From the history of theatre architecture of the xix c. (borjomi summer theatre, kvemo machkhaani village theatre)

Abstract

In the history of theatre and, in general, in the history of Georgian art, theatre architecture is one of the important, underexplored, and, at the same time, the subject of complex research. Among few studies, existing in Georgian scientific literature in this direction, major place is given to Tbilisi Theatres. It has its logical background. The first theatrical structures of European type appeared in Georgia exactly in Tbilisi, since the middle of the XIX c. Together with the theaters, originally designed and constructed as theatre buildings (the so-called Caravanserai Theatre of Tbilisi, 1847 – 1851, architect – G. Scudieri, Summer Theatre, 1870 / 1872 – 1876 – architect – A. Saltzman, K. Zubalashvili City People’s House, 1901 – 1909, architect – S. Krichinsky, Theatre of  the “Artistis’ Society”, 1898 – 1901, architects – A. Shimkevich, K. Tatischev, Treasury Theatre, 1880 – 1896, architect – V. Schreter) there are buildings, reconstructed as theatrical spaces (The Manege Theatre, 1845, architect – I. Ivanov, Theatre of Lang Bank of Nobility, 1878 / 1887 – 1888 – architect – P. Stern). According to architectural structure, these buildings are theatrical structures of closed type with prospective stage-box and tiered hall (this composition of theatre architecture, created in Europe remains unchanged to nowadays). Its formation proceeded during the XIX c. and completed in the beginning of the last century.

The role of Tbilisi, as the capital city, in the history of theatre architecture, is remarkable; yet, it is only one constituent part of general mosaic of extremely remarkable and interesting picture, created by theatrical structures, still preserved in provinces of Georgia, which have not been studied yet. Graphical, photo, documentary materials, preserved in archives, museum funds and depositories, reflecting still existing, as well as non-existing examples of theatrical architecture, also are the subject of research.

In the paper “From the History of Theatre Architecture of the XIX c. in Georgia”, two such examples of theatrical architecture are considered: Borjomi Summer Theatre, designed by architect Paul Stern in 1895 on the order of Mikhail (the son of Nicholas) Romanov and we know only based on archive materials (the Theatre was destroyed by the flooding of the 1922) and Kvemo Machkhaani Village Theatre (1897), which still exists and represents one of the oldest theatrical buildings in Georgia.

Borjomi Summer Theatre

Engineering design of Borjomi Summer Theatre, signed by architect Paul Stern and dated by the year 1895 is preserved in the Depository of Drawings and Measurements of Architectural Monuments of Old Georgian Art of Sh. Amiranashvili State Museum of Art of the National Museum of Georgia. The design was received by the Museum from Georgian Resort Division on October 31, 1950 (Act #30. Registered in #1 Inventory Log of Art Museum “Metekhi”). Brown case-folder for drawings with printed golden inscription: `ПРОЕКТЪ ЛЕТНЕГО ТЕАТРА В ИМЕНИИ ЕГО ИМПЕРАТОРСКОГО ВЫСОЧЕСТВА ВЕЛИКОГО КНЯЗЯ МИХАИЛА НИКОЛАЕВИЧА `БОРЖОМЪ~ (“Design of Summer Theatre in the Estate of his Imperial Majesty Great Prince Michael the son of Nicholas “Borjomi”) belongs to the same period. In the bottom right corner – `В. ФОРКАТТИ~ (V. Forkatti).

There are seven drawings and sketches in the folder, made on paper by pencil, water paints, Indian ink, pen. 1) Master Plan (`Генеральный плань~); 2) parterre plan (`Партеръ~); 3) box and gallery plan (`Ложии и галерея~); 4) longitudinal section (`Продольный разрез~); 5) main façade (`Главный фасадь~); 6 and 7 -sketches, depicting the theatre facades. Unlike others, they bear the architect’s signature and date - `Архитектор П. Штернъ  23 Авг. 1895 г.~ (`Architect P. Stern. Aug. 23 1985); decree on approval of construction with indication of location is attached to sketches 6 and 7. `На возведении по означенному плану постройки театра въ И. Боржоми в доль реки Куры, близ Олгинского моста съ соизволения Его Императорского высочества Михаила Николаевича – утверждено 28 ноября 1895 года.  Управляющий Двором Генерал-Майор Озеровъ~ (`With the permit of His Imperial Majesty Michael the son of Nicholas, I hereby approve construction of the theatre building according to the presented plan, in Borjomi estate, along Mtkvari river, near Olga bridge. November 28, 1895. Palace Manager, General-Major Ozerov”).

Thus, there are two plans of Borjomi Theatre in V. Forkatti’s album.

The first plan consists of five drawings (## 1, 2, 3, 4, 5); their sizes are similar; the second – consists of two sketches (## 6, 7). The date, in the first case, in August 1895, in the second – November 28, 1895.

The first theatre is a wooden one – with Russian-style façade, the second (stone) – with classical renaissance motives, with wooden elements.

According to the first plan, it belongs to the category of small theatres with rectangular tiered audience hall, accommodating 460 spectators, and according to the second plan includes theatrical hall of semi-circular or horseshoe-shaped form.

The first plan is signed by the architect – Paul Stern, whereas the second one is approved with permission of imperial family member, Great Prince Michael the son of Nicholas.

The location, allocated for construction of the first theatre is not seen in the plan, whereas the second shall be built “in Borjomi Estate, along Mtkvari River, near Olga Bridge”.

Borjomi Theatre has never been the subject of research so far, and Stern’s plan of Borjomi Summer Theatre is published for the first time too.

Photo and documentary materials, depicting Borjomi of the XIX c., preserved in archives and museums, give quite detailed idea about history, built-up, architecture, life in Borjomi. And the information about the theatre is so scarce that even a photo, depicting the theatre building could not be found so far; thus, the significance of Borjomi Summer Theatre, preserved in Sh. Amiranashvili Museum of Art of the National Museum of Georgia is immense.

Alongside with the engineering design, the plans of Mineral Water Park, where the theatre building is mapped, preserved in Borjomi Museum of Local History are also reviewed in the article. On the basis of correlation of these materials, location of Borjomi Summer Theatre can be identified and its architectural appearance can be reconstructed.

In parallel with graphical materials, the identified archive and documentary materials, related to Borjomi Theatre, is presented and analyzed based on chronological principle; among them there are Borjomi guides, periodicals, official documentation, memories of contemporaries of the end of the XIX c. and beginning of the XX c.

The Summer Theatre in Borjomi, based on Stern’s plan, was built near the entrance to Borjomi Mineral Water Park in 1897. The wooden theatre building was destroyed by the flooding of the 1922, and the theatre was not reconstructed in the park.

The Summer Theatre, build according to Stern’s plan in Mineral Water Park is, actually, the only theatrical building in Borjomi; its short, but interesting - still subject to research – history counts only the quarter of the century. Borjomi Theatre appears on the map of theatrical buildings, and, consequently, in the history of theatrical architecture of Georgia, for the first time.

Kvemo Machkhaani Village Theatre

The two-storied, closed-type theatrical building with prospective stage-box and rectangular tiered hall with 250 places, heaters, scenic structures of implements of that time, built in 1897 - 1899 in Kakheti, Kvemo Machkhaani Village, on the initiative of and funded by local community, is preserved in almost unchanged, original form. The theatrical structure has the status of the immovable monument of cultural heritage.

In 2018, the National Agency for Cultural Heritage Preservation of Georgia prepared the project of reconstruction- rehabilitation of Kvemo Machkhaani Village Theatre (NNLP “Engineering Idea”). The next stage is implementation of restoration works and returning of its function to the Theatre. The present art history study is the constituent part of reconstruction- rehabilitation project of Kvemo Machkhaani Village Theatre.

The notes about staging performances in Kvemo Machkhaani village appear since 1887 (newspaper “Iveria”, 1887, # 143). By that time, due to absence of theatre, performances were arranged in the school building, for charity purposes and the collected funds were sent to support the “Society for Spreading of Literacy”. Such performances were also attended by the spectators from nearby villages. The performances were also staged for establishment of library. In parallel, the issue of construction of theatrical building becomes increasingly actual, the whole village unifies around this idea. Its location, specificity is identified – the theatre shall be built in the village center, next to the church, it shall be wooden. The library (book depository) will also move to the treater building and performances, lectures, concerts will be held every Sunday.  

Nikoloz (Kola) Eristavi (1965 – 1933), the last heir of Ksani Eristavi’s clan and famous declaimer, made special contribution to the construction of Kvemo Machkhaani Theatre. The same applies to the writer and publicist Dimitri Nadiradze, same Dimitri Machkhaneli (1963 – 1903), who was one of the leaders and initiators of this arrangement.

The printed media of that time shows great interest towards the performances, staged by stage-lovers in Kvemo Machkhaani Village. Construction of theatre is also in the scope of attention. In 1892, the fund of theatrical hall is already established. Performances for charity purposes continue to be staged for “Theatrical Fund” in the years that followed.

Performance is announced in the newly constructed building of Kvemo Machkhaani on May 17, 1897. Newspaper “Iveria” of May 14, 1897 (# 92) informs us: “Kvemo Machkhaani Village: Performance will be staged on 17, this month, in the newly built-equipped theatre. Mr. D. Atskureli is invited from Telavi.”

The Theatre does not have permanent theatre company. Performances are held with participation of stage-lovers and invited (Telavi, Tbilisi) actors, and resonate widely. Performances are attended by a lot of people and the Theatre is always full of spectators.

***

The theatre, built in 90-ies of the XIX c., stands in the village center. Presently, it is an altered architectural structure, Village school is integrated with the theatre building; it is attached to the rare of the theatre, in the east side (assumedly, not long after the theatre was built); besides, the school occupies the north (around the spectator’s hall) and west spaces of the theatre. Due to different stylistic solution, the exterior of the theatre has eclectic nature. The main, west façade offers classical solution, and the eastern (the school, attached later) – typical solution of traditional dwelling (brick and wood) with balcony.

The Theatre of Kvemo Machkhaani Village is a monumental, two-storied building with the plan, prolonged from the west to the east, the rectangular plan of which includes one-tiered hall of spectators, stage box, north and west spaces on the second floor and galleries. The interior includes foyer with rooms, located on both sides, theatrical hall, stage with backstage (only in one side, in the north) and orchestra pit. On the level of the second floor, there is prolonged oval tier, with chairs around it. The interior of the theatre is equipped with heaters, built in the walls, which, in addition to the spectators’ hall, open to adjacent spaces and heat the whole building. Modernist-style wooden chairs, existing in the interior, are of the same time as the building itself. They survived in almost undamaged state. The balcony chairs are altered and increased in number.

The ceiling of the auditorium is altered. Assumedly the present appearance was given to it in 1990-ies (wooden cover is covered with brown stamped plastic panels). Smooth and simple concaved cornice finished the walls of the spectators’ hall and moves to ceiling, which was painted initially.

The length of the theatre stage is almost half of the spectators’ hall. Old wooden structures with metal grips, which are still usable, intended for change of decorations, are preserved in the stage box.

The information on existence of rotating stage in Kvemo Machkhaani Village Theatre is only oral (as well as the information about moving it later to Tbilisi, Marjanishvili Theatre). The Leader of Kvemo Machkhaani Club in 1960-ies, Gogi Mosulishvili, confirms the existence of rotating stage in the Theatre. Presently, the floor of the stage is changed, and the structures under it are of later period. There are no traces of it presently. It was an important technological innovation for that time; besides, it allowed fast change of decorations without breaks and reduction of entractes.

Rotating stage was invented by theatrical mechanical engineer Carl Lautenschlager and was first used in 1896 in Residenz Theatre in Munich. In Russia, rotating stage, in addition to Maly Theatre, was is Artistic Theatre. As soon as in two years is was arranges in Tbilisi, “Artistic Society”, i.e. Rustaveli Theatre (1898 – 1901). If Kvemo Machkhaani Village Theatre, built in the same period, also had rotating stage (of much smaller dimensions) (otherwise it is difficult to explain the information about existence of such stage, preserved in the memory), it stands by the side of one of the best theatres of the capital city and, in the wider, context, it is among very few theatres throughout Europe, where newest technologies are used.

Presently, two curtains, painted in the XX c., decorate Kvemo Machkhaani Village Theatre; one – with the image of Lenin, standing in ZAHES, which covers the stage arc and the other – with painted image of forest (in the depth of the stage). They are not on the same period as the theatre building.

In regard to the Theatre curtain, we can obtain interesting information in the newspaper “Iveria” of the 1899 (# 154). It retells about photographer Vasil Roinashvili, who visited Kvemo Machkhaani Village in 1899 to take photos of monuments and not only promised the locals to paint the Theatre curtain, but almost started working on it. It is stressed in the article, that V. Roinashvili “paints beautiful curtain for Machkhaani People’s Theatre free of charge...”.

We come across the detailed description of Kvemo Machkhaani Theatre curtain in 1908 (newspaper “Amirani”, # 18): “In Kvemo Machkhaani Village, the local stage-lovers performed D. Eristavi’s play “Fatherland”... Imagine my surprise, when I entered the hall: first, my attention was caught by the curtain of the Theatre. Georgian woman, with a torch in her hand, illuminating the surroundings, is painted on the curtain. Caucasian mountains can be seen far away. Beneath the mountains, there is big forest and Alazani – next to the forest; and in the front, Queen Tamar’s castle is erected.” Whether this curtain was painted by V. Roinashvili or not – we can only make assumptions, as the curtain has not survived to nowadays.

Famous artists – V. Abashidze, Nato Gabunia, etc. performed on Kvemo Machkhaani stage; and in 1920, directorial debut (A. Sumbatashvili’s “The Betrayal”) of the famous stage director of the XX c., one of the founders of modern Georgian theatre, S. Akhmeteli – still the student of Petersburg Faculty of Law by that time – took place in Kvemo Machkhaani Theatre.

The significance of this one of the oldest theatrical buildings, built in Kvemo Machkhaani Village in 1897 – 1899, preserved in its original form, goes beyond the history of only one village or region and occupies remarkable place in the context of cultural life of Georgia of the XIX c.

Thus, in the same period, in two different regions of Georgia – Borjomi and Kvemo Machkhaani Village, located near Signagi, theatrical structures of different type and dimensions were being designed and constructed at the end of the XIX c. Their clients are different too. In one case – Russian Emperor’s family, in the other – village community; one more interesting layer, important for understanding of the peculiarities of Georgian history and culture of the XIX c.