Festivali i Dram\u00ebs Shqipe, \u201cTalia e Flak\u00ebs\u201d ka vazhduar sipas programit t\u00eb parapar\u00eb, duke prezantuar n\u00eb nat\u00ebn e tret\u00eb shfaqjen \u201c13\u201d, prodhim i teatrit \u201cAdriana\u201d nga Ferizaji. <\/p>\n
Q\u00eb n\u00eb hapje t\u00eb perdes binte n\u00eb sy t\u00eb publikut vigjilent\u00eb skena \u201cndryshe\u201d nga \u00e7’\u00ebsht\u00eb pa n\u00eb t\u00eb kaluar\u00ebn, pasi sip\u00ebrfaqja e saj kishte form\u00eb t\u00eb pjerrt\u00eb, e jo t\u00eb rrafsht\u00eb si zakonisht, nd\u00ebrsa shfaqja \u201c13\u201de autorit Sulejman Rushiti, nisi me simbolik\u00ebn e syrit q\u00eb hapet e mbyllet, prej nga, fillimisht si nj\u00eb siluet\u00eb e m\u00eb pas si nj\u00eb engjull paraqitet nj\u00ebra nga protagonistet, Dora Xhemaili, e cila m\u00ebton t\u00eb pushtoj qiellin e pafund, duke hapur e mbyllur krah\u00ebt.
\nPik\u00ebrisht skena \u00ebsht\u00eb gjetja autentike q\u00eb e ve\u00e7on shfaqjen \u201c13\u201d, me t\u00ebr\u00ebsin\u00eb e struktur\u00ebs, pasi aty do t\u00eb jet\u00eb \u201carena\u201d ku aktor\u00ebt do t\u00eb bartin mbi supet e tyre \u201cpesh\u00ebn\u201d e r\u00ebnd\u00eb t\u00eb saj (sken\u00ebs). <\/p>\n
N\u00eb fakt loja e aktor\u00ebve e sistemuar n\u00eb rrjedh\u00ebn e shfaqjes, vjen tejet natyrsh\u00ebm, p\u00ebr t\u00eb d\u00ebshmuar k\u00ebsisoji qart\u00eb se shfaqja \u00ebsht\u00eb punuar nj\u00eb periudh\u00eb t\u00eb gjat\u00eb e me p\u00ebrkushtim dhe \u00ebsht\u00eb realizuar me mund t\u00eb madh e kujdes t\u00eb theksuar, pasi her\u00eb-her\u00eb krijohet p\u00ebrshtypjen e till\u00eb e harmonis\u00eb skenike q\u00eb m\u00eb shum\u00eb sh\u00ebmb\u00ebllen me prezantim skenik t\u00eb nj\u00eb teatri t\u00eb baletit, ku veprimet jan\u00eb t\u00eb sinkronizuara e harmonizuara me kujdesin e sakt\u00ebsis\u00eb absolute t\u00eb hap\u00ebsir\u00ebs dhe koh\u00ebs! <\/p>\n
Autori Rushiti, i cili nj\u00ebherit \u00ebsht\u00eb edhe regjisor i shfaqjes, p\u00ebrve\u00e7 q\u00eb ka mbar\u00ebshtruar dram\u00ebn me pjes\u00eb t\u00eb shk\u00ebputura nga veprat e autor\u00ebve tan\u00eb t\u00eb shquar, Kadare, Fishta, e mbase edhe Kristo Floqi, etj, ai ka arritur t\u2019i p\u00ebrshtas\u00eb t\u00eb t\u00ebra, si\u00e7 do t\u00eb shkruante Aristoteli n\u00eb \u201cPoetika\u201d – n\u00eb nj\u00eb t\u00eb vetme. <\/p>\n
K\u00ebsisoji ai i ka q\u00ebndruar besnik me kujdes e delikates\u00eb t\u00ebr\u00ebsis\u00eb s\u00eb tekstit, p\u00ebr \u00e7’gj\u00eb ka v\u00ebn\u00eb n\u00eb veprim edhe intuit\u00ebn krijuese me situata t\u00eb k\u00ebndshme autoriale, t\u00eb cilat i ka adaptuar e harmonizon n\u00eb t\u00ebr\u00ebsin\u00eb strukturore me sensin e nj\u00eb krijuesi t\u00eb mpreht\u00eb, e me nj\u00eb \u201cpen\u00eb t\u00eb st\u00ebrholluar\u201d krijuese! <\/p>\n
Rushiti poashtu ka zgjedhur figura e elemente stilistike skenike, nd\u00ebrsa nuk ka denjuar t\u00eb kujdeset n\u00eb po at\u00eb nivel dhe me po at\u00eb mas\u00eb p\u00ebrkushtimi edhe kur b\u00ebhet fjal\u00eb p\u00ebr pjes\u00ebn muzikore, nd\u00ebrsa skena e shfaqjes \u00ebsht\u00eb aq funksionale sa ndonj\u00ebher\u00eb krijohet p\u00ebrshtypja se edhe po t\u00eb ishin m\u00eb shum\u00eb se 13 aktor\u00eb n\u00eb sken\u00eb, aq sa num\u00ebronte shfaqja, ajo, (skena), nuk do t\u00eb dukej asnj\u00ebher\u00eb e pamjaftueshme si hap\u00ebsir\u00eb skenike. <\/p>\n
Autori poashtu ka zgjedhur her\u00eb \u2013 her\u00eb t\u00eb flas\u00eb me loj\u00ebn e numrave t\u00eb reflektuar n\u00eb pjerrt\u00ebsin\u00eb e sken\u00ebs, nd\u00ebrsa p\u00ebrshkrimi i ngjarjeve krahas loj\u00ebs s\u00eb aktor\u00ebve ishte nj\u00eb tjet\u00ebr ve\u00e7ori q\u00eb e b\u00ebnte shfaqjen akoma m\u00eb t\u00eb realizuar skenikisht e artistikisht. <\/p>\n
Kishte raste madje kur n\u00eb t\u00eb njejt\u00ebn koh\u00eb, n\u00eb sken\u00eb gjendeshin mbi dhjet\u00eb aktor\u00eb, t\u00eb cil\u00ebt asnj\u00ebher\u00eb nuk ishin t\u00eb c\u2019akorduar, pavar\u00ebsisht se situata t\u00eb tilla jan\u00eb v\u00ebshtir\u00eb t\u00eb realizueshme. <\/p>\n
Pa m\u00ebdyshje shfaqja si e t\u00ebr\u00eb ka nxitur reagime e opinone t\u00eb ndryshme n\u00eb mesin e artdash\u00ebsve prezent\u00eb, t\u00eb cil\u00ebt n\u00eb p\u00ebrgjith\u00ebsi e kan\u00eb vler\u00ebsuar pozitivisht, qoft\u00eb kur b\u00ebhet fjal\u00eb p\u00ebr tekstin dramatik apo realizimin skenik t\u00eb t\u00ebr\u00ebsis\u00eb s\u00eb shfaqjes, duke p\u00ebrfshir\u00eb n\u00eb po ato vler\u00ebsime pozitive edhe loj\u00ebn e aktor\u00ebve. <\/p>\n
Sipas dramaturgut Agron G\u00ebrguri, n\u00eb shfaqje gjejm\u00eb figura, situata, gjendje e dometh\u00ebnie historike. Me burra q\u00eb nisen p\u00ebr luft\u00eb e gra q\u00eb i presin, nd\u00ebrsa vula b\u00ebhet kryesore, pjes\u00eb nga \u201cViti i Mbrapsht\u00eb\u201d i Kadares\u00eb.
\n\u201cRr\u00ebfimi skenik kalon n\u00ebp\u00ebr krahina t\u00eb ndryshme t\u00eb Shqip\u00ebris\u00eb, q\u00eb n\u00ebnkuptohen p\u00ebrmes pjes\u00ebve muzikore t\u00eb adaptuara\u2026 Ushtria e Shestan Verdh\u00ebs, e cila m\u00eb shum\u00eb b\u00ebn\u00eb plane sesa q\u00eb lufton! \u2013 Duke ecur n\u00ebp\u00ebr kalvarin e historis\u00eb rr\u00ebfimi arrin\u00eb deri tek viti 1999, Lufta e Kosov\u00ebs, si nyje e kap\u00ebrcimit t\u00eb shekullit XX-t\u00eb. Gjith\u00ebher\u00eb historia e heronj\u00ebve tan\u00eb ngat\u00ebrrohet nga ata q\u00eb festojn\u00eb trim\u00ebrin\u00eb e atyre q\u00eb nuk jan\u00eb m\u00eb\u2026 (\u201csesa nisim nj\u00eb pun\u00eb t\u00eb re, t\u00eb par\u00ebt q\u00eb e prishim jemi ne\u2026\u201d, mbar\u00ebshtrime emblematike nga opusi i Fisht\u00ebs, q\u00eb b\u00ebhet lajtmotiv i shfaqjes\u201d, tha dramaturgu G\u00ebrguri, sipas t\u00eb cilit, n\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb mb\u00ebrrijm\u00eb tek nj\u00eb teat\u00ebr i absurdit, ku m\u00ebsues shteti b\u00ebhen Afganistan\u00ebt!… <\/p>\n
\u201cShfaqja \u00ebsht\u00eb nd\u00ebrtuar me personazhe e figura p\u00ebrfaq\u00ebsuese t\u00eb cilat aktor\u00ebt i nxor\u00ebn p\u00ebrmes parodizimit. Idiomat teatrore b\u00ebhen mesazhe qortuese: – pse jemi k\u00ebshtu si jemi? \u2013 n\u00eb k\u00ebt\u00eb tip shfaqje, regjisori \u00ebsht\u00eb demiurge, i jep karakterin shfaqjes si regjisoriale. Mizanskena e organizuar mir\u00eb, nd\u00ebrlidhja e skenave \u00ebsht\u00eb realizuar bukur p\u00ebrmes k\u00ebng\u00ebve nga thesari i etnosit ton\u00eb burimor. Interpretimi harmonik dhe n\u00eb funksion t\u00eb ides\u00eb s\u00eb shfaqjes. Skenografia e ndihmuar nga ndri\u00e7imi i mir\u00eb, ishin pjes\u00eb funksionale t\u00eb shfaqjes\u201d, shtoi G\u00ebrguri. <\/p>\n
Teksti & Regjia: Sulejman Rushiti, Luajt\u00ebn: Ali Krasniqi, Arben Marevci, Blin Mani, Dashuri Regjepi, Donika Zeqiri, Dora Xhemajli, Edona Berisha, Elton Tahiri, Jajush Ramadani, Kushtrim Qerimi, Milot Salihu, Nexhat Xholi e Sherif Bega. <\/p>\n
Festivali i Dram\u00ebs Shqipe “Talia e Flak\u00ebs 2025”, n\u00eb nat\u00ebn e kat\u00ebrt sjell para aftdash\u00ebsve gjilanas shfaqjen e teatfit t\u00eb t\u00eb Tetov\u00ebs “Dredhit\u00eb e Patokut”, me tekst nga Gjergj Fishta e regji t\u00eb Kushtrim Bekteshit.<\/p>\n","protected":false},"excerpt":{"rendered":"
Festivali i Dram\u00ebs Shqipe, \u201cTalia e Flak\u00ebs\u201d ka vazhduar sipas programit t\u00eb parapar\u00eb, duke prezantuar n\u00eb nat\u00ebn e tret\u00eb shfaqjen \u201c13\u201d, prodhim i teatrit \u201cAdriana\u201d nga Ferizaji. Q\u00eb n\u00eb hapje t\u00eb perdes binte n\u00eb sy t\u00eb publikut vigjilent\u00eb skena \u201cndryshe\u201d nga \u00e7’\u00ebsht\u00eb pa n\u00eb t\u00eb kaluar\u00ebn, pasi sip\u00ebrfaqja e saj kishte form\u00eb t\u00eb pjerrt\u00eb, e […]<\/p>\n","protected":false},"author":1,"featured_media":192740,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5],"tags":[],"class_list":{"0":"post-192739","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-lajme"},"_links":{"self":[{"href":"https:\/\/radiostargjilan.com\/web\/wp-json\/wp\/v2\/posts\/192739","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/radiostargjilan.com\/web\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/radiostargjilan.com\/web\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/radiostargjilan.com\/web\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/radiostargjilan.com\/web\/wp-json\/wp\/v2\/comments?post=192739"}],"version-history":[{"count":0,"href":"https:\/\/radiostargjilan.com\/web\/wp-json\/wp\/v2\/posts\/192739\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/radiostargjilan.com\/web\/wp-json\/wp\/v2\/media\/192740"}],"wp:attachment":[{"href":"https:\/\/radiostargjilan.com\/web\/wp-json\/wp\/v2\/media?parent=192739"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/radiostargjilan.com\/web\/wp-json\/wp\/v2\/categories?post=192739"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/radiostargjilan.com\/web\/wp-json\/wp\/v2\/tags?post=192739"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}