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.