Let’s take a moment to celebrate 25 years of the international theater festival “Skampa” in an album that recaps the main theater events over the years of one of the most famous and old festivals of the western Balkans “Skampa International Theatre Festival”

Skampa 25 Edition’s Catalogue

“Gates of Tomorrow” marks the 25th edition of the Skampa Festival, starting on October 14, 2023.

Gates of Tomorrow, Skampa 25′ Edition
You are welcomed to Skampa International Festival which takes a life every year in the beautiful city of Elbasan.Gates of Tomorrow. October 14 – 19, 2023: 25 Skampa International Theater Festival
Every second autumn – the Skampa Festival shows its generosity by wearing its artistic cloak on the stage environments and the attractive open spaces of the city with contemporary theater and a variety of parallel events such as workshops, presentations, exhibitions, concerts, and meetings. Over the years, the festival has welcomed hundreds of artists, prominent names of the Albanian and international scene, theaters, and theater companies from over 50 countries around the world. Born at the turn of the century, this festival essentially meant the presence of hope, of the need for a new dimension of our human existence.
Of course, today, after a quarter of a century, we ask the question: from here we are, where we will go? Such is the theater, which poses problems without giving definitions, but which with its language stimulates our ambitions inseparable from dreams for humanity, brings closer the love of beauty, the discovery of truth – unrepresented, to change human life. We live in a reality where we must be brave and creative. The theater has always known how to be in the challenge itself and change.

Mirë se vini në Festivalin Ndërkombëtar Skampa, një teatër i i mrekullueshëm që merr jetë çdo vit në qytetin tonë të bukur të Elbasanit! Portat e së Nesërmes. 14 – 19 tetor, 2023: Festivali 25 Teatror Ndërkombëtar Skampa Çdo vjeshtë të dytë – Festivali Skampa shfaq bujarinë e tij duke veshur me mantelin e vet artistik mjediset e skenës dhe hapësirat atraktive të hapura të qytetit me teatër bashkëkohor dhe larmi ngjarjesh paralele si: workshop-e (punëtori), prezantime, ekspozita e takime të ndryshme. Ndër vite festivali ka mirëpritur qindra artistë, emra të shquar të skenës shqiptare e botërore, teatro e kompani teatrore të ardhura nga mbi 50 vende të botës. I lindur në këmbim të shekujve, ky festival nënkuptonte në thelb edhe praninë e shpresës, të nevojës për një dimension të ri të ekzistencës sonë humane. Natyrshëm, sot, pas një çerek shekulli shtrojmë pyetjen: nga ketu ku jemi, ku do shkojme ? I tillë është teatri, i cili shtron probleme pa dhënë definicione, por që me gjuhën e tij nxit ambiciet tona të pandashme nga ëndrrat për njerëzimin, afron dashurinë për te bukuren, zbulimin e së vërtetës – të papërfaqësuar, për të ndryshuar jetën njerëzore. Jetojmë ne një realitet ku duhet të jemi të guximshëm dhe krijues. Teatri gjithmonë ka ditur të jetë në sfidë me veten dhe ndryshimin.

“Theater’s Song” is the motto of the 24th edition of the Skampa Festival, starting from October 11, 2022.

“Kënga e Teatrit” është motoja e edicionit të 24-të të Festivalit Skampa, duke nisur nga data 11 tetor 2022.

“Theater’s Song” is the motto 24th edition of Festival Skampa 2022. He comes on the stage of the festival ‘ Skampa, to say what we are, what we do, what we see and do not see, and to appreciate and love beauty. His emotions come as a voice of the theater’s endurance in this complex fragile world, filled with the insecurities of our human beings, as a refrain capable of challenging at all times.

“Kënga e Teatrit” quhet edicioni i 24-të i Festivalit Skampa 2022. Ai vjen në skenën e festivalit “Skampa”, për të thënë çfarë jemi, çfarë bëjmë, çfarë shohim dhe nuk shohim, për të vlerësuar dhe dashuruar të bukurën. Emocionet e tij vijnë si një zë i qëndresës së teatrit në këtë botë komplekse të brishtë, të mbushur me pasiguri të qenies sonë njerëzore, si një refren i aftë për të sfiduar në çdo kohë.

End of season, “Theater three” – the 23rd edition of the International Festival of Contemporary Theater “Skampa”

“Theater three” – the 23rd edition of the International Festival of Contemporary Theater “Skampa” closed successfully on the evening of October 6, with the play “Our Yunus” of the Ankara State Theater. Nine theatrical troupes from Albania, Kosovo, Italy, Lithuania, Serbia and Turkey, continued the uninterrupted tradition of quality performances of scenic art with a variety of new styles and forms in this festival. A number of personalities, prominent theater specialists from the country and the world, were also part of this edition, as every year. In addition to the performances that took place on the stage of the “Skampa” Theater, there were also performances in attractive open spaces of the city of Elbasan, with the aim of promoting intercultural dialogue between artists and art-loving spectators. Since the “Skampa” Festival does not only follow a cultural model, but also produces art and culture of other genres, there was no way to miss other cultural activities in this edition. Among them was the promotion of the book “A dream of passion” by Lee Strasberg, brought in Albanian by Adonis Filipi and Klejda Plangarica, as well as a special memorial meeting for artists who passed away prematurely leaving traces in the history of theater. , Bekim Lumi, Luran Ahmeti and Shpëtim Shmili. Organized by the European Association of Albanian Contemporary Theater TAK, this event was made possible thanks to the support of the Municipality of Elbasan, the Ministry of Culture, the Regional Council and various sponsors, as well as the continuous encouragement of city art lovers and theatrical community within and abroad. Through the “Theater Three” concept, the 23rd edition came as a challenging act in the face of the difficult pandemic situation – through Faith, Love and Hope, as well as a model to keep up with the times, to tune in. further changed. “A voice of hope and inspiration opportunity that opened the gates to the public conveying fun and positive energy.”

"Our Yunus"  Ankara State Theater.

“Our Yunus” Ankara State Theater.

Klejda Plangarica
Coordinator for Media and Public Relations

23rd Edition Theatrical Plays

Three sisters
production / FIAT - Grad Teatar Budva, MonteNegro
Alternative Theatre & Municipality theater Budva
Author / A. P. Čehov
Directed by Ana Vukotić, Slobodan Milatović
Totem and Taboo
Artpolis – Art and Community Center, Kosovo
Choreography and directed by Robert Nuha
 Teatri skampa elbasan, Albania
Author  Tomas Brand
Directed by Adonis Filipi
Crying again, this time from happiness
Knjaževsko-srpski teatar, Serbia
Author / Novica Savić
Directed by Dragan Jakovljević
Our Yunus
Turkish State Theaters /Ankara State Theatre
Author  Sönmez Atasoy
Directed by Mustafa Kurt
Author / S. BECKETT
Blues for alto sax
LAB theater A.T.K, Tirane, Albania
 Author, Doru Motoc
Directed by Adonis Filipi
Nocturne about our history
Production / 3AT Dance Company, Albania
Idea, concept and choreography by Artan Ibërshimi
I woke up with no voice
production / Bu Yapım, Istanbul, Turkey
Author / Amy Nostbakken & Norah Sadava
Directed by Tamer Levent
Enigmatic variations
 Mediascena, Italy
Author, Éric-Emmanuel Schmitt
Directed by Emiljano Palali
Teatri “Aleksander Moisiu” Durres, Albania
Author,  A. P. Čehov
Directed & Adaptation by Driada Dervishi

Opening of the 23rd International Festival of Contemporary Theater “SKAMPA” – Theater Three
30 September – 6 October 2021

Opening speech, “Traces” the 22nd edition of the International Festival of Contemporary Theater “Skampa”

When a year ago we were working on the current edition of “Trace”, I did not think at any point that 2020 would be the one that would test our ability to understand the strange reality around us. Crises lead to rediscovering ourselves. As Albert Camus wrote, the plague is about starting over. Real-world developments completely influenced our initial plans. The festival was to be moved from its scheduled program to the end of October – the last days of September. The “Trace” motif substrates also changed, forcing us to make adjustments to the program that come from our current perception of ourselves, of the meaning of art in our lives, and of its display in public space. Aware of the anxiety that accompanies our union and the stony silence of empty squares and streets, which are still fresh in our minds, we are trying to redefine the meaning of theater in the open urban environment. Despite the limitations, we are trying to build a safe stage to testify our aspiration for continuity and challenge, so that the 22nd edition of the Skampa Festival serves as an act of inspiration for people. Enjoyment and dreaming are an existential condition of our lives. The entire 22nd edition of the Skampa Festival will be held in attractive open spaces of the city of Elbasan – from those of cultural heritage to squares – obviously with the aim of promoting interactive dialogue between artists, viewers and art promoters.


“Traces” 29 September – 04 October 2020 Program

22nd Edition Theatrical Plays

The closure of love.
Directed by ERIC VIGNER
Luiza Xhuvani
Vasjan Lami
Backyard GAMES
Theatrical Company MAM
Directed by EMA ANDREA
Eternity Bookstore
Author Sabahattin Kudret Aksal
Directed by Mustafa Kurt
Set Design  Hakan Dündar
Costumes  Funda Karasaç
Light Design Şükrü Kırımoğlu
Music  Can Atilla
Choreography  Volkan Ersoy
Julius Caesar
Author  William Shakespeare
Translator  FAN S. NOLI
Directed by IVICA BULJAN
Set designer  BEQO NANAJ
 Written & Directed by NASER SHATROLLI
Skenograf / Set designer / ARTAN HASANI


BY JULIA VRAPIFor The international contemporary theater festival “Skampa” is one of the theater events in Albania. The 23rd edition starts this year on September 30 at the “Skampa” theater in Elbasan, to continue until October 6. Nine theater troupes from Albania, Kosovo, Italy, Lithuania, Serbia and Turkey are expected to participate in this edition, as well as a number of personalities, theatrical performing arts specialists from the country and the world. Well-known artistic director Adonis Filipi says that his 23rd edition is entitled “Theater III / Theater three”. According to Director Filipi, it comes as a challenging act in the face of the difficult situation of the pandemic that is still present between us through faith, love and hope, but also comes as a model to be updated over time, to be tuned and changed. tej. The director Adonis Filipi, the artistic director of the international festival “Skampa” says among other things that the festival in the 23rd edition is seen as a voice of hope. “The theater has survived many plagues and epidemics before us and will survive many epidemics after us. The important thing is for everyone to try and think about what needs to be done in these difficult and strange times, to see what is wrong with our world, to move forward and to convince people to behave differently. In this context, the festival comes as a voice of hope, opening its gate to the public, as an opportunity to inspire people to convey joy and fun “, says among others the artistic director.The festival not only on the theater stage. Artistic director Adonis Filipi says that the festival, being of contemporary forms, styles and alternatives, in addition to the theater stage “Skampa” takes place in open attractive spaces of the city of Elbasan, with various activities of character educational and evocative. Created as an international theatrical project of “New Forms” the festival retains its originality over the years being the same and different in each edition, avoiding traditional approaches and promoting trends towards any innovative form of artistic expression, open to aesthetic research and theatrical collaboration with other arts, to find languages ​​in multilingualism “, says Filipi. According to him, the festival represents an adventure journey towards new artistic concepts and new theatrical perspectives, through the exchange of contemporary theatrical experiences and practices, both in the Albanian and international scenes. “It is this intercultural design that makes the Skampa festival an gravity of fun, discovery, creation and a real challenge for artists and spectators, turning the festival into an expected theatrical event beyond local, national and wider borders.” follows the artistic director Filipi. The festival opens on September 30 by Art Polis, Prishtina, with “Totem and Taboo” by Zana Hoxha, choreographed and directed by Robert Nuha. In the following nights there will be other theatrical performances, but also promotions of publications. [...] Read more...
Mr.Adonis Filipi speech on the opening ceremony. Like every year that comes with a new slogan, this time the 23rd edition of the “Skampa” Festival is entitled “Theater III / Theater three”. A challenging act in the face of the difficult pandemic situation that is still present among us, through Faith, Love and Hope. “The theater has survived many plagues and epidemics before us and will survive many epidemics after us. The important thing is that everyone tries and thinks about what needs to be done in these difficult times, to move forward and convince people to behave differently. In this context, the festival comes as a voice of hope, opening its gate to the public, as an opportunity of inspiration for people to convey joy and fun. – Adonis Filipi, Artistic Director of the “Skampa” Festival. [...] Read more...
By Miho Gjini When the beginning of a theatrical event closes, the soul is liberated! Not only do we love theater, as the most beautiful genre, which encompasses life within two emotional hours, but it communicates vividly closer to the man, who becomes part of the spectacle. Especially now, when very little money is offered to do it, when the crisis of its existence has struck and the tragedy of nature has been surprisingly added: the earthquake and the cholera flame, Covidi-19. Therefore, we say, after attending all the events of the Annual Theater Festival of Elbasan, from September 30 to October 6, that it is heroic to do theater, but also to institutionalize it. Then give it to the public. The Artistic Director, Adonis Filipi, who conceived and organized it, has always been in the fever of creation and personal existence, in the face of art experiments, successes and losses. There have also been masterpieces of art in these editions, as he was honored last year with the performance of Luiza Xhuvani by a French director, or with the famous spectacle of Mustafa Kurti from Ankara, Turkey, who unified and harmonized the stage action at the gate of historic castle, as if in harmony with it. Or, like this year with the show “Totem and Taboo” of Prishtina and especially with the mastery of “Marriage” of Chekhov’s comedy from the theater of Durrës…Yes, are the other shows worthy of such an experimental, world-wide festival? Of course, not all! Even mediocre works of art have occurred among them. Filipi himself writes that he strives to “face the challenges that time offers, to show that theater can and should live in the most unusual times, proving love, strength and inspiration for people”. In this view, when not only many theatrical troupes are in crisis, when many directors and actors “swallow, with their hands tied” (!), When the Ministry of Culture does not know at all what to do with this “festival” and with it others like this, when even businessmen have in mind, among other things, “paths of enrichment”, in the same difficult conditions and circumstances, the making of the theater survived, which is and remains as a “heavenly hope”. Otherwise, the spectator of Elbasan would not fill all the stairs and walls of the castle, when the National Theater of Tirana, Ankara and Durrës i gave their spectacles… “During these difficult and strange times,” adds Adonis Philip, – such events become symbols of light and fire, which serve enough to enlighten and warm the human soul.The first show of this year, “Totem and Taboo”, was brought by Kosovo, worthy of the opening of the hopeful festival. Because, not only artistically revealed the range of life, starting from the taboo mentality of sexual relations in today’s society, but there were expressed messages, in a unique harmony, with other genres of art, through choreography, music, song and fine arts . Vigorously, with a dynamic inspiration and pulse, which “stuck” the audience from the enthusiasm of a collective and suggestive creation.The second play: “Nocturne on our stories”, realized with ideas, concepts and choreography by A. Ibërshimi, brought a panorama of youth, love and hope, as if it were in the harmonious continuity of messages brought by the spectacle of Prishtina, with creative work of choreographer Robert Nuha and director Zana Hoxha.The third play, coming from Belgrade “Crying again, this time from happiness”, written by Novica Savic, directed by Dragan Jakovljevic, with a correct interpretation of Serbian actors, in an old train station, from those of the early our century, not all was understood, as it was given, without being discretized on the monitor! The same “fate” would have three other spectacles of monodramas and diadrams, realistically, with serious interpretations of the respective actors, who interpreted, without “radiating” the component of the word. As presented, in turn: the play of the Mediascena Theater Turin, Italy, with the work “Enigmatic Changes”, by Eric-Emmanuel Schmit and directed by Emiliano Pulali. With strong good actors, who spoke the melodic Italian language very nicely, conveying the written text, with a monitor on the side of the stage, only in English, without becoming known to most of the spectators in Albanian. Although, it was understandable why it was about: the isolation of a writer on the island, who has lost contact with relatives and girlfriend and where his spiritual problems are called, not reaching, to the people in the hall. The same “stage luck”, alas, would have the Lithuanian monodrama, with a work by Beckett (“Inside me is another fire”), interpreted the role of Krapp, -as an absurd character-, by Sakalas Uzhdavinys, with a good professional preparation, in his absurd endeavor, to give up the world and love, unable to accomplish this, away from people, reluctantly, returning to where he was… Meanwhile, the appearance of prepared and served with stew, was given in Lithuanian, after a brief preliminary explanation, by our Albanian escort. Without being able to fully communicate Beckett’s text and accompanying messages. Almost the same thing would happen to the two Turkish plays, which were very well interpreted. The first, with the title “I woke up without a voice”, by Amy Nostbakken and Norah Sadava, directed by Tamer Levent and performed by actors Burgu Gorek and Nur Dilara Gul, although with important messages, for women’s rights, that have secretly suffered oppression. Presented inside a bath tub, where they find it difficult to express themselves continuously… While the other Turkish actor Bizim Yunus, in a much more open field, with modern scenography and dignified direction by Mustafa Kurti, who brings on stage the thinker of the great Turkish poet Yunus Emre, with warm love notes and a very pure diction, by the great actor and brilliant singer Bizim. A show that also exhausts the distribution of the text, when the value of interpretive art suggests and beautifully expresses the essence of a valuable thought and message. However, the placement of the monitor in the depth of the stage, made the Albanian letters invisible, to bring us even more complete the great Turkish poet. And so we come to that technical problem, which jeopardized the artistic values ​​of these spectacles, when they become present and inherent, really unacceptable… Yes, all these performances are and remain of the genre of monodrama, as part of an actor, most of the time, individually worked by the actors themselves, which, in today’s periods, have become more frequent, to fill the gap that has been created for the theater in these periods of unexpected crises, but also from the lack of money, to bring in the highest quality conditions the theatrical part and the messages they have, to come and enjoy, even to the audience that is in the hall.The eighth full play, with the combinations of all the components, would be “A madam from Argentina” by comedian Thomas Brand, directed by Adonis Filip, scenography by Sokol Sejdini, choreography by Artan Ibërshini and costume design by Sofia Karas. Which “produced” debates, pros and cons, for the “crap” that exists with the repertoire of our scenes, especially in the genre of comedy, when anyone can “put his hands” and do as he pleases , the original text, from the late Kristo Floqi who adopted it with the title “Karl’s Aunt”, in the ’30s, even from the late Mihal Popi with his later company who played this comedy, as a farce, abbreviated significantly, after the film screenings, even in later years, when he staged the same theater, titled “Madama from Barcelona” in 1994. Adonis Filipi realizes and presents now a spectacle of her own, with her hilarious brushstrokes, where most of all, she mocks the old mania of human pretense, as a social phenomenon, a feature in today’s life, as well as the pursuit of money. , alienating the person bën It does the same in the form of farce and entertainment in the music halls, where it gives quite a place to ballet, which brings the freshness of the cloud, when the disturbances become too long and thick! In this view, Adonis Filippi’s directing restores the comedy closer to the original, before it was “massacred” by later comedians and comedians. Another issue, then, whether or not such entanglements and tricks are acceptable, in the role of a woman would be played again by a man-actor, until here comes the real tattoo of Karl ..Yes, without any discussion, it would be the staging of the Russian playwright Chekhov, with his three comedies and a prose, his own, also pleasant, with lyrical and cheerful notes everywhere, to give the spectators of this festival a excellent closure, which would make us forget even the flaws and shortcomings, yes and the monitors that did not work, but also the artists who came on stage and were not understood, with mutual regret.To close the seventh day of the Chekhov festival, simple, true and difficult, with his underground humor, within the decay of a state, evidenced by professionalism and healthy joy by the director Driada Dervishi of the Theater “Alexander Moisiu” of Durres . In the interior of the castle, in a perfect wedding atmosphere, where there is no bride, but still a stare towards the beauty and gas of a wedding, with some characters from the “belly of St. Mary”, dancing and salty jokes, with tricks and consecutive situations, until the end comes when the actors become one with the many spectators who also turn into “characters” of this unusual “Wedding”. Where would we distinguish the whole acting troupe, from Durrës, but it is worth saying two more words about Adelina Muçë and Amos Zahari, about Genti Zenelaj and Andia Xhungë, as well as about the duo Jaime Fonda and Mimoza Marjanaku, without revenge ”on anyone… That theater is an honest competition, which takes place in front of the public.Such festivals, which have arrived at the The 23rd year of its existence, with honest progress, with experiments, with failures and splendors together, when there is stagnation, crisis and dangerous pandemics around us, they are worth doing (although with “soul between teeth”). when money is wasted elsewhere!), and for another reason: to value and honor the martyrs of the human soul, the talents of the nation, the poorest atheists, —the poorest in the world economically. Like Mihal Popi who died in the new bazaar, in his old house, like Naim Frashëri the Great who passed away wearing the same jacket, like Sander Prosi, the performer of Ismail Qemali, who is thrown from the third floor of a the hotel, stressed out shooting movies, never paid for his creative work and the like. That Adonis Filipi made this humane gesture, with veneration, simply and with a modest reminder, for some artists of the Albanian scene, in Albania, Kosovo, Northern Macedonia and Montenegro, – friends and talents of this festival, who have left from life as poor and majestic as those mentioned above and those remembered here, such as Shpëtim ëmëmili, Bekim Lumi, Luran Ahmeti and Slobotan Milatovi,, who are no longer and are missing from our scenes… Also adding the appearance before the festivalists the translation of Adonis Filip and Klejda Plangarica of the study work “Dream of Passion”, by the great American actor and theorist Lee Stratsberg.You leave this festival and feel the special value of an artistic and professional profiling, taking with you that accompanying message of the director Filipi, who starts from concrete artistic ideas and passions, trying to realize them from the troupe around the world, with his goals, as in this festival where the theme was dedicated to an unforgettable, entertaining theater and when the achievements of acting are related to such emotions of his country,Misery that we did not see in the hall of this festival, however it was and was done, in these times of fear, still filled with gunshots, quarrels and murders, pandemics, – to the increase of the price of bread, official, MP and minister. Therefore, we are talking about a return of attention from the “martyrs of the human soul” who are running, advise… [...] Read more...
Maia Morgenstern, a famous Romanian film and stage actress, described by media as “a symbol of Romanian theater and film”, was a special guest of the International Theatre Festival in Elbasan. Morgenstern has dozens of roles in films and theaters in Romania, but in the English-speaking world, she is probably best known for the role of Mary, mother of Jesus, in Mel Gibson’s “The Passion of the Christ”. In Romania, she has been nationally known since her 1992 role as Nela in Balanța, a film known in the United States as The Oak, set during the waning days of Communist Romania. She received a star on the Romanian Walk of Fame in Bucharest on 1 May 2011. Maia Morgenstern will come on the stage of Skampa Theatre, with the play “Marina and Ulay”, along with another renowned Romanian actor Marius Bodochi, where she portrays the prominent artist Marina Abramović; her love story, the artistic mood and the remembrance of some of the most influential artistic performances in history. This show has been praised as a an outstanding performance and an unforgettable night with a very strong emotional impact, wherever it is presented. [...] Read more...
  A working – progress art production, which comes under the context of the European Atlas of Transition Project Idea and concept by Adonis Filipi Regjia / Directed : Adonis Filipi / Xhuliano Brisku Individuals, groups of people, in an unavoidable roam of destiny.- motivated by the hope for a better and peaceful life. A human weave at the bounds of existence, crossroads of cultures accompanied by anxiety, insecurity, discrimination, perversion in the face of mental boundaries. Individuals, groups of people who, regardless of origin or different cultures, share the same bill; the payment of fear towards “foreigner”.       [...] Read more...
All the attention of Albanian scenic art artist has returned to Elbasan, where today’s evening will set the International Festival of Contemporary Theater “Skampa17”, which takes place every year during the fall season in this city. This year marks the 19th edition of this festival, which will be held from 22 to 27 October. Thirteen theater troupe, six Albanian and seven foreigners, including troops from China, USA, Chile, Russia, Italy, Switzerland, Kosovo etc. have been selected (among 67 submitted applications) to climb the stage of the Elbasan theater during this edition. Under the artistic direction of renowned filmmaker Adonis Filipi, this event is organized by the Association of Contemporary Albanian Theater A.T.K., in cooperation with Skampa Theater and with the support of Elbasan Municipality and the Ministry of Culture. The artistic profile of the festival “Skampa” is exploration of stage and theater culture, through the contemporary achievements of artistic communication, alternative and scenic and theatrical experiment. Each edition has its own slogan within this artistic profile, marking an artistic and managerial challenge of its continuity, through the exchange of ideas and exchange of experiences. This year’s edition comes under the slogan “Awakening”, whose concept, according to the artistic director, in addition to the new forms, also carries a poetic spirit: “An awakening in the space flight, an awakening in the monotony of silence, an awakening in the conscience, an awakening in the movement of aesthetics, an awakening in the naked soul covered with suit armor, an awakening in the actor’s guise, an awakening in the eyes of the spectator, an awakening in the alternative … “. The first night of “Skampa ’17” is opened by Chinese Kunqu Opera Opera. The show featuring this troupe is titled “Chairs”, one of the well-known works of Romanian playwright Eugene Ionesco, which is on stage under the direction of Guang-Jin Ni. While the second show of the evening will be the dramatic poem “Gjergj Kastriot Skënderbeg”, from the Albanian American Theater Corps, under the auspices of the well-known Albanian actor and filmmaker, born in Macedonia, living in the USA, Xhevat Limani. In the days to come, 16 different performances will be realized, with a stretch not only in the city of Elbasan, but also in other cities, such as Tirana, Gramsh and Librazhd. The main goal of this festival is to approach theatrical alternatives, contemporary influences, not only to the closed scene, but also to urban and tourist environments as the need for a more tangible relationship between the theater and the spectator. [...] Read more...
SKAMPA Edition 19 “Awakening” / Poster [...]
   Documentary about  Skampa International Theater Festival ©2013 [...]
 A festival that seeks to provide more hope for people. Social politics and networks with their vitality have greatly restricted their lives, and in this context, this festival with dramas, dramatic feats, and styles diversity aims to bring people the emotion of direct, beautiful, and hopeful life. ” Adonis Filipi, Artistic Director of the 18th International Contemporary Theater Festival “Skampa 2016” for the festival, which has started yesterday and will accompany the public until November 4 under the “New Energy” logo. There will be 11 theater troupe and about 18 performances by; Albania, Sweden, Kosovo, Montenegro, Argentina, Macedonia, Italy, United States of America, Israel and Romania. Invited are over 130 artists coming not only from Albania, but also from the region and beyond, bringing together a variety of performances and styles as well as a range of cultural, educational activities in the scenic areas and open spaces of the city of Elbasan. This festival, as in every edition, according to Philip, seeks to offer more hope for life. “The scope of the Skampa festival aims at expanding and rejuvenating the audience through contemporary theater drama at national and international levels, under the brand of growth and quality of civic, intellectual and emotional life.” The performances and activities of the 18th edition of “New Energy” will be held for 5 nights in Elbasan and Tirane for free. 1. Elbasan will be presented at the theater scene “Skampa”, university facilities “Aleksandër Xhuvani”, as well as in attractive open spaces, such as Real Scampis (Castle) etc. 2. In Tirane, performances and workshops (workshops with specialists) will be held at the National Theater, the Metropolitan Theater, the Experimental Theater “Kujtim Spahivogli”, the National Puppet Theater, open spaces, the University of Arts etc. For the first time in this edition, the alternative space is expanded in the contemporary panel for children’s theater, theater, as part of the ambition of this festival. Swedish troupe with “Troll” is invited for this edition. A special place in the festival program covers the art education panel, this in audiences with younger generations of young artists, students, media, and so on. This edition features two presentations, such as that of American director Ronald Hill on New York theater, as well as that of the distinguished Israeli theater specialist, Sari Cofman, on the multi-lingual-ism of Israeli theater. These activities will be held in the university environments of Elbasan and that of the University of Arts, Tirane. This practice is already European, such as the Visbaden Festival, which lies in Mains (Germany), Shakespeare in Krakow and Bucharest, Romania or Summer festival Verna in Bulgaria, which has been present in Sofia for 10 years. [...] Read more...
55 years ago, when the city’s professional theater curtain was dressed in Elbasan,faced the ancient castle and was written at the door called “SKAMPA”, I was fortunate to be appointed as director and director of this theater when I was just graduating from high school The acting and the scene seemed to sum up there all over the world. But as long as the rocks of the castle were not counted, so did the parts of the repertoire to be counted so that this institution would “get up” to this day, to see that there are now theater artists from all over the world. We are in front of a very different theater theater that stands out from the rest of this type, most of which have slipped into formalist “molds”, a festival for the festival and, not least, in the hands of some types without the horizons of ordinal fundraising public. Under the title “2016 NEW ENERGY”, the International Conference of Theater Conferences, a wider vision, with participation from some countries of the world, from America to Israel, with theater troupe from Argentina, Romania, Italy, Sweden, Montenegro, Kosovo, Macedonia and some troops of the host country. With the highest purpose that this ancient and divine institution provides for educating the public through theater, with the values ​​of confronting the contemporary achievements of stage art, dramatically and criticism, with the experiments and visions of this enchanting art. There was the entire arsenal of interpretation, from mono drama drama, humorous comedy, black comedy, grotesque farce, children’s theater and fairy tale staging, vodevil, ballet and brilliant instrumental ensemble and accordion. Ending in the visual art of theater shows through videotapes displayed on the monitor, through the theaters of theatrical science by distinguished theatricals, such as those of director Roland Hill from NY York and Tel Aviv University professor Savit Cohman from Israel. And, adding to this panorama, the exhibition of art photography by craftsman Saimir Ahmeti, within the walls of the castle, everyone would be convinced of the modeling of a European-level festival. It is exactly the view of director Adonis Filipi that this performance was quite different and completely successful, against which the funds of all those state and private institutions who love art and the nation’s progress can not be spared, as they were terribly stuck at the festival present! Even for the sole reason of leaving away from those common and amateur appearances that are offered to our audience each time, thus narrowing our spiritual poverty, along with the political and party problems that we experience. The prosperity of such a festival deserves a study or seminar, as an achievement of a general theater experience. The bodies we mentioned above had leaders of their own in the leaderships, as well as carrying real values, experiences and contemporary achievements that are worthwhile to dwell, discuss and learn, let’s mention here two or three of them different ways. So, I would list the first “Adam and Eve” spectacle from Montenegro by director Slobodan Milatovic, where the legend of these first creators of human life, according to the bible, is talked equally humanly between the birth of love, life and death, in the vicious circle of existence. It is divided into three parts and located in a functional and conventional scenography on both sides of the train tracks, where in an excellent interpretation by Montenegrin actors Danilo Babovic, Bojana Malinovska, Milos Pejovic and Srdan Dordevic are given all The power of Eros, as a fusion of forces that will then bring the happiness of life and its frustrations with lethal consequences. The experience of love and sexual activity will be severely interrupted by an invisible and effective diabolical force simultaneously through a man Another that will intervene there, by “planting the death” of Eve initially and then of her beloved. But in the hereafter, where they will approach and love again, without knowing each other yet, the squared apples will be trampled under the feet and into their hands, giving the message of unrepeatable life when Real love has forever lost … and we see, not a legend, but a real life that creates eternal contradictions between existence and incapability. In the form of a legend was the appearance of the folkloric character of the Sardinia artists (Italy), where the message is being empowered as a protest of the terror act in the Paris Jewish Club, where, though not with the artistic tune of the Montenegrin actors, I underline the ritual “beyond God and the devil, beyond vengeance and forgiveness, to restore the lost harmony.” But a much stronger sense of sublime love for life would be seen in the story of Chekhov’s “My Beloved”, where actress Griselda Gambaro would follow with the dignity of an actress-class, the whole range of life, in the form of A parallels where the fate of a Russian woman who can not live without human lust is blurred, and the four men who have entered her life are dying. Quite insignificant, but with an abundant spirit of unusual, aesthetically high, though crushing and disenchanted performance, she will eventually seek out her “Ivan”, being always inconsolable, until the whole Her full love will end up in the cat of the house! “Without love, I am no one,” she says in the moments of this human misery, when the poetry of life is inverted and the whole life is left as a true tale. Some impressions of art, such as Jonida Beqo, of the “Metrpol” Theater in Tirana, will be impressed, in a Japanese work, “Rashamon”, where it is through the specific features of the style of this theater, A judicial process, when the truth is permanently erased in some suspicious versions. A variation would bring here the two sets on stage of the comedy of Kristo Floqi “Black and Black”, in very different conceptions, from the Gjirokastra Theater, as a realistic comedy with a distinct regional character of the original character and that of the Theater “Skampa” of Ebasan, in the form of a virgin watermill. Here’s how the theater, with its creations, can find and express different shows of the same work. Thus, it is often required, the experimentation of the many types that exist in the theater and that every theater must be performed in its creative work, without the need to have an “Experimental Theater” with it! The potency of this festival is felt by the debut of some artists formed as personalities in their art, such as Argentine actress Griselda Gambaro, Romanian Calitri Mirea, Montenegrin actress Montenegrin Malinovska, Babovic and Pejovic, Albanian-Macedonian actor Bajrush Mjaku and Albanian Klodjana Keço, Albanian accordionist Elton Balla and a ballet troupe from Pristina, who brought “Jolla without Romeo” – a verse of the Shakespearean subject displaced at the time of Serbian violence in Kosovo. [...] Read more...