambashidze, Ben -Akiba - A. M. Zhorzholiani ; music - T. N. Vakhvakhishvili );
• 1929 - “How It Was” the premiere of the first play by K. R. Kaladze on the 1905 revolution (director Antadze, artist Akhvlediani);
• 1929 - “Kvarkvare Tutaberi” comedy by P. M. Kakabadze , in which the image of a political adventurer is created, who accidentally finds himself in the role of the “leader” of the masses. This production brought fame to the author. (director G. Suliashvili, artist D. N. Kakabadze ; in the role of Kvarkvare - U. Chkheidze , in the role of Gultamze - T. I. Chavchavadze );
• 1929 - “Bail”, the comedy of Chianeli (director D. Antadze , artist D. N. Kakabadze, in the role of Bail - T. I. Chavchavadze );
• 1929 - The Whites by D. Shengelaya (director G. Suliashvili, artist Akhvlediani);
• 1929 - “Midnight Passed” by A. Kutateli, (artist D. N. Kakabadze);
• 1930 - “Yes, however,” Bukhnikashvili (director G. Suliashvili, artist Otskheli);
• 1930 - “Beatrice Chenchi” by Shelley (director Abashidze, artist P. G. Otskheli , in the role of Beatrice Chenchi - T. I. Chavchavadze );
• 1930 - “Khatija” play by K. R. Kaladze on the emancipation of women (director Abashidze, artist P. G. Otskheli ; in the role of Khatija - Chavchavadze);
• 1930 - “Handzari” by T. Vakhvakhishvili (choreographer Machavariani, artists E. Akhvlediani and P. G. Otskheli );
• 1930 - “The Commune in the Steppe”, a play by the Ukrainian author N. Kulish , written in 1925 and telling about the modern life of the village (director Gogoberidze, artist Abakelia; starring: Matryona - T. I. Chavchavadze );
• 1931 - “The Tale of Arsen”, a folk tale (director Suliashvili, artist Lado Gudiashvili );
• 1931 - “Three Fat Men” staged by Yu. Olesha of his tale (director Abashidze, artist Akhvlediani);
• 1931 - "Poem on an Ax", a play by N. Pogodin about the labor enthusiasm of a collective of workers (director Gogoberidze and Suliashvili, artist P. G. Otskheli , starring: Anka - S. Takayshvili, Stepan - V. Godziashvili);
• 1931 - “Bread”, a play by V. Kirshon about the class struggle and the socialist transformation of the village (director Abashidze, artist Otskheli);
• 1931 - “Shine on the Stars” (other names “Shots”, “Shine on Us, Stars”) Mikitenko ’s play about students, education of a new generation of Soviet intelligentsia (director Chelidze, artist Akhvlediani);
• 1931 - "The Old Enthusiast" Yashvili (director Chelidze, artist Akhvlediani);
• 1931 - “House on the banks of the Kura River”, a play by K. Kaladze from the contemporary staging of the life of the Georgian intelligentsia (director Antadze, artist Akhvlediani);
• 1932 - “Fear”, a play by A. Afinogenov about the processes taking place in the modern play of the era among the old intelligentsia (director Chelidze, artist E. Akhvlediani ), (professor Borodin - Gambashidze, professor Zakharov - A. M. Zhorzholiani );
• 1932 - "Othello" by W. Shakespeare (Mardzhanishvili, director N. Godziashvili, artist Akhvlediani, Desdemona - V. Anjaparidze );
• 1933 - “Eclipse of the Sun in Georgia” is a comedy of the Georgian playwright Z. Antonov , (directed by Antadze, artist Akhvlediani).

Recent Moscow Performances

In the last years of his life, while working in Georgia, Mardzhanishvili worked in some Moscow theaters, staging performances:

• 1931 - in the former Korsch Theater - “ Builder Solnes ” by Ibsen (artist - P. Otskheli ; starring: Solnes - N. Sosnin ; Brovik - B. Petker ; Gilda - V. Popova );
• 1933 - at the Maly Theater - “ Don Carlos, the Infant of Spain ” by F. Schiller (artist Arapov ; Philip - Lenin , P. Sadovsky , Elizabeth - Belevtseva , Don Carlos - Lepshtein , Eboli - Gogolev , Pose - Aksenov , Olkhovsky );
• 1933 - at the Moscow Operetta Theater - Strauss's “ Bat ”.

Tbilisi Russian Drama Theater

• 1932 - “ At the bottom ” by M. Gorky ^[5]

Movie Director

• 1916 - omnipotent love ^[6] ;
• 1924 - Petrels ;
• 1927 - Law and duty ;
• 1927 - Gogi Ratiani ;
• 1927 - Stepmother Samanishvili (together with Zakaria Berishvili );
• 1928 - Gadfly ;
• 1929 - The pipe of the communard .

Screenwriter

• 1924 - Petrels ;
• 1927 - Law and duty ;
• 1928 — Овод (совместно с Виктором Шкловским );
• 1929 — Трубка коммунара .

• Народный артист Грузинской ССР (1931).
• Именем Марджанишвили в 1933 году был назван 2-й Государственный драматический театр (ныне Тбилисский академический театр имени К. Марджанишвили ). ^[7]
• Именем Марджанишвили названы площадь в Тбилиси, улица в Тбилиси, станция метро в Тбилиси ( «Марджанишвили» груз. მარჯანიშვილი ).

Гугушвили Э. Н. Котэ Марджанишвили . М.: Искусство, 1979. 399 с. («Жизнь в искусстве»).

• Марджанишвили Константин Александрович — статья из Большой советской энциклопедии .