The most precise criterion for the assessment of D. Andghuladze’s performance “Totally other opera” proceeds from  the “Radical” theatre precedent, different from the usual means of expressiveness. The stage version of the performance was created by Davit Andghuladze and Tamuna Japaridze on the motifs of the play by Brecht “The Three Penny Opera”. Their previous joint work was the performance “38^th”.  Therefore,  their next tandem was  an object of interest  for theatregoers from the very beginning. The result resembled Dali Mumladze’s letter “Modern theatrical theories”, where the author considers Patris Pavi’s assumption, according to which there are two types of the modern theatrical vanguard. The first – is a theatre, where a content is presented in the space, the second – is a “radical” theatre, where time, rhythm and voice are the main factors. In other words, theatrical language, which used to be oriented on the text and proceeding from its action-content, has got different objectives in its radical manifestation. In this case, the theatrical language may be implied in Ieremia Pitchem’s   “Tramp’s Friend”, who tries to invoke sympathy in more and more hardening hearts of the society  members by finding uncommon means of expressiveness. And if the characters in the performance present enthusiastically most advantageous faces of  tramps, who will at least make the viewers sick, if not sympathetic, the director together with the actors even with more enthusiasm presents the language, which minimally falsifies “tender” interrelations between advantageous faces and sick viewers.

We think, this performance has outlined a future esthetics of Davit Andghuladze’s “Iron Theatre”. We may say, that he will  offer to Georgian spectator the  performances differing  by their form and content from the traditional ones.