We have already seen everything that was possible to see in the conditions of Ivanishvili's corrupt, aggressive and vulgar "culture" - Lasha Bughadze

Writer Lasha Bughadze writes on social networks:

“Even the deconstruction and desacralization of a great literary text is not only permissible, but sometimes even necessary, in order to return to the text what it might lose by turning it into a "monument", a dead cult quoted as aphorisms, a "totem" - that is, life. I have seen such a "Faust" where a bucket was placed on the head of the bust of poor Goethe throughout the entire second part, and in Wagner's Bayreuth "Meistersinger" the choir singers had masks of Wagner and Liszt and spent half the opera trying to beat each other with the most unnatural rubber phalluses. You should have heard the aggressive boos and the ovations of the delighted. It was also interesting that the director of this production was Wagner's great-granddaughter, Katharina, with a protruding chin like her great-grandfather and a penchant for the outrageous like her second great-grandfather, Franz Liszt, but despite the somewhat unbearable nature of this production (especially for music lovers), the spectacle was undoubtedly crazy, eccentric and interesting. In Epidaurus, too, in Marmarinos' "Lysistrata", fifty completely naked women of different ages, sizes, weights and temperaments stood on the stage, while in Marthaler-Lessing's "Penthyseleia", the mother of Achilles wore only stockings on her feet - it was said that only mortals have heels. How many more could be listed... Where erudition, talent, and ambition for development meet, there I would like to mention "sacredness", which is obviously outdated and harmful, but where there is degradation and, sorry, aesthetic-political sloppiness (in this case, this word has a fatal and value-based meaning), what should I expect here that is new or interesting?! In this case, I will not be able to blame anyone who says: I have not seen it, but I condemn it, because we have already seen everything that was possible to see in the conditions of Ivanishvili's corrupt, aggressive, and vulgar "culture".

As a brilliant example of the deconstruction of "The Rider in the Panther's Skin", I cite Aka Morchiladze's postmodernist masterpiece, "The Book", which tells us about the strange conflict between the substance of artistic reality and historical truth: about the "historical" Fridon, who did not even go with those two to rescue the woman, but for Rustaveli's sake, all this story is told about him. This story was written years ago, and no matter how many times I read it, I can never read it without emotion, because even with this text I get a feeling of continuity with Rustaveli's immortal masterpiece, which, among other things, is also a story of self-sacrifice - a moral struggle turned into action, the place of which "here and now" cannot really be in anti-Rustaveli-communist Georgia”.