Traditional popular performances – farces ("Qeenoba" "Berikaoba") take their start from the depths of religious/cult shows and pagan mysteries. Later, Qeenoba became a national performance, a Georgian festival, reflecting people’s struggle against their conquerors, as for "Berikaoba", over the many years of existance it has developed into the mask improvization theatre.

In spite of ritual dress up scenes and symbolic properties in "Qeenoba" and "Berikaoba", important scenographic elements such as costume, mask, make up in the course of time loose their semantic meaning and acquired playing function.

The main personage of farce has developed from an object of worship to a character personi-fied by the actors technique and improvisation. Gradually the playing function has gained prevailing significance.