{"id":40972,"date":"2019-05-06T20:03:02","date_gmt":"2019-05-06T18:03:02","guid":{"rendered":"https:\/\/www.fjala.info\/?p=40972"},"modified":"2019-05-06T23:19:58","modified_gmt":"2019-05-06T21:19:58","slug":"shenime-dhe-kujtime-per-regjisorin-artistin-e-popullit-serafin-fanko","status":"publish","type":"post","link":"https:\/\/jehonashqiptare.al\/fjala\/shenime-dhe-kujtime-per-regjisorin-artistin-e-popullit-serafin-fanko\/","title":{"rendered":"Sh\u00ebnime dhe kujtime p\u00ebr regjisorin, Artistin e Popullit, Serafin Fanko"},"content":{"rendered":"

Figura e Serafinit: si aktor, si regjisor, si dramatug\u2026<\/em><\/p>\n

\u201cKoha nuk mallkohet, sepse ne e krijojm\u00eb at\u00eb vet\u00eb.<\/em>\u201d Serafin Fanko<\/strong><\/p><\/blockquote>\n

Nga Xhahid Bushati<\/strong><\/p>\n

1<\/strong>.<\/p>\n

Serafin Fanko, \u201cArtist i Popullit\u201d, \u00ebsht\u00eb regjisori i kat\u00ebrt n\u00eb teatrin \u201cMigjeni\u201d t\u00eb Shkodr\u00ebs. Lindi, m\u00eb 24.05.1937 n\u00eb Shkod\u00ebr dhe nd\u00ebrroi jet\u00eb, m\u00eb 29.11.2007 n\u00eb Tiran\u00eb.<\/p><\/blockquote>\n

N\u00eb Shkod\u00ebr qytet kaloi f\u00ebmij\u00ebrin\u00eb, nj\u00eb f\u00ebmij\u00eb tragjike. N\u00eb vitet 1946 \u2013 1948 Serafini s\u00eb bashku me nj\u00eb mot\u00ebr kan\u00eb \u201cstreh\u00ebz\u201d Sht\u00ebpin\u00eb e f\u00ebmij\u00ebs. Pas disa vitesh i merr gjyshja dhe do t\u00eb jetoj\u00eb me to. Q\u00eb n\u00eb mosh\u00eb t\u00eb vog\u00ebl, te Serafini xix\u00ebllojn\u00eb yj\u00ebzit e par\u00eb t\u00eb nj\u00eb artisti t\u00eb ardhsh\u00ebm. Kjo \u00ebsht\u00eb arsyeja q\u00eb, gjat\u00eb viteve t\u00eb sht\u00ebpis\u00eb s\u00eb pionierit aktivizohet n\u00eb rrethet e teatrit, piktur\u00ebs, valles, k\u00ebng\u00ebs, etj. N\u00eb kujtimet e tij, aktori Ndrek\u00eb Prela (at\u00ebhere instruktor i rrethit t\u00eb teatrit do t\u00eb thonte: \u201cSerafini spikaste mbi t\u00eb tjer\u00ebt. Tek ai un\u00eb shikoja nj\u00eb djal\u00eb me p\u00ebrspektiv\u00eb p\u00ebr sken\u00ebn ton\u00eb.<\/i>\u201d<\/p>\n

N\u00eb Shkod\u00ebr qytet Serafini kaloi dhe rinin\u00eb. N\u00eb rrjedh\u00ebn e jet\u00ebs s\u00eb tij, jemi munduar \u201ct\u00eb stacionojm\u00eb\u201d n\u00eb disa vite q\u00eb po i p\u00ebrmendim m\u00eb posht\u00eb:
\n– Viti 1951. Valltar n\u00eb Ansamblin e ushtris\u00eb, ku q\u00ebndroi dy vjet. P\u00ebr shkaqe ekonomike kthehet n\u00eb Shkod\u00ebr. N\u00eb qytetin e tij t\u00eb lindjes, n\u00eb fillim punon si shkrues, n\u00eb: Fermentim, NISH \u2013 L\u00ebkura, NSHRAK, etj. M\u00eb von\u00eb e shohim p\u00ebrgjegj\u00ebs kulture n\u00eb sht\u00ebpin\u00eb e oficer\u00ebve. K\u00ebtu, ai shkruan dhe v\u00eb n\u00eb sken\u00eb nj\u00eb operet\u00eb me amator\u00ebt. Nd\u00ebrkoh\u00eb, nisi dhe botimet e para t\u00eb poezive autoriale n\u00eb gazet\u00ebn \u201cZ\u00ebri i rinis\u00eb\u201d.<\/p>\n

– Viti 1954. Punon si instruktor baleti n\u00eb Klubin e rinis\u00eb \u201cHeronjt\u00eb e Vigut\u201d. N\u00eb k\u00ebto mjedise kulturore njihet me shkrimtarin Fadil Kraja, q\u00eb n\u00eb vitet e m\u00ebvon\u00ebshme k\u00ebta dy emra (autor dhe regjisor), p\u00ebr shum\u00eb vite me radh\u00eb, p\u00ebr veprat teatrore q\u00eb vun\u00eb n\u00eb sken\u00ebn e teatrit \u201cMigjeni\u201d t\u00eb Shkodr\u00ebs, ata do t\u00eb jen\u00eb pjes\u00eb e ndritur e historis\u00eb s\u00eb tij, duke l\u00ebn\u00eb vlera dhe gjurm\u00eb t\u00eb pashlyeshme n\u00eb artin shqiptar.<\/p>\n

\"\" – Viti 1959. Serafini mbaron shk\u00eblqyesh\u00ebm Liceun artistik \u201cJordan Misja\u201d. N\u00eb k\u00ebt\u00eb koh\u00eb, n\u00eb Tiran\u00eb hapet shkolla e lart\u00eb p\u00ebr dram\u00eb. Serafini, pasi i n\u00ebnshtrohet ritualit t\u00eb konkursit, fiton. Pas tre muajsh jet\u00eb studentore, fiton konkursin p\u00ebr studime jasht\u00eb shtetit.<\/p>\n

Niset p\u00ebr studime n\u00eb \u00c7ekosllovaki, p\u00ebr regjisor filmi. Kthehet pas dy vjet\u00ebsh, dhe vitin e tret\u00eb dhe t\u00eb kat\u00ebrt e b\u00ebn, p\u00ebrs\u00ebri, n\u00eb Institutin e lart\u00eb t\u00eb Arteve. (Gjat\u00eb shfletimit t\u00eb arkiv\u00ebs personale t\u00eb Serafinit, gjejm\u00eb n\u00eb mes shum\u00eb t\u00eb tjerave nj\u00eb fotografi ku Artisti i Madh Naim Frash\u00ebri i l\u00eb k\u00ebt\u00eb p\u00ebrkushtim: \u201cT\u00eb b\u00ebhesh <\/em>artist nuk \u00ebsht\u00eb v\u00ebshtir\u00eb, mjafton t\u00eb kesh\u2026 talent dhe vullnet. T\u00eb dyja i ke, prandaj me guxim \u00e7aje rrug\u00ebn p\u00ebrpara.<\/em>\u201d Kolegu yt, Naimi.)<\/p>\n

Detaje t\u00eb tjera jete. Pasi mbaron shkoll\u00ebn e Lart\u00eb, em\u00ebrohet aktor n\u00eb teatrin \u201cMigjeni\u201d t\u00eb Shkodr\u00ebs. N\u00eb vitin 1966 shkon p\u00ebr specializim (regjisur\u00eb) n\u00eb Tiran\u00eb. Gjat\u00eb k\u00ebsaj kohe punoi edhe si pedagog i mjesht\u00ebris\u00eb s\u00eb aktorit n\u00eb kursin e par\u00eb. P\u00ebrs\u00ebri vjen n\u00eb Shkod\u00ebr. V\u00eb n\u00eb sken\u00eb si dram\u00eb-prov\u00eb pjes\u00ebn \u201cS\u2019ndalet lumi me gardh\u201d, kurse diplom\u00ebn e mbron me dram\u00ebn \u201cFisheku n\u00eb paj\u00eb\u201d t\u00eb autorit Fadil Kraja.<\/p>\n

P\u00ebr Serafinin, n\u00eb fillim si aktor e m]e von\u00eb si regjisor nis nj\u00eb udh\u00ebtim artistik plot sfida.
\nNisi interpretime rolesh q\u00eb n\u00eb substanc\u00ebn e tyre ishin shpesh karaktere t\u00eb ndryshme e t\u00eb kund\u00ebrta. K\u00ebshtu, interpretoi: Rodrikun te \u201cHistori irkutase\u201d, Ahmetin te \u201cShtat\u00eb shaljan\u00ebt\u201d, Dhorin te \u201cNjer\u00ebz t\u00eb brezit ton\u00eb\u201d, Gjonin te \u201cP\u00ebrkolgjinajt\u201d, Migjenin te \u201cMigjeni\u201d, Zekun te \u201cNora e K\u00eblmendit\u201d, Arturin te \u201cZekthi\u201d, etj. Realizimi i k\u00ebtyre tipave dhe karaktereve u ndri\u00e7uan nga drita e talentit t\u00eb aktorit t\u00eb talentuar Serafin Fanko, q\u00eb nga nj\u00ebra shfaqje n\u00eb tjetr\u00ebn, portreti i tij prej artisti merr dimension.<\/p>\n

\"\" Po ndalemi te drama \u201cZekthi\u201d. Ajo u vu n\u00eb sken\u00eb n\u00eb vitin 1964. Sipas statistik\u00ebs s\u00eb arkivit t\u00eb teatrit: u shfaq 28 her\u00eb, 13 her\u00eb u luajt nga vet\u00eb regjisori Oktrova, 10 her\u00eb nga Serafini dhe 5 her\u00eb nga aktori Viktor Bru\u00e7eti. N\u00eb k\u00ebt\u00eb dram\u00eb Serafini interpretoi, p\u00ebrve\u00e7 rolit kryesor edhe at\u00eb t\u00eb Rikardit. P\u00ebr realizimin e k\u00ebsaj figure, Serafini n\u00eb kujtimet e tij, thot\u00eb: \u201cE quaj me fat q\u00eb fillimi i jet\u00ebs sime si aktor filloi me regjisorin Esat Oktrova. Ai punoi me mua jo vet\u00ebm si regjisor i pjes\u00ebs por edhe si pedagog. Kjo m\u00ebnyr\u00eb pune e karakterizonte me t\u00eb gjith\u00eb aktor\u00ebt e rinj.<\/em>\u201d<\/p>\n

Krahas aktrimit, Serafinin e shohim t\u00eb debutoj\u00eb me sukses edhe n\u00eb kinematografi. T\u00eb bukura e t\u00eb realizuara me mjeshtri jan\u00eb rolet e Dom Engj\u00ebllit te filmi \u201cShembja e idhujve\u201d, Lul\u00ebzimi te filmi \u201cYje mbi Drin\u201d, Bardhyli tek \u201cEmblema e dikurshme\u201d, Klarku te filmi \u201cFije q\u00eb priten\u201d, etj.<\/p>\n

2<\/strong>.
\nN\u00eb jet\u00ebn artistike t\u00eb Serafinit, regjisura ishte nj\u00eb komponent i r\u00ebnd\u00ebsish\u00ebm artistik, n\u00eb mos
\nm\u00eb i r\u00ebnd\u00ebsishmi, do t\u00eb thoja. Rrezatoi estetikisht mahnitsh\u00ebm! N\u00eb shfaqjet q\u00eb vuri n\u00eb sken\u00eb, ai shp\u00ebrfaqi konceptet e krijimtaris\u00eb s\u00eb tij duke nd\u00ebrtuar platforma interesante n\u00eb sken\u00ebn e dramaturgjis\u00eb shqipe. E \u00e7monte shum\u00eb komb\u00ebtaren. E lidhte me identitetin. Si regjisor iu p\u00ebrkushtua dram\u00ebs shqipe. I dha asaj vlera dhe dinjitet.<\/p>\n

N\u00eb shfaqjet q\u00eb vuri n\u00eb sken\u00eb, p\u00ebrdori t\u00eb gjitha mjetet e veprimit skenik, t\u00eb mizansken\u00ebs, t\u00eb dekorit, dritave, muzik\u00ebs, rekuizit\u00ebs, etj. Punoi me forc\u00eb n\u00eb skalitjen e individualitetit t\u00eb aktorit apo aktorit-ansamb\u00ebl duke e materializuar me tekstet e dram\u00ebs, komedis\u00eb, etj. I p\u00ebrcolli hijsh\u00ebm, plot fines\u00eb e poetikisht te spektator\u00ebt. Puna e Serafinit dallohet edhe p\u00ebr logjik\u00eb, qart\u00ebsi dhe impulse dramatike.<\/p>\n

N\u00ebp\u00ebrmjet detajeve, theksimit t\u00eb ngjarjeve kryesore, nd\u00ebrtimit t\u00eb kontrasteve, etj., komunikon qart\u00eb dhe plot emocion me spektatorin, me ndjenjat dhe zemr\u00ebn e tij. Regjisori-Serafin n\u00eb t\u00eb gjitha dramat q\u00eb vuri n\u00eb sken\u00eb, i zb\u00ebrtheu ato gjer n\u00eb imt\u00ebsi, i zbuloi \u00e7do vler\u00eb dhe i minimizoi n\u00eb maksimum \u00e7do t\u00eb met\u00eb t\u00eb saj. N\u00eb mend\u00ebsin\u00eb e tij si regjisor, kurr\u00eb nuk e filloi pun\u00ebn pa patur t\u00eb qart\u00eb \u00e7do qeliz\u00eb t\u00eb materialit, duke mos i l\u00ebn\u00eb asgj\u00eb spontaitetit dhe rast\u00ebsis\u00eb.<\/p>\n

I N T E R V I S T A\u2026<\/h2>\n

(\u2026 \u00ebsht\u00eb b\u00ebr\u00eb pas viteve \u201990, kur Serafini ishte n\u00eb pension. Ai bashk\u00ebbisedim n\u00eb sht\u00ebpin\u00eb e tij (te pallati me hark n\u00eb lagjen \u201cRus\u201d n\u00eb Shkod\u00ebr), mbetet p\u00ebr mua nj\u00eb relikte e \u00e7muar. Gjat\u00eb p\u00ebrgjigjes s\u00eb pyetjeve t\u00eb mia e bised\u00ebs q\u00eb b\u00ebm\u00eb jasht\u00eb mikrofonit, figura e Serafinit: si aktor, si regjisor, si dramatug, si \u2026 etj.; shfaqi madh\u00ebshtin\u00eb e vlerave t\u00eb pap\u00ebrs\u00ebritshme n\u00eb sh\u00ebrbim t\u00eb artit, duke i dh\u00ebn\u00eb v\u00ebrtet\u00ebsi, talent e <\/i>profesionaliz\u00ebm.<\/i>)<\/p>\n

Xh.B.<\/b>: Vepra e par\u00eb q\u00eb keni v\u00ebn\u00eb n\u00eb sken\u00eb si regjisor, \u00ebsht\u00eb drama \u201cFisheku n\u00eb paj\u00eb\u201d i F. Kraj\u00ebs. Nga disa artikullshkrues p\u00ebr k\u00ebt\u00eb dram\u00eb, ju kan\u00eb quajtur \u201cn\u00ebnvizues i mizansken\u00ebs\u201d. Sa i v\u00ebrtet\u00eb \u00ebsht\u00eb ky pohim?<\/em>
\nSerafini<\/b>: N\u00eb t\u00eb v\u00ebrtet\u00eb vepra e par\u00eb q\u00eb kam v\u00ebn\u00eb n\u00eb sken\u00eb ka nj\u00eb mosh\u00eb m\u00eb t\u00eb madhe, m\u00eb t\u00eb larg\u00ebt. Kjo q\u00eb p\u00ebrmendni ju, \u00ebsht\u00eb vepra e par\u00eb e v\u00ebn\u00eb si regjisor me diplom\u00eb, me t\u00eb cil\u00ebn kam mbrojtur diplom\u00ebn. P\u00ebrsa i p\u00ebrketmizansken\u00ebs, do t\u00eb thoja se, ajo \u00ebsht\u00eb vet\u00ebm nj\u00eb element i shfaqjes, q\u00eb nuk q\u00ebndron i pavarur. N\u00eb radh\u00eb t\u00eb par\u00eb \u00ebsht\u00eb fryma dhe mesazhi i spektaklit (e kam fjal\u00ebn p\u00ebr mesazhin e shfaqjes, e jo t\u00eb autorit).<\/p>\n

Mbi baz\u00ebn e mesazhit t\u00eb autorit, regjisori p\u00ebrzgjedh mesazhet e veta n\u00eb frym\u00ebn e koh\u00ebs p\u00ebr t\u2019i sh\u00ebrbyer asaj. Ndaj dhe t\u00eb (m\u00eb) mundon pyetja: \u201c\u00c7far\u00eb do t\u2019i themi me k\u00ebt\u00eb vep\u00ebr spektatorit?\u201d Mbi baz\u00ebn e k\u00ebsaj fryme dhe k\u00ebtij mesazhi krijohet vizioni i spektaklit. M\u00eb pas vijn\u00eb: mizanskena, dekori, trajtimi, muzika, etj., pra, t\u00eb gjith\u00eb element\u00ebt q\u00eb formojn\u00eb portretin e spektaklit.<\/p>\n

Xh.B.<\/b>: Artisti i Popullit, regjisori Piro Mani, n\u00eb nj\u00eb shkrim (rev. \u201cN\u00ebntori\u201d 6\/ 1984) duke folur p\u00ebr fizionomin\u00eb interesante regjisoriale q\u00eb keni krijuar, n\u00eb mes t\u00eb tjerave thot\u00eb se \u201c\u2026 dalloheni p\u00ebr trajtim origjinal dhe elegant t\u00eb mizansken\u00ebs\u201d. P\u00ebr k\u00ebt\u00eb merr shembull dram\u00ebn \u201cBaca i Gjetajve\u201d t\u00eb F. Kraj\u00ebs. M\u00eb lejoni t\u00eb p\u00ebrmend vler\u00ebsimin e regjisorit Mani, i cili thot\u00eb: \u201c\u2026arrin t\u00eb g\u00ebrshetoj\u00eb n\u00eb nj\u00eb unitet artistik kompozimin piktural dhe me mendim t\u00eb mizansken\u00ebs\u2026\u201d<\/em>
\nSerafini<\/b>: Mendoj, q\u00eb n\u00eb k\u00ebt\u00eb kontekst flitet p\u00ebr form\u00ebn, e cila buron nga mendimi; pra, ajo nuk \u00ebsht\u00eb e pavarur, \u00ebsht\u00eb rrjedhoj\u00eb e mesazheve. P\u00ebrsa i takon vler\u00ebsimeve q\u00eb b\u00ebn Artisti i Popullit, Piro Mani (n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb M\u00ebsuesi im) m\u00eb vjen mir\u00eb dhe shpresoj t\u00eb jet\u00eb ashtu.<\/p>\n

Xh.B.<\/b>: Pasi keni lexuar nj\u00eb vep\u00ebr, q\u00eb, sipas mendimit tuaj regjisorial p\u00ebrmbush parametrat p\u00ebr t\u2019u v\u00ebn\u00eb n\u00eb sken\u00eb; cila \u00ebsht\u00eb puna juaj p\u00ebr krijimin e figur\u00ebs artistike t\u00eb personazheve, zbulimin e veprimit dhe funksionit t\u00eb fraz\u00ebs, p\u00ebr krijimin e plastik\u00ebs, \u2026 etj., etj?<\/em>
\nSerafini<\/b>: Gjith\u00e7ka buron nga mesazhi. S\u00eb pari, te vepra shoh p\u00ebrkimin e shijeve t\u00eb autorit me ato t\u00eb miat n\u00eb at\u00eb moment, t\u00eb cilat jan\u00eb pik\u00ebnisje ngacmimi p\u00ebr t\u2019u marr\u00eb me k\u00ebt\u00eb dram\u00eb. S\u00eb dyti, p\u00ebrpiqem t\u00eb zbuloj ato vlera, t\u00eb cilat i flasin koh\u00ebs son\u00eb, me t\u00eb cilat do t\u00eb nd\u00ebrtoj shfaqjen, e q\u00eb un\u00eb do t\u2019i n\u00ebnvizoj gjat\u00eb shfaqjes s\u00eb ardhme. S\u00eb treti, k\u00ebrkoj t\u00eb kap\u00eb vizionin e konkretizimit t\u00eb k\u00ebtyre vlerave.<\/p>\n

Nj\u00eb tipar i pun\u00ebs sime \u00ebsht\u00eb se un\u00eb krijoj imazhin e shfaqjes para se t\u00eb filloj pun\u00ebn me t\u00eb, me aktor\u00ebt. Dhe n\u00eb vija t\u00eb p\u00ebrgjithshme e kam t\u00eb qart\u00eb: ku do t\u00eb shkoj, \u00e7\u2019ka do t\u00eb b\u00ebj\u2026 Ndoshta kjo m\u00eb ka shtyr\u00eb q\u00eb n\u00eb shfaqjet e mia, ve\u00e7an\u00ebrisht k\u00ebto t\u00eb fundit, un\u00eb t\u00eb jem piktori i shfaqjes, p\u00ebrzgjedh\u00ebsi i muzik\u00ebs, vizatuesi i mizanskenave edhe i n\u00ebnvizimeve q\u00eb p\u00ebr mua jan\u00eb t\u00eb r\u00ebnd\u00ebsishme p\u00ebr shfaqjen q\u00eb do t\u00eb nd\u00ebrtoj.<\/p>\n

M\u00eb konkretisht. Mund t\u00eb marr\u00ebsh nj\u00eb vep\u00ebr. Mund ta v\u00ebsh at\u00eb n\u00eb sken\u00eb n\u00eb 30 m\u00ebnyra. Un\u00eb do t\u00eb zgjedh at\u00eb vizion q\u00eb i p\u00ebrkon shpirtit, shijeve e d\u00ebshirave t\u00eb mia, t\u00eb cilat jan\u00eb t\u00eb lidhura ngusht\u00eb me koh\u00ebn, sepse ajo ka ndikimin e vet. N\u00eb t\u00eb gjitha shikimet q\u00eb i b\u00ebj vepr\u00ebs, hedh k\u00ebto rreze drite, si: \u00e7far\u00eb i sh\u00ebrben koh\u00ebs sime, \u00e7\u2019mesazh do t\u2019i themi koh\u00ebs son\u00eb p\u00ebr k\u00ebt\u00eb vep\u00ebr me v\u00ebnien n\u00eb sken\u00eb\u2026<\/p>\n

Xh.B.<\/b>: Po ndalem p\u00ebrs\u00ebri te mizanskena. Diku kam lexuar se \u00ebsht\u00eb quajtur \u2018alfabeti i regjisorit\u2019. E b\u00ebj k\u00ebt\u00eb pyetje, duke u bazuar n\u00eb mendimin se individualiteti regjisorial shprehet edhe n\u00eb m\u00ebnyr\u00ebn e t\u00eb mizanskenuarit t\u00eb vepr\u00ebs dramatike.Cili \u00ebsht\u00eb mendimi juaj?<\/em>
\nSerafini<\/b>: Do t\u00eb thoja q\u00eb mizanskena \u00ebsht\u00eb pjes\u00eb e alfabetit regjisorial. Shfaqja ka shum\u00eb element\u00eb n\u00eb t\u00eb cilat dora, fryma e mendimi i regjisorit kan\u00eb vendin e vet mbi baz\u00ebn e t\u00eb cil\u00ebve nd\u00ebrtohet shfaqja. Po mizanskena ka r\u00ebnd\u00ebsisn\u00eb e vet. Si\u00e7 k\u00ebrkohet zb\u00ebrthimi i mendimit n\u00eb trajtimin e n\u00eb pun\u00ebn me aktor\u00ebt, n\u00eb n\u00ebnvizimet logjike, n\u00eb theksimet muzikore, etj., ashtu k\u00ebrkohet edhe zb\u00ebrthimi n\u00eb an\u00ebn mizanskenike. T\u00eb mos jet\u00eb ajo nj\u00eb eca \u2013 jake kote, por t\u00eb jet\u00eb e nd\u00ebrtuar n\u00eb m\u00ebnyr\u00eb t\u00eb atill\u00eb q\u00eb t\u2019i flas\u00eb momentit q\u00eb interpretohet n\u00eb sken\u00eb, e lidhur estetikisht bukur, n\u00eb nj\u00eb harmonizim p\u00ebrfekt me fjal\u00ebn, n\u00ebnvizimet regjisoriale, thekset muzikore, efektet e dritave, etj.<\/p>\n

Xh. B.<\/b>: Kur e ndjeni si regjisor q\u00eb trupa (aktor\u00ebt) duhet t\u00eb ngrihet nga tavolina?<\/em>
\nSerafini<\/b>: Sigurisht, pasi ta ken\u00eb p\u00ebrvet\u00ebsuar n\u00eb m\u00ebnyr\u00eb shembullore materialin, kur konturet e shfaqjes t\u00eb jen\u00eb pjek\u00eb profesionalisht n\u00eb t\u00eb kuptuarit e zb\u00ebrthimin emocional jo vet\u00ebm t\u00eb materialit, por edhe t\u00eb drejtimit artistik p\u00ebr realizimin e mesazheve t\u00eb shfaqjes.<\/p>\n

Xh. B.<\/b>: P\u00ebr aktor\u00ebt q\u00eb nuk ngrihen n\u00eb nivelin e materialit dramaturgjik, cili \u00ebsht\u00eb \u201ckomunikimi\u201d i regjisorit?<\/em>
\nSerafini<\/b>: P\u00ebrpjekja e pand\u00ebrprer\u00eb e regjisorit p\u00ebr t\u00eb hyr\u00eb n\u00eb akord me ansamblin. Ka edhe nj\u00eb ve\u00e7ori tjet\u00ebr n\u00eb k\u00ebt\u00eb mes: aktor\u00ebt jan\u00eb individualitete t\u00eb ndryshme. Nuk flas p\u00ebr talentin, shkoll\u00ebn e formimin artistik e profesional q\u00eb mund ta ken\u00eb t\u00eb gjith\u00eb. Cil\u00ebsimi t\u00eb
\nndryshme \u00ebsht\u00eb n\u00eb kuptimin e p\u00ebrvet\u00ebsimit t\u00eb materialit. Dikush e rrok m\u00eb shpejt, nj\u00eb tjet\u00ebr k\u00ebrkon nj\u00eb proces m\u00eb t\u00eb ngadalt\u00eb. Detyra e regjisorit s\u00eb bashku me trup\u00ebn \u00ebsht\u00eb q\u00eb t\u00eb mos ndjehet ky diferencim.<\/p>\n

Me nj\u00eb fjal\u00eb t\u2019i mbash ato emocione q\u00eb ka nevoj\u00eb puna e dit\u00ebs e n\u00eb vazhdim, duke t\u00ebrhequr pas vetes edhe k\u00ebta aktor\u00eb q\u00eb piqen m\u00eb ngadal\u00eb dometh\u00ebn\u00eb e pjekin mendimin m\u00eb ngadal\u00eb dhe rezultatet i japin m\u00eb ngadal\u00eb. T\u00eb mos keqkuptohemi. Kjo nuk do t\u00eb thot\u00eb se jan\u00eb t\u00eb paaft\u00eb. Realizimi \u00ebsht\u00eb nj\u00eb proces i brendsh\u00ebm i secilit q\u00eb varet nga individualiteti i tyre krijues.<\/p>\n

Xh. B.<\/b>: A ju ka q\u00eblluar n\u00eb pun\u00ebn tuaj si regjisor, q\u00eb, aktori me loj\u00ebn e tij (\u00ebsht\u00eb fjala p\u00ebr interpretimin) t\u00eb jen\u00eb n\u00eb plane t\u00eb nj\u00ebllojta me nj\u00eb dram\u00eb t\u00eb m\u00ebparshme apo me distanc\u00eb kohore?<\/em>
\nSerafini<\/strong>: Shpesh her\u00eb disa aktor\u00eb jan\u00eb gjykuar ngusht\u00eb, duke u v\u00ebn\u00eb nofk\u00ebn p\u00ebrs\u00ebrisin veten. Le t\u2019i referohemi eksperienc\u00ebs s\u00eb teatrit dhe filmit bot\u00ebror. Ka pasur aktor\u00eb t\u00eb m\u00ebdhenj q\u00eb n\u00eb \u00e7do shfaqje ose n\u00eb \u00e7do film kan\u00eb pasur fizionomin\u00eb e vet, q\u00eb ka qen\u00eb e
\np\u00ebraf\u00ebrt me t\u00eb gjitha rolet. K\u00ebshtu ka ndodhur me Aleksand\u00ebr Moisiun e Madh apo me Al Pa\u00e7inon. Te ky i fundit, t\u00eb duket sikur \u00ebsht\u00eb nj\u00eblloj, por jo, \u00ebsht\u00eb krejt ndryshe nga roli n\u00eb rol. \u00cbsht\u00eb materiali dramaturgjik q\u00eb jep portrete e figura t\u00eb tjera e t\u00eb reja. N\u00eb qoft\u00eb se merret p\u00ebr ngjashm\u00ebri fizionomia e jashtme, do t\u00eb ishte gabim.<\/p>\n

Them q\u00eb duhet kapur fizionomia e brendshme. Bile, edhe e brendshmja ka diferencimet e saj. Kujtojm\u00eb Naim Frash\u00ebrin ton\u00eb, aktorin m\u00eb t\u00eb madh q\u00eb ka par\u00eb skena jon\u00eb, pedagogu im i nderuar. Ai ka qen\u00eb pothuajse nj\u00eblloj n\u00eb t\u00eb t\u00ebra rolet. K\u00ebshtu \u00ebsht\u00eb dukur\u2026, por ka qen\u00eb i pranuesh\u00ebm, i mrekulluesh\u00ebm n\u00eb t\u00eb gjitha rolet. I besuesh\u00ebm si ai personazh q\u00eb luante n\u00eb nj\u00eb moment t\u00eb caktuar, plot\u00ebsisht i besuesh\u00ebm.<\/p>\n

Xh. B.<\/b>: N\u00eb nj\u00eb vep\u00ebr q\u00eb keni v\u00ebn\u00eb n\u00eb sken\u00eb, binomi trup\u00eb \u2013 regjisor \u00ebsht\u00eb i pranish\u00ebm. A mund t\u00eb flitet p\u00ebr p\u00ebrpar\u00ebsi t\u00eb nj\u00ebri apo tjetrit element t\u00eb k\u00ebtij binomi?<\/em>
\nSerafini<\/b>: Ky binom nuk ndahet, sepse nuk ndahet regjisori nga aktori. Regjisori udh\u00ebheq, krijon shfaqjen n\u00eb kok\u00ebn e tij, edhe imazhin e shfaqjes s\u00eb ardhshme; por realizimin e b\u00ebjn\u00eb aktor\u00ebt n\u00eb bahk\u00ebpunim me regjisorin. Regjisori kujdeset p\u00ebr gjith\u00eb shfaqjen, aktori kujdeset p\u00ebr rolin e vet. Regjisori harmonizon individualitetet krijuese t\u00eb aktor\u00ebve, i individualizon e lidh elementin krijues t\u00eb aktorit me element\u00eb t\u00eb tjer\u00eb t\u00eb shfaqjes: me mizansken\u00ebn, me dekorin, me muzik\u00ebn, me ndri\u00e7imin, me zhurmat\u2026, etj.<\/p>\n

Mendoj q\u00eb secili ka funksionin e vet, por dora q\u00eb i rregullon, sigurisht \u00ebsht\u00eb regjisori. Tani dua t\u00eb them edhe di\u00e7ka tjet\u00ebr. Ka shfaqje q\u00eb jan\u00eb thell\u00ebsisht regjisoriale, ka shfaqje ku aktori edhe interpreton n\u00eb munges\u00eb t\u00eb nj\u00eb regjisori. Sidoqoft\u00eb, dora e tij ndjehet, kur regjisori \u00ebsht\u00eb personalitet krijues. E, kur ka nj\u00eb trup\u00eb shum\u00eb t\u00eb mir\u00eb, i shkojn\u00eb prapa, i binden atij mendimi krijues q\u00eb ka vlera.<\/p>\n

Xh. B.<\/b>: Un\u00eb p\u00ebrs\u00ebri k\u00ebmb\u00ebngul n\u00eb t\u00eb nj\u00ebjt\u00ebn pyetje: brenda nj\u00eb shfaqjeje \u00ebsht\u00eb e pamundur q\u00eb nj\u00ebri nga k\u00ebta dy element\u00eb t\u00eb mos marr\u00eb p\u00ebrpar\u00ebsi?<\/em>
\nSerafini<\/b>: Un\u00eb do ta konceptoja ndryshe. Nuk \u00ebsht\u00eb puna ku del nj\u00ebri e ku del tjetri. E mira \u00ebsht\u00eb t\u00eb mos dal\u00eb: as nj\u00ebri e as tjetri. Shfaqja t\u00eb jet\u00eb e t\u00eb gjith\u00ebve. Por, aty ku mendimi regjisorial nuk realizohet, n\u00eb plan t\u00eb par\u00eb del aktori. Aty ku mendimi aktorial nuk realizohet, regjisori e plot\u00ebson me mendimin e vet. Fut element\u00eb p\u00ebr t\u00eb ndihmuar aktorin, p\u00ebr t\u00eb plot\u00ebsuar at\u00eb boshll\u00ebk q\u00eb mungon. Ve\u00e7 ama, gjithmon\u00eb t\u00eb nj\u00eb funksioni, t\u00eb nj\u00eb mendimi unik q\u00eb ka shfaqja.<\/p>\n

Xh. B.<\/b>: A mund t\u00eb flasim p\u00ebr defekte t\u00eb dram\u00ebs?<\/em>
\nSerafini<\/b>: Ka shum\u00eb mund\u00ebsi. Un\u00eb kam patur fatin e madh, ndoshta edhe lodhjen e madhe n\u00eb 130 vepra q\u00eb kam v\u00ebn\u00eb n\u00eb sken\u00eb, ku 110 kan\u00eb qen\u00eb nacionale. Duke i hedhur nj\u00eb sy rrug\u00ebs s\u00eb dramaturgjis\u00eb, fillimisht u shfaq\u00ebn emrat e K. Jakov\u00ebs, Nd. Luc\u00ebs, etj. Dhe \u00ebsht\u00eb fjala p\u00ebr vitet \u201950 \u2013 \u201960. M\u00eb pas firmos\u00ebn emrat autor\u00eb t\u00eb tjer\u00eb, sigurisht me nj\u00eb ksperienc\u00eb jo t\u00eb pasur. Po \u00ebsht\u00eb e r\u00ebnd\u00ebsishme t\u00eb themi: presioni i madh kufizues ka b\u00ebr\u00eb q\u00eb mendimi t\u00eb mbyllet n\u00eb bot\u00ebn e ideologjis\u00eb P\u00ebr rrjedhoj\u00eb ka penguar ecjen e dramaturgjis\u00eb n\u00eb shtigje t\u00eb reja.<\/p>\n

Edhe ajo dram\u00eb q\u00eb ka pasur tendenca p\u00ebr t\u00eb ngritur kok\u00ebn, edhe ai dramaturg q\u00eb ka marr\u00eb guximin p\u00ebr t\u00eb dh\u00ebn\u00eb mesazhe bashk\u00ebkohore n\u00eb kuptimin e teatrit bashk\u00ebkohor, i \u00ebsht\u00eb prer\u00eb risku, \u00ebsht\u00eb d\u00ebnuar. P\u00ebrvoja mungon n\u00eb k\u00ebt\u00eb drejtim. Ajo \u00ebsht\u00eb tragjike p\u00ebr shkrimtar\u00ebt (dhe k\u00ebtu \u00ebsht\u00eb fjala p\u00ebr dramaturg\u00ebt). K\u00ebshtu q\u00eb v\u00ebshtir\u00ebsia e pun\u00ebs ka qen\u00eb e jasht\u00ebzakonshme. Sidoqoft\u00eb ndihmesa e dramaturg\u00ebve nuk ka qen\u00eb e pak\u00ebt n\u00eb dh\u00ebnien e veprave me vlera t\u00eb mira q\u00eb i kan\u00eb sh\u00ebrbyer sken\u00ebs e q\u00eb jan\u00eb pasuruar edhe me interpretimet e shum\u00eb trupave.<\/p>\n

Xh. B.<\/b>: N\u00eb historin\u00eb e teatrit \u201cMigjeni\u201d, nj\u00eb kapitull t\u00eb ve\u00e7ant\u00eb z\u00eb emri i dramaturgut Fadil Kraja. Nuk dua t\u00eb flas p\u00ebr vlerat, t\u00eb cilat jan\u00eb t\u00eb m\u00ebdha e duhet t\u2019i n\u00ebnshtrohen nj\u00eb fushe t\u00eb gjer\u00eb studimore. Dua t\u00eb ndalem n\u00eb nj\u00eb mendim t\u00eb kritik\u00ebs teatrore, e cila ka<\/em>
\nth\u00ebn\u00eb: \u201c\u2026 ekziston nj\u00eb lloj uniformizmit\u2026\u201d. N\u00eb rast se \u00ebsht\u00eb i duksh\u00ebm gjithmon\u00eb n\u00eb konceptin regjisorial, si e keni kap\u00ebrcyer k\u00ebt\u00eb dukuri?<\/em>
\nSerafini<\/b>: Me shkrimtarin (dramaturgun) Fadil Kraja kam bashk\u00ebpunimin m\u00eb t\u00eb madh t\u00eb jet\u00ebs sime. P\u00ebr mua Fadil Kraja nuk ka qen\u00eb nj\u00eb dramatug q\u00eb kam bashk\u00ebpunuar por nj\u00eb mik, shok dhe v\u00eblla. Bashk\u00ebpunimi ka qen\u00eb i frytsh\u00ebm. Dhe flitet p\u00ebr rreth 40 drama. Tani t\u00eb flasim p\u00ebr mendimin e shprehur nga kritika teatrore. Do t\u00eb thoja se nuk ka uniformitet midis \u201cBaca i Gjetajve\u201d, \u201cGjaku i Arb\u00ebrit\u201d e \u201c\u00c7\u00ebshtja e Blert\u00ebs\u201d.<\/p>\n

Xh. B.<\/b>: Mendojm\u00eb q\u00eb shfaqin nj\u00eb afri n\u00eb tem\u00eb e n\u00eb struktur\u00eb dramat \u201cBaca i Gjetajve\u201d e \u201cShpartallimi\u201d? Cili \u00ebsht\u00eb k\u00ebndv\u00ebshtrimi yt?<\/em>
\nSerafini<\/b>: Mundet q\u00eb p\u00ebr nj\u00eb tem\u00eb, p\u00ebr nj\u00eb ngacmim q\u00eb t\u00eb jep nj\u00eb moment historik i caktuar i kombit ton\u00eb t\u00eb shkruhen dy, por edhe tri drama nga nj\u00eb dramaturg. Varet\u2026 dhe nuk prish pun\u00eb. E r\u00ebnd\u00ebsishme \u00ebsht\u00eb q\u00eb dramat t\u00eb jen\u00eb t\u00eb mira, t\u00eb q\u00ebndrojn\u00eb. Ndoshta \u201cBaca i Gjetajve\u201d\u2026 Jo ndoshta, por \u00ebsht\u00eb m\u00eb e mira.<\/p>\n

Xh. B.<\/b>: Kanuni ka gjetur nj\u00eb spekt\u00ebr t\u00eb gjer\u00eb trajtimi n\u00eb dramat e shkrimtarit F. Kraja. \u00c7far\u00eb v\u00ebshtir\u00ebsish ka paraqitur te ju si regjisor?<\/em>
\nSerafini<\/b>: P\u00ebrkundrazi, m\u00eb ka ngacmuar. N\u00eb rinin\u00eb time kam adhuruar estetikisht bot\u00ebn kanunore, jo respektimin e ligjeve t\u00eb Kanunit. Kam adhuruar at\u00eb rregullator t\u00eb jet\u00ebs s\u00eb njer\u00ebzve n\u00eb kuptimin shoq\u00ebror, politik, familjar, ideologjik, etik, moral. Nga m\u00ebnyra se si e ka rregulluar Kanuni ishte nj\u00eb bot\u00eb sa e af\u00ebrt aq e larg\u00ebt, sa e panjohur aq e mistershme, q\u00eb i b\u00ebnte njer\u00ebzit tjet\u00ebr, u jepte tjet\u00ebr madh\u00ebsi, frym\u00eb\u2026 n\u00eb p\u00ebrfytyrimet e mia t\u00eb asaj moshe. Krijoheshin padashur vizione artistike, t\u00eb cilat d\u00ebshiroja t\u2019i thoja diku, t\u2019i shfaqja diku. Dhe erdhi nj\u00eb dit\u00eb skena.<\/p>\n

Te \u201cFisheku n\u00eb paj\u00eb\u201d kam vendosur burrat lart q\u00eb p\u00ebrpiqen t\u00eb ndri\u00e7ojn\u00eb ambientin me nj\u00eb kandil dhe atyre u duket se kan\u00eb b\u00ebr\u00eb nj\u00eb gj\u00eb t\u00eb madhe: nj\u00eb pish\u00eb n\u00eb dor\u00eb. Nd\u00ebrsa grat\u00eb kalojn\u00eb n\u00ebn k\u00ebmb\u00ebt e tyre. Pastaj hijet e m\u00ebdha q\u00eb peshojn\u00eb mbi shpin\u00ebn e grave, n\u00eb mur. T\u00eb gjitha k\u00ebto ishin gjetje, pra konkretizime artistike t\u00eb figurshme q\u00eb un\u00eb i b\u00ebja atij mendimi. Q\u00ebndrimi im ishte i qart\u00eb p\u00ebr at\u00eb bot\u00eb, q\u00eb gjith\u00ebher\u00eb ka qen\u00eb interesante e m\u00eb ka ngacmuar emocionalisht.<\/p>\n

Tani, un\u00eb, jam larguar, sepse kan\u00eb kaluar vite. Kam interesa t\u00eb tjera. Pastaj edhe shijet zhvillohen, p\u00ebrpunohen. Kan\u00eb ndikuar edhe kontaktet me bot\u00ebn dhe me teatrin bashk\u00ebkohor, t\u00eb cil\u00ebt m\u00eb kan\u00eb drejtuar n\u00eb nj\u00eb kahje tjet\u00ebr.<\/p>\n

Xh. B.<\/b>: Mos kan\u00eb qen\u00eb k\u00ebto shtysat q\u00eb n\u00eb vitet e m\u00ebvonshme t\u00eb jeni jo vet\u00ebm regjisor, por edhe autor i shum\u00eb dramave, dhe t\u00eb trajtoni brenda mesazheve t\u00eb veprave autoriale edhe problemet e Kanunit?<\/em>
\nSerafini<\/b>: Jo. Un\u00eb, tashm\u00eb, nuk trajtoj problemet e Kanunit. Duke mos qen\u00eb njeri i politik\u00ebs, n\u00eb t\u00eb gjitha veprat e mia shfaq k\u00ebt\u00eb mendim thelb\u00ebsor: integrimin n\u00eb Europ\u00eb. Vendi im nuk mund ta b\u00ebj\u00eb k\u00ebt\u00eb proces mekanikisht apo me forma politike e ideologjike q\u00eb mund t\u00eb vijn\u00eb brenda nj\u00eb kohe shum\u00eb t\u00eb shkurt\u00ebr. Nj\u00eb revolucion mund t\u00eb b\u00ebhet edhe p\u00ebr tri dit\u00eb, p\u00ebr nj\u00eb muaj, p\u00ebr nj\u00eb\u2026 Nj\u00eb reform\u00eb ekonomike mund t\u00eb b\u00ebhet me urdh\u00ebra, me ligje q\u00eb i merr nj\u00eb Qeveri a Parlament. T\u00eb gjitha k\u00ebto nuk jan\u00eb gjith\u00e7ka, para asaj kryesores, q\u00eb do t\u00eb thot\u00eb: Ne mund t\u00eb shkojm\u00eb n\u00eb Evrop\u00eb duke u integruar shpirt\u00ebrisht. Po s\u2019e b\u00ebm\u00eb, rruga \u00ebsht\u00eb e larg\u00ebt, rruga \u00ebsht\u00eb e dhimbshme.<\/p>\n

Tani t\u00eb vijm\u00eb te Kanuni. Ndoshta jemi nd\u00ebr t\u00eb par\u00ebt kombe, shtete q\u00eb n\u00eb historikun ton\u00eb kemi pasur nj\u00eb ligj q\u00eb rregullonte jet\u00ebn n\u00eb t\u00eb t\u00ebra fushat, para shum\u00eb vendeve t\u00eb Evrop\u00ebs q\u00eb \u00ebsht\u00eb p\u00ebr t\u2019u pasur lakmi qytet\u00ebrimi i tyre. Pra, ne mburremi me t\u00eb, por historikisht duhet t\u00eb mburremi. Nuk duhet t\u00eb b\u00ebhemi skllev\u00ebr t\u00eb atyre zakoneve, t\u00eb atyre mendimeve t\u00eb vjet\u00ebruara q\u00eb mbart Kanuni. Kan\u00eb pasur vlera historike p\u00ebr Kombin kur jan\u00eb shkruar. Sot pengojn\u00eb ecjen p\u00ebrpara, pengojn\u00eb jet\u00ebn. T\u00eb gjitha k\u00ebto i kam shprehur te drama \u201cQuo Vadis\u201d. E them qart\u00eb n\u00ebp\u00ebrmjet figurave artistike q\u00eb duhet t\u00eb \u00e7lirohemi nga ajo psikologji e
\nvjet\u00ebruar, arkaike, vet\u00ebasgj\u00ebsuese shpesh her\u00eb.<\/p>\n

Xh. B.<\/strong>: K\u00ebto reflekse, n\u00eb mos gabohem, i gjejm\u00eb edhe te drama \u201cTrokitje n\u00eb dyert e dhimbjes\u201d?<\/em>
\nSerafini<\/strong>: Sigurisht. Por k\u00ebto reflekse jan\u00eb n\u00eb t\u00eb gjitha dramat e mia, si te: \u201c\u00c7murosja\u201d, \u201cPse?\u201d, \u201cQuo vadis\u201d, si edhe te drama e re q\u00eb po shkruaj e jam n\u00eb p\u00ebrfundim. E theksoj edhe nj\u00eb her\u00eb: gjithmon\u00eb \u00ebsht\u00eb i nj\u00ebjti mendim, i nj\u00ebjti ngacmim, por n\u00eb form\u00eb dhe rrug\u00eb t\u00eb tjera, t\u00eb reja.<\/p>\n

Xh. B.<\/strong>: A keni pasur mosmarr\u00ebveshje mes p\u00ebrfytyrimit <\/em>artistik t\u00eb regjisorit dhe aft\u00ebsive t\u00eb aktorit?<\/em>
\nSerafini<\/strong>: Mendimi p\u00ebr nj\u00eb vep\u00ebr rrjedh edhe prej d\u00ebshirave, t\u00eb cilat nuk mund t\u00eb jen\u00eb t\u00eb nj\u00ebjta. Nj\u00eb nd\u00ebr aft\u00ebsit\u00eb e regjisorit \u00ebsht\u00eb ajo q\u00eb bind, ngacmon e ushqen realizimin e mesazheve q\u00eb ka ai. Sigurisht, vlerat e aktor\u00ebve, (p\u00ebr k\u00ebt\u00eb \u00ebsht\u00eb fjala k\u00ebtu), p\u00ebr mosmarr\u00ebveshjet q\u00eb vijn\u00eb nga aft\u00ebsit\u00eb e aktorit (aft\u00ebsit\u00eb nuk jan\u00eb t\u00eb nj\u00ebllojta, nuk ka barazim midis tyre, secili ka m\u00ebnyr\u00ebn, aft\u00ebsin\u00eb e vet). Nj\u00eb shembull: nj\u00eb aktor \u00ebsht\u00eb 24 karat\u00ebsh, nj\u00eb tjet\u00ebr 18 karat\u00ebsh, por ka dhe 8 karat\u00ebsh q\u00eb nuk mund t\u00eb them se \u00ebsht\u00eb aktor i keq. Por, ama, 8 karat\u00ebsh \u00ebsht\u00eb.<\/p>\n

Shpesh her\u00eb t\u00eb moskuptuarit buron nga aft\u00ebsia profesionale, talenti. T\u00eb mos ngat\u00ebrrohemi, jo nga njohurit\u00eb profesionale (ata jan\u00eb nj\u00eblloj). I din\u00eb t\u00eb gjith\u00eb \u00e7far\u00eb duhet, por mund\u00ebsia p\u00ebr t\u2019i realizuar \u00ebsht\u00eb e diferencuar. Ka ndodhur q\u00eb aktori nuk \u00ebsht\u00eb p\u00ebrshtatur, sepse nuk ka mundur. Q\u00ebllon edhe k\u00ebshtu\u2026 Detyra e regjisorit \u00ebsht\u00eb t\u00eb harmonizoj\u00eb ansamblin me k\u00ebt\u00eb aktor. Por duhet t\u00eb shohim edhe an\u00ebn tjet\u00ebr t\u00eb medaljes. P\u00ebr shembull: nj\u00eb mesazh ose nj\u00eb moment i dh\u00ebn\u00eb nga regjisori nuk i p\u00ebrshtatet trup\u00ebs. Z\u00eb vend debati. N\u00eb qoft\u00eb se regjisori \u00ebsht\u00eb i bindur, at\u00ebher\u00eb mendimi ndyshohet. K\u00ebrkohet nj\u00eb zgjidhje tjet\u00ebr. N\u00eb fund t\u00eb fundit teatri \u00ebsht\u00eb kolektiv, pun\u00eb krijuese kolektive. S\u2019duhet kuptuar regjisori si diktator, q\u00eb ngul k\u00ebmb\u00eb medoemos n\u00eb mendimin e tij. Nga p\u00ebrvoja ime si regjisor kam patur fatin me ato aktor\u00eb q\u00eb kam punuar i jan\u00eb bindur k\u00ebrkesave t\u00eb mia. Nuk e di, dhe nuk mund t\u00eb flas p\u00ebr autoritetin artistik, dhe n\u00ebse i jan\u00eb bindur atij.<\/p>\n

Mua m\u00eb b\u00ebhet qejfi, kur trupa \u00ebsht\u00eb e bindur, sepse logjika e mendimi im kan\u00eb qen\u00eb t\u00eb drejta edhe p\u00ebr ta. K\u00ebshtu q\u00eb edhe g\u00ebzimi horizontin do ta kishte m\u00eb t\u00eb madh. T\u00eb jem i sinqert\u00eb: nuk i kam pyetur ndonj\u00ebher\u00eb. E ndiej q\u00eb m\u00eb jan\u00eb bindur, bile shpesh her\u00eb verb\u00ebrisht. Mund t\u00eb jap edhe nj\u00eb shembull tjet\u00ebr. Disa dit\u00eb pas nj\u00eb shfaqjeje m\u00eb ka ndalur nj\u00eb aktor e m\u00eb ka th\u00ebn\u00eb: \u201cP\u00ebr k\u00ebt\u00eb moment e p\u00ebr k\u00ebt\u00eb <\/em>sken\u00eb kam pasur mendime t\u00eb tjera. Megjithat\u00eb t\u00eb <\/em>jam bindur. Tani e shoh q\u00eb paske pasur t\u00eb drejt\u00eb.<\/em>\u201d Kuptohet, kjo ka qen\u00eb k\u00ebnaq\u00ebsia ime m\u00eb e madhe.<\/p>\n

Xh. B.<\/strong>: Kur e keni k\u00ebrkuar e thirrur detajin <\/em>regjisorial?<\/em>
\nSerafini<\/strong>: Nuk doja t\u00eb flisja p\u00ebr detaje t\u00eb ve\u00e7anta. Sipas mendimit tim e gjith\u00eb shfaqja duhet t\u00eb jet\u00eb nj\u00eb metafor\u00eb \u2013 simbol. Ka edhe raste, p\u00ebr t\u00eb n\u00ebnvizuar iden\u00eb th\u00ebrret n\u00eb ndihm\u00eb detajin regjisorial. Kjo vjen si rezultat i acarimit t\u00eb konfliktit, dialogu ka kulminacionet e tij, etj. Pik\u00ebrisht, aty kam k\u00ebrkuar dhe zb\u00ebrthimin vizual, n\u00eb qoft\u00eb se quhet detaj regjisorial me mjetet e mia. Pastaj, mbi at\u00eb q\u00eb ka b\u00ebr\u00eb aktori, p\u00ebrcaktoj mizanskenat q\u00eb shprehin dhe fuqizojn\u00eb iden\u00eb me t\u00eb cil\u00ebn p\u00ebrfaq\u00ebsohet ajo sken\u00eb a moment i caktuar i shfaqjes.<\/p>\n

Xh. B.<\/strong>: Gjithnj\u00eb me detajin. Duhet t\u00eb buroj\u00eb <\/em>nga jeta e personazhit, apo\u2026?<\/em>
\nSerafini<\/strong>: Jeta e personazhit nuk mund t\u00eb merret e shk\u00ebputur, si i till\u00eb edhe detaji. Po t\u00eb jet\u00eb fjala p\u00ebr nj\u00eb detaj q\u00eb i takon nj\u00eb personazhi, nj\u00eb monolog i caktuar, at\u00ebher\u00eb buron nga jeta e personazhit, si dhe nga vet\u00eb aft\u00ebsit\u00eb e aktorit (\u00ebsht\u00eb detaj q\u00eb e gjen vet\u00eb aktori). Kur \u00ebsht\u00eb fjala p\u00ebr ansamb\u00ebl, p\u00ebr t\u00eb dh\u00ebn\u00eb iden\u00eb e nj\u00eb skene, t\u00eb fuqizimit t\u00eb saj, t\u00eb nj\u00eb dialogu, t\u00eb nj\u00eb momenti t\u00eb caktuar q\u00eb \u00ebsht\u00eb zb\u00ebrthim apo evidentim i mesazhit t\u00eb shfaqjes, aty, pastaj regjisori v\u00eb dor\u00eb.<\/p>\n

Xh. B.<\/strong>:\u00a0Detaji, a krijon konceptimin e p\u00ebrgjithsh\u00ebm <\/em>e t\u00ebr\u00ebsor t\u00eb nj\u00eb shfaqjeje? M\u00eb konkretisht: A <\/em>\u00ebsht\u00eb n\u00eb gjendje t\u00eb q\u00ebndroj\u00eb gjat\u00eb, t\u00eb shoq\u00ebroj\u00eb veprimi <\/em>nga fillimi deri n\u00eb fund t\u00eb shfaqjes?<\/em>
\nSerafini<\/strong>: Ka detaje q\u00eb q\u00ebndrojn\u00eb nga fillimi deri n\u00eb fund t\u00eb shfaqjes. P\u00ebr shembull, element\u00ebt skenografik\u00eb, motivi muzikor q\u00eb shoq\u00ebron shfaqjen, si dhe detaje t\u00eb gjetura nga regjisori n\u00eb bashk\u00ebpunim me aktor\u00ebt n\u00eb loj\u00ebn e aktorit q\u00eb p\u00ebrcjellin jet\u00ebn e figur\u00ebs nga fillimi deri n\u00eb fund. Por detaji nuk \u00ebsht\u00eb kryesori. Un\u00eb thash\u00eb vet\u00eb shfaqja duhet t\u00eb jet\u00eb e mbushur me simbole e metafora, sepse figur\u00ebn artistike nuk mund ta shoh pa k\u00ebto, pra pa t\u00ebr\u00ebsin\u00eb e figur\u00ebs artistike t\u00eb spektaklit.<\/p>\n

Xh. B.<\/strong>: Nga shkrimet, p\u00ebr dram\u00ebn \u201cGjaku <\/em>i Arbrit\u201d, \u00ebsht\u00eb th\u00ebn\u00eb: \u201cMegjith\u00ebse nuk \u00ebsht\u00eb gjetur <\/em>veprimi i sakt\u00eb n\u00eb gjuh\u00ebn e personazheve, kjo kompensohet <\/em>deri diku me bukurin\u00eb dhe me shprehjen <\/em>mizanskenike, cil\u00ebsi dalluese kjo e regjisorit\u201d. Cili \u00ebsht\u00eb <\/em>mendimi juaj?<\/em>
\nSerafini<\/strong>: S\u2019kam d\u00ebshir\u00eb t\u00eb komentoj at\u00eb \u00e7far\u00eb \u00ebsht\u00eb
\nth\u00ebn\u00eb p\u00ebr shfaqjen, por mund t\u00eb them me bindjen time, mizanskena \u00ebsht\u00eb burim i veprimit, nuk \u00ebsht\u00eb element q\u00eb rri i pavarur. Konkretisht, m\u00eb lind nevoja p\u00ebr t\u00eb marr\u00eb got\u00ebn e ujit p\u00ebr t\u00eb pir\u00eb. Zgjas dor\u00ebn dhe e marr. Kjo \u00ebsht\u00eb nj\u00eb mizansken\u00eb. \u00cbsht\u00eb k\u00ebrkes\u00eb e brendshme p\u00ebr t\u00eb kryer at\u00eb l\u00ebvizje. N\u00eb qoft\u00eb se mizanskena \u00ebsht\u00eb e bukur, ka rrjedh\u00eb logjike, e k\u00ebndshme p\u00ebr syrin kjo tregon q\u00eb ka buruar nga veprimi e p\u00ebr rrjedhoj\u00eb ky ka qen\u00eb n\u00eb rregull.<\/p>\n

Xh. B.<\/strong>: Gjithashtu nga kritika \u00ebsht\u00eb th\u00ebn\u00eb: \u201cN\u00eb disa <\/em>spektakle, si: \u201cGjaku i Arbrit\u201d, \u201cBaca i Gjetajve\u201d bie <\/em>n\u00eb sy nj\u00eb konceptim monumental i figur\u00ebs. Si duhet <\/em>ruajtur raporti mes monumentales dhe loj\u00ebs realiste?<\/em>
\nSerafini<\/strong>: Konceptimi i monumentales te njer\u00ebz t\u00eb ndrysh\u00ebm \u00ebsht\u00eb i ndrysh\u00ebm. Mendoj q\u00eb temat jan\u00eb monumentale. P\u00ebr pasoj\u00eb edhe trajtimi dramaturgjik ka qen\u00eb monumental. Sepse \u201cmagjen\u201d ta ka dh\u00ebn\u00eb dramaturgu. Dialogu \u00ebsht\u00eb ngarkuar me figura, personazhet flasin n\u00eb m\u00ebnyr\u00eb t\u00eb figurshme dhe q\u00ebndrojn\u00eb mbi realitetin (nuk flas p\u00ebr dialogun surrealist n\u00eb kuptimin e mendimit). Pra, k\u00ebshtu e ka konceptuar e trajtuar dramaturgu, sigurisht edhe shfaqja do t\u00eb ishte e till\u00eb. Un\u00eb frym\u00ebn e autorit F. Kraja do ta trajtoja n\u00eb shfaqje. Nuk shoh gj\u00eb t\u00eb keqe, p\u00ebrkundrazi ka rrit madh\u00ebshtin\u00eb e k\u00ebtyre figurave.<\/p>\n

Xh. B.<\/strong>: N\u00eb teatrin bashk\u00ebkohor n\u00ebnvizohet shum\u00eb <\/em>roli i regjis\u00eb?<\/em>
\nSerafini<\/strong>: Roli i regjisur\u00ebs ka qen\u00eb i madh n\u00eb t\u00eb gjitha koh\u00ebrat. Qysh kur mund t\u00eb flasim p\u00ebr teat\u00ebr, p\u00ebr teat\u00ebr t\u00eb mir\u00ebfillt\u00eb, at\u00eb q\u00eb njohim sot. N\u00eb fund t\u00eb fundit \u00e7do teat\u00ebr \u00ebsht\u00eb i lidhur n\u00eb krijimtarin\u00eb e vet me krijimtarin\u00eb e nj\u00eb regjisori. Me emrin e tij \u00ebsht\u00eb e lidhur komedia francize q\u00eb vazhdon edhe sot t\u00eb mbetet teatri m\u00eb i mir\u00eb francez shtet\u00ebror. Po k\u00ebshtu teatri i Napolit. P\u00ebr t\u00eb, emri i Eduardo de Filipos ka qen\u00eb dramatug, aktor kryesor, regjisor e drejtor teatri.<\/p>\n

(Vijon numrin e arthsh\u00ebm<\/em>)<\/p>\n

\/Marr\u00eb nga gazeta “NACIONAL” me botues, Mujo BU\u00c7PAPAJ<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Figura e Serafinit: si aktor, si regjisor, si dramatug\u2026 \u201cKoha nuk mallkohet, sepse ne e krijojm\u00eb at\u00eb vet\u00eb.\u201d Serafin Fanko Nga Xhahid Bushati 1. Serafin Fanko, \u201cArtist i Popullit\u201d, \u00ebsht\u00eb regjisori i kat\u00ebrt n\u00eb teatrin \u201cMigjeni\u201d t\u00eb Shkodr\u00ebs. Lindi, m\u00eb 24.05.1937 n\u00eb Shkod\u00ebr dhe nd\u00ebrroi jet\u00eb, m\u00eb 29.11.2007 n\u00eb Tiran\u00eb. N\u00eb Shkod\u00ebr qytet kaloi f\u00ebmij\u00ebrin\u00eb, […]<\/p>\n","protected":false},"author":1,"featured_media":40973,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2,4,35],"tags":[],"class_list":["post-40972","post","type-post","status-publish","format-standard","has-post-thumbnail","category-artikuj","category-histori","category-kulture"],"yoast_head":"\nSh\u00ebnime dhe kujtime p\u00ebr regjisorin, Artistin e Popullit, Serafin Fanko - 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\/shenime-dhe-kujtime-per-regjisorin-artistin-e-popullit-serafin-fanko\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Sh\u00ebnime dhe kujtime p\u00ebr regjisorin, Artistin e Popullit, Serafin Fanko - FJALA e LIR\u00cb\" \/>\n<meta property=\"og:description\" content=\"Figura e Serafinit: si aktor, si regjisor, si dramatug\u2026 \u201cKoha nuk mallkohet, sepse ne e krijojm\u00eb at\u00eb vet\u00eb.\u201d Serafin Fanko Nga Xhahid Bushati 1. 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