Profile of playwright Ekrem Kryeziu!

31 May 2021

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Ekrem Kryeziu Playwright, director, teacher. He was born in Pejé, on June 1, 1943. After finishing high school, he worked as an actor in the People's Theater of Pristina, where his passion and inclination for the theater was conceived. He continued his higher studies for law at the State University of Zagreb, but interrupted them and then graduated from the Academy of Arts in the department of dramaturgy in 1970. He was one of the first Albanian students to be educated in the higher art schools in the former Yugoslavia . He began his experience as a screenwriter, director and editor at Belgrade television (1968-1973). followed it in Prishtiné (1974-1981) and further enriched it in the film music house "LABIA", Prishtiné (1992-1999). For three years he went to the USA and was active there in several companies, television and cinematographic offices. He returned in 2002 as a lecturer of drama at the Faculty of Arts, where he continues to work. E. Kryeziu has worked in two fields of art at the same time: theater and cinematography, namely as a playwright, as a screenwriter and as a director. In 2008, he published the two-volume collection: "Té ngujarit", "Epoka before the trial", "Victims of Tivar", "Hell's dinner", "Angels and devils", "Corridors of horror", "Poppies", "Beyond the binaries" , "Conspiracy", "Clash". Some of the dramas: turned into teledrama. His view includes, first of all, the historical attitude of the Albanian people in the face of invasions, pressures for extermination and national annihilation, as well as the search for the reasons and causes of our misfortunes by pointing out the destructive and irrational factors, the internal betrayals and the slavish consciousness that legitimize unforgivable acceptances. , bierrie, alternations, goodwill and fatal compromises. The drama "Epoka before the trial", which has had several sensational scenes in Kosovo and Albania, thanks to the epic-heroic tones that created its content and stylistic bed, brings the climax moments of the Albanian League of Prizren, twisted in the experiences, the attitudes and dialogues of its two leaders, Abdyl Frashérit and Sulejman Vokshit. In the serious situation of their imprisonment, the attitude, the greatness is expressed. The determination, which appears thanks to a strong collision during the judicial process set up by the court of the High Fort of the Ottoman Empire. The impact on the public of the time was extraordinary. This is also for the ideological associations that were removed between the resistance of the Albanians yesterday and their situation during the difficult years of the Serbian occupation. Although the drama does not avoid an elevated, exalting tone. sometimes even pathetic, its structure in the form of an investigation, brings to mind the key events of the Prizren Union and the fight of the Albanians against the Turkish invasion, has made the drama preserve a tone of truth and concreteness in the dialogue, followed by flows obvious emotional and spiritual tensions that increase its drama and deepen the political-historical conflict. In the drama "The Illyrian Conspiracy" there is a synthesis of the betrayal, quarrels and internal ambitions of the Paris for power, on the one hand, and the relationship of the leader with the first and the history, on the other. The deformation of real objects with the deformations that have been done to them for the interests of power is converted into a universal idea between vértés and fraud. Re-semanticization of the myth of Medauri, the chieftain of the Illyrians, as a function of creating dramatic situations; the penetration of occult, destructive and extraordinary powers by revealing them in terms of conspiracies and identiﬁable behind-the-scenes, has also given the drama the ability of sharp philosophical insights in the re-interpretation of the history of the Illyrians, especially the death of King Agron, unlike Teuté's soft, weak and feminine nature, twisted through the fear and paranoia of the expected crime against her husband; In the drama "Pérplasje", E. Kryeziu follows the path of disintegration in the dark, terrorized and hallucinatory part of man (imprisoned and in inhumane conditions), which becomes a premise for reflection on what he has done, on the anxieties of existence, doubts about love and loyalty, parentheses, ambiguous states, violent outbursts of passion, uncontrolled moans. "Lulékuqet" is a drama that focuses on the pain of the past under occupation and the need for renewal, where the past and the present, both intertwined and intertwined in the consciousness of the protagonist, Professor Ali, cause injuries until the tragic loss of himself. E. Kryeziu's dramas generally follow three models: a) those with an epic character, where the narrative element and traditional classical structures appear as primary and where the conflict is built mostly in the form of thesis and antithesis, of the juxtaposition of points of view, of the presence of opposing attitudes, such as in the dramas "Epoka before the trial", "Red Flowers", etc., b) those with a psychological character, where, thanks to the treatment of the depravities in the spiritual turmoil of man, in his elaborations and nightmares, the ambiguity and experience of understand oneself, as in the drama "Collision", c) those with a mixed character, where the mix of narrative elements in the description of adventures is followed by penetrations into ambiguous states and sufferings that come from causes that are often not explained openly, left in suspense, in mystery or among occult circumstances, as in the Illyrian plot drama, those with an associative character. d) Where the ideological associations between the delirious state of the protagonist under the pressure of violence, thanks to the chain of sudden and frequent flashbacks to the time before imprisonment as well as the loss-arrivals of consciousness, create immediately graspable meanings related to the depersonalizing power of violence, with excess of power: as well as with the need to stand and re-identify the being, as in "Angels and Devils" (Corridors of Terror). In addition to being a playwright and director of his dramas, E. Kryeziu has also provided valuable assistance as a screenwriter and film director, being one of the first artists in the history of cinematography in Kosovo. He has made more than 10 documentary films, including: "A birth" (his first film, 1967); "Warriors", "The day of refugees", "Rugova is dying", "And the wedding day came", "The cornered"; "Excesses" etc. In 1978, he shot the feature-length film "When spring is late", which is considered one of the anthology films of Albanian cinematography in Kosovo as far as the beginnings are concerned. A year later, this film was enriched and turned into a television series with four episodes. Other feature films: "Buka", "White Footprints", "One Whole Life", "Victims of Tivar", "Bitter Bread", "The Love of Nuns". It won the third prize at the Portorož festival (1974) in the former Yugoslavia, with the film "E kafsehoja terrin" the third prize at the international film festival in Milan (1978), while with the film "White Footprints" the "Arena e bronze" at the international festival "Pulia 80". As a director, he has made 10 documentary films, 7 television dramas, 4 feature films and over 10 theater shows. He pays attention to the ideological interpretation of the text, the articulation of the Messages, without neglecting the conventional forms and elements of symbols, allegories, metaphorizations of environments, spaces, events, findings, which are naturally superimposed on the language used in mise-en-scène, in the treatment of dialogue , the manipulation of excited spiritual states or situations with extreme psychological burden. _____________________________ Albanian Cinematography – June 2020 Encyclopedia, Theater and Albanian Cinematography – Toena 2009 / J. Papagjoni / p. 247-248-249.