{"id":36943,"date":"2019-01-13T00:05:21","date_gmt":"2019-01-12T23:05:21","guid":{"rendered":"http:\/\/www.fjala.info\/?p=36943"},"modified":"2019-01-13T00:05:21","modified_gmt":"2019-01-12T23:05:21","slug":"skenderbeu-ne-version-me-ndryshe","status":"publish","type":"post","link":"https:\/\/jehonashqiptare.al\/fjala\/skenderbeu-ne-version-me-ndryshe\/","title":{"rendered":"Sk\u00ebnderbeu n\u00eb version m\u00eb ndryshe"},"content":{"rendered":"

Heroin komb\u00ebtar te ne gjithmon\u00eb e inskenojn\u00eb dhe e luajn\u00eb shabllon<\/em><\/p><\/blockquote>\n

Ilir Muharremi<\/strong><\/p>\n

Aktori duhet t\u00eb ballafaqohet me shqet\u00ebsimin e brendsh\u00ebm, pavar\u00ebsisht cilin personazh tenton ta krijoj\u00eb. Ndodh q\u00eb kapak\u00ebt e syve, buz\u00ebt, l\u00ebvizjet e duarve dhe n\u00eb t\u00ebr\u00ebsi l\u00ebvizjet skenike t\u00eb mos i kujtohen n\u00eb t\u00ebr\u00ebsi, at\u00ebher\u00eb ai ka vepruar sipas subkoshienc\u00ebs. Shpesh kjo na \u00e7on n\u00eb rrug\u00eb t\u00eb gabuar ose rrug\u00eb t\u00eb drejt\u00eb. Un\u00eb at\u00eb nat\u00eb pash\u00eb aktorin Bujar Ahmeti t\u00eb t\u00ebrhequr nga personazhi i Sk\u00ebnderbeut, me nj\u00eb p\u00ebrkrenare jo shum\u00eb t\u00eb detajuar, q\u00ebndrim t\u00eb drejt\u00eb, si statuj\u00eb, her\u00eb i shtangur e her\u00eb i liruar nga zinxhir\u00ebt e personazhit, kjo e q\u00ebllimshme, sepse k\u00ebshtu k\u00ebrkohej nga roli. Z\u00ebri i tij ishte dyz\u00ebr\u00ebsh, harmonik, n\u00eb t\u00eb cilin ngujohet trishtimi dhe drama njer\u00ebzore, dhe dukej shum\u00eb njer\u00ebzor i minimizuar Sk\u00ebnderbeu, kjo t\u00eb pakt\u00ebn k\u00ebrkohej nga aktori e jo nga regjisori i teatrit brenda teatrit. Roli i tij shfaqej plot dhimbje, mall\u00ebngjim vramend\u00ebs.<\/p>\n

Dhe, shikuesi menj\u00ebher\u00eb e merr at\u00eb \u00e7far\u00eb nd\u00ebrton regjisori Fadil Hysaj, bredh lirsh\u00ebm n\u00ebp\u00ebr konceptin e tij, dhe kjo ndon\u00ebse p\u00ebr nj\u00eb shikues, i cili e njeh aktrimin ka p\u00ebrvoj\u00eb me aktor\u00ebt, si n\u00eb jet\u00ebn skenike ashtu edhe n\u00eb jet\u00ebn reale. Saora kuptohet psikologjia e personazhit. A ishte aktori i t\u00ebrhequr nga personazhi, a ndjente dashuri ndaj tij? Mendoj se po. Ai jetonte edhe jasht\u00eb vullnetit t\u00eb tij jet\u00ebn e rolit dhe nuk i kuptonte mir\u00eb ndjenjat e tij, disi \u00e7do gj\u00eb i vinte vetvetiu. Theksat e v\u00ebn\u00eb gjat\u00eb dialog\u00ebve, sidomos kur kishte monolog\u00eb, duke mos iu referuar sakt\u00eb l\u00ebnd\u00ebs letrare (dramaturgjis\u00eb), ai tentonte ta zbuste Sk\u00ebnderbeun, nd\u00ebrsa n\u00eb an\u00ebn tjet\u00ebr k\u00ebrkohej ta patetizonte. K\u00ebtu mendoj q\u00eb regjia e kishte tejkaluar tekstin, si plot\u00ebsim dhe aktualitet, ishte nj\u00eb aureol\u00eb dhe i jepte drit\u00eb dramaturgjis\u00eb.<\/p>\n

Aktor\u00ebt donin ta vrisnin nj\u00ebri- tjetrin p\u00ebr rolet kryesore<\/strong><\/p>\n

Sk\u00ebnderbeun n\u00eb shfaqjen “Sk\u00ebnderbeu, dashuria dhe liria” e shoh t\u00eb dashuruar pas Arianis\u00ebs (Donik\u00ebs) e jo atdheut. Ndjenjat e tij p\u00ebr t\u00eb i shoh m\u00eb shum\u00eb n\u00eb fjal\u00eb sesa shpirt, ndoshta duhej m\u00eb shum\u00eb ta harronte atdheun dhe i bindur jam se e kishte k\u00ebt\u00eb informat\u00eb aktori. N\u00eb k\u00ebt\u00eb rast aktori duhet t’i besonte artit t\u00eb t\u00eb paraqiturit, ngaq\u00eb baza e drejtimit artistik \u00ebsht\u00eb shum\u00eb af\u00ebr shpirtit t\u00eb tij dhe ndjenjat e tij artistike k\u00ebt\u00eb e k\u00ebrkojn\u00eb, e ai duhej t’i p\u00ebrulej. N\u00ebse n\u00eb sken\u00eb dashurojm\u00eb, dashurojm\u00eb me z\u00eb. Dashuria d\u00ebgjohet e ngre z\u00ebrin, at\u00ebher\u00eb heshtja jon\u00eb e audienc\u00ebs b\u00ebhet spektakolare. Aktori nuk duhet t\u00eb p\u00ebrkryhet ve\u00e7 n\u00eb dukje, por zemra e tij duhet t\u00eb ushtrohet, t\u00eb shprehet, t\u00eb shpjegohet p\u00ebrmes gjesteve, t\u00eb cilat z\u00ebri dhe trupi i mish\u00ebrojn\u00eb. E kuptojn\u00eb ligjin e teatrit se gjith\u00e7ka k\u00ebrkohet t\u00eb zmadhohet, dhe k\u00ebt\u00eb e k\u00ebrkon regjisori brenda shfaqjes. Regjisori Hysaj si koncept ka tentimin e shfaqjes s\u00eb Sk\u00ebnderbeut, sidomos n\u00eb k\u00ebt\u00eb koh\u00eb dhe aty hasim n\u00eb shum\u00eb probleme, t\u00eb cilat i rishfaq aktori Shp\u00ebtim Selmani n\u00eb rolin e regjisorit, i cili zhytet n\u00eb labirint t\u00eb shfaqjes.<\/p>\n

Ai vazhdimisht nd\u00ebrhyn, k\u00ebrkon q\u00eb aktor\u00ebt t\u00eb hiperbolizojn\u00eb, t\u00eb patetizojn\u00eb, t\u00eb zhyten n\u00eb konceptin e tij, dhe ai vuan nga depresioni dhe ereksioni. Nuk i zihet vendi vend. Sa ulet n\u00eb pjes\u00ebn e majt\u00eb, e sa n\u00eb t\u00eb djatht\u00eb. E her\u00eb n\u00eb publik. Ai k\u00ebrkon nga aktor\u00ebt t’u shpjegoj\u00eb se nuk b\u00ebhet teatror kushdo. P\u00ebrmes tij, regjisori Hysaj m\u00ebton t\u00eb tregoj\u00eb se regjisor\u00ebt i z\u00ebvend\u00ebsojn\u00eb rolet me aktor\u00ebt e tjer\u00eb, ata i gjuhen n\u00eb qaf\u00eb me q\u00ebllim p\u00ebr t’i caktuar vet\u00eb skenat. Ai si regjisor ka mjaft pasiguri dhe kjo v\u00ebrehet shum\u00eb nga aktor\u00ebt t\u00eb cil\u00ebt heraher\u00ebs ia hedhin kostumin e personazhit. Sipas aktor\u00ebve nuk \u00ebsht\u00eb faji te ta, por te regjisori, sepse gjuha e tij p\u00ebr ta njohur personazhin \u00ebsht\u00eb e mang\u00ebt. Sipas dialog\u00ebve na del se aktor\u00ebt kurr\u00eb nuk mund t\u00eb b\u00ebhen si personazhet dhe duhet t\u00eb krijohet nj\u00eb konvencion p\u00ebr ta. Subjekti i shfaqjes nd\u00ebrtohet mbi at\u00eb llomin e grabitjes tin\u00ebzare t\u00eb roleve, aktor\u00ebt donin ta vrisnin nj\u00ebri- tjetrin p\u00ebr rolet kryesore dhe hilet q\u00eb i b\u00ebnin me q\u00ebllim p\u00ebr t’i fituar rolet.<\/p>\n

T\u00eb pak\u00ebnaqur me rolet kjo si shkak i asaj q\u00eb aktor\u00ebt gjithmon\u00eb ankohen p\u00ebr rolet e veta. K\u00ebtu e shoh nj\u00eb substanc\u00eb t\u00eb bukur dramaturgjike q\u00eb qarkullon te audienca dhe njihet nga k\u00ebto n\u00ebntekste fal\u00eb sy\u00e7eljes regjisoriale, e cila i jep rit\u00ebm t\u00eb brendsh\u00ebm psikik vepr\u00ebs. Gjith\u00e7ka fokusohet n\u00eb regji e cila \u00ebsht\u00eb kureshtje dhe trysni. T\u00eb gjith\u00eb disi i shfaqin brengat me rolet, d\u00ebshirojn\u00eb t’i luajn\u00eb ashtu si duan ose si kan\u00eb d\u00ebgjuar p\u00ebr ta, t’i p\u00ebrshkojn\u00eb, t’i provojn\u00eb larmit e tyre dhe zemra e tyre t\u00ebrhiqej shum\u00eb nga kjo. Ata e din\u00eb se mbret\u00ebrojn\u00eb n\u00eb t\u00eb p\u00ebrkohshmen derisa regjisori beson n\u00eb t\u00eb p\u00ebrjetshmen, dhe ata duan t\u00eb krijojn\u00eb fotografi t\u00eb cilat nuk i shkojn\u00eb konceptit t\u00eb regjisorit Selmani. Ai ndihmohet nga Faris Berisha, i cili p\u00ebrdoret si xhoker p\u00ebr t\u00eb gjitha rolet. Vesh kostumet me atlete “Nike”. Kjo ndoshta ajo se regjisor\u00ebt gjith\u00e7ka b\u00ebjn\u00eb vet\u00ebm p\u00ebr z\u00ebvend\u00ebsim t\u00eb aktor\u00ebve. <\/p>\n

Donika Ahmeti, dramaturge e shfaqjes, e cila vazhdimisht reflekton mllef, shkak \u00ebsht\u00eb teksti i cili nuk u p\u00ebrshtatet mir\u00eb aktor\u00ebve n\u00eb sken\u00eb. Regjisori Hysaj ka nd\u00ebrhyr\u00eb n\u00eb tekstin e Thomas Uhincop t\u00eb shkruar m\u00eb 1747. Ky \u00ebsht\u00eb nj\u00eb problem te \u00e7do lexim regjisorial dhe disa regjisor\u00eb mendojn\u00eb se mund t\u00eb shtojn\u00eb tekst mbi trupin e vepr\u00ebs, rivendosin idet\u00eb e tyre, nd\u00ebrsa pala tjet\u00ebr nuk e cenon tekstin, dakordon theksat regjisorial\u00eb. Hysaj ka aplikuar at\u00eb t\u00eb par\u00ebn, aty kemi tekst t\u00eb shtuar, ve\u00e7an\u00ebrisht kur aktor\u00ebt i refuzojn\u00eb k\u00ebrkesat e regjisorit. Aty \u00e7do batut\u00eb \u00ebsht\u00eb p\u00ebrtok\u00eb dhe e zakonshme.<\/p>\n

A ka b\u00ebr\u00eb mir\u00eb Hysaj? Un\u00eb u ndjeva mir\u00eb dhe pash\u00eb nj\u00eb dimension t\u00eb inskenimit, nj\u00eb realitet banal q\u00eb e jetojm\u00eb, shprehje vulgare q\u00eb i p\u00ebrdorim sidomos kur p\u00ebrmendim organe gjenitale mashkullore dhe fem\u00ebrore. Ato shprehen direkt nga aktor\u00ebt. Realiteti i sot\u00ebm pushtohet nga intriga, g\u00ebnjeshtra dhe dashurin\u00eb e p\u00ebrdorim si abuzim, nd\u00ebrsa lirin\u00eb si cenim. Ende nuk jemi t\u00eb lir\u00eb, jemi t\u00eb uzurpuar dhe kjo bukur del n\u00eb k\u00ebt\u00eb shfaqje. Kjo ishte e trisht\u00eb, e zymt\u00eb dhe pik\u00eblluese. Tekstin e ri t\u00eb regjisorit e shoh si mbules\u00eb q\u00eb i rrinte mir\u00eb shfaqjes, sidomos kur vinin batutat komike hera-her\u00ebs pavar\u00ebsoheshin nga ajo dramaturgji poetike-monotone, p\u00ebr publikun e sot\u00ebm televiziv. Kalonte edhe n\u00eb dram\u00eb psikologjike dhe dep\u00ebrtime shpirt\u00ebrore.<\/p>\n

Historia dramatike<\/strong><\/p>\n

Aktrimi i drejtuar nga grat\u00eb histerike, si Teuta Krasniqi, e cila fillim, zhvillim dhe p\u00ebrfundim vet\u00ebm b\u00ebrtet dhe ruan at\u00eb eleganc\u00ebn dhe bukurin\u00eb fizike. Asaj i pengon ta nd\u00ebrpresin gjat\u00eb interpretimit n\u00eb sken\u00eb, fut edhe elemente nga vetja jo nga personazhi n\u00eb momentin kur e godet partnerin n\u00eb sken\u00eb. Disa nga gjestikulacionet private t\u00eb cilat i shkojn\u00eb personazhit. Edona Reshitaj ka tone psikologjike, ajo e di tekstin e gjith\u00eb aktor\u00ebve n\u00eb sken\u00eb. Sheqerie Bu\u00e7aj shfaq elemente dramatike, nj\u00eb rol t\u00eb bukur dhe t\u00eb v\u00ebshtir\u00eb p\u00ebr t’u mbrojtur. Ajo kishte forma rr\u00ebfimi dhe i jepte hijeshi shfaqjes si n\u00eb l\u00ebvizje dhe diksion. Teksa ajo tregon histori dramatike zhvillon forma vizive, jep dram\u00eb psikologjike, sidomos kur merr thik\u00ebn dhe tenton t\u00eb vet\u00ebvritet. K\u00ebto elemente makabriteti b\u00ebhen m\u00eb spektakolare p\u00ebr ta lexuar m\u00eb mir\u00eb ngjarjen dhe biografin\u00eb e personazhit.<\/p>\n

Ajo kishte veprime skenike aktive dhe mizanskena e saj ishte shum\u00eb interesante, sidomos kur kostumin e saj e vesh Edona Reshitaj dhe fillon t\u00eb interpretoj\u00eb rolin e saj, dramaticiteti pleksej me komiken. At\u00ebher\u00eb, Reshitaj t\u00ebrhiqet, krijon nj\u00eb mizansken\u00eb t\u00eb ngadalshme t\u00eb t\u00ebrheqjes dhe p\u00ebr asnj\u00ebher\u00eb nuk e ul dinamik\u00ebn. Ismet Azemi n\u00eb rolin e Sulltan Muratit II interpreton me nj\u00eb univers t\u00eb dukjes, form\u00ebs dhe shpirtit. Mir\u00ebpo, regjisori e pengon, sepse k\u00ebrkon q\u00eb Murati II t\u00eb zhvishet, t\u00eb k\u00ebrcej “striptiz”, ai k\u00ebt\u00eb gj\u00eb e refuzon dhe do ta braktis\u00eb rolin. K\u00ebmb\u00ebngul\u00ebsia e regjisorit vazhdon dhe ajo k\u00ebrkesa m\u00eb ekstreme q\u00eb Murati II t\u00eb prangoset n\u00eb kafaz, nj\u00eb gj\u00eb t\u00eb cil\u00ebn as historia nuk e njeh. Ose do veproj\u00eb si do regjisori ose duhet ta l\u00ebr\u00eb rolin. Q\u00eb t\u00eb mos p\u00ebrjashtohet, ai i bindet regjisorit. Skenografia e krijuar nga Mentor Berisha zhvillohet brenda konceptit t\u00eb regjisorit. \u00cbsht\u00eb teatrale aty ku ndodhin betejat dhe luft\u00ebrat.<\/p>\n

E p\u00ebrzier p\u00ebrmes dy koh\u00ebsh t\u00eb sotme dhe t\u00eb shek XV. I t\u00ebr\u00eb dekori ishte l\u00ebviz\u00ebs, kuajt artificial\u00eb, nj\u00ebri i bardh\u00eb e tjetri i zi, sh\u00ebrbenin si koncept i nd\u00ebrrimit dhe vet\u00eb regjisori deklaron se edhe kuajt do t’i nd\u00ebrroj\u00eb, do t’i fus\u00eb origjinal\u00eb. E mir\u00eb ishte ajo se \u00e7do shabllon i krijimit t\u00eb roleve \u00ebsht\u00eb si s\u00ebmundje ngjit\u00ebse, dhe regjisori teton t\u00eb na liroj\u00eb nga kjo. Disa aktor\u00ebve n\u00eb sken\u00eb ajo u ngjitej si ndryshku. Sepse, Sk\u00ebnderbeun te ne gjithmon\u00eb e inskenojn\u00eb dhe luajn\u00eb shabllon. E shablloni kur i gjen vend vetes ai shumohet, ngjitet m\u00eb shum\u00eb dhe e pushton aktorin n\u00eb t\u00eb gjitha rolet. Shablloni nganj\u00ebher\u00eb na plot\u00ebson , por m\u00eb e keqja \u00ebsht\u00eb at\u00ebher\u00eb kur aktori nuk ndjen asgj\u00eb p\u00ebr rolin dhe e p\u00ebrdor shabllonin, i cili e pengon rrug\u00ebn e ndjenj\u00ebs. N\u00eb shfaqje si n\u00eb \u00e7do tjet\u00ebr ka aktor\u00eb zanat\u00e7inj, t\u00eb cil\u00ebt kombinojn\u00eb shabllonet. Ka nga ata q\u00eb nuk i kuptojn\u00eb rolet pa i luajtur, m\u00eb kot i d\u00ebrgojn\u00eb, i kuptojn\u00eb vet\u00ebm kur i shohin, e at\u00ebher\u00eb kapin at\u00eb siluet\u00ebn e shabllonit. Shfaqet monotonia e karakterit.<\/p>\n","protected":false},"excerpt":{"rendered":"

Heroin komb\u00ebtar te ne gjithmon\u00eb e inskenojn\u00eb dhe e luajn\u00eb shabllon Ilir Muharremi Aktori duhet t\u00eb ballafaqohet me shqet\u00ebsimin e brendsh\u00ebm, pavar\u00ebsisht cilin personazh tenton ta krijoj\u00eb. Ndodh q\u00eb kapak\u00ebt e syve, buz\u00ebt, l\u00ebvizjet e duarve dhe n\u00eb t\u00ebr\u00ebsi l\u00ebvizjet skenike t\u00eb mos i kujtohen n\u00eb t\u00ebr\u00ebsi, at\u00ebher\u00eb ai ka vepruar sipas subkoshienc\u00ebs. Shpesh kjo […]<\/p>\n","protected":false},"author":1,"featured_media":36944,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[],"class_list":["post-36943","post","type-post","status-publish","format-standard","has-post-thumbnail","category-artikuj"],"yoast_head":"\nSk\u00ebnderbeu n\u00eb version m\u00eb ndryshe - FJALA e LIR\u00cb<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/jehonashqiptare.al\/fjala\/skenderbeu-ne-version-me-ndryshe\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Sk\u00ebnderbeu n\u00eb version m\u00eb ndryshe - FJALA e LIR\u00cb\" \/>\n<meta property=\"og:description\" content=\"Heroin komb\u00ebtar te ne gjithmon\u00eb e inskenojn\u00eb dhe e luajn\u00eb shabllon Ilir Muharremi Aktori duhet t\u00eb ballafaqohet me shqet\u00ebsimin e brendsh\u00ebm, pavar\u00ebsisht cilin personazh tenton ta krijoj\u00eb. 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