{"id":374823,"date":"2020-05-20T07:11:01","date_gmt":"2020-05-20T05:11:01","guid":{"rendered":"https:\/\/hashtag.al\/?p=374823"},"modified":"2020-05-20T07:12:54","modified_gmt":"2020-05-20T05:12:54","slug":"ripublikim-sesi-teatri-alla-scala-na-ben-te-fala","status":"publish","type":"post","link":"https:\/\/www.hashtag.al\/index.php\/2020\/05\/20\/ripublikim-sesi-teatri-alla-scala-na-ben-te-fala\/","title":{"rendered":"RIPUBLIKIM\/ Sesi teatri \u201cAlla Scala\u201d na b\u00ebn t\u00eb fala","gt_translate_keys":[{"key":"rendered","format":"text"}]},"content":{"rendered":"

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

Nga Aurel Plasari<\/strong><\/span><\/em><\/p>\n

(Nga cikli \u201cMe historin\u00eb posht\u00eb n\u00ebnkres\u00ebs\u201d)<\/span><\/p>\n

Mor kok\u00ebrr injoranti\u2026!\u201d nisa t\u00eb shkruaja. Por u t\u00ebrhoqa. Sepse personi q\u00eb m\u00eb ka shkruar n\u00eb inbox m\u00eb \u00ebsht\u00eb drejtuar me mir\u00ebsjellje. Atje n\u00eb Milano ai \u00ebsht\u00eb student, k\u00ebtu mund t\u00eb kishte q\u00eblluar studenti im. M\u00eb takon t\u2019i p\u00ebrgjigjem me mir\u00ebsjellje, edhe me dashuri n\u00eb mundsha, pyetjes s\u00eb tij ngacmuese: \u201cPo pse, profesor, La Scala e Milanos qenka ai teat\u00ebr i Tiran\u00ebs?\u201d. Nga ana ime \u00ebsht\u00eb fjala p\u00ebr dashuri, t\u00eb kuptohemi, ndaj teatrove kudo ata qofshin.<\/span><\/p>\n

Krahasimi q\u00eb, t\u00ebrthorazi, orvatet b\u00ebj\u00eb studenti i hamgjitur nga La Scala quhet krahasim jasht\u00ebkontekstual. Ka pas b\u00ebr\u00eb ndonj\u00ebher\u00eb truke t\u00eb tilla edhe Konica i \u00e7uditsh\u00ebm. Kur u vu ta detraktonte me \u00e7do kusht Naimin ton\u00eb, p\u00ebr shembull, u ngrit e pyeti shqiptar\u00ebt n\u00eb e dinin apo jo se \u00e7far\u00eb shkruante, bash n\u00eb kohen e Naimit, nj\u00eb Charles Baudelaire n\u00eb Franc\u00eb?! Af\u00ebrmendsh q\u00eb Faiku shtirej kinse nuk e b\u00ebnte dot dallimin q\u00eb Naimi punonte n\u00eb \u201cShqip\u00ebrin\u00eb turke\u201d: ai jo vet\u00ebm shkruante p\u00ebr atdheun, p\u00ebr gjuh\u00ebn shqipe e p\u00ebr Sk\u00ebnderbeun, po edhe flijonte talentin e vet duke hartuar deri libra p\u00ebr \u201cm\u00ebsonj\u00ebtoret\u201d e para, n\u00eb koh\u00eb e sip\u00ebr q\u00eb Baudelaire-i, nga Parisi i lir\u00eb dhe libertin, rafinonte n\u00eb art temat gjith\u00eb neps t\u00eb seksit. Doli m\u00eb von\u00eb shkrimtari yn\u00eb i realizmit socialist dhe iu kund\u00ebrvu Konic\u00ebs duke na kujtuar q\u00eb, nd\u00ebrsa z. Baudelaire pask\u00ebsh shkruar \u201cLulet e s\u00eb keqes\u201d, Naimi shkruante \u201cLulet e ver\u00ebs\u00eb\u201d! K\u00ebto quhen krahasime jasht\u00ebkontekstuale, q\u00eb nuk nxjerrin kund dhe as marrin fund.<\/span><\/p>\n

T\u00eb jet\u00eb p\u00ebr krahasime t\u00eb k\u00ebtilla po p\u00ebrfytyroj studentin ton\u00eb, me k\u00ebll\u00ebfin e flautit krahaqaf\u00eb, duke b\u00ebr\u00eb nj\u00eb vizit\u00eb n\u00eb Rom\u00eb, n\u00ebse nuk e ka b\u00ebr\u00eb ende. Do t\u00eb v\u00ebr\u00eb re q\u00eb as Kryeministria jon\u00eb nuk \u00ebsht\u00eb pallati Montecitorio, as Presidenca jone e nd\u00ebrtuar mbi nj\u00eb projekt mir\u00ebfilli sovjetik dhe p\u00ebr p\u00ebrdorim sovjetik, nuk \u00ebsht\u00eb pallati Quirinale, as ministria jon\u00eb e Jashtme nuk ngjan kurrkund me pallatin Chigi, le m\u00eb Kuvendi yn\u00eb ish-Popullor: kurrfar\u00eb lidhjeje nuk ka ai me pallatin Madama dhe pallatet e tjera q\u00eb p\u00ebrb\u00ebjn\u00eb korpusin e madh\u00ebrish\u00ebm t\u00eb Parlamentit dhe Senatit t\u00eb Italis\u00eb. Q\u00eb monumente t\u00eb tilla ta marrin mendjen me sharmin e tyre disashekullor, kjo po vet\u00ebkuptohet.<\/span><\/p>\n

Shteti yn\u00eb 100 e pak vje\u00e7ar ka histori m\u00eb t\u00eb vog\u00ebl dhe m\u00eb modeste, p\u00ebrkat\u00ebsisht t\u00eb tilla i ka edhe monumentet e historis\u00eb s\u00eb tij shtet\u00ebrore. Se sa p\u00ebr histori t\u00eb m\u00ebhershme, banjat e famshme t\u00eb Dioklecianit nuk duhet t\u00eb ken\u00eb qen\u00eb gj\u00eb e madhe para Durr\u00ebsit antik q\u00eb Horaci e lavd\u00ebroi si Taverna e Adriatikut: \u201cTaberna Adriae\u201d.<\/span><\/p>\n

Monumentet e historis\u00eb s\u00eb shtetit shqiptar mundet q\u00eb t\u00eb duken jo kushedi \u00e7far\u00eb p\u00ebrkundrejt trash\u00ebgimive t\u00eb Europ\u00ebs s\u00eb koh\u00ebs s\u00eb Rinascimento-s dhe Renaissance-s, kur andej nd\u00ebrtohej, nd\u00ebrsa k\u00ebndej rr\u00ebnohej. Nj\u00eb t\u00eb till\u00eb nd\u00ebrtes\u00eb shum\u00ebfish historike p\u00ebrb\u00ebn edhe kompleksi i sot\u00ebm me dy teatrot q\u00eb mbrohen sot dhe q\u00eb quhen \u201cTeatri Komb\u00ebtar\u201d dhe \u201cTeatri Eksperimental\u201d. Mesazhi i t\u00eb dashuruarit me teatrin Alla Scala, student i flautit n\u00eb qoft\u00eb me t\u00eb v\u00ebrtet\u00eb i till\u00eb, n\u00ebnkupton q\u00eb k\u00ebto monumente tonat qenk\u00ebshin fort t\u00eb rinj n\u00eb krahasim me em\u00ebrmadhin e Milanos. Mir\u00ebpo k\u00ebtu te ne po ndodh pik\u00ebrisht e kund\u00ebrta: k\u00ebtu nd\u00ebrtesat, q\u00eb po mbrohen, i kund\u00ebrcil\u00ebsojn\u00eb si \u201ct\u00eb vjetra\u201d! Madje duke i \u00e7kualifikuar si \u201ct\u00eb vjetruara\u201d.<\/span><\/p>\n

Teatri Alla Scala, q\u00eb mahnit sot jo vet\u00ebm nj\u00eb student shqiptar, por mbar\u00eb bot\u00ebn artistike, \u00ebsht\u00eb i till\u00eb sepse Italia kulturore \u2013 kulturore po them \u2013 nuk \u00ebsht\u00eb qeverisur nga ndonj\u00eb grup bandit\u00ebsh q\u00eb kund\u00ebr trash\u00ebgimis\u00eb kulturore t\u00eb vendit t\u00eb tyre t\u00eb ngren\u00eb kazm\u00ebn. Edhe kur ka ndodhur ndonj\u00eb mini-incident i till\u00eb \u00ebsht\u00eb d\u00ebnuar r\u00ebnd\u00eb: jo vet\u00ebm nga historia, por qysh nga bashk\u00ebkoh\u00ebsia.<\/span><\/p>\n

La Scala \u00ebsht\u00eb nd\u00ebrtuar n\u00eb vitin e larg\u00ebt 1778, me sa konstatoj n\u00eb Historin\u00eb e Teatrit Italian. P\u00ebrfytyroni q\u00eb b\u00ebhej fjal\u00eb p\u00ebr nj\u00eb nd\u00ebrtes\u00eb e cila ndri\u00e7ohej me qirinj dhe me llamba vaji. Mezi ia delnin, nj\u00eb her\u00eb n\u00eb mot, ta pastronin e ta d\u00eblirnin nga tymrat. Mir\u00ebpo ja ku doli ndri\u00e7imi elektrik, q\u00eb filloi t\u00eb praktikohej n\u00eb salla shfaqjesh mbas gati nj\u00eb shekulli. Duhet t\u00eb ket\u00eb qen\u00eb i pari q\u00eb e praktikoi nj\u00eb teat\u00ebr n\u00eb Uestminster, \u201cSavoja\u201d me gjas\u00eb. \u00c7\u2019do t\u00eb b\u00ebhej me teatrin Alla Scala?<\/span><\/p>\n

Me logjik\u00ebn e politikan\u00ebve bandit\u00eb do t\u00eb duhej prishur: ishte tanim\u00eb jo vet\u00ebm jasht\u00eb kohe, por edhe jasht\u00eb funksioni. Nuk di t\u00eb them n\u00eb kan\u00eb ofshar\u00eb a r\u00ebnkuar primadonat: \u201cOh, \u00e7\u2019na mbyti tymi! Oh, nuk k\u00ebndohet dot me llamba vaji!\u201d. Di q\u00eb n\u00eb Milano u mblodh\u00ebn mendjet e zanatit dhe ia p\u00ebrshtat\u00ebn teatrin Alla Scala epok\u00ebs s\u00eb elektricitetit. Mund t\u00eb p\u00ebrfytyrohet se \u00e7far\u00eb nd\u00ebrhyrjeje e v\u00ebshtir\u00eb, e nd\u00ebrlikuar, e cila kryhej p\u00ebr her\u00eb t\u00eb par\u00eb, duhet t\u00eb k\u00ebt\u00eb qen\u00eb n\u00eb at\u00eb fundshekulli XIX konvertimi i nj\u00eb teatri t\u00eb konceptuar jo p\u00ebr funksionim me elektricitet. R\u00ebnd\u00ebsi ka q\u00eb ajo nd\u00ebrhyrje revolucionarizuese u krye dhe La Scala mbeti n\u00eb k\u00ebmb\u00eb: ja tek e kemi.<\/span><\/p>\n

Por edhe ajo \u00e7far\u00eb ndodhte n\u00eb at\u00eb teat\u00ebr, sot me em\u00ebr marramend\u00ebs, nuk b\u00ebn t\u00eb idealizohet. Ndryshe pat\u00ebn qen\u00eb pun\u00ebt, nj\u00eb her\u00eb e nj\u00eb koh\u00eb, edhe p\u00ebr t\u00eb. Dikur n\u00eb at\u00eb teat\u00ebr kryesor\u00ebt nuk ishin as artist\u00ebt, as shfaqjet e tyre. Kryesore ishin lozhat. \u201cI palchetti\u201d, si\u00e7 quheshin. N\u00eb to zhvillohej jeta teatrore, q\u00eb nuk ishte ve\u00e7se konkurrenc\u00eb mes familjeve t\u00eb m\u00ebdha se cila syresh t\u00eb kishte lozh\u00ebn t\u00eb m\u00eb mir\u00eb, m\u00eb t\u00eb bukur, m\u00eb t\u00eb r\u00ebnshme n\u00eb sy, m\u00eb t\u00eb shtrenjt\u00eb. Qe nj\u00eb kap\u00ebrcyell epokash. Aristokracia kishte titujt, diplomat, nderet, por nuk kishte m\u00eb paran\u00eb, q\u00eb do t\u00eb thot\u00eb po binte nga fuqia. Nd\u00ebrsa ngrihej borgjezia, q\u00eb kishte paran\u00eb dhe q\u00eb promovonte tanim\u00eb kapitalin, sepse kishte zhvilluar industrin\u00eb dhe tregtin\u00eb, megjith\u00ebse ndryshe nga aristokracia e m\u00ebparshme ishte mediokre p\u00ebr \u00e7\u2019u p\u00ebrket shijeve artistike.<\/span><\/p>\n

Pa e vrar\u00eb shum\u00eb mendjen se \u00e7\u2019luhej n\u00eb sken\u00eb, \u00e7donj\u00ebra familje b\u00ebnte \u201cjet\u00ebn artistike\u201d n\u00eb lozh\u00ebn e vet. Mund ta stoliste lozh\u00ebn simbas \u00ebndjes, mund ta ndri\u00e7onte me llamba m\u00eb t\u00eb forta se t\u00eb lozhave t\u00eb tjera, mund ta \u201cmobilonte\u201d me orendi nga t\u00eb sht\u00ebpis\u00eb. Kjo ishte La Scala e nj\u00eb her\u00eb e nj\u00eb kohe! Jo vet\u00ebm kaq, por n\u00ebp\u00ebr lozha praktikohej r\u00ebndom kumari: luhej me letra, me zare. Duhani po q\u00eb po, por edhe pijet alkoolike qarkullonin lirisht. B\u00ebheshin, mbase, n\u00eb ato lozha edhe pun\u00eb t\u00eb tjera. Sepse kur shkrimtarit Gabriele d\u2019Annunzio i ndodhi nj\u00ebher\u00eb t\u00eb grindej me drejtuesit e teatrit Alla Scala, n\u00eb mllef e sip\u00ebr l\u00ebshoi p\u00ebr at\u00eb teat\u00ebr nj\u00eb epitet t\u00eb r\u00ebnd\u00eb, q\u00eb nuk duhej t\u2019ia nxinte goja: e quajti \u201cscopatoio\u201d. Anglez\u00ebt i thon\u00eb \u201cfuckpad\u201d. N\u00eb shqip nuk e paskemi termin \u201cqirtore\u201d.<\/span><\/p>\n

Po kompozohej nj\u00eb opera simbas tragjedis\u00eb s\u00eb D\u2019Annunzios, \u201cFrancesca da Rimini\u201d, dhe censura e oper\u00ebs i kishte b\u00ebr\u00eb shkrimtarit sqimatar do v\u00ebrejtje \u201cnamuzi\u201d, kinse e prekur p\u00ebr shkak t\u00eb nj\u00eb elementi incesti, shqip \u201df\u00eblligshtie n\u00eb gjak\u201d, n\u00eb subjekt. N\u00eb fakt nuk mund t\u00eb thuhet n\u00eb qe e sakt\u00eb v\u00ebrejtja apo jo, sepse n\u00eb subjektin dantesk Francesca thjesht ra n\u00eb dashuri me t\u00eb v\u00ebllan\u00eb e burrit. I prishur shkrimtari me teatrin Alla Scala, opera n\u00eb fjal\u00eb u shfaq n\u00eb Torino. Kuptohet q\u00eb m\u00eb von\u00eb \u201cFrancesca da Rimini\u201d u vendos dhe u rivendos kushedi sa her\u00eb n\u00eb repertorin e teatrit Alla Scala, porse sharja e momentit e shkrimtarit t\u00eb madh mbeti n\u00eb historin\u00eb anekdotike p\u00ebr t\u00eb na kujtuar q\u00eb jeta e teatrove \u00ebsht\u00eb gjithnj\u00eb nj\u00eb nd\u00ebrthurje \u201cintrig\u00eb & dashuri\u201d. Edhe p\u00ebr t\u00eb madhen La Scala.<\/span><\/p>\n

Dhe si mendoni ju q\u00eb u ridimensionuan k\u00ebto marr\u00ebdh\u00ebnie mes publikut spektator, mendjemadh, t\u00eb lozhave dhe artit t\u00eb teatrit Alla Scala? Duke shembur at\u00eb teat\u00ebr p\u00ebr t\u00eb ngritur nj\u00eb t\u00eb ri? Apo me polici bashkiake? Marr\u00ebdh\u00ebniet u ridimensionuan me koh\u00ebn: nga nj\u00ebra an\u00eb qytet\u00ebrimi i publikut dhe nga ana tjet\u00ebr ai proces q\u00eb n\u00eb estetik\u00ebn e sotme shpjegohet nga ajo q\u00eb njihet si \u201cteori e receptimit\u201d. Me t\u00eb tjera fjal\u00eb: artist\u00ebt me produktet e tyre ndikuan q\u00eb t\u00eb p\u00ebrkryej receptuesi, nd\u00ebrkoh\u00eb q\u00eb vet\u00eb receptuesi ndikoi fort mbi ta: si n\u00eb teat\u00ebr, ashtu edhe n\u00eb opera, n\u00eb muzik\u00eb, n\u00eb let\u00ebrsi, n\u00eb arte figurative etj., n\u00eb La Scala dhe kudo n\u00eb Europ\u00eb.<\/span><\/p>\n

E vetmja gj\u00eb q\u00eb mund\u00ebn t\u00eb b\u00ebnin politikan\u00ebt italian\u00eb, q\u00eb nuk qen\u00eb bandit\u00eb si politikan\u00ebt e sot\u00ebm shqiptar\u00eb, ishte q\u00eb t\u00eb mos nd\u00ebrhynin n\u00eb k\u00ebt\u00eb proces estetik dhe nj\u00ebher\u00ebsh social ve\u00e7se p\u00ebr t\u00eb ndihmuar. Merrni nj\u00eb katalog t\u00eb thjesht\u00eb t\u00eb teatrit Alla Scala, nga ata q\u00eb u ofrohen r\u00ebndom turist\u00ebve kalimtar\u00eb n\u00eb hollin e teatrit; n\u00eb t\u00eb do t\u00eb shihni se sa her\u00eb \u00ebsht\u00eb nd\u00ebrhyr\u00eb p\u00ebr t\u00eb restauruar dhe rikonstruktuar at\u00eb monument me histori kaq paradoksale. Kam p\u00ebrshtypjen q\u00eb nd\u00ebrhyrja m\u00eb e fundit, ajo m\u00eb pran\u00eb nesh, t\u00eb ket\u00eb qen\u00eb e vitit 2014. Ju ka ndier vrima e veshit q\u00eb n\u00eb Itali ta quajn\u00eb teatrin Alla Scala si \u201ci vjet\u00ebr\u201d? Ve\u00e7 n\u00eb e quajtshin k\u00ebshtu n\u00eb kuptimin e lavd\u00ebrimit, t\u00eb mburrjes. Nd\u00ebrsa q\u00eb ta quaj\u00eb at\u00eb teat\u00ebr tanim\u00eb \u201ct\u00eb vjetruar\u201d nuk besoj t\u00eb ket\u00eb italian q\u00eb t\u2019i ket\u00eb vdekur mendja.<\/span><\/p>\n

P\u00ebr t\u00eb qen\u00eb t\u00eb drejt\u00eb, jo se nuk ka pasur, \u2013 e mbase ende ka, \u2013 bandit\u00eb edhe n\u00eb politik\u00ebn italiane, q\u00eb ngren\u00eb kartona e miratojn\u00eb ligje t\u00eb cilat i vuan n\u00eb shpin\u00eb vet\u00eb shoq\u00ebria votuese. Por kund\u00ebr teatrit Alla Scala nuk ua ka mbajtur t\u00eb ngren\u00eb jo kazm\u00ebn, por as dor\u00ebn. Se n\u00eb shoq\u00ebri t\u00eb tilla t\u00eb ndjeshme dor\u00ebn ua presin. Ja se p\u00ebrse, i shum\u00eblavd\u00ebruari prej studentit t\u00eb magjepsur prej tij, teatri All Scala i vitit t\u00eb larg\u00ebt 1778-s, \u2013 i rinovuar, i restauruar, i rikonstruktuar, \u2013 sot na b\u00ebn t\u00eb fala. Ndokujt ia b\u00ebn edhe me sy.<\/span><\/p>\n

\"\"<\/a>

Nj\u00eb foto d\u00ebshmi historike e teatrit Alla Scala mbas bombardimit t\u00eb 15 gushtit 1943.<\/em><\/p><\/div>\n

*Publikuar p\u00ebr her\u00eb t\u00eb par\u00eb m\u00eb 5 korrik 2019 n\u00eb Hashtag.al<\/strong><\/em><\/span><\/p>\n","protected":false,"gt_translate_keys":[{"key":"rendered","format":"html"}]},"excerpt":{"rendered":"

Nga Aurel Plasari (Nga cikli \u201cMe historin\u00eb posht\u00eb n\u00ebnkres\u00ebs\u201d) Mor kok\u00ebrr injoranti\u2026!\u201d nisa t\u00eb shkruaja. Por u t\u00ebrhoqa. Sepse personi q\u00eb m\u00eb ka shkruar n\u00eb inbox m\u00eb \u00ebsht\u00eb drejtuar me mir\u00ebsjellje. Atje n\u00eb Milano ai \u00ebsht\u00eb student, k\u00ebtu mund t\u00eb kishte q\u00eblluar studenti im. M\u00eb takon t\u2019i p\u00ebrgjigjem me mir\u00ebsjellje, edhe me dashuri n\u00eb mundsha, […]<\/p>\n","protected":false,"gt_translate_keys":[{"key":"rendered","format":"html"}]},"author":30,"featured_media":302401,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[23],"tags":[],"class_list":["post-374823","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-editorial"],"gt_translate_keys":[{"key":"link","format":"url"}],"_links":{"self":[{"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/posts\/374823","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/users\/30"}],"replies":[{"embeddable":true,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/comments?post=374823"}],"version-history":[{"count":0,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/posts\/374823\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/media\/302401"}],"wp:attachment":[{"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/media?parent=374823"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/categories?post=374823"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/tags?post=374823"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}