Sandro Akhmeteli (; real name: Aleksandre Akhmetelashvili, ალექსანდრე ახმეტელაშვილი) (April 13, 1886 – June 27, 1937) was a Georgian theater director whose innovative conceptions and skill at mass scenes profoundly influenced the evolution of Soviet and post-Soviet Georgian theater tradition. Commonly regarded as the greatest of all Georgian theater directors, he directed, from 1926 to 1935, the Rustaveli Theater in Tbilisi, Georgia, and transformed it into one of the most successful troupes in the Soviet Union. During Joseph Stalin’s Great Purge, he was arrested on trumped-up charges of espionage and executed. Early career Sandro Akhmeteli was born to the family of a priest in the mountainous village in the province of Kakheti (eastern Georgia, then part of Imperial Russia), whose landscapes and culture heavily influenced the future director’s aesthetic values. Taught at a grammar school by the writer Vasil Barnovi, Akhmeteli acquired a profound knowledge of Georgian and world literature. He was a perfect boxer at the same time. An unfortunate marriage forced him to leave for St. Petersburg where he enrolled into St. Petersburg University to study law (until 1916). However, Akhmeteli spent most of his time in writing theater criticism. In 1915, he produced his first manifesto, condemning the Georgian theater as one that had "to be destroyed, to be made softer, more temperamental, more fiery, emotional, stentorian, bold, heroic." In 1918, Georgia became independent from Russia, and the new government launched a program aimed at reviving the national theater. Akhemeteli returned to Georgia to lead the younger actors into a coup against the establishment. In 1922, the conspicuous Russia-based Georgian theater director Kote Marjanishvili also returned to Georgia, and the two men began reforming the Tbilisi Rustaveli Theater. Their collaboration was productive, yet uneasy. Restricted and somewhat conformist Marjanishvili found Akhmeteli’s autocratic rule and turbulent character too violent and left the Rustaveli Theater in 1926, leaving Akhemeteli in sole control of the company. Akhmeteli formed his own artistic corporation Duruji (after a river in his native Kakheti) and required all its members to sign a special pledge to "sacrifice their life and future to the will of the corporation and theater". Triumph and fall Akhemetli's relations with the recently established Soviet government in Georgia were difficult. Although revolutionary and leftist, his experimentalism and expressionism did not particularly conform to the Bolshevist doctrines. During the anti-Soviet uprising in 1924, he was briefly arrested and questioned about his corporation