{"id":2133,"date":"2022-10-19T13:21:22","date_gmt":"2022-10-19T12:21:22","guid":{"rendered":"https:\/\/sbunker.org\/?p=2133"},"modified":"2023-12-12T13:24:00","modified_gmt":"2023-12-12T12:24:00","slug":"artisti-ne-kerkim-te-guximit","status":"publish","type":"post","link":"https:\/\/sbunker.org\/sr\/kritike\/artisti-ne-kerkim-te-guximit\/","title":{"rendered":"Artisti n\u00eb k\u00ebrkim t\u00eb guximit"},"content":{"rendered":"

Gjersa aktor\u00ebt po futeshin n\u00eb sken\u00eb, n\u00ebn ndri\u00e7imin e dritave t\u00eb m\u00ebdha, m\u2019u b\u00eb e qart\u00eb sesa v\u00ebrtet\u00eb t\u00eb rinj ishin. Q\u00eb aty, duke i pic\u00ebrruar syt\u00eb, fillova ta vras mendjen p\u00ebr diktatur\u00ebn n\u00eb Shqip\u00ebri. Cili \u00ebsht\u00eb raporti yn\u00eb me diktatur\u00ebn? A reflektojm\u00eb dhe a p\u00ebrceptohemi, n\u00eb t\u00eb v\u00ebrtet\u00eb, si shoq\u00ebri post-diktatoriale? N\u00eb Shqip\u00ebri, vite me radh\u00eb, \u00ebsht\u00eb kultivuar nj\u00eb narrativ n\u00eb debatin publik, p\u00ebr nj\u00eb t\u00eb kaluar t\u00eb eg\u00ebr dikatoriale. Ky narrativ \u00ebsht\u00eb shnd\u00ebrruar nj\u00eb modus operandi<\/em>\u00a0me nyansa autodisfatizmi, vet\u00ebviktimizimi dhe vet\u00ebshfajsimi, shpeshher\u00eb, p\u00ebr t\u00eb arsyetuar \u00e7do ngecje t\u00eb zhvillimit shoq\u00ebror, politik dhe kulturor. Realiteti i hidhur post-diktatorial \u00ebsht\u00eb kaq p\u00ebrpir\u00ebs dhe frustrues saq\u00eb, m\u00eb duket mua, e ka l\u00ebn\u00eb n\u00ebn hije historin\u00eb e diktatur\u00ebs s\u00eb eg\u00ebr. P\u00ebrpjekjet p\u00ebr t\u2019u ballafaquar me t\u00eb kaluar\u00ebn shpesh p\u00ebrfundojn\u00eb n\u00eb nj\u00eb\u00a0simulacrum,<\/em>\u00a0ku p\u00ebrmes nj\u00eb konglomerati dhe simbioze t\u00eb imazheve t\u00eb s\u00eb tashmes, narrativ\u00ebve t\u00eb huaja p\u00ebr sistemet totalitare dhe imazheve filmike p\u00ebrpiqemi q\u00eb, pasuksessh\u00ebm, t\u00eb krijojm\u00eb nj\u00eb lidhje me t\u00eb kaluar\u00ebn. Me nj\u00eb fjal\u00eb, raporti me diktatur\u00ebn n\u00eb Shqip\u00ebri \u00ebsht\u00eb nj\u00eb imazh transcendent, nj\u00eb ndjesi e importuar nga jasht\u00eb dhe jo di\u00e7ka q\u00eb buron mir\u00ebfilli nga brenda.<\/p>\n

Premiera e shfaqjes \u201cElektroshok\u201d, me autor Tobias Xhaxhiun dhe me regji t\u00eb Sara Smaj\u00ebs, u dha jav\u00ebn e kaluar n\u00eb Teatrin Komb\u00ebtar Eksperimental \u201cKujtim Spahivogli\u201d n\u00eb Tiran\u00eb. V\u00ebnia e k\u00ebsaj shfaqje n\u00eb jet\u00eb \u00ebsht\u00eb pjes\u00eb e Fondit t\u00eb Teatrit p\u00ebr t\u00eb Rinj q\u00eb ka nd\u00ebrrmar\u00eb Ministria e Kultur\u00ebs dhe Teatrit Eksperimental \u201cKujtim Spahivogli\u201d p\u00ebr t\u00eb mb\u00ebshtetur regjisor\u00ebt dhe aktor\u00ebt e rinj n\u00ebn 35 vje\u00e7. N\u00eb k\u00ebt\u00eb shfaqje luajn\u00eb: Aleksand\u00ebr Mitrollari, Urim Aliaj, Ermir Hoxhaj dhe Theodhora Dhimo. Ngjarja zhvillohet n\u00eb pallatin e Federat\u00ebs. Federata \u00ebsht\u00eb nj\u00eb shtet diktatorial, kurse udh\u00ebheq\u00ebs i saj \u00ebsht\u00eb Lideri Suprem. Roberti, nj\u00eb dramaturg, ftohet nga Lideri Suprem q\u00eb t\u00eb shkruaj\u00eb dhe ta p\u00ebrgatis\u00eb publikun p\u00ebr Vendimin e Madh, gjegj\u00ebsisht, p\u00ebr hedhjen e bombave b\u00ebrthamore. Pas rezistenc\u00ebs s\u00eb Robertit ai k\u00ebrc\u00ebnohet nga lideri suprem me t\u00eb dashur\u00ebn e tij e cila mbahet peng n\u00eb pallat. N\u00eb fund ata e p\u00ebrmbysin liderin dhe e shp\u00ebtojn\u00eb bot\u00ebn.<\/p>\n

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Shfaqja ka nj\u00eb skenografi modeste, por efektive, p\u00ebr t\u00eb zhvendosur v\u00ebmendjen direkt n\u00eb performanc\u00ebn e aktor\u00ebve. Ikonografia lexohet leht\u00eb: \u00ebsht\u00eb nj\u00eb kombinim midis semantik\u00ebs t\u00eb nazizmit dhe sovjetizmit. Kostumografia \u00ebsht\u00eb pak konfuze n\u00eb raport me sken\u00ebn dhe p\u00ebrmbatjen e shfaqjes. Ajo i ngjan m\u00eb shum\u00eb borgjezis\u00eb s\u00eb epok\u00ebs viktoriane. N\u00eb shtetet dikatoriale moda \u00ebsht\u00eb uniforme dhe nuk i duron nyancat. Shfaqja e gjall\u00ebron nj\u00eb model universal dhe gjith\u00ebp\u00ebrfshir\u00ebs t\u00eb sistemeve politike diktatoriale. Sh\u00ebnjimet si \u201clideri suprem\u201d, \u201cfederata\u201d \u201cbombat atomike\u201d dhe t\u00eb ngjashme megjithat\u00eb jan\u00eb shtresa semantike q\u00eb t\u00eb asocojn\u00eb sot me Iranin, Rusin\u00eb dhe Koren\u00eb e Veriut.<\/p>\n

Vdekja si estetik\u00eb e apokalipsit<\/strong><\/p>\n

N\u00eb fillim t\u00eb shfaqjes, n\u00eb dhom\u00ebn e tij t\u00eb pun\u00ebs, paraqitet Roberti (Urim Ulaj). Nj\u00eb dramaturg fatkeq. Censurimi, shtypja dhe privimi nga e drejta p\u00ebr t\u2019u shprehur e kan\u00eb sjell\u00eb n\u00eb nj\u00eb depresion t\u00eb thell\u00eb. Jeta e tij \u00ebsht\u00eb b\u00ebr\u00eb e padurueshme nga p\u00ebrcjellja, korigjimi dhe torturimi i sh\u00ebrbimit sekret. Atij i kish mbetur ve\u00e7 drama e fundit: vet\u00ebvrasja. Nj\u00eb vet\u00ebvrasje q\u00eb proteston. Dramaturgu thyen edhe mitin e barr\u00ebs s\u00eb individit i cili \u00ebsht\u00eb p\u00ebrgjegj\u00ebs p\u00ebr fatin e tij. N\u00eb fakt, n\u00eb sistemet totalitare, t\u2019i ngarkosh individit p\u00ebrgjegj\u00ebsin\u00eb e fatit \u00ebsht\u00eb blasfemi intelektuale dhe kundrim sip\u00ebrfaq\u00ebsor i liris\u00eb. Madje, n\u00eb sistemet toalitare edhe vet\u00ebvrasja \u00ebsht\u00eb e nd\u00ebrsyer tin\u00ebzisht. Vet\u00ebvrasja, megjithat\u00eb, \u00ebsht\u00eb nj\u00eb mund\u00ebsi lirie p\u00ebr ta v\u00ebn\u00eb n\u00eb sken\u00eb shfaqjen e v\u00ebrtet\u00eb nga subjekti veprues. Aty vdiset, nj\u00ebmend, duke e d\u00ebnuar edhe veten edhe diktatur\u00ebn. Vet\u00ebvrasja \u00ebsht\u00eb akt lirie. Sistemi totalitar nuk e njeh individin. Fati i individit i p\u00ebrket kolektivit, gjegj\u00ebsisht, projektimit t\u00eb k\u00ebtij kolektivi nga klasa sunduese. Format e pushtetit dhe kontrollit jan\u00eb kaq t\u00eb fuqishme saq\u00eb njeriu jeton ose vdes jo m\u00eb p\u00ebr veten, por p\u00ebr tjetrin. \u00cbsht\u00eb tjetri q\u00eb e mban n\u00eb jet\u00eb. K\u00ebshtu, n\u00eb prag t\u00eb aktit t\u00eb vet\u00ebvrasjes Roberti merr nj\u00eb let\u00ebr, nj\u00eb ftes\u00eb nga Lideri Suprem (Aleksand\u00ebr Mitrollari) p\u00ebr ta vizituar n\u00eb pallat. Ai pranon sepse k\u00ebrc\u00ebnohet me jet\u00ebn e n\u00ebn\u00ebs s\u00eb vej\u00eb t\u00eb tij. Fati i dramaturgut \u00ebsht\u00eb i nd\u00ebrlidhur me p\u00ebsimin e tjetrit. Me t\u00eb shkuar n\u00eb pallat, atij do t\u2019i k\u00ebrkohet nj\u00eb pun\u00eb shum\u00eb e r\u00ebnd\u00eb, nj\u00eb arsyetim dhe legjitimim estetik i nj\u00eb vrasjeje masive q\u00eb ka planifikuar lideri. Artisti ka moral t\u00eb lart\u00eb dhe nuk pranon gj\u00ebra t\u00eb tilla. As Roberti nuk pranoi gjersa u k\u00ebrc\u00ebnua me nj\u00eb tjet\u00ebr, me t\u00eb dashur\u00ebn e tij, q\u00eb ishte shpallur si e humbur. Ajo ndodhej n\u00eb pallat dhe dashuria p\u00ebr tjetrin t\u00eb b\u00ebn t\u00eb heq\u00ebsh dor\u00eb nga vetja.<\/p>\n

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Pushteti dhe kontrolli<\/strong><\/p>\n

Lufta p\u00ebr pushtet brenda kast\u00ebs udh\u00ebheq\u00ebse, spiunimi si form\u00eb virtyti dhe konformizmi si mund\u00ebsi intrige jan\u00eb tema poaq t\u00eb r\u00ebnd\u00ebsishme t\u00eb shfaqjes. Tregimet e sistemeve dikatoriale dhe autoritariste n\u00eb kuptimin narrativ jan\u00eb shekspiriane dhe prapa nj\u00eb diktatori q\u00ebndron nj\u00eb f\u00ebmij\u00eb, nj\u00eb gjeneral, nj\u00eb grua e cila d\u00ebshiron t\u2019ia marr\u00eb dhe kontrolloj\u00eb pushtetin e pakufish\u00ebm t\u00eb diktatorit, gj\u00eb q\u00eb n\u00eb shum\u00eb raste rehabiliton ose e shfaj\u00ebson liderin prej krimeve t\u00eb tij, ose t\u00eb pakt\u00ebn merr dhe shp\u00ebrndan\u00eb p\u00ebrgjegj\u00ebsin\u00eb e udh\u00ebheqjes, nd\u00ebshkimit dhe krimeve q\u00eb mund t\u00eb ket\u00eb kryer. N\u00eb pallat Robertin e pret njeriu i dyt\u00eb i Federat\u00ebs, Doktor Hipnosi (Ermir Hoxhaj) i cili p\u00ebrdor elektroshokun si form\u00eb kurimi ndaj \u201cpacient\u00ebve\u201d. Roli i doktor Hipnosit \u00ebsht\u00eb menaxhimi i \u00e7rregullimit t\u00eb personalitetit t\u00eb shum\u00ebfisht\u00eb (Dissociative Identity Disorder) t\u00eb liderit suprem. Ky \u00e7rregullim, her\u00eb-pas-here tek lideri shp\u00ebrfaq identitetin e Kostanc\u00ebs, nj\u00eb ish-akrobate cirku, vejush\u00eb, personaliteti i s\u00eb cil\u00ebs shp\u00ebrfaqet n\u00eb trupin e Liderit Suprem. Doktor Hipnosi p\u00ebrkujdeset p\u00ebr Kostanc\u00ebn. Obligim tjet\u00ebr i tij \u00ebsht\u00eb thyerja shpirt\u00ebrore e t\u00eb gjith\u00eb disident\u00ebve dhe kritik\u00ebve t\u00eb federat\u00ebs p\u00ebrmes elektroshokut. Doktori konsideron se njeriu ka humbur shtysat e v\u00ebrteta p\u00ebr t\u00eb jetuar dhe si i till\u00eb mbytet nga m\u00ebrzia. M\u00ebnyra m\u00eb e mir\u00eb p\u00ebr t\u00eb shmangur m\u00ebrzin\u00eb \u00ebsht\u00eb harresa. Sipas tij, mallkimi i k\u00ebtij qytet\u00ebrimi \u00ebsht\u00eb m\u00ebrzia, dhe ai p\u00ebrpiqej t\u00eb krijonte njeriun e qytet\u00ebrimit t\u00eb ri, nj\u00eb njeri q\u00eb harron, harres\u00eb q\u00eb t\u00eb shnd\u00ebrron n\u00eb hi\u00e7. Harresa arrihet p\u00ebrmes dhun\u00ebs s\u00eb elektroshokut.\u00a0Doktori kontrollon gjithk\u00ebnd. Lideri suprem mbetet n\u00ebn hijen e doktorit prej t\u00eb cilit burojn\u00eb t\u00eb gjitha djall\u00ebzit\u00eb dhe lideri suprem \u00ebsht\u00eb ve\u00e7 nj\u00eb ekzekutues.<\/p>\n

Arti si kthjellim<\/strong><\/p>\n

Duke qen\u00eb mjesht\u00ebr fjal\u00ebsh, Roberti urdh\u00ebrohet q\u00eb ta p\u00ebrgatis\u00eb dhe thurr tregimin p\u00ebr publikun n\u00eb lidhje me \u201cVendimin e Madh\u201d. Kjo qe arsyeja e ardhjes n\u00eb pallat. Lideri Suprem konspiron se armiqt\u00eb tej oqeanit, nj\u00eb koncept tjet\u00ebr oruellian, kan\u00eb pregatitur grushtet ndaj tij. Vendimi i Madh \u00ebsht\u00eb lansimi i arm\u00ebve b\u00ebrthamore p\u00ebr t\u00eb asgj\u00ebsuar t\u00eb \u201cpadenj\u00ebt\u201d, armiqt\u00eb e Federat\u00ebs, t\u00eb shkat\u00ebrroj\u00eb m\u00eb shum\u00eb se gjysm\u00ebn e bot\u00ebs. Ai k\u00ebrc\u00ebnohet me t\u00eb dashur\u00ebn e tij, Anjez\u00ebn (Theodhora Dhimo). P\u00ebrmes elektroshokut, asaj i kan\u00eb krijuar nj\u00eb bot\u00eb t\u00eb re, pa kujtes\u00eb; nj\u00eb moral t\u00eb ri, virtyti i t\u00eb cilit \u00ebsht\u00eb n\u00ebnshtrimi. P\u00ebr ta n\u00ebnshtruar, Doktori Hipnosi i mban rregullisht seanca ligj\u00ebrimore.<\/p>\n

\u201c<\/em>Nj\u00ebher\u00ebsh, ai (doktori) m\u00eb tha di\u00e7ka q\u00eb \u00ebsht\u00eb e pamundur t\u00eb harrohet “Muzika \u00ebsht\u00eb m\u00ebkat. Arti ku morali i ul\u00ebt dhe lig\u00ebsia p\u00ebrcillen n\u00eb nota dhe fjal\u00eb.” Mbase ai ka t\u00eb drejt\u00eb. Un\u00eb e meritoj gjith\u00e7ka q\u00eb m\u00eb ndodhi sepse rash\u00eb pre e k\u00ebsaj mbrapshtie. Por duhet ta pranoj: tundimi \u00ebsht\u00eb m\u00eb i fort\u00eb se morali. Un\u00eb do t\u00eb k\u00ebndoj! Po, po, do t\u00eb k\u00ebndoj! Le t\u00eb shohim n\u00ebse fjal\u00ebt e gjejn\u00eb rrug\u00ebn e tyre n\u00eb kujtes\u00eb.\u201d<\/em><\/p>\n

Tundimi i Anjez\u00ebs prevalon mbi moralin e stisur dhe harres\u00ebn e sajuar si p\u00ebrgjumje historike dhe shypje totalitare. Ngjash\u00ebm si n\u00eb romanin\u00a01984<\/em>\u00a0t\u00eb George Orwell-it, ku Uinstoni shikon n\u00eb raftet e nj\u00eb anitkuarie n\u00eb nj\u00eb qoshe t\u00eb fshehur t\u00eb qytetit, p\u00ebrmes nj\u00eb gravure n\u00eb mur atij i kujtohet nj\u00eb poezi q\u00eb nxjerr nga shpirti i harres\u00ebs, pamjen e vjet\u00ebr t\u00eb qytetit dhe kishat n\u00eb t\u00eb. B\u00ebhej fjal\u00eb p\u00ebr gravur\u00ebn ku ishte kisha e Sh\u00ebn Klementit dhe ajo i ngjall\u00eb vargun e nj\u00eb vjershe t\u00eb f\u00ebmij\u00ebris\u00eb \u201cPortokalle dhe limona, th\u00ebrrasin kambanat e Sh\u00ebn Klementit; M\u00eb keni borxh tre grosh\u00eb, th\u00ebrrasin k\u00ebmbanat e sh\u00ebn Martinit…<\/em>\u201d, m\u00eb n\u00eb fund zhveloset e gjith\u00eb poezia e cila i kujton, ose m\u00eb sakt\u00eb i ngjall imagjinat\u00ebn e qytetit t\u00eb vjet\u00ebr e cila nuk lidhej me arkitektur\u00ebn e regjimit t\u00eb sot\u00ebm. Anjeza fillon dhe k\u00ebndon… p\u00ebrmes vargjeve t\u00eb Petrit \u00c7arkaxhiut t\u00eb k\u00ebng\u00ebs N\u00ebntori i Ftoht\u00eb:\u00a0\u201cA ka nj\u00eb kujtim t\u00eb m\u00eb ngroh\u00eb n\u00eb k\u00ebt\u00eb dit\u00eb p\u00ebr mua? A ka ndonj\u00eb udh\u00eb e si burr\u00eb ta kthej\u00eb kok\u00ebn t’shikoj\u00eb? A ka nj\u00eb kujtim, t\u00eb na jep nj\u00eb kuptim, a s’m\u00eb thua? A m\u00eb tregoni, ku ta gjej forc\u00ebn sot t\u00eb k\u00ebndoj\u00eb?…\u201d<\/em><\/p>\n

Vargjet jan\u00eb thirrje, kthjellim dhe k\u00ebndellje p\u00ebr Anjez\u00ebn. K\u00ebtu \u00ebsht\u00eb thelbi i shfaqjes dhe thirrja p\u00ebr relfektim p\u00ebr rolin e artistit n\u00eb shoq\u00ebri. Pushteti mund t\u00eb ket\u00eb mekanizmin e elktroshokut p\u00ebr t\u00eb nxitur konformizmin e but\u00eb dhe t\u00eb mbaj\u00eb t\u00eb stisur mekanizmin e harres\u00ebs ndaj masave por \u00ebsht\u00eb arti, krijimtaria, q\u00eb nxit iden\u00eb e liris\u00eb p\u00ebrmes p\u00ebrvoj\u00ebs metafizike si shk\u00ebputje ndaj \u00e7do kauzaliteti tok\u00ebsor.<\/p>\n

Misioni i artit<\/strong><\/p>\n

Mesazhi i p\u00ebrgjithsh\u00ebm i shfaqjes, mbase m\u00ebton p\u00ebr nj\u00eb k\u00ebrkim t\u00eb nj\u00eb butoni t\u00eb lumturis\u00eb, ku p\u00ebrmes nj\u00eb shembjeje totale synohet q\u00eb e kaluara t\u00eb shembet p\u00ebr dh\u00e9, dhe t\u00eb fillohet nj\u00eb fillim i ri. Por t\u00eb kujtuarit \u00ebsht\u00eb d\u00ebnimi m\u00eb i madh q\u00eb mund t\u00eb p\u00ebsoj\u00eb njeriu. Kujtimi ngjall m\u00ebrzin\u00eb dhe breng\u00ebn si gjendje e skajshme e qenies. Ndjesia e m\u00ebrzis\u00eb \u00ebsht\u00eb shp\u00ebrfaqje e nj\u00eb boshll\u00ebku njer\u00ebzor kur qenie e njeriut mbahet pezull. Njashtu si\u00e7 thot\u00eb Heidegeri, k\u00ebtu \u00ebsht\u00eb zanafilla ku gjallesa, n\u00eb k\u00ebt\u00eb rast, njeriu i kthehet qenies dhe zgjohet nga marr\u00ebmendja apo trullosja kafsh\u00ebrore. Aty \u00ebsht\u00eb skajshm\u00ebria ku njeriu v\u00eb n\u00eb pyetje ekzistenc\u00ebn e tij dhe p\u00ebr nj\u00eb moment fshin vij\u00ebn midis ekzistenc\u00ebs dhe jo-ekzistenc\u00ebs. Tentimi Robertit p\u00ebr vet\u00ebvrasje \u00ebsht\u00eb ftes\u00eb p\u00ebr artistin p\u00ebr t\u00eb q\u00ebmtuar thell\u00eb merzin\u00eb e tij q\u00eb ndjellet n\u00eb raport me politik\u00ebn dhe pushtetin; \u00a0nj\u00eb simbolik\u00eb q\u00eb zhvelos bot\u00ebkuptime p\u00ebr autocenzur\u00ebn e artistit – edhe sot kur pretendohet se po jetohet n\u00eb sisteme demokratike. Ky lloj konformizmi ka gjetur shtrat n\u00eb paq\u00ebtimin e moralit t\u00eb brisht\u00eb t\u00eb \u2018ketmanit<\/em>\u00a0estetik\u2019 p\u00ebr t\u00eb cilin flet \u00c7eslav Milloshi [Czeslaw Milosz] flet thot\u00eb se\u00a0ketmani<\/em>\u00a0\u00ebsht\u00eb shtir\u00ebsi, gjegj\u00ebsisht, personi q\u00eb kurr\u00eb nuk i shpreh bindjet e veta t\u00eb v\u00ebrteta. Ketmani estetik, jasht\u00eb sht\u00ebpis\u00eb duartroket dhe thurr\u00eb elozhe p\u00ebr gjith\u00e7ka q\u00eb ka krijuar sistemi, shkaku i trysnis\u00eb, kurse n\u00eb sht\u00ebpi \u00ebsht\u00eb krejt dikush tjet\u00ebr. Ata i duartrokasin planifikimit t\u00eb shijes ashtu si\u00e7 gjith\u00e7hka \u00ebsht\u00eb e planifikuar. Sipas Milloshit, kur ata jan\u00eb fikalli vet\u00ebm, \u201csht\u00ebpia e tyre \u00ebsht\u00eb k\u00ebshtjella e tyre<\/em>\u201d. P\u00ebr Robertin artist esenca dhe aksidenca jan\u00eb pjes\u00eb e t\u00eb p\u00ebrbashk\u00ebt\u00ebs. Thelbi dhe forma jan\u00eb ngjasime dhe projektime t\u00eb nj\u00ebra tjetr\u00ebs. Ose je si\u00e7 dukesh, ose do b\u00ebhesh ashtu si\u00e7 je. Arti nuk e njeh moralin, por e njeh mir\u00eb sinqeritetin. Artistit, saher\u00eb q\u00eb ka problem me t\u00eb v\u00ebrtet\u00ebn, n\u00eb ndihm\u00eb i vjen arti.<\/p>\n

N\u00eb k\u00ebt\u00eb rrjedh\u00eb intepretimi shfaqja \u201cElektroshoku<\/em>\u201d mbart edhe nj\u00eb mesazh vet\u00ebreferencial, p\u00ebr rolin e vetmohuar, t\u00eb penguar dhe mohimin e artistit dhe artit t\u00eb tij, t\u00eb mbytur n\u00eb kakofonin\u00eb provinciale politike. Autori dhe regjisroja e shfaqjes para se t\u00eb ftoj\u00eb t\u00eb tjer\u00ebt, ata fillimisht ftojn\u00eb veten p\u00ebr t\u00eb qen\u00eb m\u00eb t\u00eb guximsh\u00ebm q\u00eb t\u00eb korrin fitore t\u00eb reja. T\u00eb rr\u00ebzohen lider\u00eb suprem\u00eb sa m\u00eb shum\u00eb se vet\u00ebm k\u00ebshtu njer\u00ebzimi mund t\u00eb fitoj\u00eb duke i rr\u00ebzuar idhujt e krijuar vet\u00eb me dor\u00ebn e tyre, ashtu si\u00e7 ka shkruar Ni\u00e7e te Agu i M\u00ebngjesit, \u201cfitorja m\u00eb e madhe q\u00eb njer\u00ebzimi ka arritur deri m\u00eb sot \u00ebsht\u00eb q\u00eb nuk duhet t\u00eb trembemi vazhdimisht nga bishat e egra, barbar\u00ebt, zotat dhe \u00ebndrrat tona<\/em>\u201d.<\/p>","protected":false},"excerpt":{"rendered":"

Gjersa aktor\u00ebt po futeshin n\u00eb sken\u00eb, n\u00ebn ndri\u00e7imin e dritave t\u00eb m\u00ebdha, m\u2019u b\u00eb e qart\u00eb sesa v\u00ebrtet\u00eb t\u00eb rinj ishin. Q\u00eb aty, duke i pic\u00ebrruar syt\u00eb, fillova ta vras mendjen p\u00ebr diktatur\u00ebn n\u00eb Shqip\u00ebri. Cili \u00ebsht\u00eb raporti yn\u00eb me diktatur\u00ebn? A reflektojm\u00eb dhe a p\u00ebrceptohemi, n\u00eb t\u00eb v\u00ebrtet\u00eb, si shoq\u00ebri post-diktatoriale? N\u00eb Shqip\u00ebri, vite […]<\/p>","protected":false},"author":6,"featured_media":2134,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[639,736,855],"ppma_author":[815],"class_list":["post-2133","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kritike","tag-albania","tag-art","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\/2133","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=2133"}],"version-history":[{"count":1,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/2133\/revisions"}],"predecessor-version":[{"id":2135,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/posts\/2133\/revisions\/2135"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media\/2134"}],"wp:attachment":[{"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/media?parent=2133"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/categories?post=2133"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/tags?post=2133"},{"taxonomy":"author","embeddable":true,"href":"https:\/\/sbunker.org\/sr\/wp-json\/wp\/v2\/ppma_author?post=2133"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}