NIKOLLA PANAJOTI (1915 – 1957) | ACTING VETERAN!

Actor of the People's Theater (today TK), veteran of Albanian acting! Born in Fier on January 1. Economic needs make him do a lot of heavy and tedious work when he was still young. In 1932 he settled in Tirané and in 1937 he played one of the main roles in the play "Prisoners", on the stage of the "NacionaI" cinema. In 1942 he went to Struga in Macedonia. There he performed the main role in the comedy "The Price of Salt". After the liberation of the country, in November 1944, he was one of the first to enter the Dramatic School*, and in 1945 he became one of the founding actors of the State Theater*. In the same year, he played the role of doctor Mysh in the play "Topazi" by Marcel Pagnol, which was the last performance of this theater. At this age, N. Panajoti appeared as an actor with visible talent, original, with a natural tendency towards comedy and humor, with a skillful plasticity, expressive mimicry, fine actor and stage grace. He quickly became one of the masters of creating characters full of grace and charm, which was noticed in the other roles he performed, such as in the plays: "Deputeti", "Mbrémja e Madhe", "Cani, Ishja and Rama", "Rrugaci", "Qypi me gold" etc. In 1947, he embodied one of the most complete and impressive characters of the time, Hlestakov, in Gogol's comedy "The Auditor", with whom he demonstrated a fine sense of humor. He used many tools of humor and satire, dressed the character in a characteristic plastic, gestures, actions and a speech of a provocative nature, where the elegance and finesse in the way of interpretation of this gentleman and Russian adventurer also stood out. He gave a very characteristic appearance to the character of Zenelit in the comedy "After Death" by AZ Cajupi*. He was a prototype that came from the rural areas of the country, with irony at the tip of his tongue, with humor, as well as with the resourceful and pragmatic mind of a wise peasant, who knows how to exploit the vices and vices of wicked people (Adhamud), as well as their weaknesses. of good people' (Lulushes, Vurkos). In N. Panayoti's Iojén, sharp subtexts and multiple ambiguities took on aesthetic functions, twisted in an ironic and sarcastic angle, with the wise use of his abundant data as an actor. Bright national colors, as well as the richness of the provincial popular humor, were put to the service of creating an image with an Albanian flavor, taken from the peasantry. In less than ten years, he created 40 artistic figures, mostly in the realm of comedy, satire and humor, but not infrequently also characters with dramatic natures. He was a master of drawing characters, with very few words and actions. Thus, he became familiar with the so-called "little roles", embroidered with meaning and charm. He skillfully interpreted about 30 roles in the theater. With the creation of Estradés sé State*, in 1952, he was placed as an actor and director in its troupe, mentioning a gallery of different roles. He started and ended his career in cinema with the film "Tana", the first Albanian feature film. His life changed when he was 42 years old, at the peak of his energy and talent, on August 20, 1957, during the shooting of this film. 5 years later in 1962 he received the title "Honored Artist". _________________ Published for the first time on "Albanian Cinema" Facebook since 2016 and revised in the following years. Reference: Andon Pano / "20 years in TP" – impressions and memories, manuscript, (1977). Mihal Luarasi / Memory that does not sleep – writings about theater and other arts / "Vatra" Publishing House, Tirana, 2006, p. 94. "Encyclopedia, Theater and Albanian Cinematography" – Toena 2009 / Josif Papagjoni / p. 338. 60 years of the National Theater" (1945-2005) Publishing House 55 / F. Slatina / p. 38

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