{"id":3348,"date":"2016-12-04T16:04:58","date_gmt":"2016-12-04T14:04:58","guid":{"rendered":"https:\/\/sbunker.org\/?p=3348"},"modified":"2024-12-19T16:28:12","modified_gmt":"2024-12-19T14:28:12","slug":"si-e-shpetoi-drama-greke-qytetin","status":"publish","type":"post","link":"https:\/\/sbunker.org\/en\/analize\/si-e-shpetoi-drama-greke-qytetin\/","title":{"rendered":"Si e shp\u00ebtoi drama greke Qytetin"},"content":{"rendered":"
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N\u00eb pik\u00ebn kulmore t\u00eb komedis\u00eb s\u00eb Aristofanit\u00a0Bretkosat [The Frogs]<\/em>, nj\u00eb parodi e thart\u00eb e tragjedis\u00eb greke q\u00eb u shfaq si premier\u00eb n\u00eb v. 405 p.e.s, Dionisi, zoti i ver\u00ebs dhe i teatrit, obligohet t\u00eb gjykoj\u00eb nj\u00eb gar\u00eb letrare mes dy dramaturg\u00ebsh t\u00eb vdekur. M\u00eb her\u00ebt n\u00eb k\u00ebt\u00eb dram\u00eb, zoti kishte zbritur n\u00eb N\u00ebntok\u00eb n\u00eb m\u00ebnyr\u00eb q\u00eb t\u00eb rikthej\u00eb tragjedianin e tij t\u00eb parap\u00eblqyer Euripidin, i cili kishte vdekur nj\u00eb vit m\u00eb her\u00ebt; pa t\u00eb, deklaron idhnuesh\u00ebm Dionisi, skena teatrale \u00ebsht\u00eb b\u00ebr\u00eb disi e zymt\u00eb. Por me t\u00eb arrir\u00eb n\u00eb tok\u00ebn e t\u00eb vdekurve, ai e gjen veten t\u00eb zhytur n\u00eb nj\u00eb p\u00ebrleshje t\u00eb dhunshme letrare. N\u00eb tavolin\u00ebn e Plutonit, zotit t\u00eb t\u00eb vdekurve, i posaardhuri Euripid ka k\u00ebrkuar karrig\u00ebn e \u201cPoetit m\u00eb t\u00eb mir\u00eb Tragjik\u201d \u2013 vend i cili qe mbajtur gjat\u00eb nga i shum\u00ebnderuari Eskil, autor i\u00a0Orestias<\/em>, q\u00eb ka qen\u00eb i vdekur p\u00ebr pes\u00ebdhjet\u00eb vite.<\/p>\n

Pason nj\u00eb seri garash, p\u00ebrgjat\u00eb s\u00eb cilave pjes\u00eb nga veprat e t\u00eb dy poet\u00ebve krahasohen dhe vler\u00ebsohen me plot imagjinat\u00eb \u2013 skena t\u00eb mbushura me ato lloje shakash ende aq t\u00eb dashura p\u00ebr adhuruesit e teatrit. (N\u00eb nj\u00eb moment, rreshta nga dramat e ndryshme t\u00eb bombastikut t\u00eb her\u00eb pas hersh\u00ebm Eskil \u201cmaten\u201d kundrejt rreshtave t\u00eb t\u00eb l\u00ebmuarit t\u00eb her\u00eb pas hersh\u00ebm Euripid: Eskili fiton, p\u00ebr shkak se diksioni i tij \u00ebsht\u00eb \u201cm\u00eb i r\u00ebnd\u00eb.\u201d) Asnj\u00eb prej k\u00ebtyre garave nuk \u00ebsht\u00eb vendimtare, sidoqoft\u00eb, dhe k\u00ebshtu Dionisi vendos nj\u00eb kriter p\u00ebrfundimtar p\u00ebr titullin \u201cPoeti m\u00eb i mir\u00eb Tragjik\u201d: fituesi, pohon ai, duhet t\u00eb jet\u00eb ai q\u00eb i ofron qytetit k\u00ebshill\u00ebn m\u00eb t\u00eb dobishme \u2013 ai, puna e t\u00eb cilit do ta \u201cshp\u00ebtoj\u00eb qytetin.\u201d<\/p>\n

Sot, ideja se nj\u00eb vep\u00ebr e shkruar p\u00ebr teat\u00ebr mund t\u00eb \u201cshp\u00ebtoj\u00eb\u201d nj\u00eb komb \u2013 sepse kjo qe ajo \u00e7far\u00eb n\u00ebnkuptonte n\u00eb t\u00eb v\u00ebrtet\u00eb shprehja e Aristofanit\u00a0polis<\/em>, \u201cqytet\u201d; Athina, p\u00ebr athinasit, ishte vendi i tyre \u2013 duket e \u00e7uditshme, madje edhe si shaka. P\u00ebr ne, teatri popullor dhe politika jan\u00eb dy sfera t\u00eb ndryshme. N\u00eb tablon\u00eb e teatrit bashk\u00ebkohor, dramat hapurazi politike q\u00eb kaplojn\u00eb imagjinat\u00ebn e publikut (Po\u00e7i [The Crucible]<\/em>\u00a0e Arthur Millerit, p\u00ebr shembull, me parabol\u00ebn mezi t\u00eb maskuar p\u00ebr McCarthyismin, apo epika p\u00ebr Sid\u00ebn\u00a0Engj\u00ebjt n\u00eb Amerik\u00eb [Angels in America]<\/em>\u00a0e Tony Kushnerit) priren t\u00eb jen\u00eb p\u00ebrjashtim m\u00eb shum\u00eb sesa rregull; e madje m\u00eb t\u00eb mprehtat prej veprave t\u00eb tilla v\u00ebshtir\u00eb se priten t\u00eb ken\u00eb ndonj\u00eb efekt mbi politikat komb\u00ebtare apo politik\u00ebn (e l\u00ebr\u00eb m\u00eb t\u00eb \u201cshp\u00ebtojn\u00eb vendin\u201d). K\u00ebso pritjesh jan\u00eb edhe m\u00eb t\u00eb zbehta kur vjen puna te llojet e tjera t\u00eb dram\u00ebs. M\u00ebsimet q\u00eb\u00a0Nj\u00eb tramvaj i quajtur D\u00ebshir\u00eb [A Streetcar Named Desire]<\/em>\u00a0ka p\u00ebr t\u00eb na m\u00ebsuar n\u00eb lidhje me t\u00eb bukur\u00ebn dhe vulnerabilitetin dhe \u00e7mendurin\u00eb jan\u00eb m\u00ebsime q\u00eb i thithim si njer\u00ebz privat\u00eb, jo si votues.<\/p>\n

Rrethanat n\u00eb t\u00eb cilat ne marrim pjes\u00eb n\u00eb performancat teatrale sot, n\u00ebnvizojn\u00eb ndarjen mes teatrit ton\u00eb dhe asaj \u00e7far\u00eb Aristofani quante \u201cqytet.\u201d Kur shohim nj\u00eb dram\u00eb a nj\u00eb komedi muzikore, k\u00ebt\u00eb e b\u00ebjm\u00eb si persona privat\u00eb q\u00eb shprehin parap\u00eblqime personale: ne zgjedhim dram\u00ebn p\u00ebr t\u00eb cil\u00ebn ngjan se jemi momentalisht t\u00eb interesuar; zgjedhim dat\u00ebn dhe koh\u00ebn dhe ul\u00ebset q\u00eb preferojm\u00eb. Kur hyjm\u00eb n\u00eb teat\u00ebr, megjithat\u00eb, \u201cvetet\u201d t\u00eb cilat i kemi shprehur n\u00eb b\u00ebrjen e k\u00ebtyre zgjedhjeve zhduken; ne e marrim nj\u00ebfar\u00eb anonimiteti t\u00eb vullnetsh\u00ebm, duke shk\u00ebmbyer bot\u00ebn e njohur t\u00eb dritave dhe veprimtaris\u00eb dhe zhurm\u00ebs me nj\u00eb err\u00ebsir\u00eb misterioze, t\u00eb heshtur.<\/p>\n

Privat\u00eb, personal\u00eb, anonim\u00eb, t\u00eb paduksh\u00ebm: do t\u00eb ishte e v\u00ebshtir\u00eb t\u00eb mendohej p\u00ebr nj\u00eb p\u00ebrvoj\u00eb t\u00eb shkuarjes n\u00eb teat\u00ebr m\u00eb pak sesa ajo e njohur p\u00ebr qytetar\u00ebt e zakonsh\u00ebm athinas p\u00ebrgjat\u00eb viteve 400 p.e.s. Ky \u2013 i ashtuquajturi \u201cshekulli athinas\u201d, periudha nj\u00ebqindvje\u00e7are e dominimit politik dhe kulturor t\u00eb Athin\u00ebs q\u00eb prej themelimit t\u00eb qeveris\u00eb s\u00eb saj demokratike, m\u00eb 509 p.e.s., e deri te disfata turp\u00ebruese n\u00eb fund t\u00eb Luft\u00ebs tridhjet\u00ebvje\u00e7are s\u00eb Peloponezit m\u00eb 404 \u2013 poashtu qe, jo rast\u00ebsisht, shekulli n\u00eb t\u00eb cilin u komponuan, u p\u00ebrgatit\u00ebn dhe u performuan p\u00ebr her\u00eb t\u00eb par\u00eb kryeveprat e m\u00ebdha dramatike t\u00eb Eskilit, Sofokliut dhe Euripidit.<\/p>\n

Fatet e Athin\u00ebs dhe t\u00eb tragjedis\u00eb qen\u00eb aq fort t\u00eb nd\u00ebrthurura saq\u00eb do t\u00eb thot\u00eb se ekziston nj\u00eb lidhje e thell\u00eb organike mes qytetit dhe zhanrit. P\u00ebr ne, f\u00ebmij\u00ebt e Freudit, drama e madhe \u00ebsht\u00eb shpesh m\u00eb e k\u00ebnaqshmja kur v\u00eb n\u00eb sken\u00eb procesin gati terapeutik p\u00ebrmes t\u00eb cilit psikika individuale zhvishet prej pretendimeve ose deluzioneve p\u00ebr t\u00eb q\u00ebndruar, m\u00eb n\u00eb fund, e pambrojtur ndaj mbik\u00ebqyrjes \u2013 dhe, po aq shpesh sa jo, kjo sjell keqardhjen dhe t\u00ebrheqjen e audienc\u00ebs. (T\u00eb mendosh p\u00ebrs\u00ebri p\u00ebr\u00a0Tramvajin.<\/em>) Por edhe pse ka drama t\u00eb m\u00ebdha greke q\u00eb e v\u00ebn\u00eb t\u00eb nj\u00ebjtin proces n\u00eb loj\u00eb \u2013\u00a0Edipi [Oedipus]<\/em>\u00a0i Sofokliut na sillet nd\u00ebrmend \u2013 do t\u00eb dukej, duke marr\u00eb parasysh nd\u00ebrthurjen e \u00e7uditshme t\u00eb dram\u00ebs athinase me historin\u00eb politike t\u00eb Athin\u00ebs, se p\u00ebr athinasit, tragjedia qe p\u00ebr \u201cqytetin\u201d n\u00eb po at\u00eb mas\u00eb sa qe p\u00ebr individin.<\/p>\n

Nocioni i \u201cindividit\u201d n\u00eb kuptimin ton\u00eb t\u00eb fjal\u00ebs do t\u00eb kishte qen\u00eb v\u00ebrtet i huaj p\u00ebr nj\u00eb athinas t\u00eb periudh\u00ebs klasike: kur Aristoteli thot\u00eb se \u201cnjeriu \u00ebsht\u00eb kafsh\u00eb politike,\u201d ai nuk do t\u00eb thot\u00eb se ne jemi t\u00eb gjith\u00eb sikurse Lyndon Baines Johnson por, n\u00eb fakt, se lloji njer\u00ebzor \u00ebsht\u00eb natyrsh\u00ebm social dhe qytetar \u2013 p\u00ebr nga natyra i p\u00ebrshtatur t\u00eb jetoj\u00eb n\u00eb nj\u00eb\u00a0polis<\/em>. P\u00ebrgjat\u00eb rrjedh\u00ebs s\u00eb shekullit t\u00eb pest\u00eb p.e.s, tragjedia evoluoi n\u00eb nj\u00eb mjet letrar p\u00ebr eksplorimin, dhe shpesh kritikimin e vlerave politike, sociale dhe qytetare t\u00eb vet\u00eb Athin\u00ebs.<\/p>\n

N\u00eb traktatin e tij\u00a0Poetika [Poetics]<\/em>, vepra e par\u00eb e zgjeruar e kritik\u00ebs s\u00eb teatrit n\u00eb tradit\u00ebn Per\u00ebndimore, Aristoteli, q\u00eb shkruante mes viteve 300 p.e.s. dhe duke folur p\u00ebr shekullin e madh t\u00eb dram\u00ebs athinase dhe, p\u00ebrtej saj, p\u00ebr origjin\u00ebn e turbullt t\u00eb vet\u00eb dram\u00ebs, thot\u00eb se tragjedia rrodhi prej nj\u00eb lloji t\u00eb korit ritual t\u00eb njohur si ditiramb, i k\u00ebnduar p\u00ebr nder t\u00eb zotit Dionis. (Ne e dim\u00eb se n\u00eb shekullin e pest\u00eb \u2013 mbase nj\u00eb shekull e gjys\u00ebm pas momentit parak t\u00eb cilin po mundohej ta rind\u00ebrtonte Aristoteli \u2013 ditiramb\u00ebt k\u00ebndoheshin n\u00eb festivale publike prej koreve me nga pes\u00ebdhjet\u00eb k\u00ebng\u00ebtar\u00eb, burra dhe djem. K\u00ebta udh\u00ebhiqeshin prej\u00a0exarchon<\/em>-it, nj\u00eb interpretues q\u00eb \u201ci printe\u201d k\u00ebndimit.) Ky filozof pohonte se tragjedia u zhvillua prej momenteve t\u00eb \u201cimprovizimit\u201d nga ana e k\u00ebtyre udh\u00ebheq\u00ebsve t\u00eb korit t\u00eb cil\u00ebt, me sa duket, n\u00eb nj\u00eb moment t\u00eb caktuar, vendos\u00ebn se n\u00eb vend q\u00eb thjesht t\u2019u jepnin bashk\u00ebk\u00ebng\u00ebtar\u00ebve t\u00eb tyre pjes\u00ebt hyr\u00ebse t\u00eb korit, ata do t\u00eb k\u00ebndonin ca rreshta t\u00eb tyre.<\/p>\n

Pa marr\u00eb parasysh se a u bazua ky nocion n\u00eb fakte t\u00eb forta t\u00eb njohura p\u00ebr filozofin por t\u00eb humbura q\u00eb prej at\u00ebher\u00eb, a qe kjo thjesht nj\u00eb hamendje e zgjuar, teoria \u00ebsht\u00eb qartazi shum\u00eb josh\u00ebse; imazhi i saj themelor \u2013 i liderit q\u00eb ve\u00e7ohet prej grupit, individit i cili \u00ebsht\u00eb i gatsh\u00ebm t\u00eb qendroj\u00eb i izoluar nga t\u00eb tjer\u00ebt \u2013 \u00ebsht\u00eb, n\u00eb embrionin e saj, qendror p\u00ebr shumic\u00ebn e tragjedive greke. Secila prej tridhjetedy tragjedive athinase q\u00eb kan\u00eb mbijetuar nga lasht\u00ebsia, e v\u00eb n\u00eb jet\u00eb procesin \u00a0ku personazhi merr nj\u00eb vendim t\u00eb qendroj\u00eb n\u00eb kund\u00ebrshti ndaj di\u00e7kas\u00eb \u2013 fatit (t\u00eb komunikuar p\u00ebrmes orakujve), familjes, shtetit; dhe secila prej k\u00ebtyre dramave p\u00ebrmban nj\u00eb num\u00ebr argumentesh lidhur me at\u00eb vendim. K\u00ebto argumente marrin form\u00ebn e fjalimeve t\u00eb cilat jepen n\u00eb pranin\u00eb e nj\u00eb kori q\u00eb nuk largohet asnj\u00ebher\u00eb nga skena dhe i cili, me intervale, k\u00ebndon k\u00ebng\u00eb t\u00eb st\u00ebrholluara q\u00eb komentojn\u00eb mbi, ose jan\u00eb tematikisht t\u00eb nd\u00ebrlidhura me polemik\u00ebn q\u00eb \u00ebsht\u00eb n\u00eb zem\u00ebr t\u00eb dram\u00ebs. Ajo \u00e7far\u00eb vlen t\u00eb p\u00ebrmendet n\u00eb gjith\u00eb k\u00ebt\u00eb, \u00e7far\u00eb i kontribuon elementit \u201cpolitik\u201d (n\u00eb kuptimin e Aristotelit), \u00ebsht\u00eb prania e gjithmonshme e korit: grupit q\u00eb, sikurse vet qyteti, gjthnj\u00eb po shikon, d\u00ebgjon, v\u00ebzhgon.<\/p>\n

K\u00ebto komponente formale relativisht t\u00eb thjeshta i mund\u00ebsuan dramave athinase q\u00eb t\u00eb eksplorojn\u00eb preokupimet e m\u00ebdha sociale dhe qytetare t\u00eb Athin\u00ebs me nj\u00eb mpreht\u00ebsi t\u00eb posa\u00e7me. Shum\u00eb njer\u00ebz e din\u00eb se n\u00eb shekullin e pest\u00eb p.e.s. Athina qe nj\u00eb demokraci radikale, n\u00eb t\u00eb cil\u00ebn t\u00eb gjith\u00eb qytetar\u00ebt votonin drejtp\u00ebrdrejt p\u00ebr \u00e7\u00ebshtjet me interes publik, dhe n\u00eb funksionimin e p\u00ebrditsh\u00ebm t\u00eb s\u00eb cil\u00ebs, t\u00eb gjith\u00eb qytetar\u00ebt, t\u00eb pakt\u00ebn teorikisht, pritej q\u00eb t\u00eb merrnin pjes\u00eb. (Poste t\u00eb caktuara p\u00ebrcaktoheshin me short.) \u00c7far\u00eb \u00ebsht\u00eb m\u00eb pak e ditur \u00ebsht\u00eb se familjet e m\u00ebdha aristokrate t\u00eb koh\u00ebrave m\u00eb t\u00eb hershme n\u00eb historin\u00eb e qytetit vazhduan t\u00eb mbajn\u00eb dhe t\u00eb lakmojn\u00eb pushtet, duke manipuluar t\u00eb ashtuquajturin sistem demokratik me q\u00ebllim t\u00eb ruajtjes s\u00eb prestigjit dhe privilegjeve. Perikleu, p\u00ebr shembull, i p\u00ebrkiste nj\u00eb familjeje q\u00eb mund t\u00eb krahasohet me Vanderbilt\u00ebt dhe Rockefeller\u00ebt e nj\u00eb epok\u00eb m\u00eb t\u00eb von\u00eb.<\/p>\n

Jo befasisht, tensionet mes lider\u00ebve magjeps\u00ebs, karizmatik\u00eb dhe t\u00eb pushtetsh\u00ebm \u2013 \u201cheronjve\u201d, me nj\u00eb fjal\u00eb \u2013 dhe masave, t\u00eb cilat jan\u00eb nj\u00ebher\u00ebsh t\u00eb ndjeshme dhe dyshuese ndaj aur\u00ebs s\u00eb atyre heronjve, shpesh vinin n\u00eb shprehje n\u00eb tragjedin\u00eb greke, ku dinamika e parehatshme mes personazheve kryesor\u00eb dhe korit \u00ebsht\u00eb tipar qendror n\u00eb shum\u00eb vepra. P\u00ebr \u00e7do gj\u00eb tjet\u00ebr q\u00eb b\u00ebn fjal\u00eb\u00a0Edipi<\/em>\u00a0i Sofokliut, harku t\u00eb cilin e p\u00ebrshkon q\u00eb nga lajkatimi adhurues i korit p\u00ebr heroin n\u00eb fillim t\u00eb dram\u00ebs, e deri te revoltimi dhe keqardhja q\u00eb ndjejn\u00eb p\u00ebr t\u00eb n\u00eb shpalosjen p\u00ebrfundimtare t\u00eb identitetit t\u00eb tij t\u00eb v\u00ebrtet\u00eb, na p\u00ebrkujton q\u00eb marr\u00ebdh\u00ebnia jon\u00eb me udh\u00ebheq\u00ebsit e m\u00ebdhenj \u00ebsht\u00eb shpesh ambivalente.<\/p>\n

Kund\u00ebrshtia mes individit dhe grupit, mes aktorit dhe korit, q\u00eb \u00ebsht\u00eb nj\u00eb prej komponent\u00ebve thelb\u00ebsor\u00eb t\u00eb struktur\u00ebs s\u00eb tragjedis\u00eb i mund\u00ebson k\u00ebtyre dramave q\u00eb t\u00eb dramatizojn\u00eb llojet e caktuara t\u00eb konflikteve politike me nj\u00eb eleganc\u00eb t\u00eb posa\u00e7me \u00a0– dhe, n\u00eb fakt, q\u00eb t\u00eb ekzaminoj\u00eb tipe t\u00eb caktuara t\u00eb qytetaris\u00eb.\u00a0Agamemnoni<\/em>\u00a0i Eskilit fillon me Rojtarin q\u00eb jep shenja enigmatike n\u00eb lidhje me zem\u00ebrimin e p\u00ebrbrendsh\u00ebm t\u00eb popullit karshi mbret\u00ebresh\u00ebs Klitemnestra, e cila e ka marr\u00eb pushtetin ilegalisht s\u00eb bashku me dashnorin e saj Egistin. Te fundi i dram\u00ebs ky tension shp\u00ebrthen n\u00eb nj\u00eb ballafaqim t\u00eb hapur mes mbret\u00ebresh\u00ebs dhe udh\u00ebheq\u00ebsit t\u00eb korit, nj\u00eb paq\u00ebndrueshm\u00ebri e r\u00ebnd\u00eb q\u00eb zgjidhet vet\u00ebm n\u00eb fund t\u00eb dram\u00ebs s\u00eb fundit t\u00eb trilogjis\u00eb s\u00eb cil\u00ebs i p\u00ebrket\u00a0Agamemnoni<\/em>, kur m\u00eb n\u00eb fund vendoset rendi i t\u00eb s\u00eb drejt\u00ebs.<\/p>\n

Elementi tjet\u00ebr thelb\u00ebsor strukturor i tragjedis\u00eb \u2013\u00a0agones<\/em>, ato konfrontimet e ashpra mes dy individ\u00ebve, me secilin q\u00eb shpesh luan rolin e z\u00ebdh\u00ebn\u00ebsit p\u00ebr nj\u00eb bot\u00ebkuptim t\u00eb t\u00ebr\u00eb \u2013 mund\u00ebsoi q\u00eb zhanri t\u00eb artikulonte dhe t\u00eb hulumtonte format e tjera t\u00eb tensionit q\u00eb gufuan n\u00eb qytetin e Athin\u00ebs. Shembulli m\u00eb i njohur paraqitet te\u00a0Antigona<\/em>\u00a0e Sofokliut, q\u00eb sjell n\u00eb pah nj\u00eb kund\u00ebrshti t\u00eb hidhur mes dy nocioneve shum\u00eb t\u00eb ndryshme p\u00ebr marr\u00ebdh\u00ebnien e individit me shtetin. Nj\u00ebri prej dy personazheve kryesore, mbreti i ri Kreoni, ngulmon n\u00eb autoritetin e Teb\u00ebs dhe n\u00eb t\u00eb bindurit ndaj ligjeve t\u00eb saj, p\u00ebrdersia tjetra, mbesa e tij Antigona, ngulmon n\u00eb p\u00ebrmbushjen e zakoneve fetare dhe besnik\u00ebrin\u00eb ndaj familjes dhe fisit. N\u00eb jet\u00ebn reale, k\u00ebto dy \u00e7\u00ebshtje qen\u00eb dhe jan\u00eb, domosdoshm\u00ebrisht, t\u00eb nd\u00ebrvarura. Konflikti i inskenuar n\u00eb loj\u00ebn e Sofokliut dramatizon v\u00ebshtir\u00ebsit\u00eb e t\u00eb gjeturit t\u00eb nj\u00eb baraspeshe mes t\u00eb dyjave.<\/p>\n

Baraspesha n\u00eb fjal\u00eb \u00ebsht\u00eb, me raste, ajo brendap\u00ebrbrenda mendjes s\u00eb nj\u00eb individi; ndonj\u00ebher\u00eb, nj\u00eb personazh i trazuar b\u00ebhet miniatur\u00eb e \u201cqytetit\u201d si nj\u00eb i t\u00ebr\u00eb. Te\u00a0Bacchae<\/em>\u00a0e Euripidit, protagonist \u00ebsht\u00eb nj\u00eb mbret i ri tep\u00ebr i ashp\u00ebr me nj\u00eb interes obsesiv n\u00eb mbajtjen e kontrollit politik (dhe n\u00eb ato q\u00eb do t\u00eb mund t\u2019i quajm\u00eb \u201ckufij\u201d psikologjik\u00eb; ai ka shum\u00eb ankth p\u00ebr seksualitetin, mes tjerash). Preokupimi i tij me autoritetin e \u00e7on at\u00eb, si\u00e7 ndodh me mbretin te Antigona, te injorimi i obligimeve sociale dhe fetare me kosto t\u00eb tmerrshme p\u00ebr qytetin. Ky d\u00ebshtim politik vihet n\u00eb sken\u00eb n\u00eb finalen tejet simbolike t\u00eb\u00a0Bacchae<\/em>, nj\u00eb sken\u00eb jasht\u00ebzakonisht e dhunshme n\u00eb t\u00eb cil\u00ebn sundimtari i ri shqyhet copash n\u00eb kuptimin e plot\u00eb t\u00eb fjal\u00ebs: tashm\u00eb n\u00eb kontroll t\u00eb kurr\u00e7kas\u00eb, madje as t\u00eb vet\u00eb trupit t\u00eb tij.<\/p>\n

Ia vlen t\u00eb p\u00ebrmendet se\u00a0Bacchae<\/em>\u00a0u vu n\u00eb sken\u00eb n\u00eb v. 405 p.e.s., nj\u00eb vit pas vdekjes s\u00eb autorit dhe nj\u00eb vit para r\u00ebnies s\u00eb vet\u00eb Athin\u00ebs \u2013 nj\u00eb qytet, paaft\u00ebsia e s\u00eb cilit p\u00ebr t\u00eb mbajtur baraspesh\u00ebn, mund t\u00eb themi, e \u00e7oi deri te r\u00ebnia e tij \u201ctragjike\u201d nga lart\u00ebsit\u00eb e supremacis\u00eb politike dhe kulturore. 405 qe poashtu viti n\u00eb t\u00eb cilin u pa performanca e par\u00eb e\u00a0Bretkosave<\/em>, komedia q\u00eb shprehte shpres\u00ebn e d\u00ebshp\u00ebruar t\u00eb Aristofanit se nj\u00eb dram\u00eb mund ta shp\u00ebtoj\u00eb qytetin.<\/p>\n

2.<\/p>\n

Rrethanat n\u00eb t\u00eb cilat qytetari athinas i ndiqte k\u00ebto drama, p\u00ebrcillte k\u00ebto komplote, dhe analizonte k\u00ebto konflikte, n\u00ebnvizonte edhe m\u00eb tej brengat publike dhe qytetare t\u00eb teatrit. Fillimisht t\u00eb gjitha tragjedit\u00eb greke qen\u00eb komponuar dhe qen\u00eb luajtur si pjes\u00eb e nj\u00eb ceremonie t\u00eb madhe fetare dhe qytetare t\u00eb njohur si Qyteti Dionisia, q\u00eb mbahej \u00e7do pranver\u00eb p\u00ebr nder t\u00eb Dionisit (nj\u00eb hyjni q\u00eb, si\u00e7 l\u00eb t\u00eb kuptoj\u00eb edhe koha n\u00eb t\u00eb cil\u00ebn mbahej festivali, kujdesej p\u00ebr pjellorin\u00eb dhe mir\u00ebqenien bimore). Pik\u00eb kulmore e festimit, q\u00eb zgjaste p\u00ebr pes\u00eb dit\u00eb dhe p\u00ebrfshinte procesione dhe flijime, qen\u00eb performancat teatrale. \u00c7do vit, zgjidheshin tre dramaturg\u00eb p\u00ebr t\u00eb paraqitur kat\u00ebr drama secili: tri tragjedi (ndonj\u00ebher\u00eb t\u00eb lidhura p\u00ebrmes subjektit apo tem\u00ebs si trilogji) plus nj\u00eb e ashtuquajtur \u201cloj\u00eb satiri,\u201d nj\u00eb komedi e shkurt\u00ebr humori vulgar e cila, me gjas\u00eb, kishte p\u00ebr q\u00ebllim t\u00eb leht\u00ebsonte emocionalitetin e thell\u00eb t\u00eb dramave serioze q\u00eb e paraprinin.<\/p>\n

K\u00ebto performanca nuk kishin pothuajse asgj\u00eb t\u00eb p\u00ebrbashk\u00ebt me ato q\u00eb jan\u00eb t\u00eb njohura p\u00ebr ne sot. P\u00ebrderisa teatrot tona na zhysin n\u00eb err\u00ebsir\u00eb si kusht i domosdosh\u00ebm p\u00ebr \u201csuspendimin e mosbesimit,\u201d dramat greke luheshin n\u00eb drit\u00eb t\u00eb diellit, me performancat q\u00eb fillonin n\u00eb agim dhe mbaronin n\u00eb per\u00ebndim. Kjo donte t\u00eb thoshte, mes tjerash, q\u00eb qytetar\u00ebt q\u00eb ndiqnin dramat nuk ishin anonim\u00eb, si\u00e7 jemi ne, por aq qartazi t\u00eb duksh\u00ebm p\u00ebr nj\u00ebri tjetrin sikurse aktor\u00ebt dhe kori q\u00eb ishin n\u00eb sken\u00eb.<\/p>\n

Ata an\u00ebtar\u00eb t\u00eb korit, vlen t\u00eb p\u00ebrmendet, nuk ishin profesionist\u00eb por burra dhe djem t\u00eb zakonsh\u00ebm athinas t\u00eb cil\u00ebt ishin zgjedhur p\u00ebr t\u00eb k\u00ebnduar dhe vall\u00ebzuar gjat\u00eb performanc\u00ebs: prandaj spektator\u00ebt e shihnin veten t\u00eb reflektuar n\u00eb sken\u00eb \u2013 nj\u00eb tipar i tragjedis\u00eb athinase q\u00eb do t\u00eb mund t\u2019i ket\u00eb dh\u00ebn\u00eb audiencave nj\u00eb sens emocionues t\u00eb lidhjes me dramat q\u00eb po shpaloseshin (posa\u00e7\u00ebrisht, s\u2019mund t\u00eb mos thuhet, atyre n\u00eb t\u00eb cilat koret ngriheshin kund\u00ebr mbret\u00ebrve dhe tiran\u00ebve). Pjes\u00ebtar\u00ebt e audienc\u00ebs nuk i zgjidhnin ul\u00ebset (ndenj\u00ebset), si\u00e7 b\u00ebjme ne, por uleshin sipas \u201cfiseve\u201d: dhjet\u00eb n\u00ebnkomunitetet n\u00eb t\u00eb cilat ndaheshin t\u00eb gjith\u00eb qytetar\u00ebt e Athin\u00ebs si pjes\u00eb e strukturimit politik t\u00eb qytetit. Faktet tregojn\u00eb se qytetar\u00ebt priteshin fuqish\u00ebm q\u00eb t\u00eb merrnin pjes\u00eb: n\u00eb koh\u00ebn e Aristotelit qe formuar edhe nj\u00eb fond p\u00ebr t\u00eb ndihmuar athinasit e varf\u00ebr q\u00eb t\u00eb paguanin pjes\u00ebmarrjen n\u00eb festivalet qytetare dhe teatrore.<\/p>\n

Identiteti i audienc\u00ebs posa\u00e7\u00ebrisht si an\u00ebtar\u00eb t\u00eb polis-it pasqyrohej n\u00eb ceremonit\u00eb e mir\u00ebp\u00ebrpunuara para performanc\u00ebs. Para se t\u00eb fillonin performancat, dhjet\u00eb gjeneral\u00ebt kryesor\u00eb t\u00eb qytetit,\u00a0stratego<\/em>i, me solemnitet derdhnin libacione para nj\u00eb audience t\u00eb gjer\u00eb. (Teatri i Dionisit mund t\u00eb mbante deri n\u00eb18000 spektator\u00eb.) Pas atij riti, hara\u00e7i q\u00eb kishte qen\u00eb mbledhur at\u00eb vit nga aleat\u00ebt e n\u00ebnshtruar parakalohej p\u00ebrreth zon\u00ebs s\u00eb teatrit; pastaj emrat e qytetar\u00ebve q\u00eb n\u00eb nj\u00ebfar\u00eb m\u00ebnyre kishin dh\u00ebn\u00eb m\u00eb s\u00eb shumti p\u00ebr qytetin, recitoheshin prej lajm\u00ebtar\u00ebve, ku secili qytetar mir\u00ebb\u00ebr\u00ebs pranonte nj\u00eb qafore apo kuror\u00eb nderi.<\/p>\n

N\u00eb fund, bijt\u00eb e ushtar\u00ebve athinas t\u00eb cil\u00ebt kishin vdekur n\u00eb luft\u00ebrat e qytetit \u2013 djem t\u00eb cil\u00ebt q\u00eb prej at\u00ebher\u00eb qen\u00eb rritur me shpenzimet e shtetit \u2013 parakalonin para nj\u00eb audience t\u00eb madhe. Deklarimi zyrtar q\u00eb recitohej prej lajm\u00ebtarit gjat\u00eb k\u00ebsaj pjese t\u00eb ceremonis\u00eb n\u00ebnvizonte lidhjet e nd\u00ebrlikuara mes qytetit, qytetar\u00ebve t\u00eb tij, dhe teatrit q\u00eb shtrihej n\u00eb zem\u00ebr t\u00eb t\u00eb gjith\u00eb festivalit:<\/p>\n

\u201cK\u00ebta djem t\u00eb ri, baballar\u00ebt e t\u00eb cil\u00ebve u treguan burra trima dhe vdiq\u00ebn n\u00eb luft\u00eb, jan\u00eb p\u00ebrkrahur nga shteti derisa kan\u00eb ardhur n\u00eb mosh\u00eb; dhe tash t\u00eb veshur me parzmore nga bashk\u00ebqytetar\u00ebt e tyre, ata p\u00ebrcillen me lutjet e qytetit, secili n\u00eb rrug\u00ebn e vet; dhe ata jan\u00eb t\u00eb ftuar n\u00eb ul\u00ebse nderi n\u00eb teat\u00ebr.\u201d<\/em><\/p>\n

Publiciteti, fanfara, ritet solemne dhe shpalljet me z\u00eb, t\u00eb gjitha s\u00eb bashku theksonin autoritetin dhe fuqin\u00eb e qytetit, dinjitetit t\u00eb udh\u00ebheq\u00ebsve ushtarak\u00eb dhe institucioneve, ndereve q\u00eb i mvisheshin sh\u00ebrbimit civil dhe vet\u00ebflijimit ushtarak: ne jemi shum\u00eb larg k\u00ebtu nga m\u00ebnyra private, anonime n\u00eb t\u00eb cil\u00ebn ne e p\u00ebrjetojm\u00eb teatrin sot.<\/p>\n

T\u00eb qenit t\u00eb vet\u00ebdijsh\u00ebm p\u00ebr k\u00ebt\u00eb, shpesh do t\u00eb thot\u00eb t\u00eb detyrohemi t\u00eb rimendojm\u00eb p\u00ebrgjigjet tona t\u00eb zakonshme ndaj disa prej tragjedive m\u00eb t\u00eb njohura greke. Shpesh\u00a0Antigona<\/em>\u00a0u duket audiencave moderne si nj\u00eb parabol\u00eb e hapur p\u00ebr virtytin e rezistenc\u00ebs individuale kund\u00ebr tiranis\u00eb shtet\u00ebrore. N\u00eb k\u00ebt\u00eb dram\u00eb, princesha kok\u00ebfort\u00eb e Teb\u00ebs Antigona, sfidon nj\u00eb dekret t\u00eb l\u00ebshuar nga sundimtari i ri i qytetit, daja i saj Kreoni (t\u00eb cilit ajo i referohet me nj\u00eb ton plot n\u00ebnkuptim si \u201cgjenerali\u201d), q\u00eb ia ndalon secilit q\u00eb ta varros\u00eb trupin e v\u00ebllait t\u00eb saj tradhtar Polinesit, i cili u pat ther\u00eb nd\u00ebrsa p\u00ebrpiqej t\u00eb pushtonte qytetin. Ajo i kund\u00ebrvihet dekretit t\u00eb Kreonit n\u00eb em\u00ebr t\u00eb lidhjeve familjare dhe ligjit fetar, i cili ngul k\u00ebmb\u00eb q\u00eb trupat duhet t\u00eb varrosen sipas ritualit. N\u00eb mosbindjen e saj, ne kemi dashur t\u00eb shohim nj\u00eb vep\u00ebr t\u00eb past\u00ebr heroike t\u00eb nd\u00ebrgjegjes \u2013 nj\u00eb vep\u00ebr t\u00eb admirueshme t\u00eb rezistenc\u00ebs individuale karshi shtetit. Nuk \u00ebsht\u00eb ndonj\u00eb befasi e madhe q\u00eb kjo dram\u00eb e Sofokliut ka qen\u00eb e parap\u00eblqyer p\u00ebr p\u00ebrshtat\u00ebsit e m\u00ebvonsh\u00ebm q\u00eb kishin agjenda t\u00eb qarta politike: Jean Anouilh, p\u00ebr shembull,\u00a0Antigona<\/em>\u00a0e t\u00eb cilit u dha si premier\u00eb n\u00eb Paris n\u00eb 1944 dhe qe sheshit e paramenduar si nj\u00eb parabol\u00eb e rezistenc\u00ebs kund\u00ebr pushtimit nazist.<\/p>\n

Por \u00ebsht\u00eb e v\u00ebshtir\u00eb p\u00ebr t\u00eb mos e pyetur veten sesi, sakt\u00ebsisht, do ta ket\u00eb konsideruar publiku i at\u00ebhersh\u00ebm vepr\u00ebn e rezistenc\u00ebs ndaj autoritetit ushtarak dhe politik q\u00eb \u00ebsht\u00eb vet\u00eb boshti i dram\u00ebs. Nuk ka dyshim se spektator\u00ebt do t\u00eb ken\u00eb pasur simpati p\u00ebr sensin obsesiv t\u00eb obligimit q\u00eb Antigona kishte p\u00ebr t\u00eb varrosur t\u00eb v\u00ebllain e vdekur \u2013 duke pasur parasysh q\u00eb trajtimi i duhur i t\u00eb vdekurve qe nj\u00eb prej imperativave shoq\u00ebrore dhe fetare n\u00eb Greqi sikurse edhe n\u00eb t\u00eb gjitha kulturat e tjera. Por sesi mosp\u00ebrfilljet e hapura t\u00eb nj\u00ebpasnj\u00ebshme t\u00eb nj\u00eb gruaje t\u00eb re ndaj \u201cgjeneralit\u201d dhe dekretit t\u00eb tij do ta ken\u00eb prekur nj\u00eb audienc\u00eb q\u00eb, vet\u00ebm pak minuta m\u00eb her\u00ebt para se aktori q\u00eb luante Antigonen t\u00eb recitonte k\u00ebt\u00eb fjalim, kishte p\u00ebrjetuar nj\u00eb ceremoni t\u00eb kryesuar nga gjeneral\u00ebt me t\u00eb m\u00ebdhenj dhe q\u00eb nderonte udh\u00ebheq\u00ebsit e saj civil\u00eb, nj\u00eb rit p\u00ebrgjat\u00eb t\u00eb cilit ata sodit\u00ebn pamjen prek\u00ebse t\u00eb burrave t\u00eb rinj t\u00eb cil\u00ebt pat\u00ebn qen\u00eb rritur nga \u201cshteti\u201d \u2013 f\u00ebmij\u00ebt bonjak\u00eb t\u00eb ushtar\u00ebve q\u00eb, ndryshe nga Antigona, u ishin bindur plot\u00ebsisht urdh\u00ebrave t\u00eb epror\u00ebve t\u00eb tyre, madje edhe duke dh\u00ebn\u00eb vet\u00eb jet\u00ebn?<\/p>\n

Nj\u00ebjt\u00eb, gjithashtu, edhe p\u00ebr shum\u00eb drama t\u00eb tjera. Ka nj\u00eb moment ndrydh\u00ebs n\u00eb fillim t\u00eb\u00a0Agamemnonit<\/em>\u00a0t\u00eb Eskilit kur kori rikujton krimin e kahmotsh\u00ebm q\u00eb \u00e7on te ngjarja e dram\u00ebs: sakrifica e t\u00eb bij\u00ebs s\u00eb tij Ifigjenia nga Agamemnoni n\u00eb fillim t\u00eb luft\u00ebs s\u00eb Troj\u00ebs, nj\u00eb rit i performuar q\u00eb t\u00eb b\u00ebj\u00eb p\u00ebr vete er\u00ebrat n\u00eb m\u00ebnyr\u00eb q\u00eb ushtrit\u00eb greke t\u00eb lundrojn\u00eb drejt Troj\u00ebs. \u00cbsht\u00eb arsyeja e k\u00ebtij infanticidi q\u00eb e b\u00ebn Klitemnestr\u00ebn t\u00eb vras\u00eb Agamemnonin n\u00eb pik\u00ebn kulmore t\u00eb dram\u00ebs s\u00eb Eskilit. (Sikur Antigona, mbret\u00ebresha e Agamemnonit e sheh vet\u00ebn si kampione t\u00eb lidhjeve familjare q\u00eb jan\u00eb shkelur prej lidhjeve t\u00eb shtetit.) E p\u00ebrs\u00ebri edhe k\u00ebtu, nj\u00eb vet\u00ebdij\u00ebsim p\u00ebr energjit\u00eb fisnore dhe patriotike q\u00eb do t\u2019i ken\u00eb p\u00ebrshpirtnuar an\u00ebtar\u00ebt e publikut nd\u00ebrsa qen\u00eb duke shikuar k\u00ebt\u00eb loj\u00eb p\u00ebr her\u00eb t\u00eb par\u00eb, e b\u00ebn t\u00eb v\u00ebshtir\u00eb refuzimin e vendimit t\u00eb \u00a0Agamemnonit (si\u00e7 priren ta b\u00ebjn\u00eb audiencat moderne) si nj\u00eb oportuniz\u00ebm t\u00eb pagdhendur ushtarak apo egoiz\u00ebm politik. Miti i Ifigjenis\u00eb simbolizon, dhe loja e dramatizon, nj\u00eb realitet shum\u00eb m\u00eb t\u00eb nd\u00ebrlikuar dhe t\u00eb trazuar: q\u00eb kurdo q\u00eb nj\u00eb shtet shkon n\u00eb luft\u00eb, \u00e7do familje, \u00e7do bashk\u00ebsi familjare, duhet \u201ct\u00eb sakrifikoj\u00eb\u201d f\u00ebmij\u00ebt e vet.<\/p>\n

Prej k\u00ebtyre pak shembujve p\u00ebrvidhet edhe nj\u00eb tipar thelb\u00ebsor i tragjedis\u00eb greke, nuancat dhe deg\u00ebzimet e t\u00eb cilit do t\u00eb \u00e7moheshin m\u00eb s\u00eb miri n\u00eb pik\u00ebpamjen e realiteteve t\u00eb kultur\u00ebs dhe shoq\u00ebris\u00eb athinase. Konflikti mes dy ideologjive, mes dy aleancave garuese q\u00eb i jep jet\u00eb dramave t\u00eb shkruara p\u00ebr sken\u00ebn athinase, shpesh dramatizohet si nj\u00eb konflikt mes nj\u00eb burri dhe nj\u00eb gruaje: Klitemnestra kund\u00ebr Agamemnonit, Antigona kund\u00ebr Kreonit, e shum\u00eb t\u00eb tjer\u00eb. Duke par\u00eb heroinat madh\u00ebshtore t\u00eb dram\u00ebs greke \u2013 jo vet\u00ebm Klitemnestr\u00ebn dhe Antigon\u00ebn por gjithashtu Elektr\u00ebn e Sofokliut dhe Fedr\u00ebn, Hekub\u00ebn dhe Helen\u00ebn e Euripidit \u2013 mund t\u00eb jet\u00eb e leht\u00eb t\u00eb harrohet se n\u00eb shoq\u00ebrin\u00eb e Greqis\u00eb s\u00eb vjet\u00ebr, grat\u00eb duhej t\u00eb ishin kryesisht t\u00eb padukshme: t\u00eb kufizuara, t\u00eb pakt\u00ebn n\u00eb teori, brenda sht\u00ebpive t\u00eb tyre dhe hap\u00ebsirave p\u00ebr gra, t\u00eb nxitura q\u00eb t\u00eb mbuloheshin n\u00eb publik, t\u00eb pamundura q\u00eb t\u00eb kishin prona, dhe t\u00eb mohuara q\u00eb t\u00eb kishin ndonj\u00eb rol n\u00eb jet\u00ebn politike. (Ende ka debat lidhur me at\u00eb se a i ndiqnin grat\u00eb k\u00ebto performanca tragjike.)<\/p>\n

Ne nuk mund t\u00eb dim\u00eb me siguri se n\u00eb \u00e7far\u00eb mase qen\u00eb t\u00eb mbik\u00ebqyrura k\u00ebto rregulla n\u00eb jet\u00ebn e p\u00ebrditshme, por sigurisht se grat\u00eb dhe vajzat n\u00eb tragjedit\u00eb greke ishin t\u00eb vet\u00ebdijshme p\u00ebr to. N\u00eb nj\u00eb dram\u00eb t\u00eb Euripidit t\u00eb quajtur\u00a0F\u00ebmij\u00ebt e Herakliut [The Children of Heracles<\/em>], nj\u00eb vajz\u00eb e re e cila paraqitet vullnetare p\u00ebr t\u2019u vet\u00ebflijuar n\u00eb m\u00ebnyr\u00eb q\u00eb t\u00eb shp\u00ebtoj\u00eb qytetin e Athin\u00ebs, hyn duke k\u00ebrkuar falje q\u00eb kishte shkelur rregullat e sjelljes femnore duke folur n\u00eb publik.<\/p>\n

E megjithat\u00eb, p\u00ebrkund\u00ebr kufizimeve q\u00eb kishin n\u00eb jet\u00ebn reale \u2013 apo, mbase, p\u00ebr shkak t\u00eb tyre \u2013 grat\u00eb q\u00eb p\u00ebrfaq\u00ebsoheshin n\u00eb sken\u00ebn tragjike mund t\u00eb flisnin p\u00ebr vlerat dhe \u00e7\u00ebshtjet q\u00eb shkeleshin aq leht\u00eb prej burrave, apo q\u00eb ishin l\u00ebn\u00eb jasht\u00eb planeve t\u00eb tyre. N\u00eb\u00a0Medean<\/em>\u00a0e Euripidit, heroina \u00ebsht\u00eb, n\u00eb t\u00eb v\u00ebrtet\u00eb, e fyer r\u00ebnd\u00eb nga i shoqi i saj q\u00eb e kishte braktisur p\u00ebr nj\u00eb grua m\u00eb t\u00eb re (ky tregim aq i njohur \u00ebsht\u00eb fokus i shum\u00eb veprave moderne); por lexuesit e v\u00ebmendsh\u00ebm do t\u00eb v\u00ebrejn\u00eb se ajo \u00e7far\u00eb e mundon at\u00eb edhe m\u00eb shum\u00eb sesa kjo goditje ndaj vanitetit t\u00eb saj \u00ebsht\u00eb fakti se Jasoni ka shkelur betimin q\u00eb kishte dh\u00ebn\u00eb kur qe martuar me t\u00eb. Pra \u00ebsht\u00eb kjo tradhti \u2013 tradhtia e fjal\u00ebve dhe lidhja e tyre me vepr\u00ebn \u2013 s\u00eb cil\u00ebs ajo i referohet pabesuesh\u00ebm gjat\u00eb t\u00ebr\u00eb dram\u00ebs.<\/p>\n

Ka nj\u00eb ironi k\u00ebtu q\u00eb, v\u00ebshtir\u00eb q\u00eb t\u00eb mos dyshohet, do ta ket\u00eb shkundur fuqish\u00ebm publikun e at\u00ebhersh\u00ebm n\u00eb v. 431 p.e.s. \u2013 viti kur filloi Lufta e Peloponezit. Meq\u00eb k\u00ebtu, \u00ebsht\u00eb gruaja (dhe, n\u00eb fakt, nj\u00eb jogreke) e cila mban lart vler\u00ebn e integritetit t\u00eb gjuh\u00ebs, lidhjen mes fjal\u00ebve dhe veprave; p\u00ebrderisa burri i saj grek \u2013 nj\u00eb hero legjendar, hi\u00e7 m\u00eb pak \u2013 portretizohet si nj\u00eb oportunist i past\u00ebr, sofizmat e p\u00ebrmortshme t\u00eb s\u00eb cilit, lidhur me at\u00eb sesi ai po e l\u00eb at\u00eb dhe f\u00ebmij\u00ebt e tyre p\u00ebr hir t\u00eb tyrin, nuk bindin as personazhet e tjer\u00eb e as publikun.<\/p>\n

Te\u00a0Grat\u00eb Trojane [Trojan Women]<\/em>\u00a0t\u00eb t\u00eb nj\u00ebjtit autor, t\u00eb v\u00ebn\u00eb n\u00eb sken\u00eb vet\u00ebm disa muaj pasi Athina kishte shtypur eg\u00ebrsisht nj\u00eb aleat rebel gjat\u00eb Luft\u00ebs s\u00eb Peloponezit, n\u00ebnat, grat\u00eb, dhe vajzat e trojan\u00ebve t\u00eb pushtuar brutalisht b\u00ebhen, n\u00eb nj\u00eb disfat\u00eb t\u00eb mjerueshme, simbole ngadhnjimtare t\u00eb vet\u00eb civilizimit. Sikur Kasandra, e bija profete e mbretit t\u00eb vrar\u00eb trojan, Priamit, q\u00eb u p\u00ebrkujton kap\u00ebsve t\u00eb saj se \u201cfituesit\u201d grek\u00eb t\u00eb luft\u00ebs n\u00eb fakt kan\u00eb humbur, sepse ata kan\u00eb braktisur vlerat morale, etike dhe kulturore q\u00eb i b\u00ebjn\u00eb njer\u00ebzit t\u00eb civilizuar. P\u00ebr krahasim, ajo thot\u00eb, se trojan\u00ebt e mposhtur kan\u00eb ruajtur vlerat dhe traditat e tyre, dhe p\u00ebr k\u00ebt\u00eb jan\u00eb, n\u00eb nj\u00eb kuptim m\u00eb t\u00eb gjer\u00eb, fituesit e v\u00ebrtet\u00eb. Fakti se ky argument prek\u00ebs \u00ebsht\u00eb b\u00ebr\u00eb nga nj\u00eb grua e re e pamartuar \u2013 q\u00eb do t\u00eb thot\u00eb, pik\u00ebs\u00ebpari, nj\u00eb an\u00ebtare e shoq\u00ebris\u00eb athinase e cila nuk ishte n\u00eb gjendje t\u00eb merrte pjes\u00eb n\u00eb vendimet politike q\u00eb nisnin luft\u00ebrat e m\u00ebdha \u2013 i jep nj\u00eb kompleksitet, madje edhe ironi, deklarimeve t\u00eb\u00a0Grave Trojane<\/em>\u00a0rreth luft\u00ebs dhe civilizimit.<\/p>\n

Kompleksitet; ironi. Nuk dua t\u00eb sugjeroj se nj\u00eb vet\u00ebdij\u00ebsim i gjall\u00eb p\u00ebr rrethanat shoq\u00ebrore dhe qytetare q\u00eb prodhonte dramat greke do t\u00eb duhej t\u00eb na \u00e7onte deri te shk\u00ebmbimi i nj\u00eb lloji t\u00eb leximit t\u00eb gjymtuar (Antigona \u00ebsht\u00eb nj\u00eb heroin\u00eb morale, Kreoni nj\u00eb keqb\u00ebr\u00ebs politik) me nj\u00eb tjet\u00ebr \u2013 p\u00ebrmes t\u00eb cilit, le t\u00eb themi, rezistenca e Antigon\u00ebs do t\u00eb shikohej vrenjtur. P\u00ebrkundrazi, kontradiktat q\u00eb kam p\u00ebrmendur do t\u00eb duhej t\u00eb thellonin dhe komplikonin leximet e tragjedive greke. Tensioni mes ceremonis\u00eb festive qytetare q\u00eb i paraprinte dramave, dhe veprave t\u00eb mosbindjes dhe kund\u00ebrshtis\u00eb ndaj autoritetit dhe normave sociale q\u00eb jan\u00eb material p\u00ebrb\u00ebr\u00ebs p\u00ebr shum\u00eb nga k\u00ebto drama, krijuan nj\u00eb hap\u00ebsir\u00eb p\u00ebr nj\u00eb konsiderat\u00eb t\u00eb frytshme t\u00eb kompleksiteteve q\u00eb jeta sjell n\u00eb t\u00eb qenit qytetar. \u00c7do bashk\u00ebsi politike, p\u00ebr t\u2019u kthyer edhe nj\u00ebher\u00eb te shembulli i\u00a0Antigon\u00ebs,<\/em>\u00a0duhet t\u00eb gjej\u00eb m\u00ebnyr\u00ebn p\u00ebr t\u00eb baraspeshuar brengat e shtetit me brengat e individ\u00ebve dhe familjeve t\u00eb tyre: q\u00ebllimi i dram\u00ebs s\u00eb Sofokliut nuk \u00ebsht\u00eb p\u00ebr t\u00eb th\u00ebn\u00eb q\u00eb Antigona \u201cka t\u00eb drejt\u00eb\u201d e nd\u00ebrsa Kreoni \u201ce ka gabim,\u201d por q\u00eb \u00e7do personazh ka nj\u00eb argument t\u00eb vlefsh\u00ebm p\u00ebr t\u00eb b\u00ebr\u00eb. Problemi \u2013 dhe burimi i ngaz\u00ebllimit dramatik \u2013 \u00ebsht\u00eb se secili \u00ebsht\u00eb i pazoti t\u00eb shoh\u00eb vlefshm\u00ebrin\u00eb e pik\u00ebpamjeve t\u00eb nj\u00ebri tjetrit.<\/p>\n

Ky vler\u00ebsim na sjell m\u00eb af\u00ebr asaj se \u00e7far\u00eb e b\u00ebn tragjedin\u00eb greke \u201ctragjike\u201d. Nj\u00eb dram\u00eb rreth nj\u00eb gruaje t\u00eb re e vendosm\u00ebrisht heroike, t\u00eb \u00ebm\u00ebs apo motr\u00ebs apo t\u00eb bij\u00ebs s\u00eb dikujt, q\u00eb vihet ball\u00eb p\u00ebr ball\u00eb nj\u00eb gjenerali apo mbreti t\u00eb lig, nj\u00eb nj\u00ebri lakmitar p\u00ebr pushtet a nam ushtarak, nuk do t\u00eb ishte moralisht interesante. Ajo \u00e7far\u00eb i jep\u00a0Antigon\u00ebs<\/em>\u00a0and\u00a0Agamemnonit<\/em>\u00a0dhe dramave t\u00eb tjera forc\u00ebn e tyre speciale dhe t\u00eb paharrueshme \u00ebsht\u00eb se ato paraqesin nj\u00eb spektak\u00ebl t\u00eb parezistuesh\u00ebm t\u00eb dy bot\u00ebkuptimeve, secila me forc\u00ebn e vet, e mbyllur pik\u00eblluesh\u00ebm n\u00eb konflikt t\u00eb pakaluesh\u00ebm. E prap\u00ebseprap\u00eb, p\u00ebrderisa personazhet n\u00eb k\u00ebto vepra jan\u00eb t\u00eb paaft\u00eb q\u00eb t\u00eb tolerojn\u00eb, e l\u00ebre m\u00eb t\u00eb pranojn\u00eb pik\u00ebpamjet e kund\u00ebrshtar\u00ebve t\u00eb tyre, publiku ftohet q\u00eb ta b\u00ebj\u00eb pik\u00ebrisht k\u00ebt\u00eb \u2013 t\u00eb mas\u00eb dhe t\u00eb krahasoj\u00eb parimet q\u00eb mbajn\u00eb k\u00ebto personazhe, t\u00eb reflektoj\u00eb mbi nevoj\u00ebn e shikimit t\u00eb s\u00eb t\u00ebr\u00ebs dhe mbi v\u00ebshtir\u00ebsit\u00eb e mbajtjes s\u00eb pjes\u00ebve n\u00eb baraspesh\u00eb. Ose, s\u00eb paku, q\u00eb t\u00eb vler\u00ebsoj\u00eb kostot e sakrifikimit t\u00eb disa vlerave p\u00ebr t\u00eb tjerat, kur e lyp rasti.<\/p>\n

N\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb \u2013 duke e b\u00ebr\u00eb publikun q\u00eb t\u00eb ndjej\u00eb t\u00eb tilla dilema t\u00eb hidhura, p\u00ebr zgjedhjet pik\u00eblluese q\u00eb vijn\u00eb me t\u00eb qenit edhe individ edhe qytetar \u2013 drama athinase mundte t\u00eb edukonte ata q\u00eb e shihnin t\u00eb luajtur n\u00eb sken\u00eb. Kjo \u00ebsht\u00eb arsyeja pse, n\u00eb teori t\u00eb pakt\u00ebn, tragjedia mund t\u00eb \u201cshp\u00ebtonte qytetin.\u201d Si\u00e7 e dim\u00eb, n\u00eb fund tragjedia nuk ia arriti t\u00eb shp\u00ebtoj\u00eb Athin\u00ebn. Por nuk mund t\u00eb dyshojm\u00eb se, p\u00ebrgjat\u00eb atij shekulli t\u00eb madh t\u00eb lul\u00ebzimit, drama athinase i ofroi mund\u00ebsin\u00eb mij\u00ebra qytetar\u00ebve q\u00eb t\u00eb reflektojn\u00eb thell\u00eb mbi jet\u00ebt e tyre dhe mbi qytetin me t\u00eb cilin k\u00ebto jet\u00eb qen\u00eb aq pandash\u00ebm t\u00eb lidhura.<\/p>\n

____________<\/p>\n

P\u00ebrktheu: Bardhi Bakija<\/p>\n

Artikulli origjinal\u00a0\u00a0<\/a><\/p>\n<\/div>\n

\n
<\/div>\n<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"

N\u00eb pik\u00ebn kulmore t\u00eb komedis\u00eb s\u00eb Aristofanit\u00a0Bretkosat [The Frogs], nj\u00eb parodi e thart\u00eb e tragjedis\u00eb greke q\u00eb u shfaq si premier\u00eb n\u00eb v. 405 p.e.s, Dionisi, zoti i ver\u00ebs dhe i teatrit, obligohet t\u00eb gjykoj\u00eb nj\u00eb gar\u00eb letrare mes dy dramaturg\u00ebsh t\u00eb vdekur. M\u00eb her\u00ebt n\u00eb k\u00ebt\u00eb dram\u00eb, zoti kishte zbritur n\u00eb N\u00ebntok\u00eb n\u00eb m\u00ebnyr\u00eb […]<\/p>","protected":false},"author":205,"featured_media":11452,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[13],"tags":[1351,2154],"ppma_author":[2150],"class_list":["post-3348","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-analize","tag-analize","tag-drama-greke"],"authors":[{"term_id":2150,"user_id":205,"is_guest":0,"slug":"daniel-mendelsohn","display_name":"Daniel Mendelsohn","avatar_url":{"url":"https:\/\/sbunker.org\/wp-content\/uploads\/2024\/12\/mendelsohn-daniel_c.webp","url2x":"https:\/\/sbunker.org\/wp-content\/uploads\/2024\/12\/mendelsohn-daniel_c.webp"},"user_url":"","last_name":"Mendelsohn","first_name":"Daniel","description":"Daniel Mendelsohn, the Editor-at-Large at The New York Review and the Charles Ranlett Flint Professor of Humanities at Bard, is the author, most recently, of Three Rings: A Tale of Exile, Narrative, and Fate. His translation of Homer\u2019s Odyssey will be published next year. (July 2023)"}],"_links":{"self":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/3348","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\/205"}],"replies":[{"embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/comments?post=3348"}],"version-history":[{"count":3,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/3348\/revisions"}],"predecessor-version":[{"id":11453,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/posts\/3348\/revisions\/11453"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/media\/11452"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/media?parent=3348"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/categories?post=3348"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/tags?post=3348"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/en\/wp-json\/wp\/v2\/ppma_author?post=3348"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}