The Language of Modern Art in Recent Georgian Dramaturgy

Abstract

The present paper investigates the phenomenon of language in recent Georgian dramaturgy, where it has moved beyond the function of a simple instrument of communication and become the main source of conflict. The research employs the theoretical postulates of 20th-century analytical philosophy (L. Wittgenstein, R. Carnap), according to which language not only describes reality but also creates it. Based on the analysis of plays by five authors: Lasha Bugadze, Dato Turashvili, Irakli Samsonadze, Lasha Tabukashvili, and Tamar Bartaia - the paper demonstrates how "linguistic frameworks" determine the fate of the characters. In the works of Lasha Bugadze and Dato Turashvili, language deconstructs political absurdity, where the word serves as a weapon of power or a form of resistance.

For Irakli Samsonadze, it is a means of masking the nightmare of daily life, while for Lasha Tabukashvili and Tamar Bartaia, it acts as an intimate shelter and the only thread connecting to the past.The article argues that the drama of the modern hero lies not in the failure to achieve a goal, but in the abyss that has emerged between the word and the content. Characters speak not to communicate, but to conceal their own existential crisis. Ultimately, the paper presents language as an ontological boundary beyond which the character loses themselves.