{"id":1735,"date":"2023-03-22T15:56:43","date_gmt":"2023-03-22T14:56:43","guid":{"rendered":"https:\/\/sbunker.org\/?p=1735"},"modified":"2024-02-01T13:32:40","modified_gmt":"2024-02-01T12:32:40","slug":"banaliteti-si-topitje-e-virtytit-komik","status":"publish","type":"post","link":"https:\/\/sbunker.org\/sr\/kritike\/banaliteti-si-topitje-e-virtytit-komik\/","title":{"rendered":"Banaliteti si topitje e virtytit komik"},"content":{"rendered":"
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Kritik\u00eb shfaqjes \u201cClub Albania\u201d<\/p>\n<\/div>\n

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Club Albania<\/em>\u00a0nis me pritjen e regjisorit Ylli James (Armend Smajli) p\u00ebr t\u00eb realizuar nj\u00eb shfaqje p\u00ebr nder t\u00eb 110-vjetorit t\u00eb Pavar\u00ebsis\u00eb s\u00eb Shqip\u00ebris\u00eb. Pasi kishte b\u00ebr\u00eb nj\u00eb studim t\u00eb gjat\u00eb mbi Andon Zako \u00c7ajupin, regjisori kishte vendosur t\u00eb inskenonte shfaqjen\u00a0Pas Vdekjes<\/em>. Q\u00eb n\u00eb fillim kemi t\u00eb b\u00ebjm\u00eb me nj\u00eb \u201cshfaqje brenda shfaqjes\u201d. Regjisori Fatos Berisha ironizon fuqish\u00ebm p\u00ebrmes krahasimit t\u00eb fatit, shijeve dhe s\u00eb ardhmes s\u00eb kombit e aktorit t\u00eb sot\u00ebm shqiptar. Kjo ironi, gjat\u00eb zhvillimit t\u00eb shfaqjes, sa shkon e dominohet nga nj\u00eb tjet\u00ebr element i fuqish\u00ebm komik popullor, deri n\u00eb p\u00ebrmbysje t\u00eb s\u00eb par\u00ebs. \u00c7far\u00eb \u00ebsht\u00eb ajo q\u00eb e rrezikon ironin\u00eb e k\u00ebsaj shfaqjeje deri n\u00eb p\u00ebrmbysje t\u00eb saj?<\/p>\n

Pas Vdekjes<\/em>\u00a0(shfaqja brenda shfaqjes) \u00ebsht\u00eb komedi e cila nxjerr n\u00eb pah breng\u00ebn dhe preokupimin egoist t\u00eb njeriut t\u00eb sot\u00ebm: se si do t\u00eb duket funerali i tij dhe si do t\u00eb mbahet n\u00eb mend pas vdekjes. Ylli James k\u00ebt\u00eb shfaqje do t\u00eb p\u00ebrpiqet ta realizoj\u00eb pa zhan\u00ebr, pa metodologji, duke i l\u00ebn\u00eb n\u00eb duar gjith\u00e7ka spontanitetit e stihis\u00eb kreative. N\u00eb gjuh\u00ebn e Paul Feyerband-it \u201canything goes\u201d, q\u00eb njihet si anarkiz\u00ebm metodologjik, i p\u00ebrkthyer n\u00eb gjuh\u00ebn e diskursit ton\u00eb kulturor, \u201cgjith\u00e7ka hahet\u201d. Mir\u00ebpo, v\u00ebrtet, a hahet gjith\u00e7ka q\u00eb serviret?<\/p>\n

Club Albania<\/em>\u00a0(me dramaturgji t\u00eb Shp\u00ebtim Selmanit) i kushtohet aktorit t\u00eb sot\u00ebm shqiptar dhe gjendjes s\u00eb tij shpirt\u00ebrore, t\u00eb ngjashme me nj\u00eb perceptim p\u00ebr \u201ckatandisjen\u201d etike, estetike dhe politike t\u00eb kombit n\u00eb p\u00ebrgjith\u00ebsi. Kjo kritik\u00eb n\u00eb m\u00ebnyr\u00eb indirekte p\u00ebrcillet p\u00ebrmes regjisorit shqiptaro-amerikan Ylli James, i cili vjen nga per\u00ebndimi p\u00ebr t\u00eb b\u00ebr\u00eb nj\u00eb shfaqje \u201cpatriotike\u201d me aktor\u00eb shqiptar\u00eb. Shfaqja mbetet n\u00eb gjysm\u00eb shkaku i ikjes n\u00eb form\u00eb proteste t\u00eb regjisorit n\u00eb fund t\u00eb shfaqjes, sa p\u00ebr neglizhenc\u00eb t\u00eb tij, e sa p\u00ebr \u201cmosrrojken\u201d e bot\u00ebs s\u00eb tij postmoderne, q\u00eb m\u00ebton t\u00eb gjeneroj\u00eb nj\u00eb shfaqje pa spiranc\u00ebn e nj\u00eb autoriteti apo interpretimi autentik. Shfaqja n\u00eb vetvete \u00ebsht\u00eb kritik\u00eb p\u00ebr loj\u00ebn, kritik\u00eb e holl\u00eb p\u00ebr aporin\u00eb e regjisorit t\u00eb sot\u00ebm. Kjo\u00a0apori<\/em>\u00a0\u2013 rrug\u00eb pa shtegdalje \u2013 nxjerr krye n\u00eb breng\u00ebn p\u00ebr munges\u00ebn e kreativitetit dhe perceptimin e artit si shkatht\u00ebsi t\u00eb improvizimit, n\u00ebn sigl\u00ebn se gjith\u00e7ka q\u00eb b\u00ebhet g\u00eblltitet e hahet.<\/p>\n

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Regjisori Berisha krijon nj\u00eb kontrast midis personazhit t\u00eb\u00a0Pas vdekjes<\/em>\u00a0dhe atij t\u00eb\u00a0Club Albania-s<\/em>. P\u00ebrderisa personazhi i \u00c7ajupit brengoset p\u00ebr imazhin\u00a0post-mortem<\/em>, personazhi i Berish\u00ebs, t\u00eb vetmin dert e ka vler\u00ebsimin e munguar t\u00eb tanish\u00ebm t\u00eb aktorit shqiptar. Ngush\u00ebllimi p\u00ebr k\u00ebt\u00eb aktor \u00ebsht\u00eb nj\u00eb duartrokitje e beft\u00eb. Regjisori ia del bukur mir\u00eb t\u00eb shp\u00ebrfaq\u00eb ceremonialitetin e p\u00ebrditshm\u00ebris\u00eb, ku jeta si ritual\u00a0sine anima<\/em>\u00a0\u00ebsht\u00eb komike. \u00cbsht\u00eb qesharake. Normaliteti krejt i r\u00ebndomt\u00eb i nj\u00eb pun\u00ebtori t\u00eb Institutit Albanologjik, p\u00ebrditshm\u00ebria dhe ankthet e nj\u00eb aktori, preokupimi i nj\u00eb studenti t\u00eb ri me probleme apokaliptike bot\u00ebrore, rr\u00ebzimi i aktorit t\u00eb dehur n\u00eb sken\u00eb, nj\u00eb burr\u00eb q\u00eb vrapon me take. T\u00eb gjitha k\u00ebto, q\u00eb n\u00eb teori nuk jan\u00eb komike, n\u00eb teat\u00ebr faktikisht b\u00ebhen t\u00eb tilla dhe ne qeshim me to duke i perceptuar si kontrast. Pra, n\u00eb fund t\u00eb dit\u00ebs, t\u00eb gjitha veprimet dhe p\u00ebrpjekjet tona jan\u00eb thjesht qesharake. Gjith\u00e7ka q\u00eb mund t\u00eb b\u00ebjm\u00eb duket, n\u00eb fund t\u00eb fundit, qesharake. E k\u00ebshtu\u00a0ad absurdum<\/em>.<\/p>\n

Filozofi Henri Bergson thot\u00eb se n\u00ebse teatri \u00ebsht\u00eb nj\u00eb thjerr\u00ebz zmadhuese e jet\u00ebs, at\u00ebher\u00eb komedia na e shpjegon m\u00eb mir\u00eb jet\u00ebn. Sipas tij, komedia \u00ebsht\u00eb\u00a0nj\u00eb loj\u00eb q\u00eb imiton jet\u00ebn<\/em>. Komikja lind si pasoj\u00eb e\u00a0p\u00ebrs\u00ebritjes<\/em>. P\u00ebrs\u00ebritja n\u00eb vete \u00ebsht\u00eb mekanike. E gjalla b\u00ebhet komike ve\u00e7 kur mekanicizohet, p\u00ebrs\u00ebritet, dhe k\u00ebshtu resht s\u00eb qeni vetvetja. Karikaturizimi i aksentit tosk\u00eb, ambiguiteti i q\u00ebndrimeve politike t\u00eb nj\u00eb aktori t\u00eb dikursh\u00ebm, gjesti i ndezjes s\u00eb duhanit n\u00eb ambient t\u00eb mbyllur, ose ekzaltimi i aktor\u00ebve me ekspozimin konstant t\u00eb nj\u00eb k\u00ebrpudhe gjigante n\u00eb form\u00eb t\u00eb penisit \u2013 n\u00eb mes t\u00eb podiumit \u2013 p\u00ebrb\u00ebjn\u00eb disa prej situatave komike t\u00eb p\u00ebrs\u00ebritura gati-gati deri n\u00eb banalitet. N\u00ebse komikja mund t\u00eb lind\u00eb si p\u00ebrs\u00ebritje e mekanizuar e veprimeve, ajo e humb fuqin\u00eb me p\u00ebrs\u00ebritjen mekanike t\u00eb banalitetit. Banaliteti i p\u00ebrs\u00ebritur nuk mund t\u00eb jet\u00eb komik. N\u00ebse banaliteti \u00ebsht\u00eb humbja e fuqis\u00eb shpreh\u00ebse t\u00eb nj\u00eb gj\u00ebje, p\u00ebrs\u00ebritja e saj sjell topitje dhe monotoni.<\/p>\n

Situatat komike krijohen edhe p\u00ebrmes transpozicionit, gjegj\u00ebsisht p\u00ebrmes degradimit dhe denigrimit t\u00eb tyre, q\u00eb nxjerrin n\u00eb pah dimensionin komik t\u00eb fenomeneve. N\u00eb k\u00ebt\u00eb kontekst, mund t\u00eb p\u00ebrmendim bel-dridhjet (twerk) me nuanca seksuale nga ana e nj\u00eb ish-aktivisti politik me plis \u2013 \u201cnjeri i dal\u00eb mode\u201d \u2013, i cili sado q\u00eb p\u00ebrpiqet \u201cta ruaj\u00eb fytyr\u00ebn\u201d si ushtar i tri luft\u00ebrave, ai her\u00eb d\u00ebshp\u00ebrimisht, her\u00eb vullnetarisht p\u00ebrfundon si \u201chamall\u201d i regjisorit t\u00eb tij. Situata komike krijohen edhe me degradimin e studimeve Master n\u00eb Universitetin e Prishtin\u00ebs dhe denigrimin e deg\u00ebs s\u00eb Dramaturgjis\u00eb n\u00eb kuad\u00ebr t\u00eb universitetit.<\/p>\n

\"Armond<\/div>\n
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Skenografia \u00ebsht\u00eb minimale: nj\u00eb tavolin\u00eb, tri karrige dhe disa flamuj komb\u00ebtar\u00eb. Ajo nuk \u00ebsht\u00eb e thjesht\u00eb, por minimale. Skena \u00ebsht\u00eb pjes\u00eb e mish\u00ebruar e loj\u00ebs. Kostumografia, po ashtu, \u00ebsht\u00eb e varf\u00ebr. Gjat\u00eb gjith\u00eb shfaqjes aktor\u00ebt kan\u00eb po t\u00eb nj\u00ebjtat kostume. Shpesh krijohet p\u00ebrshtypja se aktor\u00eb t\u00eb nj\u00ebjt\u00eb luajn\u00eb n\u00eb vakumin e zi t\u00eb sken\u00ebs. Skena ngel e pandryshuar dhe v\u00ebrehen mosp\u00ebrputhje t\u00eb akteve t\u00eb shfaqjes me sken\u00ebn dhe kostumet.<\/p>\n

Club Albania \u00ebsht\u00eb nj\u00eb shfaqje q\u00eb ironizon hapur patriotizmin e rrejsh\u00ebm, seksizmin e fshehur, feminizmin e shtirur dhe akademizmin e shpifur t\u00eb shoq\u00ebris\u00eb son\u00eb. Regjisori ngre nj\u00eb paralele midis publikut dhe shqiptar\u00ebve, mbase edhe t\u00eb n\u00ebnvet\u00ebdijshme dhe ironike. Fillimi i shfaqjes i dedikohet gjykimit t\u00eb shqiptar\u00ebve, kurse fundi gjykimit t\u00eb publikut. Gjendja e publikut barazohet me fatalitetin e t\u00eb qenit shqiptar. Shijet e ul\u00ebta, gjykimi i zbeht\u00eb estetik i publikut, derivojn\u00eb si produkt i t\u00eb qenit shqiptar. Shfaqja p\u00ebrfundon me fjalimin epik t\u00eb pala\u00e7os (Armond Morin\u00ebs), n\u00eb t\u00eb cilin publiku gjykohet sa p\u00ebr veset gjat\u00eb shfaqjes, sa p\u00ebr shijet e ul\u00ebta, gati-gati t\u00eb padenja. N\u00eb fjalimin e pala\u00e7os, gjithashtu, vihet re diskursi vet\u00eb-viktimizues i shoq\u00ebruar me nj\u00eb ciniz\u00ebm t\u00eb holl\u00eb e dep\u00ebrtues me nuanca narcizmi t\u00eb aktorit t\u00eb sot\u00ebm, i cili fajin p\u00ebr d\u00ebshtimin e tij ia mbart publikut t\u00eb paedukat\u00eb. Aktori, duke gjykuar nj\u00eb koncept abstrakt, si\u00e7 \u00ebsht\u00eb \u201cpubliku\u201d, k\u00ebrkon ngush\u00ebllimin p\u00ebr indiferenc\u00ebn e shfaqur ndaj artit t\u00eb tij.<\/p>\n

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\u00c7far\u00eb e rrezikon pra ironin\u00eb e k\u00ebsaj shfaqjeje? Krahas imitimit, ekzagjerimit dhe denigrimit, shfaqja fillon e dominohet nga banaliteti. Banaliteti, n\u00eb momente t\u00eb caktuara, b\u00ebhet topit\u00ebs dhe me tendenc\u00eb gjith\u00ebp\u00ebrfshirjeje. P\u00ebrs\u00ebritja e banalitetit tregon humbjen e fuqis\u00eb shpreh\u00ebse, gjall\u00ebris\u00eb, kok\u00ebngritjes s\u00eb komikes si imitim i gjall\u00eb i jet\u00ebs. N\u00eb dialog\u00ebt midis aktorit t\u00eb vjet\u00ebr (Ard Islamit) dhe studentit t\u00eb aktrimit (Ylber Bardhi), t\u00eb sharat krijojn\u00eb nj\u00eb frym\u00eb konsensualiteti p\u00ebr moralin publik. Publiku qesh krejt pavullnetsh\u00ebm me sharjet, ngaq\u00eb ato e rikthejn\u00eb p\u00ebrditshm\u00ebrin\u00eb banale n\u00eb teat\u00ebr duke e maskuar si fenomen estetik. Ky lloj konsensualiteti p\u00ebr moralin publik si banal rr\u00ebnon p\u00ebrmbajtjen e thell\u00ebsis\u00eb ironike t\u00eb shfaqjes. N\u00eb reprizat e k\u00ebsaj shfaqjeje, banaliteti dukej edhe m\u00eb i sforcuar, ngaq\u00eb improvizimet dhe shtimet n\u00eb tekst jan\u00eb t\u00eb dukshme. Riciklimi i vazhduesh\u00ebm i banalitetit, qoft\u00eb edhe si improvizim skenik, topit virtytin dhe thell\u00ebsin\u00eb kritike t\u00eb komikes dhe i jep banalitetit rol dominues n\u00eb raport me komedin\u00eb si kritik\u00eb e holl\u00eb s\u00ebmbuese, aq m\u00eb tep\u00ebr e eklipson komiken deri n\u00eb nj\u00eb mas\u00eb ku ajo \u00ebsht\u00eb totalitare.<\/p>\n<\/div>\n<\/div>\n<\/div>","protected":false},"excerpt":{"rendered":"

Kritik\u00eb shfaqjes \u201cClub Albania\u201d Club Albania\u00a0nis me pritjen e regjisorit Ylli James (Armend Smajli) p\u00ebr t\u00eb realizuar nj\u00eb shfaqje p\u00ebr nder t\u00eb 110-vjetorit t\u00eb Pavar\u00ebsis\u00eb s\u00eb Shqip\u00ebris\u00eb. Pasi kishte b\u00ebr\u00eb nj\u00eb studim t\u00eb gjat\u00eb mbi Andon Zako \u00c7ajupin, regjisori kishte vendosur t\u00eb inskenonte shfaqjen\u00a0Pas Vdekjes. Q\u00eb n\u00eb fillim kemi t\u00eb b\u00ebjm\u00eb me nj\u00eb \u201cshfaqje brenda […]<\/p>","protected":false},"author":136,"featured_media":1736,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[639,856,855],"ppma_author":[164],"class_list":["post-1735","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kritike","tag-albania","tag-club-albania","tag-theatre"],"authors":[{"term_id":164,"user_id":136,"is_guest":0,"slug":"latif-mustafa","display_name":"Latif Mustafa","avatar_url":{"url":"https:\/\/sbunker.org\/wp-content\/uploads\/2023\/10\/download-1-8.jpg","url2x":"https:\/\/sbunker.org\/wp-content\/uploads\/2023\/10\/download-1-8.jpg"},"user_url":"","last_name":"Mustafa","first_name":"Latif","description":"Latif Mustafa ka p\u00ebrfunduar studimet n\u00eb fush\u00ebn e filozofis\u00eb pran\u00eb Universitetit t\u00eb Prishtin\u00ebs. Ai, po ashtu, ka qen\u00eb asistent hulumtues n\u00eb kuad\u00ebr t\u00eb Institutit t\u00eb Aleanc\u00ebs s\u00eb Qytet\u00ebrime n\u00eb Stamboll. Ka qen\u00eb autor i emisionit filozofik Pik\u00ebPamje, autor dhe publicist i analizave socio-politike t\u00eb botuara n\u00eb shtypin e Maqedonis\u00eb s\u00eb Veriut. S\u00eb fundi, ai \u00ebsht\u00eb angazhuar si kritik n\u00eb revist\u00ebn p\u00ebr teorin\u00eb, historin\u00eb dhe kultur\u00ebn e filmit \u2013 Kinopis, e cila botohet n\u00eb kuad\u00ebr t\u00eb Kinotek\u00ebs t\u00eb Republik\u00ebs s\u00eb Maqedonis\u00eb s\u00eb Veriut. Ai, \u00ebsht\u00eb aktivist dhe ligj\u00ebrues n\u00eb fush\u00ebn e edukimit mediatik n\u00eb kuad\u00ebr t\u00eb projekteve t\u00eb shoq\u00ebris\u00eb civile n\u00eb Maqedonin\u00eb e Veriut."}],"_links":{"self":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/1735","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/users\/136"}],"replies":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/comments?post=1735"}],"version-history":[{"count":1,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/1735\/revisions"}],"predecessor-version":[{"id":1737,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/1735\/revisions\/1737"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media\/1736"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media?parent=1735"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/categories?post=1735"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/tags?post=1735"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/ppma_author?post=1735"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}