{"id":2121,"date":"2022-12-08T13:07:05","date_gmt":"2022-12-08T12:07:05","guid":{"rendered":"https:\/\/sbunker.org\/?p=2121"},"modified":"2023-12-12T13:09:58","modified_gmt":"2023-12-12T12:09:58","slug":"trupi-banesa-e-fundit-e-qenies","status":"publish","type":"post","link":"https:\/\/sbunker.org\/sr\/kritike\/trupi-banesa-e-fundit-e-qenies\/","title":{"rendered":"Trupi – banesa e fundit e qenies"},"content":{"rendered":"

Kritik\u00eb shfaqjes Burrnesha<\/em><\/p>\n

Nj\u00eb grua e bukur me stil burleske e me nj\u00eb buz\u00ebqeshje plot sharm pret n\u00eb hyrje t\u00eb sall\u00ebs. N\u00eb t\u00eb dy an\u00ebt kishte publik kurse n\u00eb mes, n\u00eb form\u00eb t\u00eb nj\u00eb pellgu, ishte p\u00ebrgatitur pista e gj\u00ebr\u00eb, sikur pistat e mod\u00ebs, p\u00ebr t\u00eb performuar aktor\u00ebt n\u00eb sken\u00eb. Shfaqja kish filluar para se publiku t\u00eb futej n\u00eb sall\u00eb.<\/p>\n

Gruaja n\u00eb pritje \u00ebsht\u00eb Edit Durham (Semira Latifi). Ajo po b\u00ebhej gati t\u00eb fillonte ligjerat\u00ebn e saj, p\u00ebr virgj\u00ebreshat e p\u00ebrbetuara, apo si\u00e7 njiheshin ndryshe,\u00a0burrneshat<\/em>. Ajo njoftoi gj\u00ebr\u00eb e gjat\u00eb p\u00ebr motivet, objektin e studimit dhe gjetjet e saj n\u00eb k\u00ebt\u00eb studim t\u00eb lodhsh\u00ebm akademik. Qysh n\u00eb fillim, teksa flet p\u00ebr refugjat\u00ebt n\u00eb Lond\u00ebr, ajo nxjerr n\u00eb pah relativitetin e universaleve kulturore. Nj\u00eb prind n\u00eb Lond\u00ebr \u00ebsht\u00eb akuzuar p\u00ebr pedofili p\u00ebr shkak t\u00eb puthjes s\u00eb penisit t\u00eb sapob\u00ebr\u00eb synet t\u00eb djalit t\u00eb tij t\u00eb vog\u00ebl. Ai \u00ebsht\u00eb burgosur pasi ka postuar foton n\u00eb rrjete. Merret vesh q\u00eb, autori Jeton Neziraj, qysh n\u00eb fillim, m\u00eb tep\u00ebr se provokim emocional, ofron nj\u00eb pasqyr\u00eb kritike, nj\u00eb\u00a0ide<\/em>\u00a0apo interpretim t\u00eb homogjenitetit dhe heterogjenitetit bot\u00ebkuptimor lindje-per\u00ebndim.<\/p>\n

Editi i drejtohet mas\u00ebs studentore duke zhvilluar nj\u00eb diskurs t\u00eb posa\u00e7\u00ebm n\u00eb lidhje me prerjet kulturore, kund\u00ebv\u00ebniet dhe dallimet me kulturat e tjera, t\u00eb cilat ndjekin nj\u00eb trajektore tjet\u00ebr zhvillimi qytet\u00ebrimor. Ajo flet p\u00ebr\u00a0burrneshat<\/em>, virgj\u00ebreshat e p\u00ebrbetuara, grat\u00eb-burra, t\u00eb cilat jan\u00eb shfaqur si fenomen social n\u00eb veriun e Shqip\u00ebris\u00eb, me \u00e7\u2019rast grat\u00eb, duke u shnd\u00ebrruar n\u00eb burra dhe n\u00eb vet\u00ebmohim t\u00eb seksit dhe gjinis\u00eb, shfryt\u00ebzojn\u00eb priviligjet e nj\u00eb shoq\u00ebrie t\u00eb thekur patriarkale. Grat\u00eb e k\u00ebtilla, sipas ligjerimit t\u00eb Durhamit, pasi q\u00eb betoheshin para pleq\u00ebris\u00eb s\u00eb fshatit, b\u00ebheshin\u00a0\u201cburrnesha\u201d<\/em>. Ky betim nuk thyhej kurr\u00eb. Gruaja e p\u00ebrbetuar, tash e tutje, nd\u00ebrtonte nj\u00eb tjet\u00ebr gjini, p\u00ebrjetonte nj\u00eb tjet\u00ebr seksualitet. Ajo b\u00ebhej nj\u00eb burr\u00eb. Ato ishin krenare dhe respektoheshin nga rrethi.<\/p>\n

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Edit ka zbuluar nj\u00eb burrnesh\u00eb dhe at\u00eb do sjell\u00eb n\u00eb Universitetin e Londr\u00ebs dhe ajo do t\u00eb flas\u00eb para nj\u00eb audience studentore. Juliani (Kushtrim Qerimi), nj\u00eb\u00a0drag queen<\/em>, pasi d\u00ebgjoi ligjerat\u00ebn e Editit me plot pasion, i ofron asaj q\u00eb n\u00eb k\u00ebmbim t\u00eb nj\u00eb shume parash, t\u00eb organizojn\u00eb nj\u00eb performanc\u00eb\u00a0kuir (queer)<\/em>\u00a0n\u00eb teatrin Soho n\u00eb Lond\u00ebr. Gjall\u00ebrimi i nj\u00eb personazhi si Juliani, n\u00eb m\u00ebnyr\u00eb kaq origjinale me raste ekzagj\u00ebrimi ki\u00e7 p\u00ebr\u00e7on emocion t\u00eb ve\u00e7ant\u00eb tek publiku.<\/p>\n

Sose (Tring\u00eb Hasani) quhet burrnesha, e cila jeton n\u00eb Mal\u00ebsin\u00eb e thell\u00eb t\u00eb veriut t\u00eb Shqip\u00ebris\u00eb. Si antropologe dhe studiuese, Editi vjen nga Londra dhe arrin t\u00eb takohet me Sosen. N\u00eb intervist\u00ebn e saj jo formale, Sosja, shpalos ecejaken e saj t\u00eb dhimbshme. Duke u b\u00ebr\u00eb burr\u00eb, ajo u b\u00eb zot sht\u00ebpie, trash\u00ebgoi pron\u00ebn dhe p\u00ebrvet\u00ebsoi lirin\u00eb e burrit. T\u00eb kesh pron\u00eb do t\u00eb thot\u00eb t\u00eb jesh i lir\u00eb. Grat\u00eb nuk kan\u00eb pron\u00eb, as nuk trash\u00ebgojn\u00eb gj\u00eb.<\/p>\n

Sosja arrin\u00eb n\u00eb Lond\u00ebr. Metropoli nuk i ngjan fare natyr\u00ebs idilike\u00a0t\u00eb bjeshk\u00ebve t\u00eb Shqipnis\u00eb<\/em>. Londra \u00ebsht\u00eb ngulfat\u00ebse p\u00ebr t\u00eb. Para student\u00ebve, ajo flet me siguri t\u00eb lart\u00eb dhe vet\u00ebbesim. Pas pyetjeve t\u00eb shumta, ajo pyetet edhe p\u00ebr dashurin\u00eb, me pak fjal\u00eb: se si dashuron\u00a0ai\/ajo<\/em>. Sosja e kupton dashurin\u00eb si ngjyr\u00eb t\u00eb kuqe q\u00eb bojatis\u00eb gjithk\u00ebnd. Ajo i do t\u00eb gjith\u00eb nj\u00ebsoj: si burrin ashtu dhe gruan, si f\u00ebmij\u00ebn ashtu edhe t\u00eb rriturin. Sado\u00a0 e es\u00ebllt Sosja n\u00eb p\u00ebrgjigjet e saja, paradoksi i shp\u00ebrfaqet n\u00eb bindjen e pal\u00ebkundur se \u201cburri \u00ebsht\u00eb burr\u00eb\u201d dhe \u201cgruaja grua\u201d dhe se natyra ka parap\u00ebrcaktuar rolet e tyre, porse, megjithat\u00eb, nj\u00eb grua si\u00e7 ishte ajo, kishte mund\u00ebsin\u00eb t\u00eb zgjidhte t\u00eb banonte n\u00eb nj\u00eb trup burri. P\u00ebrkund\u00ebr q\u00eb trupi i saj mund ta tradhtonte, si n\u00eb rastin e menstruacioneve, dashuria do i jepte lirin\u00eb e do ta \u00e7lironte prej biologjikes dhe narracionit t\u00eb nd\u00ebrtuar mbi k\u00ebt\u00eb trup.<\/p>\n

Edith Durham ka shkruar gj\u00ebr\u00eb e gjat\u00eb p\u00ebr k\u00ebt\u00eb fenomen n\u00eb librin, \u201cShqip\u00ebria e Ep\u00ebrme<\/a>\u201d (1909), si dhe ne\u0308 vepre\u0308n \u201cP\u00ebr fiset, ligjet dhe zakonet e ballkanasve<\/a>\u201d (1928). M\u00eb tep\u00ebr se nj\u00eb akademike, n\u00eb shfaqje ajo paraqitet edhe si nj\u00eb grua q\u00eb jeton dhe dashuron si njer\u00ebzit e tjer\u00eb. Ajo madje edhe tundohet nga Juliani, i cili p\u00ebr dallim nga bota akademike q\u00eb gllab\u00ebron \u00e7do dije t\u00eb bot\u00ebs p\u00ebr ta shnd\u00ebrruar si arm\u00eb kontrolli dhe pushtimi, paraqitet si imazh i konsumerizmit gryk\u00ebs. Ai mrekullohet nga fjalimi i Soses n\u00eb Universitetin e Londr\u00ebs. Ai e sheh at\u00eb tamam si \u2018fresh meet\u2019\u00a0<\/em>q\u00eb mund t\u2019i servohet nj\u00eb publiku tashm\u00eb t\u00eb bezdisur nga shfaqjet e shumta, pa kuptim dhe t\u00eb m\u00ebrzitshme\u00a0kuir<\/em>.<\/p>\n

\u201cBurrnesha\u201d na nxit t\u00eb reflektojm\u00eb rreth trupit njer\u00ebzor, rreth kontektstit social dhe sistemit shoq\u00ebror q\u00eb determinon nj\u00eb bot\u00ebkuptim t\u00eb caktuar rreth trupit. Virgj\u00ebreshat, p\u00ebrtej nj\u00eb migrimi t\u00eb shpirtit drejt nj\u00eb trupi tjet\u00ebr, shp\u00ebrfaqin aft\u00ebsin\u00eb, vullnetin dhe domosdoshm\u00ebrin\u00eb e konstruktit t\u00eb ri gjinor si mund\u00ebsi p\u00ebr liri dhe jet\u00eb. P\u00ebrmes personifikimit t\u00eb \u201cvirgj\u00ebresh\u00ebs\u201d, shfaqja\u00a0 dekonstrukton mitin e biologjis\u00eb fataliste dhe trupit si realitet p\u00ebrfundimtar t\u00eb strehimit t\u00eb qenies.<\/p>\n

N\u00eb an\u00ebn tjet\u00ebr, p\u00ebrmes\u00a0drag queen-it<\/em>, ajo nd\u00ebrton nj\u00eb diskurs kritik mbi vullnetin e lir\u00eb, zgjedhjen e nj\u00eb trupi tjet\u00ebr q\u00eb rrezikon t\u00eb jet\u00eb autodisfatist n\u00eb gjeografin\u00eb e vendeve liberale demokratike. T\u00eb qenit i lir\u00eb, shpeshher\u00eb, n\u00ebnkupton t\u00eb qenit leht\u00eb i ekzpozuesh\u00ebm, t\u00eb qenit i pambrojtur dhe \u201cpre e leht\u00eb p\u00ebr gjah t\u00eb but\u00eb\u201d, si\u00e7 do t\u00eb thoshte Ni\u00e7e. Liria befsh\u00ebm shnd\u00ebrrohet n\u00eb vegim, ku trupi objektifikohet dhe b\u00ebhet mall p\u00ebr zhvatje nga simbioza e kapitalizmit dhe bot\u00ebs s\u00eb spektaklit.<\/p>\n

Regjisori Erson Zymberaj ia ka dal\u00eb mir\u00eb t\u00eb b\u00ebj\u00eb nd\u00ebrthurjen e dallimeve identitare q\u00eb shkrihen brenda t\u00ebr\u00ebsis\u00eb dhe brisht\u00ebsis\u00eb njer\u00ebzore. Tre personazhe p\u00ebrb\u00ebjn\u00eb tri etapa t\u00eb zhvillimit historik njer\u00ebzor, por q\u00eb nd\u00ebrnyj\u00ebzohen n\u00eb teatrin Soho. Sosja – \u00a0nj\u00eb virgj\u00ebresh\u00eb e p\u00ebrbetuar – prentendon q\u00eb n\u00eb saj\u00eb t\u00eb\u00a0vullnetit<\/strong>\u00a0t\u00eb saj t\u00eb lir\u00eb, t\u00eb ket\u00eb vendosur\u00a0fatin<\/strong>\u00a0e vet dhe ka trash\u00ebguar privilegjet e nj\u00eb burri, porse ndjehet e fyer t\u00eb dal\u00eb para nj\u00eb publiku t\u00eb huaj dhe ngufat\u00ebs e t\u00eb flas\u00eb p\u00ebr zgjedhjet e saj, aq m\u00eb tep\u00ebr \u2013 \u201cp\u00ebr pak para\u201d si\u00e7 thot\u00eb ajo \u2013 t\u00eb shes\u00eb nderin para nj\u00eb publiku t\u00eb heterogjen n\u00eb teatrin Soho. Sose megjithat\u00eb, ka nj\u00eb kod etike tradicionale t\u00eb p\u00ebrgjegj\u00ebsive pa\u00e7ka se ajo p\u00ebrpiqet t\u00eb shijoj\u00eb gj\u00ebra t\u00eb reja.<\/p>\n

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Skenografia (Bekim Kor\u00e7a) e k\u00ebsaj shfaqjeje nd\u00ebrtohet nga publiku i ndar\u00eb n\u00eb dysh q\u00eb i p\u00ebrngjet reflektimit \u201cne<\/em>\u201d dhe \u201cata<\/em>.\u201d Kund\u00ebrshtia binare shfaqet vrullsh\u00ebm. Kontrastet p\u00ebrb\u00ebjn\u00eb dallimin. Dialektika\u00a0andej-k\u00ebndej<\/em>,\u00a0ju-ne<\/em>,\u00a0barbari-qytet\u00ebrim<\/em>,\u00a0lindje-per\u00ebndim<\/em>;\u00a0burrnesh\u00eb-drag queen<\/em>, shtrihet n\u00eb \u00e7do cep t\u00eb loj\u00ebs. Nd\u00ebrkaq, \u00a0n\u00ebn mirazhet e zbehta t\u00eb ndri\u00e7imeve t\u00eb forta t\u00eb bin\u00ebs karshi mund t\u00eb shohim edhe mimikat e publikut p\u00ebrball\u00eb. Skena i p\u00ebrngjet nj\u00eb sfilate mode, amfiteatri universitar apo nj\u00eb teatri bashk\u00ebkokohor modern, nd\u00ebrsa loja shfaqem mu n\u00eb mes, midis nesh. Qilimi me motive tradicionale entike shqiptare i projektuar n\u00eb podiumin e sall\u00ebs me q\u00ebllim t\u00eb shp\u00ebrfaqjes s\u00eb autentikes, t\u00eb vjetr\u00ebs dhe tradit\u00ebs; vaska e ndi\u00e7uar e stillit t\u00eb filleve t\u00eb modernitetit e q\u00eb sot konsiderohet shenj\u00eb e aristokracis\u00eb per\u00ebndimore; akordimi me ndri\u00e7imin spekt\u00ebrplot t\u00eb ngjyrave t\u00eb dritave p\u00ebrbrenda err\u00ebsir\u00ebs p\u00ebrpir\u00ebse shp\u00ebrfaqin mjesht\u00ebrisht nd\u00ebrthurrjen e tri enteriereve, sa t\u00eb ngjashme po aq edhe t\u00eb ndryshme n\u00eb k\u00ebt\u00eb mozaik.<\/p>\n

Kostumografja Yllka Brada p\u00ebrmes veshjes s\u00eb personazheve paraqet mod\u00ebn dhe mend\u00ebsin\u00eb konceptuale: Sose me tirqit e veshur paraqet\u00a0tradit\u00ebn<\/em>, Edith me veshje moderne paraqet\u00a0modernitetin<\/em>\u00a0e kostumeve dhe narracionin anti-tradicional dhe Juliani, si\u00a0drag queen<\/em>, me veshje shum\u00ebngjyrshje jasht\u00eb \u00e7do konstrukti parapar\u00eb mode, sh\u00ebnon frym\u00ebn\u00a0postmoderne<\/em>\u00a0t\u00eb mod\u00ebs si art q\u00eb i kund\u00ebvihet modernitetit. Kjo larmi shoq\u00ebrohet edhe me harmonin\u00eb muzikore, q\u00eb p\u00ebrpos dinamik\u00ebs, nd\u00ebrsen n\u00eb heshtje shkarkimin shpirt\u00ebror, rrjedhsh\u00ebm pa shp\u00ebrthime t\u00eb m\u00ebdha, midis ndjenjash dhe nyancash ku spektatori mbetet i hutuar midis epokave historike.<\/p>","protected":false},"excerpt":{"rendered":"

Kritik\u00eb shfaqjes Burrnesha Nj\u00eb grua e bukur me stil burleske e me nj\u00eb buz\u00ebqeshje plot sharm pret n\u00eb hyrje t\u00eb sall\u00ebs. N\u00eb t\u00eb dy an\u00ebt kishte publik kurse n\u00eb mes, n\u00eb form\u00eb t\u00eb nj\u00eb pellgu, ishte p\u00ebrgatitur pista e gj\u00ebr\u00eb, sikur pistat e mod\u00ebs, p\u00ebr t\u00eb performuar aktor\u00ebt n\u00eb sken\u00eb. Shfaqja kish filluar para se […]<\/p>","protected":false},"author":6,"featured_media":2122,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[881,880,855],"ppma_author":[815],"class_list":["post-2121","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kritike","tag-balkan-tradition","tag-gender","tag-theatre"],"authors":[{"term_id":815,"user_id":6,"is_guest":0,"slug":"latif","display_name":"Latif Mustafa","avatar_url":"https:\/\/secure.gravatar.com\/avatar\/75bf9886ebbad0184227938353c5200b6bed39b901d675b93e7d8952233a1bc5?s=96&d=mm&r=g","user_url":"","last_name":"Mustafa","first_name":"Latif","description":""}],"_links":{"self":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/2121","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\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/comments?post=2121"}],"version-history":[{"count":1,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/2121\/revisions"}],"predecessor-version":[{"id":2123,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/2121\/revisions\/2123"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media\/2122"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media?parent=2121"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/categories?post=2121"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/tags?post=2121"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/ppma_author?post=2121"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}