Yesterday and today! A look and analysis on Albanian dramaturgy! Our drama used to be more and more inclined towards big themes, to reflect the key moments of the history of the people, of the various wars in the stages of history, of our National-Liberation War, capturing the essential problems that worried our people. Today, what are the themes of our dramaturgy? On the contrary, our dramaturgy has almost completely disappeared (not to say erased), giving way to some foreign plays (semi-ready to be staged). On the contrary, the Albanian plays of the People's Theater are at the center of those dramatic works more and more. the hero and the positive character as the organizer and the main pivot of the action and the dramatic action took a lot of place. This phenomenon, suggested by the dynamics of our evolving life, was consciously understood by playwrights as an ideological and artistic necessity. The faithful reflection of the objective reality, the partisan, class, revolutionary interpretation of the phenomena of life, has been the basic condition of ideological purity, class tendency and militancy of our dramaturgy. This reflection has always been deepening (both inside and in form). The dramas "Pomegranate flowers" / "The great flood" by Kole Jakove / "The lady from the city" / "The patient doctor" / "Maro Mokra" by Ruzhdi Pulaha / "With the tongue of the rifle" / "You know me and me" by Hamza Minarolli / "Spartallimi" / "Djemte te mbare" by Fadil Krajes / "The dawn of the year `45" / "The sleep of that winter" / "Gryka e nemur" by Teodor Laco / "Lesson from history" by Luan Qafeziz / "Bullets of letters" by N. Prifti / "Fundi i sinoreve" by M. Pone / "Besa e madhe" by M. Markaj / "Albanian covenant" by S. Krasniq, etc. They were echoes of the great thoughts of the time. Their powerful content with the popular national spirit that permeated them inspires and mobilizes our spectators even today after many years. 
The Albanian dramaturgy of socialist realism was the dramaturgy of the ideas of the revolution. Sentimentalism, melodrama, formalization and modernization, served through all kinds of "suggestive", "contemporary" forms and tools, have been unacceptable for our dramaturgy. Our dramas, comedies and stage plays stood out for their realism, social content, mobilizing ideas, national and popular spirit. They have never accepted hybridizations and charlatans even in the interior and content in elements of form and technique with today's art of Albanian theater which has ended up as decadent and anti-humanitarian art. Through the treatment of the themes yesterday, the performances of our Albanian dramaturgy accurately reflected our life and reality, capturing basic problems that worried the people in certain stages of the country's historical development. Yes, it is true that the topic of the National Liberation Anti-Fascist War and then the topic of socialist construction were discussed frequently. At first, there were artistic demands, generally writing dramas with a high level of emotional strength. While today, the little dramaturgy that has survived does not manage to deal with deeply grasping the current problems posed by our society. In this direction, there is often criticism of the current theater on a national scale and in circles that still does not respond (even never) as it should to the demands of the spectators who want to see their work and life in the widest and most comprehensive aspects. diverse. 
Current topics are treated little or not at all, and those topics about life and work, corruption, the poor condition of some layers and many other phenomena brought about by the time of changing systems are almost ignored. Meanwhile, children's theater is not treated at all…… Former dramas such as: "Zani partizani" by N. Prifti; and "Airport" by I. Kadarese and many others, on the contrary, were warmly received by the little spectators, communicating with their cultural and psychological level and formation, with an understandable and emotional language. 
The drama "Bud Street" when it appeared was immediately liked and later widely attended by the youth, because the show primarily dealt with their problems, the formation of of her worldview, of her love and understanding, of ethical-moral relationships in the family, a feature which is completely missing today in a disfigured Albania, of her unity and participation in the life of the country at that time, as it was. The drama "Uninvited Friends" was put on the stage of the People's Theatre, it also had a wide attendance, regardless of any weakness in the search for situations and humorous language. Meanwhile, in general, between the two periods of socialist realism and the one after the 90s, dramas with historical themes have remained untouched, making playwrights especially those before the 90s indebted to this theme. While today it almost doesn't exist at all and the attention is completely turned to foreign dramaturgy. 
The history of our people is full of wars and centuries-old efforts for freedom, light, national and social progress, for knowledge and culture, full of shocking and dramatic events, and this constitutes an obvious deficiency in the active repertoire of our theater, which should be try to work in this direction in the future. Dramas with historical themes are as interesting as those with current themes, it is enough to present the problems by looking at them with the eyes of the present and evaluate them according to our worldview. Not once, and not even on the anniversaries of dates or events marked in the history of our people, but whenever year after year, our theater should be remembered and write dramas with historical themes. Their educational power is great, especially in the formation of the patriotic feelings of the youth, in the knowledge of history, traditions, customs, psychology and social mentality, for the knowledge of its true events and heroes of the ages…. The drama "Bullets of letters" by Naum Prifti gives a realistic picture of the struggle of our people for freedom, light, national and social progress. This drama historically dealt with the struggle for the opening of Albanian schools, for the spread of knowledge and the awakening of national consciousness. 
But the line of education of the committees to make them conscious and fighters of the national issue, confuses the main problem of the new Albanian schools and turns the teacher's mission as a fighter into a pedagogical, oratorical function. The dramas "Besa e Madhe" and "Albanian Covenant" give an artistic chronicle full of life of the most distinct and well-known moments of the Albanian connection of Prizren… both of these dramas have well-known historical characters at their center, the first the figure of Mic Sokol and Sulejman Vokshi; while the second is the figure of the organizer, ideologist, diplomat and great revolutionary patriot, Abdyl Frasher. The National Liberation War has always given the dramatic writer powerful conflicts, characters, shocking events and subjects, with great expressive, communicative and educational power. In this period, class contradictions reach their most culminating point. The war collided the national and social, political and ideological interests of the opposing and antagonistic classes, the invaders and the people themselves. 
The National Liberation War always remains one of three subjects and dramatic conflicts, it is a period that constantly absorbs attention and inspires writers with its ideas and content… Link for the second part: https://www.kinetografia-shqiptare-sporti.com/ an-observation-on-Albanian-playwrights-before-the-90s-the-second-part/ ____________________ Albanian cinematography, a public site active since 2013 Reference: Theater and Actor / "Naim Frasheri" Publishing House – 1980 | Adapted for the site in December 2021
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