{"id":596738,"date":"2023-05-17T17:23:56","date_gmt":"2023-05-17T15:23:56","guid":{"rendered":"https:\/\/www.hashtag.al\/?p=596738"},"modified":"2023-05-17T19:34:18","modified_gmt":"2023-05-17T17:34:18","slug":"elsa-demo-publikon-librin-e-deshmise-per-teatrin-kombetar-ne-3-vjetorin-e-shembjes","status":"publish","type":"post","link":"https:\/\/www.hashtag.al\/index.php\/2023\/05\/17\/elsa-demo-publikon-librin-e-deshmise-per-teatrin-kombetar-ne-3-vjetorin-e-shembjes\/","title":{"rendered":"Elsa Demo publikon librin e d\u00ebshmis\u00eb p\u00ebr Teatrin Komb\u00ebtar n\u00eb 3-vjetorin e shembjes","gt_translate_keys":[{"key":"rendered","format":"text"}]},"content":{"rendered":"

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

Gazetarja e kultur\u00ebs Elsa Demo ka nxjerr\u00eb botimin m\u00eb t\u00eb ri t\u00eb saj, nj\u00eb lib\u00ebr q\u00eb i dedikohet shembjes s\u00eb Teatrit Komb\u00ebtar n\u00eb m\u00ebngjesin e 17 majit t\u00eb vitit 2020.<\/span><\/p>\n

Demo n\u00eb\u00eb vepr\u00ebn e saj ka risjell\u00eb p\u00ebrjetimet p\u00ebr teatrin ku n\u00ebp\u00ebrmjet tij p\u00ebrqas mjedisin ton\u00eb kulturor t\u00eb koklavitur si\u00e7 thot\u00eb ajo.<\/span><\/p>\n

Duke e ci\u00ebsuar si udh\u00ebp\u00ebrshkim vepr\u00ebn e saj, q\u00eb i takon Teatrit Komb\u00ebtar, historis\u00eb s\u00eb t\u00eb b\u00ebrit teat\u00ebr n\u00eb Shqip\u00ebrin\u00eb postkomuniste, n\u00eb tranzicion dhe pastranzicion, Demo thot\u00eb se Teatri Komb\u00ebtar ka qen\u00eb dhe \u00ebsht\u00eb e vetmja sken\u00eb teatri n\u00eb Tiran\u00eb, po edhe n\u00eb Shqip\u00ebri, me histori t\u00eb pand\u00ebrprer\u00eb, gati 80-vje\u00e7are.<\/span><\/p>\n

Nd\u00ebrkoh\u00eb shembjen e teatrit, Demo e cil\u00ebson si akt q\u00eb u nd\u00ebrmor kur vendi, prej disa vitesh, nuk kishte nj\u00eb Gjykat\u00eb Kushtetuese, p\u00ebr shkak t\u00eb reform\u00ebs n\u00eb drejt\u00ebsi.<\/span><\/p>\n

 <\/p>\n

<\/span><\/p>\n

Shkrimi i plot\u00eb:<\/strong><\/span><\/p>\n

\u201cUn\u00eb dua t\u00eb mbetem d\u00ebshmitare, qoft\u00eb edhe sikur t\u00eb mos mbetet asnj\u00eb njeri q\u00eb t\u00eb ket\u00eb nevoj\u00eb p\u00ebr d\u00ebshmin\u00eb time!\u201d<\/em><\/span><\/p>\n

\u00a0<\/em>\u201cKasandra\u201d, Christa Wolf<\/em><\/span><\/p>\n

Ky udh\u00ebp\u00ebrshkrim i takon Teatrit Komb\u00ebtar, historis\u00eb s\u00eb t\u00eb b\u00ebrit teat\u00ebr n\u00eb Shqip\u00ebrin\u00eb postkomuniste, n\u00eb tranzicion dhe pastranzicion, sepse Teatri Komb\u00ebtar ka qen\u00eb dhe \u00ebsht\u00eb e vetmja sken\u00eb teatri n\u00eb Tiran\u00eb, po edhe n\u00eb Shqip\u00ebri, me histori t\u00eb pand\u00ebrprer\u00eb, gati 80-vje\u00e7are, pa llogaritur skenat e p\u00ebrkohshme e pa identitet, t\u00eb quajtura Teatri i Metropolit dhe Teatri Eksperimental.<\/em><\/span><\/p>\n

Para se t\u00eb tregoj si \u00ebsht\u00eb nd\u00ebrtuar libri \u201cTe Teatri\u201d, \u00ebsht\u00eb e nevojshme t\u00eb jap nj\u00eb kontekst dhe motivet q\u00eb m\u00eb shtyn\u00eb ta b\u00ebj k\u00ebt\u00eb botim.<\/em><\/span><\/p>\n

N\u00eb vitin e pandemis\u00eb, kur kishte qeverisje n\u00eb bot\u00eb q\u00eb shfaq\u00ebn me tepri sjellje autoritare, n\u00eb nj\u00eb vend t\u00eb vog\u00ebl ballkanik si Shqip\u00ebria, u pa se demokracia \u00ebsht\u00eb v\u00ebrtet n\u00eb rrezik. Prova ishte sa reale, aq edhe simbolike. N\u00eb rrethanat e gjendjes s\u00eb jasht\u00ebzakonshme, qeveria shembi Teatrin Komb\u00ebtar, i cili prej dy vitesh mbrohej nga artist\u00eb dhe qytetar\u00eb.<\/em><\/span><\/p>\n

N\u00eb t\u00eb gdhir\u00eb t\u00eb 17 majit 2020, kur Tirana ishte e zhytur n\u00eb gjumin e zgjatur t\u00eb s\u00eb diel\u00ebs dhe n\u00eb shtetrrethimin prej pandemis\u00eb, u shemb brenda pak or\u00ebsh Teatri Komb\u00ebtar. P\u00ebrpara nd\u00ebrhyrjes s\u00eb mjeteve t\u00eb r\u00ebnda, ishin nd\u00ebrprer\u00eb burimet e ndri\u00e7imit dhe val\u00ebt wi-fi rrotull korpusit teatror, p\u00ebrkarshi Ministris\u00eb s\u00eb Brendshme. Forca t\u00eb armatosura e t\u00eb shum\u00ebfishta t\u00eb nd\u00ebrhyrjes s\u00eb shpejt\u00eb, hyn\u00eb n\u00eb ambjentet e teatrit dhe nxor\u00ebn jasht\u00eb me dhun\u00eb artist\u00ebt dhe aktivist\u00ebt, q\u00eb prej dy vitesh mbronin objektin. Muajt e fundit, duke ndjer\u00eb rrezikun, roja e tyre ishte b\u00ebr\u00eb e p\u00ebrnatshme. Jo m\u00eb kot slogani \u201cMonument kulture, mbrohet nga shteti\u201d, nisi t\u00eb p\u00ebrdoret n\u00eb form\u00ebn \u201cMonument kulture, mbrohet nga populli\u201d, banderol\u00eb q\u00eb q\u00ebndroi deri dit\u00ebn e fundit n\u00eb oborr.<\/em><\/span><\/p>\n

Qytetar\u00ebt arrit\u00ebn n\u00eb vendngjarje n\u00eb m\u00ebngjes, m\u00eb k\u00ebmb\u00eb, sepse edhe transporti urban ishte jasht\u00eb sh\u00ebrbimit (zgjatja e kufizimeve dhe e ndalimqarkullimit n\u00eb qytet p\u00ebrtej parashikimit, u analizua m\u00eb von\u00eb si nj\u00eb plan i mir\u00ebmenduar nga qeveria dhe bashkia e kryeqytetit p\u00ebr shembjen e teatrit). Njer\u00ebzit pan\u00eb mjegull\u00ebn e pluhurit, d\u00ebgjuan zhurm\u00ebn g\u00ebrryese t\u00eb ekskavator\u00ebve q\u00eb rr\u00ebzonin muret dhe shkulnin themelet, sikur t\u00eb ishin rr\u00ebnj\u00ebt e nj\u00eb kanceri n\u00eb tok\u00eb. N\u00eb fund, e vetmja gj\u00eb q\u00eb mbeti n\u00eb fush\u00ebpamje, ishin pishat, mbjell\u00eb n\u00eb oborrin e teatrit pas vitit \u201990, si homazh p\u00ebr ata q\u00eb kishin luajtur Hamlet dhe Klaud, po edhe sekretar\u00eb partie e figura shqiptar\u00ebsh t\u00eb n\u00ebnshtruar. Turma solli nd\u00ebr mend dialog\u00ebt e \u00e7do nate gjat\u00eb periudh\u00ebs s\u00eb rezistenc\u00ebs n\u00eb atriumin e gjelb\u00ebr, refrenin: \u201cmonument do t\u00eb thot\u00eb t\u00eb kujtosh\u201d.<\/em><\/span><\/p>\n

Nj\u00eb ndjenj\u00eb e p\u00ebrbashk\u00ebt sillej n\u00eb aj\u00ebr: ishte e gjitha kjo vazhdim i \u00ebndrr\u00ebs apo nj\u00eb zgjim i dhimbsh\u00ebm q\u00eb po b\u00ebnte pluhur besimin e brisht\u00eb se Shqip\u00ebria nj\u00eb dit\u00eb do t\u00eb b\u00ebhej?<\/em><\/span><\/p>\n

Ky \u00ebsht\u00eb epilogu i nj\u00eb ngjarjeje t\u00eb shtrir\u00eb n\u00eb koh\u00eb dhe si d\u00ebshmitare, autorja e k\u00ebtyre radh\u00ebve vazhdon t\u00eb ndaj\u00eb t\u00eb nj\u00ebjtat dilema me ato t\u00eb qytetar\u00ebve n\u00eb shesh, kur shihnin pluhurin e shembjes s\u00eb Teatrit Komb\u00ebtar: \u00c7far\u00eb shkoi keq? Si e nd\u00ebrtuan shqiptar\u00ebt identitetin e tyre n\u00eb demokraci? \u00c7far\u00eb roli ka pasur kultura n\u00eb formimin e nj\u00eb identiteti bashk\u00ebkohor dhe e nj\u00eb opinioni publik? P\u00ebrse nuk funksionoi pasja dhe mb\u00ebshtetja p\u00ebr nj\u00eb kultur\u00eb komb\u00ebtare n\u00eb epok\u00ebn e multikulturalizmit dhe demokracis\u00eb liberale?<\/em><\/span><\/p>\n

Ndodhi q\u00eb nj\u00eb qeveri e majt\u00eb ngulmoi t\u00eb shemb\u00eb teatrin kryesor n\u00eb vend, p\u00ebr ta z\u00ebvend\u00ebsuar me nj\u00eb t\u00eb ri brenda nj\u00eb blloku kullash q\u00eb do t\u00eb \u201czhvillonin\u201d zon\u00ebn historike t\u00eb Tiran\u00ebs \u2013 Tirana ka 100 vjet qytet, teatri kishte 80 vjet histori. Ndodhi q\u00eb kjo qeveri krijoi nj\u00eb \u201cligj special\u201d, nj\u00eb akt antikushtetues, q\u00eb i njihte asaj t\u00eb drejt\u00ebn t\u00eb lidhte kontrat\u00eb me nj\u00eb firm\u00eb biznesi e cila, n\u00eb kund\u00ebrshtim me parimet e konkurrenc\u00ebs, do t\u00eb b\u00ebnte \u201czhvillimin e zon\u00ebs\u201d. Ndodhi q\u00eb deputet\u00ebt e s\u00eb majt\u00ebs, q\u00eb e votuan n\u00eb parlament k\u00ebt\u00eb partneritet publik-privat, riprodhuan t\u00eb nj\u00ebjt\u00ebn narrativ\u00eb p\u00ebr shembjen q\u00eb kishte fabrikuar kreu i qeveris\u00eb. Ky lloj parlamenti p\u00ebrfaq\u00ebson zona elektorale qytetesh e krahinash ku nuk shfaqet nj\u00eb pjes\u00eb teatri, nuk projektohet nj\u00eb film. Pra, jan\u00eb deputet\u00eb t\u00eb zonave kulturalisht t\u00eb vdekura ku trash\u00ebgimia kulturore \u00ebsht\u00eb shtypur nga moderniteti i korrupsionit q\u00eb aplikon kitsch-in n\u00eb beton.<\/em><\/span><\/p>\n

Akti kund\u00ebr teatrit u nd\u00ebrmor kur vendi, prej disa vitesh, nuk kishte nj\u00eb Gjykat\u00eb Kushtetuese, p\u00ebr shkak t\u00eb reform\u00ebs n\u00eb drejt\u00ebsi (si nj\u00eb nga kushtet p\u00ebr hapjen e negociatave t\u00eb an\u00ebtar\u00ebsimit t\u00eb Shqip\u00ebris\u00eb n\u00eb Bashkimin Europian).<\/em><\/span><\/p>\n

T\u00eb majt\u00ebt kishin ardhur n\u00eb pushtet (2013) me nj\u00eb program politik ku premtohej nj\u00eb \u201crilindje urbane\u201d p\u00ebr t\u2019ia nd\u00ebrruar faqen qytetit shqiptar. Ky mision rezultoi si nj\u00eb fillim nga e para q\u00eb ua ndryshoi gjuh\u00ebn qyteteve, pasuris\u00eb s\u00eb tyre arkitektonike t\u00eb shek.XX, duke i unifikuar ato. Prandaj kishte arkitekt\u00eb q\u00eb tek rezistenca p\u00ebr teatrin gjet\u00ebn z\u00ebrin kritik kund\u00ebr \u201cm\u00ebnyr\u00ebs s\u00eb re\u201d t\u00eb administrimit t\u00eb qytetit dhe t\u00eb komercializimit t\u00eb hap\u00ebsirave publike. Ata pan\u00eb t\u00eb shprehur te ky moment \u201ckriz\u00ebn e p\u00ebrfaq\u00ebsimit dhe pamund\u00ebsin\u00eb p\u00ebr t\u00eb kuptuar e d\u00ebgjuar vox populi-n\u201d.<\/em><\/span><\/p>\n

Nuk kishte ndodhur n\u00eb historin\u00eb e re t\u00eb Shqip\u00ebris\u00eb q\u00eb nj\u00eb kauz\u00eb si kjo, t\u00eb vlej\u00eb si pasqyr\u00eb e plot\u00eb p\u00ebr degjenerimin politik, ekonomik e moral t\u00eb vendit dhe p\u00ebr nj\u00eb regjim, sjelljet e t\u00eb cilit t\u00eb shpien thell\u00eb n\u00eb koh\u00eb, n\u00eb p\u00ebrballjen e Tespit, ky q\u00eb duke dal\u00eb nga kori p\u00ebr t\u00eb krijuar protagonistin, nxjerr zbuluar Solonin autoritar q\u00eb thot\u00eb: e dim\u00eb q\u00eb njer\u00ebzit mendojn\u00eb, por ata nuk duhet ta din\u00eb q\u00eb e kan\u00eb k\u00ebt\u00eb aft\u00ebsi.<\/em><\/span><\/p>\n

Nuk \u00ebsht\u00eb n\u00eb tradit\u00ebn e artit dhe t\u00eb kultur\u00ebs n\u00eb Shqip\u00ebri krijimi i raporteve opozitare me pushtetin politik. N\u00eb pjes\u00ebn m\u00eb t\u00eb madhe t\u00eb historis\u00eb moderne t\u00eb shtetit ton\u00eb, ky pushtet politik ka qen\u00eb nj\u00ebngjyr\u00ebsh, i tipit monarkik, e m\u00eb pas, diktatorial komunist. Pra, natyra pushtetesh kontrolluese dhe shtyp\u00ebse p\u00ebr t\u00eb drejtat themelore t\u00eb njeriut, po aq sa p\u00ebr ato t\u00eb krijuesit, autorit, intelektualit. N\u00eb k\u00ebt\u00eb shtrat e gjet\u00ebn veten artist\u00ebt dhe njer\u00ebzit e kultur\u00ebs n\u00eb vitin 1991 me r\u00ebnien e sistemit nj\u00ebpartiak. Shum\u00eb shpresa kishte se ky do t\u00eb ishte zgjim, i dhimbsh\u00ebm, por sidoqoft\u00eb zgjim, p\u00ebr t\u2019u b\u00ebr\u00eb i pavarur nga ai lloj kontrolli. Se si do t\u00eb ndodhte, askush nuk e dinte. Ne nuk e pat\u00ebm nj\u00eb Vaclav Havel, nj\u00eb Lech Walesa apo Czeslaw Milosz. \u00c7do gj\u00eb q\u00eb erdhi m\u00eb pas, u shkrua si p\u00ebrvoj\u00eb brutale drejt e n\u00eb l\u00ebkur\u00ebn e secilit.<\/em><\/span><\/p>\n

Institucione kulturore si Kinostudio \u201cShqip\u00ebria e Re\u201d, pat\u00ebn fatin e fabrikave, uzinave dhe pasurive publike q\u00eb u dhan\u00eb me qira p\u00ebr 99 vjet apo u privatizuan p\u00ebr 1$ m2. N\u00eb Kinostudio, p\u00ebr shembull, sot ngrihen televizione t\u00eb fuqishme, drejtuar nga manjat\u00eb q\u00eb biznes paralel kan\u00eb nd\u00ebrtimin apo burime t\u00eb ardhurash n\u00eb rrug\u00eb t\u00eb paligjshme. Ata jan\u00eb z\u00ebdh\u00ebn\u00ebs t\u00eb qeverive.<\/em><\/span><\/p>\n

Me k\u00ebt\u00eb logjik\u00eb, qeverit\u00eb e majta zbatuan nj\u00eb politik\u00eb e cila, n\u00eb periudha t\u00eb caktuara, n\u00eb bashk\u00ebpunim me t\u00eb zgjedhurit e tyre n\u00eb bashkit\u00eb e qyteteve kryesore, merrte form\u00ebn e aksioneve p\u00ebr t\u00eb zaptuar tok\u00eb publike, p\u00ebr t\u00eb kompensuar t\u00eb ashtuquajturit ish-pronar\u00eb t\u00eb tokave dhe p\u00ebr t\u00eb shnd\u00ebrruar destinacionin e objekteve. E pat\u00ebn k\u00ebt\u00eb fat kinemat\u00eb e Tiran\u00ebs kur Edi Rama (kryeministri aktual, i cili profesion ka pasur piktur\u00ebn dhe m\u00ebsimdh\u00ebnien) ishte minist\u00ebr kulture (1998-2000) dhe kryetar i bashkis\u00eb m\u00eb pas (2000-2011). Shembull i indiferenc\u00ebs dhe i q\u00ebllimeve q\u00eb fshihen pas mosinvestimeve n\u00eb objektet ekzistuese kulturore si teatro, salla koncertesh, qendra e galeri arti, ishte Teatri Komb\u00ebtar.<\/em><\/span><\/p>\n

Paralel me gjendjen infrastrukturore, shp\u00ebrfill\u00ebs dhe p\u00ebr\u00e7mues ka qen\u00eb q\u00ebndrimi ndaj krijuesit. Prej pak vitesh Shqip\u00ebria ka n\u00eb let\u00ebr nj\u00eb ligj p\u00ebr t\u00eb drejt\u00ebn e autorit dhe pron\u00ebsin\u00eb intelektuale. Askush nuk mund t\u00eb thot\u00eb n\u00ebse ky ligj do t\u00eb b\u00ebj\u00eb t\u00eb mundur q\u00eb autor\u00ebt t\u00eb ken\u00eb m\u00eb n\u00eb fund nj\u00eb kontrat\u00eb, q\u00eb ata t\u00eb mos vidhen nga sht\u00ebpit\u00eb botuese, q\u00eb vepra e tyre t\u00eb shp\u00ebrndahet n\u00eb gjith\u00eb vendin dhe t\u00eb arrijn\u00eb t\u00eb komunikojn\u00eb me lexuesin. E nj\u00ebjta dilem\u00eb vlen p\u00ebr dramaturg\u00ebt, regjisor\u00ebt, autor\u00ebt e p\u00ebrkthyer, muzikant\u00ebt, performuesit, arkitekt\u00ebt. Kur nj\u00eb krijues nuk shp\u00ebrblehet p\u00ebr pun\u00ebn q\u00eb b\u00ebn, kur kjo pun\u00eb pak ose aspak e p\u00ebrmbush procesin e komunikimit, nuk mund t\u00eb pretendohet m\u00eb p\u00ebr fuqi shpirt\u00ebrore q\u00eb t\u2019i sh\u00ebrbejn\u00eb vet\u00ebdijes shoq\u00ebrore, t\u00eb rigjenerojn\u00eb kujtes\u00ebn e d\u00ebmtuar t\u00eb brezave dhe t\u00eb hapin vend ku t\u00eb qarkullojn\u00eb ata shembuj t\u00eb pak\u00ebt rezistence krijuesish q\u00eb pat\u00ebm n\u00ebn diktatur\u00eb e t\u00eb cil\u00ebt, n\u00eb nj\u00eb m\u00ebnyr\u00eb a n\u00eb nj\u00eb tjet\u00ebr, mund t\u00eb na tregonin e t\u00eb na p\u00ebrgatisnin p\u00ebr p\u00ebrdorimin e artistit nga pushteti.<\/em><\/span><\/p>\n

***<\/em><\/span><\/p>\n

Shkrimet e k\u00ebsaj p\u00ebrmbledhjeje jan\u00eb botuar midis viteve 2002-2022, kryesisht n\u00eb gazeta e revista q\u00eb sot nuk ekzistojn\u00eb m\u00eb, arkivat e tyre po ashtu nuk ekzistojn\u00eb, p\u00ebrve\u00e7se n\u00eb koleksionet print t\u00eb shtypit n\u00eb Bibliotek\u00ebn Komb\u00ebtare. Kjo pjes\u00eb e r\u00ebnd\u00ebsishme e dokumentimit t\u00eb ngjarjeve kulturore nuk mund t\u00eb arrihet leht\u00ebsisht nga publiku i gjer\u00eb, as nga ai publik i interesuar specifikisht p\u00ebr k\u00ebto tema. Ishte kjo panoram\u00eb mohimi arsyeja tjet\u00ebr q\u00eb m\u00eb nxiti ta p\u00ebrgatis librin.<\/em><\/span><\/p>\n

N\u00eb fakt, deri von\u00eb, \u00e7far\u00eb kisha shkruar, ashtu t\u00eb pagrupuara, nuk m\u00eb thoshin kushedi \u00e7far\u00eb. Zhdukja nga youtube-i i emisionit tim \u201cArtes\u201d n\u00eb kanalin e Radio Televizionit Shqiptar, m\u00eb provoi at\u00eb q\u00eb Trebeshina m\u00eb pat th\u00ebn\u00eb nj\u00ebher\u00eb, kur m\u00eb refuzoi ta intervistoja: \u201cE \u00e7\u2019\u00ebsht\u00eb shtypi? Efemer \u00ebsht\u00eb\u2026 ephemeros i thon\u00eb.\u201d K\u00ebsaj, jo gjithmon\u00eb i kam dh\u00ebn\u00eb t\u00eb drejt\u00eb. Pik\u00ebrisht ngaq\u00eb lajmi, shtypi ditor, e ka jet\u00ebn disaor\u00ebshe, k\u00ebtu e ka edhe vler\u00ebn: t\u00eb b\u00ebj\u00eb historin\u00eb e nj\u00eb dite, n\u00eb rastin m\u00eb t\u00eb mir\u00eb, e n\u00eb rastin m\u00eb t\u00eb keq, ta mohoj\u00eb at\u00eb dit\u00eb n\u00eb jet\u00ebn e nj\u00eb njeriu, t\u00eb nj\u00eb shoq\u00ebrie.<\/em><\/span><\/p>\n

\u201cTe Teatri\u201d \u00ebsht\u00eb ndar\u00eb n\u00eb gjasht\u00eb kapituj. \u00c7do kapitull \u00ebsht\u00eb menduar q\u00eb t\u00eb ket\u00eb nj\u00ebfar\u00eb fabule tematike. P\u00ebr shembull, kapitulli \u201cKomedi tragjike\u201d ndjek zhvillimet p\u00ebr Teatrin Komb\u00ebtar q\u00eb i paraprin\u00eb shembjes, t\u00eb cil\u00ebn a posteriori, e gjejm\u00eb n\u00eb p\u00ebrputhje me logjik\u00ebn e gj\u00ebrave si\u00e7 kan\u00eb funksionuar n\u00eb krye t\u00eb her\u00ebs.<\/em><\/span><\/p>\n

Zhvillimet n\u00eb teat\u00ebr, si pasoj\u00eb e vendimeve politike n\u00eb disa nivele, nisin n\u00eb vitin 1998. Un\u00eb e kapa debatin p\u00ebr godin\u00ebn aty nga fundi i vitit 2001, pa arritur t\u00eb kuptoj at\u00ebkoh\u00eb q\u00ebllimet e grupeve me interesa politike dhe ekonomike.<\/em><\/span><\/p>\n

Fillimet m\u00eb faniten pas tymit t\u00eb duhanit dhe avujve t\u00eb alkoolit t\u00eb lir\u00eb q\u00eb pinin n\u00eb barin e \u201cYlli Bingos\u201d artist\u00eb, polic\u00eb, t\u00eb dyshimt\u00eb e t\u00eb papun\u00eb q\u00eb provonin fatin n\u00eb loj\u00eb. Prej vitit 1995, Teatri Komb\u00ebtar e kishte dh\u00ebn\u00eb k\u00ebt\u00eb ambient me qira p\u00ebr t\u00eb p\u00ebrfituar t\u00eb ardhura mbi pag\u00ebn. Pamja ishte zgjatim jasht\u00eb skene i atij niveli artistik q\u00eb shihja jo rrall\u00eb n\u00eb sken\u00eb, por pa e ndier rrezikun q\u00eb i kanosej teatrit nga biznesi n\u00eb bashk\u00ebpunim t\u00eb fsheht\u00eb me politik\u00ebn, politikan\u00ebt artist\u00eb dhe artist\u00ebt n\u00eb pozita drejtuese.<\/em><\/span><\/p>\n

K\u00ebta t\u00eb fundit, q\u00eb prej vitit 1992, flisnin p\u00ebr reforma e strategji komb\u00ebtare n\u00eb fush\u00ebn e edukimit dhe prodhimit t\u00eb kultur\u00ebs shqiptare q\u00eb duhej rregulluar me ligj; p\u00ebr ligjin \u201cP\u00ebr teatrin\u201d; p\u00ebr at\u00eb q\u00eb duhet t\u00eb b\u00ebj\u00eb shteti e q\u00eb nuk e b\u00ebn dot individi; p\u00ebr hyrjen n\u00eb konkurrenc\u00ebn e lir\u00eb, q\u00eb duhet ta rrezikonte rrog\u00ebn e sigurt; p\u00ebr t\u00eb vetmin institucion t\u00eb edukimit t\u00eb arteve tona, Fakulteti i Artit Dramatik n\u00eb Akademin\u00eb e Arteve, q\u00eb prodhon teprica teknologjike, aktor\u00ebsh, regjisor\u00ebsh, skenograf\u00ebsh, t\u00eb cilat tregu i prodhimit jo vet\u00ebm q\u00eb nuk i k\u00ebrkon, por nuk \u00ebsht\u00eb i prirur as t\u2019i mir\u00ebpres\u00eb p\u00ebr freskin\u00eb dhe risit\u00eb potenciale\u2026<\/em><\/span><\/p>\n

Jan\u00eb disa shkrime n\u00eb k\u00ebt\u00eb kapitull q\u00eb trajtojn\u00eb hendekun mes roleve t\u00eb qytetarit, intelektualit, artistit, dhe thjeshtimin e njeriut te personazhi politik. I kam zgjedhur p\u00ebr t\u00eb d\u00ebshmuar koherenc\u00ebn apo moskoherenc\u00ebn q\u00eb kan\u00eb mbajtur figura t\u00eb caktuara publike p\u00ebr \u00e7\u00ebshtjet e teatrit dhe t\u00eb kompleksit teatror e p\u00ebr t\u00eb rimarr\u00eb pyetjet: \u201c\u00e7\u2019\u00ebsht\u00eb intelektuali?\u201d, \u201c\u00e7\u2019\u00ebsht\u00eb qytetari?\u201d, t\u00eb cilat u hodh\u00ebn p\u00ebr diskutim me tjet\u00ebr fuqi n\u00eb vitet 2018-\u201820.<\/em><\/span><\/p>\n

\u00c7do kurriz i p\u00ebrkulur artisti dhe qytetari ka qen\u00eb nj\u00eb tull\u00eb m\u00eb shum\u00eb n\u00eb pushtetin e Kryeministrit t\u00eb sot\u00ebm Edi Rama. Aq i p\u00ebrkulur kurrizi i tyre, sa ai, Kryeministri, \u00ebsht\u00eb tallur duke th\u00ebn\u00eb se k\u00ebta njer\u00ebz i jan\u00eb ofruar vullnetarisht p\u00ebr shembjen e Teatrit Komb\u00ebtar. Fryrja dhe l\u00ebvdimi n\u00eb vite n\u00eb media, vler\u00ebsimi me tituj e urdhra nga institucionet e kujtes\u00ebs komb\u00ebtare, nga Ministria e Kultur\u00ebs e deri nga Presidenca e Republik\u00ebs (q\u00eb ka shp\u00ebrndar\u00eb me dhjet\u00ebra e qindra tituj \u201cMjesht\u00ebr i Madh\u201d e \u201cNderi i Kombit), flirtimi dhe p\u00ebrdorimi i nd\u00ebrsjellt\u00eb nga nj\u00ebri dhe tjetri krah politik, iu ka dh\u00ebn\u00eb t\u00eb drejt\u00ebn k\u00ebtyre individ\u00ebve ta p\u00ebrdorin namin e emrit duke shkelur mbi tjetrin, mbi vlerat dhe pasurit\u00eb e p\u00ebrbashk\u00ebta, e p\u00ebr rrjedhoj\u00eb, edhe mbi veten.<\/em><\/span><\/p>\n

Shkrimet e kapitullit \u201cPara premier\u00ebs dhe pas\u201d jan\u00eb p\u00ebrpjekje p\u00ebr nj\u00eb lexim t\u00eb thelluar t\u00eb gjuh\u00ebs s\u00eb teatrit si dramaturgji dhe si spektak\u00ebl. Leximi i teksteve dramatike, krahas ndjekjes s\u00eb shfaqjeve, ka qen\u00eb nga k\u00ebnaq\u00ebsit\u00eb e pun\u00ebs si gazetare p\u00ebr kultur\u00ebn. Edhe at\u00ebher\u00eb kur v\u00ebnia n\u00eb sken\u00eb e nj\u00eb teksti t\u00eb mrekulluesh\u00ebm d\u00ebshtonte, e gjeja veten ulur n\u00eb fund t\u00eb sall\u00ebs, me syt\u00eb mbyllur, duke d\u00ebgjuar pik\u00ebrisht tekstin. Rruga nga redaksia n\u00eb teat\u00ebr p\u00ebr t\u00eb par\u00eb shfaqjet pasditeve, m\u00eb kujtonte se ekzistonte edhe per\u00ebndimi i diellit. Rutina e pun\u00ebs e mban gazetarin e shypit mbyllur n\u00eb redaksi deri von\u00eb n\u00eb mbr\u00ebmje dhe k\u00ebt\u00eb moment t\u00eb ciklit natyror, per\u00ebndimin e diellit, ka ndodhur ta kem humbur p\u00ebr vite. P\u00ebr t\u00eb shkruar nj\u00eb analiz\u00eb nga k\u00ebto, jan\u00eb dashur dy per\u00ebndime dielli, po ndonj\u00ebher\u00eb edhe m\u00eb shum\u00eb (si p\u00ebr rastin e spektaklit \u201cRomeo e Xhuljeta\u201d), p\u00ebr k\u00ebnaq\u00ebsin\u00eb q\u00eb m\u00eb jepte hyrja n\u00eb nj\u00eb zon\u00eb misteri q\u00eb vet\u00ebm teatri ta jep, edhe p\u00ebr pafuqin\u00eb q\u00eb ndieja p\u00ebr t\u00eb kapur gjuh\u00ebn e teatrit, elementet q\u00eb m\u00eb rr\u00ebshqisnin (teatri takohet me shtypin n\u00eb pik\u00ebn ku t\u00eb dy b\u00ebhen ephemeros). Gj\u00eb q\u00eb s\u2019mund ta them p\u00ebr pjes\u00ebn d\u00ebrrmuese t\u00eb dram\u00ebs shqipe, e cila \u00ebsht\u00eb n\u00eb fokus t\u00eb kapitullit \u201cA vlen m\u00eb konkursi p\u00ebr dram\u00ebn shqipe?\u201d. Megjithat\u00eb, mbetet nj\u00eblloj p\u00ebrgjegj\u00ebsia p\u00ebr t\u00eb shkruar si p\u00ebr nj\u00eb vep\u00ebr t\u00eb realizuar, edhe p\u00ebr nj\u00eb t\u00eb d\u00ebshtuar.<\/em><\/span><\/p>\n

Pasi strukturova kapitullin \u201cMe fjal\u00ebt e t\u00eb rinjve\u201d, konstatova se ishin t\u00eb shumt\u00eb ata q\u00eb nuk merren m\u00eb me teat\u00ebr, q\u00eb kan\u00eb emigruar, jan\u00eb t\u00eb papun\u00eb, i jan\u00eb futur nj\u00eb biznesi, ose, m\u00eb fatlum\u00ebt, kan\u00eb kap\u00ebrcyer n\u00eb nj\u00eb fush\u00eb tjet\u00ebr arti. Mund ta marrim me mend se devijimin prej \u00ebndrr\u00ebs duhet ta ken\u00eb pasur t\u00eb dhimbsh\u00ebm.<\/em><\/span><\/p>\n

Ka disa arsye pse zhanri i intervist\u00ebs \u00ebsht\u00eb i pranish\u00ebm k\u00ebtu dhe n\u00eb kapitullin \u201cNga Kosova\u201d. Intervista t\u00eb merr m\u00eb pak koh\u00eb fizike. Puna e p\u00ebrditshme n\u00eb gazet\u00eb \u00ebsht\u00eb \u201ckamin\u00eb\u201d, si\u00e7 e quante Petro Marko. Sidoqoft\u00eb, do ishte e padrejt\u00eb ta shihnim intervist\u00ebn vet\u00ebm sipas k\u00ebtij kriteri t\u00eb jasht\u00ebm. Intervista, po aq sa analiza e reportazhi, \u00ebsht\u00eb n\u00eb gjendje t\u00eb jap\u00eb atmosfer\u00ebn e vendit dhe t\u00eb koh\u00ebs, mendimin e pafiltruar e bruto t\u00eb burimit, t\u00eb d\u00ebshmis\u00eb, i jep mund\u00ebsin\u00eb gazetarit ta shpreh\u00eb q\u00ebndrimin e vet duke ballafaquar, aty p\u00ebr aty, at\u00eb q\u00eb njeh me at\u00eb q\u00eb burimet thon\u00eb, realitetin real me interpretimin q\u00eb i b\u00ebhet realitetit. K\u00ebshtu ndodh q\u00eb, n\u00eb saje t\u00eb k\u00ebtij zhanri, t\u00eb krahasojm\u00eb realitetet teatrore t\u00eb Kosov\u00ebs me t\u00eb Shqip\u00ebris\u00eb.<\/em><\/span><\/p>\n

Puna n\u00eb terren ka funksionuar me k\u00ebt\u00eb shqis\u00eb, e q\u00eb sot, n\u00eb distanc\u00ebn e viteve, vjen e p\u00ebrpunuar n\u00eb k\u00ebto p\u00ebrfundime, t\u00eb cilat mund t\u00eb ciklohen s\u00ebrish n\u00eb praktik\u00eb.<\/em><\/span><\/p>\n

Kapitulli i portreteve ndjek nj\u00eb linj\u00eb gjith\u00ebp\u00ebrfshir\u00ebse n\u00eb dukje, nga Pirro Mani tek figuranti Burhan, nga t\u00eb gjall\u00ebt tek t\u00eb vdekurit. Nga t\u00eb gjall\u00ebt nuk m\u00eb ka interesuar informacioni p\u00ebr personazhe dhe shfaqje q\u00eb nuk i kam par\u00eb e nuk i kam p\u00ebrjetuar. M\u00eb ka interesuar momenti kur i kam takuar, k\u00ebrkimi p\u00ebr figur\u00ebn artistike, leximet, \u00ebndrrat, impresionet e \u00e7astit. Prej bisedave t\u00eb lira dhe si t\u00eb paq\u00ebllimta, mund t\u00eb nxjerr\u00ebsh \u00e7\u2019\u00ebsht\u00eb aktori n\u00eb momentin kur flasim, \u00e7far\u00eb ka k\u00ebrkuar nga vetja dhe nga teatri p\u00ebrgjat\u00eb rrug\u00ebtimit artistik.<\/em><\/span><\/p>\n

P\u00ebr artist\u00ebt q\u00eb nuk jetojn\u00eb m\u00eb, kam dashur q\u00eb ata t\u00eb vijn\u00eb n\u00eb bashk\u00ebbisedim p\u00ebrmes arkiv\u00ebs, dor\u00ebshkrimeve, fotografive, bashk\u00ebshorteve t\u00eb vetmuara, sht\u00ebpive t\u00eb tyre me oborr e lule. Dua t\u00eb them, gjetja e burimeve relevante p\u00ebr gazetarin ndihmon p\u00ebr t\u2019i ikur llojit t\u00eb nekrologjis\u00eb si zhan\u00ebr p\u00ebr pasvdekjen apo si laudatio, lloj teksti ku bie shpesh zhanri i portretit. Nekrologjin\u00eb e mendoj si tekst p\u00ebr at\u00eb pjes\u00eb t\u00eb gjall\u00eb humane q\u00eb nuk zhduket me trupin.<\/em><\/span><\/p>\n

Referencat nga arkivat, fotografit\u00eb, sh\u00ebnimet, d\u00ebshmitar\u00ebt jan\u00eb k\u00ebrkime nisur nga d\u00ebshira p\u00ebr t\u00eb gjetur n\u00eb aktualitet jehonat q\u00eb vijn\u00eb nga nj\u00eb koh\u00eb e shkuar. N\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb provohet apo kund\u00ebrshtohet \u00e7far\u00eb \u00ebsht\u00eb vazhdim\u00ebsi dhe \u00e7far\u00eb \u00ebsht\u00eb fenomen i nd\u00ebrprer\u00eb n\u00eb nj\u00eb kultur\u00eb.<\/em><\/span><\/p>\n

N\u00eb vitin 2013 u largova nga gazeta n\u00eb televizion. Mbyllja e hap\u00ebsirave n\u00eb shtypin e shkruar dhe pesha q\u00eb fituan format e gazetaris\u00eb n\u00eb rrjet, e godit\u00ebn r\u00ebnd\u00eb gazetarin\u00eb kulturore. Flitet p\u00ebr censur\u00ebn q\u00eb ushtron pushteti ndaj medias dhe nuk p\u00ebrmendet censura q\u00eb media ushtron ndaj vetes, p\u00ebr shkak t\u00eb lidhjeve t\u00eb interesit, po se po, dhe p\u00ebr shkak t\u00eb mendjengusht\u00ebsis\u00eb s\u00eb drejtuesve n\u00eb media. Pyetjet: \u201cPse jep mendimin t\u00ebnd?\u201d, \u201cKush jemi ne q\u00eb t\u00eb gjykojm\u00eb?\u201d, \u201cPse ne t\u00eb shkruajm\u00eb ndryshe nga gazetat e tjera?\u201d, ishin n\u00eb t\u00eb v\u00ebrtet\u00eb laku i p\u00ebrditsh\u00ebm i censur\u00ebs n\u00eb redaksi. Nuk kishin t\u00eb b\u00ebnin me etik\u00ebn gazetareske, por lidheshin me mbajtjen n\u00ebn kontroll t\u00eb \u201cdijes\u201d mbi tjetrin. P\u00ebr shkak t\u00eb k\u00ebtij lloj presioni, ritmit marramend\u00ebs t\u00eb p\u00ebrditshm\u00ebris\u00eb, pagave m\u00eb t\u00eb ul\u00ebta p\u00ebr reporterin e kultur\u00ebs krahasuar se gazetar\u00ebt e fushave t\u00eb tjera, disa kolege t\u00eb dashura e kan\u00eb l\u00ebn\u00eb zanatin ose kan\u00eb nd\u00ebrruar profil rubrike. Po t\u00eb mos ishte k\u00ebshtu, do t\u00eb kishim nj\u00eb tradit\u00eb t\u00eb pand\u00ebrprer\u00eb t\u00eb gazetaris\u00eb kulturore n\u00eb t\u00eb p\u00ebrditshmet, do t\u00eb kishim arritur nj\u00ebfar\u00eb niveli t\u00eb raportimit t\u00eb thelluar dhe t\u00eb mendimit kritik p\u00ebr artet dhe kultur\u00ebn, e q\u00eb do t\u2019i sh\u00ebrbente shoq\u00ebris\u00eb t\u00eb mos pranonte ekseset q\u00eb qarkullojn\u00eb n\u00eb em\u00ebr t\u00eb artit.<\/em><\/span><\/p>\n

N\u00eb kuad\u00ebr m\u00eb t\u00eb gjer\u00eb, kam besuar n\u00eb rolin dhe r\u00ebnd\u00ebsin\u00eb e gazetaris\u00eb kulturore duke par\u00eb q\u00eb Universiteti i Arteve nuk p\u00ebrgatit kritik\u00eb teatri, bursa p\u00ebr t\u00eb rinjt\u00eb p\u00ebr specializim t\u00eb m\u00ebtejsh\u00ebm nuk jepen dhe institucionet shkencore shtet\u00ebrore p\u00ebr studimin e arteve jan\u00eb pasive sikur t\u00eb mos ekzistojn\u00eb.<\/em><\/span><\/p>\n

Prej vitit 2014, diskutimet p\u00ebr teatrin i kam vazhduar dhe p\u00ebrshtatur p\u00ebr televizionin, pa\u00e7ka se ky medium e cenon pavar\u00ebsin\u00eb dhe efektin e fjal\u00ebs s\u00eb gazetarit n\u00eb raport me shtypin e shkruar. Askush nuk t\u00eb vjen n\u00eb studio q\u00eb ti ta kritikosh. Po ashtu, gazetarin e specializuar n\u00eb nj\u00eb fush\u00eb t\u00eb caktuar, e nxjerrin jasht\u00eb loje emisionet gjeneraliste, t\u00eb cilat marrin funksione shtes\u00eb duke i relativizuar, ambalazhuar e zbukuruar ngjarjet kulturore, sepse k\u00ebshtu t\u00ebrheqin edhe at\u00eb lloj audience t\u00eb l\u00ebkundur n\u00eb shije, formim dhe interesa dhe zgjerojn\u00eb tregun duke u futur sa t\u00eb munden n\u00eb koh\u00ebn e lir\u00eb t\u00eb njer\u00ebzve e duke krijuar inteligjenc\u00eb masive. Nj\u00eb drejtor teatri dhe \u00e7\u2019jan\u00eb artist\u00eb me z\u00eb e n\u00eb karrier\u00eb e sip\u00ebr, i gjen aty ku flitet pa frik\u00eb, dometh\u00ebn\u00eb pa p\u00ebrgjegj\u00ebsi, p\u00ebr at\u00eb q\u00eb (nuk) b\u00ebjn\u00eb si artist\u00eb dhe p\u00ebr at\u00eb q\u00eb b\u00ebjn\u00eb jasht\u00eb skene si njer\u00ebz t\u00eb famsh\u00ebm, me d\u00ebshirat p\u00ebr pazar, p\u00ebr t\u00eb ormisur gjell\u00eb e sht\u00ebpi, p\u00ebr t\u00eb zgjedhur vende pushimi. K\u00ebshtu rr\u00ebzohet cil\u00ebsia dhe k\u00ebrkesa p\u00ebr hap\u00ebsira mir\u00ebfilli kulturore n\u00eb media.<\/em><\/span><\/p>\n

Duke i p\u00ebrgatitur artikujt p\u00ebr shtyp, ritakova p\u00ebrjetimet me teatrin dhe, n\u00ebp\u00ebrmjet tij, p\u00ebrjetimet me mjedisin ton\u00eb kulturor t\u00eb koklavitur. Ka qen\u00eb nj\u00eb kalim p\u00ebrmes padijes, t\u00eb jetuarit bruto dhe eg\u00ebr me ngjarjet, pafuqis\u00eb p\u00ebr t\u00eb kuptuar n\u00eb koh\u00eb at\u00eb q\u00eb ndodhte, ngaq\u00eb e v\u00ebrteta shpesh nuk shfaqet si e v\u00ebrtet\u00eb. E v\u00ebrteta e tregon forc\u00ebn e vet pasi t\u00eb jet\u00eb v\u00ebn\u00eb n\u00eb rrezik e t\u00eb jet\u00eb goditur. Un\u00eb k\u00ebt\u00eb m\u00eb duhet ta pranoj e ta pohoj. P\u00ebr ta th\u00ebn\u00eb me fjal\u00eb t\u00eb tjera, do k\u00ebrkoja s\u00ebrish ndihm\u00ebn e Kasandr\u00ebs s\u00eb Christa Wolfit: \u201cTani q\u00eb Troja nuk ekziston m\u00eb, jam b\u00ebr\u00eb p\u00ebrs\u00ebri trojane.\u201d<\/em><\/span><\/p>\n

\u00a0<\/em><\/span><\/p>\n

Tiran\u00eb, prill 2023<\/em><\/span><\/p>\n","protected":false,"gt_translate_keys":[{"key":"rendered","format":"html"}]},"excerpt":{"rendered":"

Gazetarja e kultur\u00ebs Elsa Demo ka nxjerr\u00eb botimin m\u00eb t\u00eb ri t\u00eb saj, nj\u00eb lib\u00ebr q\u00eb i dedikohet shembjes s\u00eb Teatrit Komb\u00ebtar n\u00eb m\u00ebngjesin e 17 majit t\u00eb vitit 2020. Demo n\u00eb\u00eb vepr\u00ebn e saj ka risjell\u00eb p\u00ebrjetimet p\u00ebr teatrin ku n\u00ebp\u00ebrmjet tij p\u00ebrqas mjedisin ton\u00eb kulturor t\u00eb koklavitur si\u00e7 thot\u00eb ajo. Duke e ci\u00ebsuar […]<\/p>\n","protected":false,"gt_translate_keys":[{"key":"rendered","format":"html"}]},"author":30,"featured_media":596739,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65,13],"tags":[],"class_list":["post-596738","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-lajme","category-te-fundit"],"gt_translate_keys":[{"key":"link","format":"url"}],"_links":{"self":[{"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/posts\/596738","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=596738"}],"version-history":[{"count":0,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/posts\/596738\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/media\/596739"}],"wp:attachment":[{"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/media?parent=596738"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/categories?post=596738"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.hashtag.al\/index.php\/wp-json\/wp\/v2\/tags?post=596738"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}