The actor and the character | Stage performances!

“Actor and character” column.

In this column, we will discuss the embodiment of some characters who have left a mark and remained in the memory of art lovers. Masterful, realistic interpretations of our actors on stage and TV screen. In this article we will focus on figures such as: Gjin Maneshi, Nene Lokja, Nene Pashako, Jonuz Bruga, Dhaskal Todri, Deda fillerojtesi.

One of the basic principles of the actor’s skill is that of acting in front of the camera and on stage, acting with words, eyes, gestures, facial expressions and everything. If the action is captured, the role will always be complete, complex, natural, real and convincing. The opposite would happen, if the action was not discovered. Even emotions, internal concerns, thoughts, debates, even dreams are expressed through action. This action by the actor must be sought in the essence of things, in the inner parts of the figure, in its impulses, in what pushes it inside to do something, what it wants to do. So in its social-psychic and emotional meaning. Everything must be subjected to unconditional action.

Such were our unforgettable actresses of the artistic constellation of Kinostudio and the People’s Theater in film and theater: Naim Frasheri, Sander Prosi, Ndreke Luca, Kadri Roshi, Tinka Kurti, Violeta Manushi, Marie Logoreci, Pandi Raidhi, Nikolin Xhoja, Tano Banushi, Pjeter Gjoka, Demir Hyskja, Rikard Ljarja and many, many others, in their best roles ever, acted in the scene in front of the film camera, acted with the word, with the plastic, never becoming passive and never falling into the routine . They were concrete, they were natural and their roles proceed uniquely, with their twisted game that moved rhythmically, evoking emotions. The action made the figures they embodied solid and harmonious. The action gave life and made everything concrete, tangible, every element of psycho-technique.

1 – Gjini Gjin Maneshi (Ndreke Luca in “Old Wounds”) The real actor, demanding of his role, researches. He researches the artistic material presented by the work, his character, but he also researches life itself, the literal source of creation. The actor studies the types, events and people of the time. Makes generalizations, knows the contradictions and conflicts of life, they appear concretely in special situations. He knows the class structure of society, its history. How concrete and typical does the image of the mountaineer Gjin Maneshi, of the actor Ndreke Luca in the movie “Old Wounds” sound. Gjini, although he becomes a bit comical with his patriarchal prejudices towards women and her intellectual and scientific abilities, with the sincerity of his feelings, with his spiritual purity and nobility, is a dear old man, in pain, who immediately wins the sympathy of the spectator. But this image of the mountaineer could not be created if the actor did not have a rich background, if he did not know the mountaineers themselves, their customs, traditions and area. And who else besides the great actor Ndreke Luca would interpret this with enough truth, reality and skill?

2 – TODRI

Dhaskal Todri (Sander Prosi in the movie “The Path of Letters”) How alive the patriotic figure of Dhaskal Todri rises before our eyes in the movie “The Path of Letters”, created with so much love and passion by People’s Artist Sander Prosi. The small caravan of Dhaskali mules walks through the gorges and peaks. The portrait of Todri meditates. The breeze blows his white and long hair that has turned gray due to studies, striving for the light and knowledge of the world. Wrinkles circle his forehead. Here are the changes in Albania. The actor’s eye looks beyond.

He is proud of the rugged, rocky massif of his homeland. Tears evaporate from his eyelids. We live with the wide world, noble of this outstanding patriot of our National Renaissance. The warm play, the complete mastery of the type, so much so that it is almost impossible to make a separation between the artist and the figure created by him, leads our impression to admiration. This figure could not be created, if the inner world of Dhaskal Todri was not known and experienced as a literary and historical figure. Todri is an honest patriot, noble, wise, knowledgeable, passionate linguist, pure patriot. Although at a broken age, he takes the long way to bring the light of letters to his place covered by ignorance. The actor, of course, had to know well the history of the people and the outstanding patriots of the Renaissance. Even more to know the life, activity, character, plastic, mask, any known physical and verbal manner of Dhaskal Todri. The adoption and expansion of this culture have positively influenced the historical-social and individual drawing of his difficult role.

3 – LOKJA

Mother Lokja (Marie Logoreci in the movie “Our Land”) We have seen the figure of Loke under the interpretation of M. Logoreci. We cannot understand the pained, tragic, but proud Loki outside of the time when she lived. We can’t understand it even far from the mountains of our mountains, poor and oppressed by the canon of Bajraktar. Lokja is, first of all, a simple mountaineer, with a burden of slander on his back, who wanders from village to village to raise the “loaf of bread” and to preserve the honor lost by the fox Tuc Maku. Along the path of these sufferings and hardships, she has also formed concepts, judgments, an experience of her own, truly bitter, but completely wrong.

Lokja cannot be understood as being outside the aspirations of our society, which was breaking the lines of the canon. There is not even a single concrete person, who has his own psychological and physical formation. Our talented actress, has seen her figure in the unity of these basic criteria, giving priority, obviously, to class breakdown and social content. The artistic figure in the spectacle is related to the figure actor, who artistically materializes the most typical characteristics of a historically determined reality, supported by the literary basis of the material, which is presented by the author through the work, that is, the literary figure. We find these elements quite beautifully in the interpretation of Marie Logoreci as Mother Lokja. For more, read it at the following link: https://www.kinetografia-shqiptare-sporti.com/marie-logoreci-1920-1988-aktori-dhe-personazhi/

4 – J. BRUGA

Jonuz Bruga (Naim Frasheri in the “Family” theater fisherman’s”) After the spectator has seen on the stage of the People’s Theater, the fiery, volcanic temperament of the People’s Artist, Naim Frasheri in the patriotic figure of Jonuz Bruges, at the climax of his outburst: “Don’t love me, you don’t love me, nor your mother, I forget, don’t love her, but love Albania, you heard, love her! There is no other way!” buciste like an unstoppable wave of feelings, the powerful talent of the artist. It seemed that the pain of the soul poured out of the actor’s whole being, mixed with the bile of hatred for the bad path his son had taken, and it exploded so strongly in the form of an unstoppable rush of shocking emotions.

Here, the artist is not the saver, only a cicerone of the character’s emotional world; he is unified with him, he has become one body and heart together. An artistic figure has been made. Such is the creative specificity of the actor’s art; to get into the character and “fuse” this character into his being. The actor and the character can never be separated from each other. They can only cooperate with each other. The actor Naim Frasheri is Jonuz Bruga, but Jonuz Bruga is also Naim Frasheri, because between them a strong psychic and physical unity is created, where there are eternal bursts of shared feelings, qualities, traits, passions, personal mannerisms close to each other are obtained. the other.

5 – PASHAKO

Mother Pashako (Tinka Kurti in the movie “Stars of long nights”) The well-known actress Tinka Kurti is warm and natural on stage. Look at Ms. Pashakon. A big, painful and tragic world. The epic dominates in its psychology. And again, the actress makes it more tangible, more sensitive. For more, read the link below: https://www.kinetografia-shqiptare-sporti.com/aktori-dhe-personazhi-tinka-kurti-dhe-nene-pashako-ne-filmin-yje-te-neteve-te -long/

6 – The Custody

The custody (Kadri Roshi in the movie “Poppies on the Wall” From what clear class position is viewed, for example the hateful figure of the guardian of the poor house in the film “Poppies on the Wall”, interpreted with skill and realism by the great actor Kadri Roshi “People’s Artist”? The caretaker is a small tyrant, who oppresses the personality of orphaned children, tortures them, even leaves them without food for two days just for one bite. He is a sadist, because he uses sadistic methods for their education. He speculates. Collaborator, tool and scum of fascism, feasts on urine, with their physical torture. The actor does and says all these naturally.

The presentation of a depraved, servile, wild, sadistic world, a mud world, just like that, completely naked, without any illusions and a breath of humanity, the wickedness that sells through his eyes and voice, the rod that bends and dances on the backs of children , his shadow that is present everywhere in the canteen, in toys, on walks, at work, in school and even in sleep, these make the guardian a hated figure. The interpretation of the actor Kadri Roshi is so real that it creates the true idea. This is also where the actor’s skill lies in completely transforming himself into a character and adapting to the theme, time, and event, showing him believable in front of the audience.

7 – Fillerojtesi 

Deda, (Rikard Ljarja in the movie “White Paths”) He climbs through telephone poles. Glues and connects the wires. He is always walking forward in a snow storm that has no rest, with their boots, belts, ax and two apples in their pockets. Even the bread he took with him is frozen. He walks to fix the line on the last day of the New Year.

Wind, snow and frost. He walks again, he walks without complaining about the time. How many times has he tied the lines like this through the icy winter snow? He cuts the wires with pliers, ties them and continues. He works quietly, without words. Although his strength left him, his leg is frozen. He climbs a pole, and there he remains at the top, surrounded by snow, like a tombstone of heroism. Such is Deda, the character played by the great, unforgettable actor Rikard Ljarja. Deda, philanderer, worker, few words, conscientious, wise, serious. His kindness and heroism make us proud. It is a real, true interpretation. As you look at that white man in front of you in the big snow storm, on the coldest day of winter, it seems that the spectator himself experiences it and with your imagination you want to do something to help him, even though you are beyond the screen . So, this is another reliable, organic interpretation. The heroism of the filler among others is vital. There is no room for fuss or bragging. For more detailed information about the Dede filler, read the following link: https://www.kinetografia-shqiptare-sporti.com/fillrojtesi-dede-historia-e-ngjarjes-reale-qe-u-be-film/

Exclusive on this page bears the date August 5, 2024

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Albanian cinematography in activity since 2013