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Maka Vasadze’s “Theater language semiotics of Robert Sturua” is an innovative work, in which the theory and practice of semiotics is completely adapted by her in the area of theatrical art. “Theater language semiotics of Robert Sturua” consists of six chapters, in which the following issues are distributed: theater language semiotics, fundamentals and formation of theater language, basics of Robert Sturua’s theater language formation, Sturua-like interpretations of Georgian classical texts in 60-70s of the 20th century, “Effect of alienation”, Robert Sturua’s theater language and Georgian Shakespeariana of Robert Sturua.
Maka Vasadze supposes that act of semiotics is complex and living process, which permanently transforms and in every second fixes the world variability; against the background of these changes and diversity the interpretations offered by craftsman cannot be considered as certain message to craftsman and recipient, but we deal with a variety of sign system and everything depends on how we are ready to perceive, accept and understand these signs.
Maka Vasadze showed us how endless are the possibilities of “the theater language”, how one can completely explain a wide range of signs and allegories, which we see on the stage and the most important, the universalism and generality of “theater language” is brilliantly reflected in versatile creation of Robert Sturua.