{"id":3787,"date":"2013-12-19T23:09:52","date_gmt":"2013-12-19T23:09:52","guid":{"rendered":"http:\/\/revistakuvendi.org\/?p=3787"},"modified":"2013-12-19T23:27:13","modified_gmt":"2013-12-19T23:27:13","slug":"britma-e-nje-gruaje-ne-skene","status":"publish","type":"post","link":"https:\/\/revistakuvendi.org\/?p=3787","title":{"rendered":"\u201cBRITMA E NJ\u00cb GRUAJE\u201d N\u00cb SKEN\u00cb"},"content":{"rendered":"


\n\"\"<\/a>Romani i autorit shkodran Fadil Kraja, premier\u00eb teatrale n\u00eb Mal t\u00eb Zi, Tuz<\/strong><\/p>\n

Ma.\u00a0 Arjeta Ferlushkaj<\/strong><\/strong><\/p>\n

Shfaqja<\/strong><\/p>\n

N\u00eb Q.K.I \u201cMal\u00ebsia<\/em>\u201d n\u00eb Tuz, me ftes\u00eb nga O.J.F. \u201cTeatri shqip<\/em>\u201d, m\u00eb 14 dhe 15 dhjetor 2013, ora 19.00, u shfaq premiera e dram\u00ebs \u201cBritma e nj\u00eb gruaje<\/em>\u201d n\u00ebn regjin\u00eb e Idriz Gjokaj, n\u00eb bashk\u00ebpunim me Gjergj Gjonaj. Shfaqja u ndjek me nj\u00eb interes t\u00eb madh, qoft\u00eb nga autoritetet e larta vendore e jo vet\u00ebm, qoft\u00eb nga publiku i gjer\u00eb dhe u shoq\u00ebrua me duartrokitje t\u00eb shpeshta. Mund t\u00eb thuhet se misioni i trup\u00ebs s\u00eb angazhuar, u krye me sukses pasi i gjith\u00eb spektatori u p\u00ebrfshi emocionalisht n\u00eb p\u00ebrjetimin e ngjarjes q\u00eb u dhuroi skena. Nj\u00eb d\u00ebshmi q\u00eb e \u201cvulos\u201c suksesin e madh t\u00eb k\u00ebsaj drame \u00ebsht\u00eb k\u00ebrkesa insistuese p\u00ebr ta risjell\u00eb n\u00eb sken\u00eb at\u00eb. Prandaj dhe, duke u nisur nga ky interesim i madh, O.J.F. \u201cTeatri Shqip\u201c ka vendosur q\u00eb \u201cBritma e nj\u00eb gruaje<\/em>\u201c t\u00eb shfaqet s\u00ebrish me 19 dhjetor, ora 20:00 n\u00eb Q.K.I. \u201cMal\u00ebsia<\/em>\u201c, Tuz. Mysafir\u00eb t\u00eb shfaqjes njoftohet se do t\u00eb jen\u00eb figura t\u00eb nderuara t\u00eb artit skenik si Artistja e Merituar Tinka Kurti, Bruno Shllaku, Agron Dizdari etj.<\/p>\n

P\u00ebr k\u00ebt\u00eb shfaqje kan\u00eb punuar nj\u00eb num\u00ebr i konsideruesh\u00ebm njer\u00ebzish, profesionist\u00eb dhe dashamir\u00ebs t\u00eb artit: kostumografia \u00ebsht\u00eb punuar nga Mirsada Gjokaj, skenografia nga Beqo Nanaj, p\u00ebrzgjedhja e muzik\u00ebs nga Luigj Dedvukaj dhe realizimi teknik nga Gjon Jun\u00e7aj. Nd\u00ebrsa, aktor\u00ebt e k\u00ebsaj drame, nj\u00eb trup\u00eb amatore q\u00eb duhet p\u00ebrg\u00ebzuar, jan\u00eb: Marash\u00a0Jun\u00e7aj, Ali Beqiraj, Suzana Ujkaj, Viktor Dreshaj, Beqir Gjokaj, Luc\u00eb Jun\u00e7aj, Marash Dedvukaj, Rasim Beqaj, Pashko Gjokaj, Gjeto Vulaj, Musa Gjokaj, Fran Dedvukaj, Tonin Jun\u00e7aj, Besnik Gjonaj, Leon Jun\u00e7aj, Marash Dukaj, Romeo Dreshaj, Gjeto Ulaj, Leon Camaj, Suzana Gjonaj, Valentina Vulaj, Merita Dedivanaj Lucaj, Flora Beqaj dhe Merita Gjokaj.\u00a0Duhet p\u00ebrmendur se trupa amatore nuk \u00ebsht\u00eb hera e par\u00eb q\u00eb ka v\u00ebn\u00eb n\u00eb sken\u00eb vepra t\u00eb Fadil Kraj\u00ebs, p\u00ebrmedim dram\u00ebn \u201cTronditje\u201c, m\u00eb t\u00eb cil\u00ebn kan\u00eb fituar mjaft \u00e7mime.<\/p>\n

Drama<\/strong><\/p>\n

\u201cBritma e nj\u00eb gruaje<\/em>\u201d vjen si nj\u00eb premier\u00eb teatrale si rezultat i pun\u00ebs s\u00eb b\u00ebr\u00eb me tekstin e romanit me t\u00eb nj\u00ebjtin titull t\u00eb autorit shkodran Fadil Kraja dhe poezis\u00eb me titull \u201cKupe Dania<\/em>\u201d t\u00eb shkrimtarit Arshi Pipa, pjes\u00eb e v\u00ebllimit t\u00eb tij \u201cLibri i burgut<\/em>\u201d. Dramatizimi i tekstit \u00ebsht\u00eb punuar nga Milto Kutali, profesor n\u00eb Universitetin e Arteve, Tiran\u00eb.<\/p>\n

\u201cBismilah\u201c \u2013 \u00ebsht\u00eb fjala e par\u00eb e shqiptuar q\u00eb hap siparin e k\u00ebsaj drame, err\u00ebsohet skena dhe spektatori ftohet t\u00eb kthehet shum\u00eb vite mbrapa n\u00eb koh\u00eb: n\u00eb shekullin e XIX-t\u00eb, n\u00eb koh\u00ebn kur Shqip\u00ebria ishte n\u00ebn sundimin osman. (Por n\u00eb asnj\u00eb sken\u00eb nuk ka referenca kohore t\u00eb pohuara pasi mesazhi \u00ebsht\u00eb i qart\u00eb: k\u00ebtu brenda ndodhet edhe aktualiteti dhe koha e tashme). Pas fjal\u00ebs s\u00eb par\u00eb, shohim nj\u00eb vajz\u00eb 16-vje\u00e7are (Zoga), e cila b\u00ebn kryq.<\/p>\n

N\u00eb fakt, duke u nisur q\u00eb nga titulli dhe pastaj skena e par\u00eb, publiku i v\u00ebmendsh\u00ebm mund t\u00eb krijoj\u00eb imazhin e asaj q\u00eb do t\u00eb shoh\u00eb n\u00eb vazhdim: nj\u00eb fem\u00ebr q\u00eb zgjon nj\u00eb komb me thirrjen e saj p\u00ebr bashkim. Nxitja \u00ebsht\u00eb sporadike: p\u00ebrmes konfliktit fetar (\u201cNdryshe kem\u2018 Bajram e Pashk\u00eb \/ Bes\u00eb e nder i kemi bashk\u00eb<\/em>\u201c), filtrohet nga skena n\u00eb sken\u00eb, motivi kryesor i dram\u00ebs: bashkimi komb\u00ebtar. K\u00ebtu vihet theksi dhe rreth k\u00ebtij motivi sillet e gjith\u00eb v\u00ebmendja, qoft\u00eb nga zgjedhjet regjisoriale, qoft\u00eb nga publiku, pavar\u00ebsisht se si ky i fundit mund ta kuptoj\u00eb at\u00eb gjat\u00eb artikulimit t\u00eb ides\u00eb s\u00eb p\u00ebrgjithshme t\u00eb premier\u00ebs.<\/p>\n

Kat\u00ebr jan\u00eb vendet e veprimit ku zhvillohen ngjarjet dhe shpalosen karakteret: tek burimi, n\u00eb kafenen\u00eb e Kupe Danes, n\u00eb bedenat e kalas\u00eb, n\u00eb sht\u00ebpin\u00eb e Pre\u00e7it, babait t\u00eb Zog\u00ebs. Fati i Kupe Danes, b\u00ebhet \u00e7el\u00ebsi zb\u00ebrthyes i tipareve karakteristike qytetare e mal\u00ebsore shqiptare: besa, bujaria, nderi dhe sakrifica, tipare t\u00eb mbartura nga personazhe si Kupe Dane, Gjyl Begu, Ali Tha\u00e7i nga Kosova, Dede Gjo Luli me shok\u00eb, Abdyl Harapi etj. K\u00ebt\u00eb tablo e plot\u00ebsojn\u00eb thashethemet mbi ngjarjen, nxitjet keqdash\u00ebse p\u00ebr p\u00ebr\u00e7arje mes shqiptar\u00ebve (p\u00ebrfaq\u00ebsuar nga personazhi i Karemanit) etj. Dh\u00ebnia e informacionit tek publiku, komunikimi i situat\u00ebs tek ai nuk vjen ngutsh\u00ebm por zbulohet gjith\u00e7ka dal\u00eb ngadal\u00eb. Perspektiva q\u00eb i jepet aktorit p\u00ebr zb\u00ebrthimin e karakterit t\u00eb tij mund t\u00eb themi se \u00ebsht\u00eb e kuruar mir\u00eb por artikulimi mund t\u00eb ishte edhe m\u00eb mir\u00eb. Megjithat\u00eb, veprimi fizik ekzekutohet me kujdes sepse, m\u00eb shum\u00eb se karakteri, duhet theksuar situata.<\/p>\n

\"\"<\/a><\/p>\n

Mund t\u00eb themi se p\u00ebr k\u00ebt\u00eb premier\u00eb \u00ebsht\u00eb punuar me parimin q\u00eb shfaqja t\u2019i shkoj\u00eb sa m\u00eb af\u00ebr spektatorit t\u00eb vet dhe t\u00eb mos mbetet nj\u00eb dram\u00eb e destinuar p\u00ebr nj\u00eb publik specifik. E themi k\u00ebt\u00eb nisur nga fakti se, n\u00eb dram\u00eb, jan\u00eb shtuar personazhe (rasti i \u00c7un Mul\u00ebs) apo jan\u00eb ndryshuar paksa skenat e veprimit, q\u00eb romani nuk i ka . Zgjedhja \u00ebsht\u00eb e drejt\u00eb, sepse jo domosdoshm\u00ebrisht i duhet q\u00ebndruar besnik nj\u00eb teksti. Kjo ndodh sepse regjisori k\u00ebrkon t\u00eb luajn\u00eb me v\u00ebmendjen e spektatorit\u00a0 dhe t\u00eb k\u00ebnaq\u00eb pritshm\u00ebrit\u00eb e tij. N\u00eb disa raste kjo sjell c\u00ebnimin e kritereve estetike t\u00eb artit, por mund t\u00eb themi se n\u00eb rastin konkret, drama i shp\u00ebtoi k\u00ebtij rreziku p\u00ebrmes gjetjeve t\u00eb detajeve regjisoriale. Nj\u00eb rrug\u00eb e mir\u00eb q\u00eb u zgjodh ishte seleksionimi. Dramaturgu dhe regjisori kan\u00eb ditur t\u00eb b\u00ebjn\u00eb zgjedhjet e duhura duke i shmangur spektatorit konfuzionin dhe duke i p\u00ebrq\u00ebndruar ata tek planet m\u00eb t\u00eb r\u00ebnd\u00ebsishme. K\u00ebshtu\u00a0 ata kan\u00eb siguruar edhe nj\u00eb unitet e koherenc\u00eb t\u00eb mir\u00eb mes pjes\u00ebve, n\u00eb funksion t\u00eb s\u00eb t\u00ebr\u00ebs \u2013 shfaqjes n\u00eb plot\u00ebsin\u00eb e saj.<\/p>\n

Sa i p\u00ebrket stilit t\u00eb shfaqjes, mund t\u00eb thuhet se nuk ishte nj\u00eb regjisur\u00eb me shprehje ekzibicioniste t\u00eb tepruara, p\u00ebrve\u00e7 disa skenave pak t\u00eb bujshme (vrasjet), t\u00eb cilat p\u00ebrligjen nga vet\u00eb konflikti tematik q\u00eb shoq\u00ebron ngjarjet. Tema t\u00eb tilla jan\u00eb zgjedhje p\u00ebr publikun vendas, por duket se motivet patriotike (jo n\u00eb nivele patetizmi) jan\u00eb edhe parap\u00eblqime regjisoriale.<\/p>\n

T\u00eb gjith\u00eb jemi t\u00eb vet\u00ebdijsh\u00ebm se n\u00eb teat\u00ebr, njer\u00ebzit jan\u00eb m\u00eb shum\u00eb t\u00eb prirur t\u00eb prek\u00ebn nga ajo q\u00eb shohin se nga ajo q\u00eb d\u00ebgjojn\u00eb ndaj dhe shfaqja duhet pasuruar me detaje nga i gjith\u00eb ansambli krijues. P\u00ebr k\u00ebt\u00eb kan\u00eb luajtur rol mjaft t\u00eb mir\u00eb, duke nisur q\u00eb nga kurimi i imazhit t\u00eb aktor\u00ebve me aksesor\u00ebt e duhur, prania e disa personazheve nj\u00ebkoh\u00ebsisht n\u00eb sken\u00eb q\u00eb krijon efekt vizual t\u00eb fort\u00eb (n\u00eb ve\u00e7anti prania e figurave historike si Ded\u00eb Gjo Luli e \u00c7un Mula), nd\u00ebrhyrjet e tallallit q\u00eb nga\u00a0 \u201czona\u201c e spektatorit, inserti i fragmenteve si k\u00ebng\u00eb m\u00eb vete (rasti i k\u00ebng\u00ebs \u201cHajredin Pasha<\/em>\u201c) apo momentet e k\u00ebndimit nga 3-4 vargje prej aktor\u00ebve etj., duke eliminuar p\u00ebrs\u00ebritjen apo monotonin\u00eb. Edhe seleksionimi i karaktereve \u00ebsht\u00eb i kuruar, sepse jan\u00eb zgjedhur mosha, vese, zakone, raca, besime, morale etj. t\u00eb ndryshme q\u00eb krijojn\u00eb mund\u00ebsi p\u00ebr larmi dhe rrjedhimisht efekte t\u00eb ve\u00e7anta tek publiku. Tani spektatori mund t\u00eb priste gjith\u00e7ka nga kudo. Kjo strategji autoriale e b\u00ebri publikun t\u00eb zhytet brenda veprimit dhe t\u2019i lejoj\u00eb vetes t\u00eb ndikohet emocionalisht sken\u00eb mbas skene. Kur nj\u00eb premier\u00eb e arrin k\u00ebt\u00eb, ka arritur suksesin dhe ka dhuruar spektaklin dramatik.<\/p>\n

 <\/p>\n

Sfidat dhe mir\u00ebnjohja!<\/strong><\/p>\n

Mbasi q\u00eb marrim dhe pastaj p\u00ebrcjellim emocionin e fituar nga realizimi i shfaqjeve t\u00eb tilla, pak kush kujtohet se n\u00eb \u00e7far\u00eb kushtesh i bie q\u00eb t\u00eb punoj\u00eb nj\u00eb trup\u00eb teatrore, bashk\u00eb me njer\u00ebz t\u00eb tjer\u00eb, komponent\u00eb t\u00eb r\u00ebnd\u00ebsish\u00ebm p\u00ebr t\u00eb \u00e7uar n\u00eb sken\u00eb nj\u00eb premier\u00eb, kur nuk mb\u00ebshtetet institucionalisht. \u00c7do projekt, q\u00eb g\u00ebzon mb\u00ebshtetjen financiare dhe infrastrukturore, t\u00eb ndihmon t\u00eb ec\u00ebsh m\u00eb mir\u00eb, m\u00eb leht\u00eb e sidomos m\u00eb suksessh\u00ebm. \u00c7far\u00eb mund t\u00eb themi n\u00eb rastet kur t\u00eb gjitha k\u00ebto mungojn\u00eb?\u00a0 Dhe \u00e7far\u00eb mund t\u00eb themi p\u00ebr munges\u00ebn thelb\u00ebsore: at\u00eb t\u00eb teatrit? Prandaj dhe m\u00eb e pakta q\u00eb mund t\u00eb b\u00ebjm\u00eb, \u00ebsht\u00eb t\u00eb shprehim mir\u00ebnjohjen e thell\u00eb p\u00ebr k\u00ebto artdash\u00ebs, t\u00eb cil\u00ebt vet\u00ebm me pasionin e tyre p\u00ebr sken\u00ebn, mposht\u00ebn\u00a0 pengesat e shumta, q\u00eb e shoq\u00ebrojn\u00eb realizimin fillim e mbarim t\u00eb nj\u00eb premiere t\u00eb till\u00eb. Pastaj, m\u00eb von\u00eb, shpresojm\u00eb se mund t\u00eb b\u00ebhet di\u00e7ka m\u00eb shum\u00eb nga autoritetet p\u00ebrkat\u00ebse e p\u00ebrgjegj\u00ebse.<\/p>\n

 <\/p>\n

Profil<\/strong><\/p>\n

Idriz Gjokaj \u00ebsht\u00eb regjisori i par\u00eb profesionist q\u00eb jeton e punon n\u00eb Tuz, n\u00eb Mal t\u00eb Zi. N\u00eb vitin 2011, ai ka p\u00ebrfunduar studimet e larta n\u00eb Fakultetin e Artit Skenik pran\u00eb Akademis\u00eb s\u00eb Arteve\u00a0 n\u00eb Tiran\u00eb (sot Universiteti i Arteve), dega Regji Teatri. N\u00eb po k\u00ebt\u00eb deg\u00eb, regjisori i ri ka mbrojtur edhe titullin Master.<\/p>\n

Gjat\u00eb studimeve, Idriz Gjokaj ka p\u00ebrcjellur si regjisor disa pjes\u00eb teatrale, n\u00eb bashk\u00ebpunim me regjisorin dhe aktorin Andi Begolli, p\u00ebrmendim: dramatizimin e novel\u00ebs s\u00eb Koliqit me titull \u201cGjaku<\/em>\u201d; \u201cAjaksi<\/em>\u201d i Sofokliut (fragment); \u201cRikardi III<\/em>\u201d i Shakespeare-t (fragment); \u201cAriu<\/em>\u201d i Anton Chekhov-it etj. N\u00eb disa prej tyre, Gjokaj ka debutuar edhe si aktor.\u00a0 P\u00ebrmendim gjithashtu shfaqjen e komedis\u00eb dramatike t\u00eb V\u00e1clav Havel me titull \u201cAudienca<\/em>\u201d, e punuar bashk\u00eb me Andi Begollin, e cila u shfaq n\u00eb Teatrin e Metropolit n\u00eb Tiran\u00eb, n\u00eb Teatrin e Kukullave si dhe n\u00eb Teatrin Profesionist t\u00eb Gjakov\u00ebs n\u00eb vitin 2012.<\/p>\n

\"\"<\/a><\/p>\n

Me komedin\u00eb \u201cDuke pritur t\u00eb h\u00ebn\u00ebn<\/em>\u201d, e dramaturgut argjentinas Carlos Maria Alsina, Gjokaj diplomohet si regjisor (cikli tre vje\u00e7ar Bachelor), nd\u00ebrsa me premier\u00ebn \u201cHalit Gashi<\/em>\u201d (Tuz, 2012), k\u00ebng\u00eb epike legjendare shqiptare, e dramatizuar nga Milto Kutali, mbron titullin Master.<\/p>\n

Koh\u00ebt e fundit, Idriz Gjokaj ka bashk\u00ebpunuar si asistent me regjisorin Boris Lijesevic n\u00eb pjes\u00ebn teatrale \u201cBaballar\u00ebt kan\u00eb nd\u00ebrtuar<\/em>\u201d (2013). Pas premier\u00ebs \u201cBritma e nj\u00eb gruaje\u2019<\/em>, regjisori Gjokaj po punon p\u00ebr\u00a0 nj\u00eb projekt n\u00eb Teatrin Komb\u00ebtar n\u00eb Podgoric\u00eb, mbi nj\u00eb pjes\u00eb t\u00eb dramaturgut Stefan \u00c7apaliku.<\/p>\n","protected":false},"excerpt":{"rendered":"

Romani i autorit shkodran Fadil Kraja, premier\u00eb teatrale n\u00eb Mal t\u00eb Zi, Tuz Ma.\u00a0 Arjeta Ferlushkaj Shfaqja N\u00eb Q.K.I \u201cMal\u00ebsia\u201d n\u00eb Tuz, me ftes\u00eb nga O.J.F. \u201cTeatri shqip\u201d, m\u00eb 14 dhe 15 dhjetor 2013, ora 19.00, u shfaq premiera e dram\u00ebs \u201cBritma e nj\u00eb gruaje\u201d n\u00ebn regjin\u00eb e Idriz Gjokaj, n\u00eb bashk\u00ebpunim me Gjergj Gjonaj.<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5],"tags":[],"class_list":["post-3787","post","type-post","status-publish","format-standard","hentry","category-letersi"],"_links":{"self":[{"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts\/3787","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3787"}],"version-history":[{"count":2,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts\/3787\/revisions"}],"predecessor-version":[{"id":3793,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=\/wp\/v2\/posts\/3787\/revisions\/3793"}],"wp:attachment":[{"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3787"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3787"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/revistakuvendi.org\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3787"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}