{"id":2106,"date":"2023-02-21T15:23:48","date_gmt":"2023-02-21T14:23:48","guid":{"rendered":"https:\/\/sbunker.org\/?p=2106"},"modified":"2023-12-11T15:25:35","modified_gmt":"2023-12-11T14:25:35","slug":"teatri-si-maqineri-e-propagandes-politike-i","status":"publish","type":"post","link":"https:\/\/sbunker.org\/en\/kritike\/teatri-si-maqineri-e-propagandes-politike-i\/","title":{"rendered":"Teatri si maqineri e propagand\u00ebs politike (I)"},"content":{"rendered":"
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Ilustrimi nga:\u00a0Big Eye<\/a><\/em><\/span><\/p>\n

\u201cNatyrisht q\u00eb ka njer\u00ebz n\u00eb k\u00ebt\u00eb vend q\u00eb e duan paqen. Natyrisht q\u00eb edhe ata t\u00eb cil\u00ebt e duan fitoren, nuk e duan as luft\u00ebn e as vdekjen. Por askush nuk do t\u00eb fitoj\u00eb, vet\u00ebm do t\u00eb vdiset\u201d,<\/em><\/span><\/p>\n<\/div>\n

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Borka Paviqeviq<\/em><\/strong><\/p>\n<\/div>\n

N\u00eb fillim t\u00eb vitit 2018\u00a0mediat nd\u00ebrkomb\u00ebtare paralajm\u00ebruan se nj\u00eb grup artist\u00ebsh n\u00eb Serbi jan\u00eb duke pregaditur nj\u00eb mjuzik\u00ebll p\u00ebr Millosheviqin\u00a0me titull \u201cLift<\/em>:\u00a0Slobodan shou<\/em><\/a>\u201d slogans<\/em>. Kureshtja e mediave dhe e publikut qe e madhe. Dhe paralajm\u00ebrimi ishte q\u00eb shfaqja do t\u00eb jepej n\u00eb Gra\u00e7anic\u00eb, nj\u00eb qytez\u00eb e banuar me popullat\u00eb kryesisht serbe, jo larg kryeqytetit t\u00eb Kosov\u00ebs, Prishtin\u00ebs.<\/p>\n

Para s\u00eb t\u00eb flasim p\u00ebr shfaqjen, \u00ebsht\u00eb me r\u00ebnd\u00ebsi t\u00eb flasim p\u00ebr teatrin q\u00eb po e prodhonte at\u00eb. Shfaqja po realizohej nga Teatri Popullor i Prishtin\u00ebs (Narodno Pozoriste Pristina\/ \u041d\u0430\u0440\u043e\u0434\u043d\u043e \u043f\u043e\u0437\u043e\u0440\u0438\u0448\u0442\u0435 \u041f\u0440\u0438\u0448\u0442\u0438\u043d\u0430)<\/em>, \u2018p\u00ebrkoh\u00ebsisht i zhvendosur n\u00eb Beograd\u2019, si\u00e7 i referohen edhe zyrtarisht n\u00eb Serbi! Ky \u00ebsht\u00eb nj\u00eb teat\u00ebr q\u00eb zhvillon aktivitetet artistike e administrative n\u00eb Beograd, por q\u00eb jep shfaqje koh\u00eb mbas kohe edhe n\u00eb Kosov\u00eb, n\u00eb vendbanimet ku jetojn\u00eb serb\u00ebt. Tash s\u00eb voni, ata, s\u00eb paku zyrtarisht, thuhet se jan\u00eb t\u00eb vendosur n\u00eb Gra\u00e7anic\u00eb.<\/p>\n

Tani, le t\u00eb zhytemi edhe pak m\u00eb thell\u00eb n\u00eb t\u00eb kaluar\u00ebn. Teatri Popullor Krahinor \u00ebsht\u00eb nd\u00ebrtuar n\u00eb Prishtin\u00eb n\u00eb vitin 1946, menj\u00ebher\u00eb pas Luft\u00ebs s\u00eb Dyt\u00eb Bot\u00ebrore.\u00a0Ai ishte konceptuar fillimisht si nj\u00eb sht\u00ebpi kulture, aso \u00e7far\u00eb asokohe nis\u00ebn t\u00eb nd\u00ebrtoheshin gjithandej ish Jugosllavis\u00eb, p\u00ebr t\u2019u kthyer n\u00eb vitin 1948 n\u00eb Teatrin Popullor Krahinor. Kosova asokohe ishte krahin\u00eb autonome socialiste e Serbis\u00eb, brenda\u00a0Federat\u00ebs Socialiste t\u00eb Jugosllavis\u00eb<\/a>\u00a0dhe ky teat\u00ebr kishte nj\u00eb pesh\u00eb t\u00eb madhe sociale e kulturore. Gjat\u00eb historis\u00eb s\u00eb tij mbi 70-vje\u00e7are ka nd\u00ebrruar emrin disa her\u00eb.\u00a0 Q\u00eb nga 2008, kur Kosova shpalli pavar\u00ebsin\u00eb, ai quhet zyrtarisht Teatri Komb\u00ebtar i Kosov\u00ebs. Ndryshimet e shpeshta t\u00eb emrit p\u00ebrb\u00ebjn\u00eb edhe nj\u00ebfar\u00eb kronike t\u00eb ndryshimeve politike lidhur me statusin politik t\u00eb Kosov\u00ebs.<\/p>\n

Brenda k\u00ebtij teatri ka pasur dy ansamble aktor\u00ebsh: ansambli i dram\u00ebs shqipe dhe ai i dram\u00ebs serbe. Por, megjith\u00eb tensionet e zakonshme q\u00eb ekzistojn\u00eb thuaja n\u00eb \u00e7do teat\u00ebr, deri n\u00eb vitin 1990 aty thuhet se ka pasur nj\u00ebfar\u00eb harmonie mes artist\u00ebve e stafit shqiptar e serb. P\u00ebr shkak t\u00eb\u00a0publikut t\u00eb madh shqiptar n\u00eb Prishtin\u00eb, repertori i dram\u00ebs shqipe, edhe n\u00eb num\u00ebr\u00a0ka z\u00ebn\u00eb vendin q\u00ebndror n\u00eb k\u00ebt\u00eb teat\u00ebr, ku edhe drejtor\u00ebt zakonisht ishin shqiptar\u00eb.<\/p>\n

Megjithat\u00eb, veprimtaria e k\u00ebtij teatri \u00e7akordohet p\u00ebrgjat\u00eb viteve t\u00eb \u201890-ta, n\u00eb koh\u00ebn kur ai merret dhunsh\u00ebm n\u00ebn administrim t\u00eb njer\u00ebzve lojal\u00eb t\u00eb Millosheviqit. Administrata e re serbe largon nga puna shumic\u00ebn e aktor\u00ebve shqiptar\u00eb, por edhe nj\u00eb pjes\u00eb t\u00eb mir\u00eb t\u00eb stafit teknik e administrativ, duke p\u00ebrfshir\u00eb drejtorin shqiptar. \u201cMasat e dhunshme\u201d, si\u00e7 quheshin asokohe uzurpimet e k\u00ebtilla t\u00eb institucioneve publike, zbatoheshin gjithandej Kosov\u00ebs. Me qindra e mij\u00ebra pun\u00ebtor\u00eb teatrosh, fabrikash, spitalesh, pun\u00ebtor\u00eb t\u00eb administrat\u00ebs e t\u00eb tjer\u00eb\u00a0ngel\u00ebn pa pun\u00eb.<\/p>\n

K\u00ebshtu, pasi Teatri Popullor Krahinor \u2018u mor nga serb\u00ebt\u2019, si\u00e7 thuhej asokohe, ai b\u00ebhet nj\u00eb institucion gati i urryer p\u00ebr shqiptar\u00ebt, t\u00eb cil\u00ebt mandej hezitonin t\u00eb shihinin shfaqjet aty. Administrata e re serbe realizonte n\u00eb \u00e7do sezon nga nj\u00eb apo dy shfaqje n\u00eb gjuh\u00ebn shqipe, sa p\u00ebr t\u00eb \u2018d\u00ebshmuar\u2019<\/em>\u00a0se ishte e hapur edhe ndaj publikut shqiptar dhe se nuk po zbatonte kurrfar\u00eb projekti q\u00eb do t\u2019i c\u00ebnonte t\u00eb drejtat kulturore t\u00eb tyre. Por, n\u00eb realitet, disa shfaqje shqipe t\u00eb atij fillimi t\u00eb 90-tave u ndaluan apo u hoq\u00ebn dhunsh\u00ebm nga repertori! E k\u00ebshtu, krijuesve shqipar\u00eb iu b\u00eb me dije drejtimi i ri q\u00eb tashm\u00eb kishte marr\u00eb ai teat\u00ebr: t\u2019i sh\u00ebrbej\u00eb politik\u00ebs hegjemoniste serbe dhe t\u00eb b\u00ebhej pjes\u00eb e maqineris\u00eb s\u00eb p\u00ebrgjithshme q\u00eb synonte\u00a0purifikimin nacional t\u00eb Kosov\u00ebs<\/em>, nga, si\u00e7\u00a0e quanin,\u00a0dominimi shqiptar<\/em><\/a>.<\/p>\n

Gjat\u00eb luft\u00ebs n\u00eb Kosov\u00eb\u00a0shumica e artist\u00ebve shqiptar\u00eb u shtr\u00ebnguan t\u00eb largohen nga Kosova dhe t\u00eb vendosen si refugjat\u00eb n\u00eb Maqedoni e Shqip\u00ebri. Nd\u00ebrkoh\u00eb q\u00eb\u00a0artist\u00ebt e dramat\u00a0serbe t\u00eb k\u00ebtij teatri\u00a0vazhduan pun\u00ebn\u00a0pa shfaqur asnj\u00eb fije solidariteti me artist\u00ebt shqiptar\u00eb q\u00eb qen\u00eb detyruar t\u00eb braktisin Kosov\u00ebn p\u00ebr shkak t\u00eb luft\u00ebs dhe p\u00ebr shkak se po p\u00ebrndiqeshin nga policia e ushtria serbe, e cila i konsideronte \u201carmiq n\u00ebn sh\u00ebnjest\u00ebr\u201d\u00a0si\u00e7 e konsideronte \u00e7do shqiptar n\u00eb Kosov\u00eb.<\/p>\n

Pas p\u00ebrfundimit t\u00eb luft\u00ebs n\u00eb Kosov\u00eb n\u00eb vitin 1999\u00a0drama serbe e k\u00ebtij teatri shuhet,\u00a0artist\u00ebt dhe stafi serb largohen nga Kosova p\u00ebr n\u00eb Serbi, ashtu si\u00e7 largohet shumica e popullat\u00ebs serbe q\u00eb jetonte n\u00eb Prishtin\u00eb. Artist\u00ebt dhe administrata e dram\u00ebs shqipe nd\u00ebrsa kthehen nga kampet e refugjat\u00ebve dhe nisin pun\u00ebn rishtazi –\u00a0tani n\u00eb rrethana t\u00eb reja por edhe me sfida t\u00eb reja, krejt t\u00eb ndryshme nga ato t\u00eb paraluft\u00ebs. Tani, ai teat\u00ebr realizon shfaqje\u00a0vet\u00ebm n\u00eb gjuh\u00ebn shqipe.<\/p>\n

Disa vjet pas p\u00ebrfundimit t\u00eb luft\u00ebs n\u00eb Kosov\u00eb, Qeveria e Serbis\u00eb themelon Teatrin Popullor t\u00eb Prishtin\u00ebs (Narodno Pozoriste Pristina\/ \u041d\u0430\u0440\u043e\u0434\u043d\u043e \u043f\u043e\u0437\u043e\u0440\u0438\u0448\u0442\u0435 \u041f\u0440\u0438\u0448\u0442\u0438\u043d\u0430),\u00a0<\/em>nj\u00eb teat\u00ebr paralel, i cili, sipas tyre, \u00ebsht\u00eb vazhdim\u00ebsi e teatrit t\u00eb paraluft\u00ebs n\u00eb Prishtin\u00eb. Ky teat\u00ebr \u00ebsht\u00eb themeluar si p\u00ebrpjekje p\u00ebr t\u00eb krijuar vazhdim\u00ebsi t\u00eb “institucioneve serbe”\u00a0q\u00eb kan\u00eb n\u00eb qen\u00eb para luft\u00ebs n\u00eb Kosov\u00eb, n\u00eb \u201ckrahin\u00ebn e tyre t\u00eb dikurshme\u201d. Synimi i tyre, s\u00eb paku simbolik, \u00ebsht\u00eb q\u00eb k\u00ebto institucione (pra edhe ky teat\u00ebr i zhvendosur p\u00ebrkoh\u00ebsisht n\u00eb Beograd), nj\u00eb dit\u00eb t\u00eb kthehen dhe t\u00eb vendosen s\u00ebrish n\u00eb Kosov\u00eb.<\/p>\n

\"Image\"<\/div>\n

T\u00eb kuptohemi q\u00eb n\u00eb fillim: ekzistenca e nj\u00eb teatri \u00ebsht\u00eb gati gjithmon\u00eb nj\u00eb akt emancipues. Megjithat\u00eb, duhet th\u00ebn\u00eb q\u00eb ky teat\u00ebr i krijuar nga Qeveria serbe, si i till\u00eb, nuk \u00ebsht\u00eb krijuar p\u00ebr t\u2019i sh\u00ebrbyer publikut serb n\u00eb Serbi, e as atij\u00a0n\u00eb Kosov\u00eb. Madje, nuk \u00ebsht\u00eb krijuar as si nj\u00eb sht\u00ebpi p\u00ebr t\u00eb nderuar ata artist\u00eb serb\u00eb q\u00eb dikur kan\u00eb jetuar e krijuar n\u00eb Prishtin\u00eb, n\u00eb teatrin dikur t\u00eb quajtur Teatri Popullor i Kosov\u00ebs. Jo, ai \u00ebsht\u00eb krijuar me q\u00ebllime t\u00ebr\u00ebsisht ideologjike, p\u00ebr t\u2019i sh\u00ebrbyer interesave e apetiteve hegjemoniste t\u00eb qeveris\u00eb s\u00eb Serbis\u00eb, dhe p\u00ebrpjekjes s\u00eb tyre p\u00ebr t\u00eb d\u00ebshmuar \u201cpron\u00ebsin\u00eb e tyre t\u00eb Kosov\u00ebs\u201d. P\u00ebr m\u00eb tep\u00ebr, ai teat\u00ebr jo vet\u00ebm me \u2018dekretin e themelimit\u2019, por edhe me politikat programore, e ka d\u00ebshmuar se \u00ebsht\u00eb n\u00eb sh\u00ebrbim t\u00eb politik\u00ebs, gjegj\u00ebsisht\u00a0n\u00eb sh\u00ebrbim t\u00eb qeveris\u00eb serbe, e cila ka vazhduar edhe pas luft\u00ebs me t\u00eb nj\u00ebjtat politika hegjemoniste ndaj Kosov\u00ebs\u00a0si ato t\u00eb viteve t\u00eb 90-ta.<\/p>\n

*<\/p>\n

E tani kur kemi treguar pak nga historia jo fort e lavdishme, madje komprometuese, e k\u00ebtij teatri paralel serb q\u00eb funksionon n\u00eb Beograd, le t\u2019i kthehemi shfaqjes s\u00eb \u201cLIFT: Slobodan Shou<\/em>\u201d, q\u00eb u dha n\u00eb Gran\u00e7anic\u00eb t\u00eb Kosov\u00ebs m\u00eb 6 mars 2018. Shfaqja flet p\u00ebr Sllobodan Millosheviqin dhe raportet e tij me familjen gjat\u00eb periudh\u00ebs s\u00eb bombardimeve t\u00eb NATO-s. T\u00eb p\u00ebrmendim k\u00ebtu faktin se kjo shfaqje po jepej rreth 20 vjet pas luft\u00ebs n\u00eb Kosov\u00eb dhe 15 vjet nga vdekja e Millosheviqit. Premiera u dha n\u00eb Sht\u00ebpin\u00eb e Kultur\u00ebs n\u00eb Gra\u00e7anic\u00eb dhe zgjoi interesim t\u00eb madh t\u00eb mediave nd\u00ebrkomb\u00ebtare, t\u00eb cilat natyrisht ishin kureshtare t\u00eb shihnin se si nj\u00eb trup\u00eb teatri serbe do t\u00eb trajtonte figur\u00ebn e \u2018kasapit t\u00eb Ballkanit\u2019.<\/p>\n

P\u00ebr mua, por dhe p\u00ebr shum\u00eb t\u00eb tjer\u00eb q\u00eb at\u00eb nat\u00eb pan\u00eb premier\u00ebn, qe zhg\u00ebnjyese t\u00eb shihnim se si artist\u00ebt n\u00eb k\u00ebto an\u00eb, p\u00ebkund\u00ebr luftrave t\u00eb 90-tave n\u00eb ish Jugosllavi, nuk ia kan\u00eb dalur t\u00eb shkoqiten nga l\u00ebvozhga e propagand\u00ebs nacionaliste dhe e ideologjis\u00eb luft\u00ebnxit\u00ebse.<\/p>\n

N\u00eb k\u00ebt\u00eb mes, deklaratat e regjisorit Nenad Todoroviq dhe dramaturges Jelena Bogavac para premier\u00ebs ishin, t\u00eb themi, optimiste. Ata pretendonin nj\u00eb qasje kritike ndaj Millosheviqit dhe trash\u00ebgimis\u00eb s\u00eb tij t\u00eb luft\u00ebs dhe krimeve.<\/p>\n

as a \u201cNjer\u00ebzit tan\u00eb kurr\u00eb nuk mund\u00ebn ta gjykojn\u00eb at\u00eb. Ky \u00ebsht\u00eb versioni yn\u00eb i Hag\u00ebs serbe<\/em>\u201d, tha\u00a0n\u00eb nj\u00eb intervist\u00eb<\/a>\u00a0regjisori Nenad Todoroviq. Megjithat\u00eb, shfaqja realisht p\u00ebr\u00e7oi krejt di\u00e7ka tjet\u00ebr, vizione\u00a0t\u00eb tjera q\u00eb relativizonin krimet e Millosheviqit. Qe nj\u00eb p\u00ebrpjekje d\u00ebshp\u00ebruese p\u00ebr ta shp\u00ebrndar\u00eb gjetiu fajin e krimeve t\u00eb Millosheviqit dhe t\u00eb qeveris\u00eb serbe t\u00eb asaj kohe.<\/p>\n

Shfaqja merret kryesisht me disa probleme efemere t\u00eb familjes Millosheviq. Nd\u00ebrkoh\u00eb q\u00eb\u00a0kur flet p\u00ebr problemet reale t\u00eb luft\u00ebs, ato i trajton p\u00ebrmes nj\u00eb dioptrie klishe t\u00eb nacionalizmit serb. Pra, nj\u00eb dioptri e cila e redukton pothuajse t\u00ebr\u00ebsisht p\u00ebrgjegj\u00ebsin\u00eb e Millosheviqit, kurse fajin e luftrave t\u00eb viteve 90 e projekton tek \u201cFuqit\u00eb e M\u00ebdha\u2019 dhe te “propaganda e mediave nd\u00ebrkomb\u00ebtare”<\/em>. Serb\u00ebt p\u00ebrshkruhen si viktimat kryesore, mbi t\u00eb cil\u00ebt fuqit\u00eb e m\u00ebdha hedhin bomba “pa p\u00ebrfillur konventat nd\u00ebrkomb\u00ebtare”<\/em>.\u00a0 N\u00eb shfaqje nuk p\u00ebrmenden fare viktimat jo-serbe, nuk thuhet asnj\u00eb fjal\u00eb p\u00ebr vuajtjet e t\u00eb tjer\u00ebve. Rrjedhimisht, nuk ka asnj\u00eb p\u00ebrgjegj\u00ebsi serbe. \u201cLIFT: Slobodan shou<\/em>\u201d \u00ebsht\u00eb nj\u00eb lexim i shtremb\u00ebruar i historis\u00eb s\u00eb viteve t\u00eb 90-ta, do t\u00eb thonim, nj\u00eb shtremb\u00ebrim i q\u00ebllimsh\u00ebm.<\/p>\n

Millosheviqi n\u00eb k\u00ebt\u00eb shfaqje \u00ebsht\u00eb ai “engjulli n\u00eb qoshe”, q\u00eb i vjen turp dhe \u00ebsht\u00eb i\u00a0paaft\u00eb ta ndryshoj\u00eb fatin, rrjedh\u00ebn e historis\u00eb dhe t\u00eb asaj \u201cq\u00eb \u00ebsht\u00eb e shkruar t\u00eb ndodh\u00eb\u201d. Ai \u00ebsht\u00eb nj\u00eb \u2018lojtar i vog\u00ebl\u2019, i cili nuk mund t\u00eb veproj\u00eb dhe nuk mund t\u00eb b\u00ebj\u00eb gj\u00eb p\u00ebr t\u2019i ndalur luftrat e asaj kohe. P\u00ebrgjegj\u00ebsia e tij \u00ebsht\u00eb baras me zero.<\/p>\n

Kjo p\u00ebrpjekje p\u00ebr revidim t\u00eb historis\u00eb, p\u00ebr rehabilitimin e t\u00eb s\u00eb kaluar\u00ebs s\u00eb tij kriminale \u00ebsht\u00eb sa antihistorike aq antihumane. Roli i Millosheviqit \u00ebsht\u00eb mjat mir\u00eb i dokumentuar. Ai \u00ebsht\u00eb p\u00ebrgjegj\u00ebs p\u00ebr vrasjen e mbi 100,000 njer\u00ebzve dhe p\u00ebrgjegj\u00ebs p\u00ebr vuajtjet e dhjet\u00ebra milion\u00eb refugjat\u00ebve t\u00eb zhvendosur me dhun\u00eb, q\u00eb prej Bosnjes e deri n\u00eb Serbi, n\u00eb Kosov\u00eb e n\u00eb Kroaci.<\/p>\n

N\u00eb nj\u00eb kontekst tjet\u00ebr, por q\u00eb mund ta p\u00ebrdorim shum\u00eb mir\u00eb edhe k\u00ebtu, shkrimtari e gazetari serb Tomislav Markoviq e shpjegon bukur p\u00ebrpjekjen e disa artist\u00ebve serb\u00eb p\u00ebr ta par\u00eb \u201can\u00ebn tjet\u00ebr t\u00eb karakterit t\u00eb Milloshevqit\u201d, respektivisht, p\u00ebrpjekjen p\u00ebr ta zbritur at\u00eb n\u00eb nivelin \u201ce njeriut prej mishi e gjaku\u2019. Ai\u00a0shkruan<\/a>: \u201cKur kemi t\u00eb b\u00ebjm\u00eb me Sllobodan Millosheviqin, kreun e maqineris\u00eb m\u00eb t\u00eb madhe vrastare n\u00eb k\u00ebto an\u00eb, kriminelin m\u00eb t\u00eb madh mes sunduesve serb\u00eb, njeriun i cili i ka filluar tri luftra, ka shkaktuar vdekjen e dhjetra mij\u00ebra vetave dhe shp\u00ebrnguljen e disa milion\u00eb t\u00eb tjer\u00ebve, ka shkat\u00ebrruar vendin e vet dhe ka sjell\u00eb buz\u00eb shkat\u00ebrrimit apokaliptik gjith\u00e7ka q\u00eb i ka dal\u00eb p\u00ebrpara \u2013 dhe prandaj, ai nuk \u00ebsht\u00eb i r\u00ebnd\u00ebsish\u00ebm si individ, por ekskluzivisht si kreu i sistemit t\u00eb vrasjeve masive, si forca shtyt\u00ebse e industris\u00eb s\u00eb vdekjes. Nuk \u00ebsht\u00eb Millosheviqi as Raskolnikov, as Merso, q\u00eb t\u00eb merremi me psikologjin\u00eb e tij individuale apo me raportet e tij me fqinj\u00ebt<\/em>.\u201d<\/p>\n

\u00cbsht\u00eb evidente se politika zyrtare serbe pas t\u00eb 90-tave synon t\u00eb negocoj\u00eb rolin dhe p\u00ebrgjegj\u00ebsin\u00eb e Millosheviqit dhe t\u00eb shtetit serb. N\u00eb k\u00ebt\u00eb drejtim ka nj\u00eb p\u00ebrpjekje p\u00ebr t\u00eb shpikur fakte \u2018paralele\u2019, sepse i besohet citatit t\u00eb Danilo Kishit te \u201cNj\u00eb varr p\u00ebr Boris Davidoviqin<\/em>\u201d, ku thuhet se \u201cfaktet jan\u00eb ato p\u00ebr t\u00eb cilat dakordohemi se jan\u00eb<\/em>\u00a0ashtu\u2019. Pra, politika sebe, por edhe nj\u00eb pjes\u00eb e elit\u00ebs intelektuale, p\u00ebrpiqen t\u00eb gjejn\u00eb bashk\u00ebnegociator\u00eb t\u00eb fakteve\u2019 dhe kjo p\u00ebrpjekje p\u00ebr negocim vjen n\u00eb forma t\u00eb ndryshme, q\u00eb n\u00eb k\u00ebt\u00eb rast \u00ebsht\u00eb nj\u00eb shfaqje teatrore.<\/p>\n

*** vazhdon…<\/p>\n

Ky artikull \u00ebsht\u00eb prodhuar n\u00eb kuad\u00ebr t\u00eb bashk\u00ebpunimit nd\u00ebrmjet Sbunker dhe forumZFD Kosov\u00eb.<\/em><\/p>\n

Read the article in\u00a0English<\/a>.<\/em><\/p>","protected":false},"excerpt":{"rendered":"

Ilustrimi nga:\u00a0Big Eye \u201cNatyrisht q\u00eb ka njer\u00ebz n\u00eb k\u00ebt\u00eb vend q\u00eb e duan paqen. Natyrisht q\u00eb edhe ata t\u00eb cil\u00ebt e duan fitoren, nuk e duan as luft\u00ebn e as vdekjen. Por askush nuk do t\u00eb fitoj\u00eb, vet\u00ebm do t\u00eb vdiset\u201d, Borka Paviqeviq N\u00eb fillim t\u00eb vitit 2018\u00a0mediat nd\u00ebrkomb\u00ebtare paralajm\u00ebruan se nj\u00eb grup artist\u00ebsh n\u00eb […]<\/p>","protected":false},"author":10,"featured_media":2107,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[875,12,855],"ppma_author":[21],"class_list":["post-2106","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kritike","tag-political-propaganda","tag-serbia","tag-theatre"],"authors":[{"term_id":21,"user_id":10,"is_guest":0,"slug":"jeton-neziraj","display_name":"Jeton Neziraj","avatar_url":{"url":"https:\/\/sbunker.org\/wp-content\/uploads\/2023\/10\/ooll.png","url2x":"https:\/\/sbunker.org\/wp-content\/uploads\/2023\/10\/ooll.png"},"user_url":"","last_name":"Neziraj","first_name":"Jeton","description":"Jeton Neziraj, dramaturg, ka qen\u00eb Drejtor Artistik i Teatrit Komb\u00ebtar t\u00eb Kosov\u00ebs, kurse aktualisht \u00ebsht\u00eb drejtor i Qendr\u00ebs Multimedia n\u00eb Prishtin\u00eb, nj\u00eb asociacion q\u00eb merret me let\u00ebrsin\u00eb dhe teatrin. Ai ka shkruar mbi 20 drama, t\u00eb cilat jan\u00eb v\u00ebn\u00eb n\u00eb sken\u00eb n\u00eb Kosov\u00eb dhe jasht\u00eb saj, n\u00eb Evrop\u00eb e n\u00eb Amerik\u00eb, e po ashtu jan\u00eb p\u00ebrkthyer dhe botuar edhe n\u00eb mbi 15 gjuh\u00eb t\u00eb tjera."}],"_links":{"self":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/2106","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/users\/10"}],"replies":[{"embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/comments?post=2106"}],"version-history":[{"count":1,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/2106\/revisions"}],"predecessor-version":[{"id":2108,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/2106\/revisions\/2108"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/media\/2107"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/media?parent=2106"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/categories?post=2106"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/tags?post=2106"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/ppma_author?post=2106"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}