Albanian dramaturgy before the 90s! "Art must stand above reality and elevate man above this reality, but without detaching him from it" Maxim Gorky In the pages of the drama "Maro Mokra" by R. Pulaha, we feel the dimensions and epicness of the war, which is extended and embodied organically in the open conflict. The figure of Maro Mokre, this woman with epic dimensions, who has gone through difficult times with a strong heart, grows in our imagination to the point of a symbol. 
It is our mothers who do not give in to rains, who grow up brave daughters and daughters. Naturally, in the traditional sole of the figure, the author conceives the motif of war. She does this naturally, both through the course of the dramatic action and through the words of the commissar, her niece and the communists. 
The subject of the drama "Shpartallimi" by F. Kraje is filled with shocking facts. You are shocked by the greatness of the era, the liberating spirit of our brave highlanders, you are shocked by that centuries-old power, the destroyer of religion and the canon, which lays down like a slate on the thoughts and feelings of our highlanders without letting them see clearly the horizon of freedom that was unfolding before their eyes. of them clouded by the lies, slanders, intrigues of bajraktaras, priestesses, hoxhallars and traitors. The author experiences the subject, the events, presents the events and actions of the characters dramatically, lives with their world. H. Minarolli's drama "With the tongue of a rifle" is a play with action, where there is a serious conflict that collides the opposing desires, thoughts and aspirations of classes of people who are sworn enemies of each other. The author succeeds while giving a complete reflection of the class struggle in the years of the National Liberation War. The drama "Defeating Death" by E. Mandis has dramatic tension, written with culture. It is one of the few that deals with the topic of war, taking the events from the concentration areas. The pathos, the high patriotic spirit and the feeling of heroism that prevail in the work, increase its educational values. The drama of L. Qafeziz "Learning from history" asserts the idea that only through the fight against internal enemies, compromised by the external enemy, and putting their tools to use to break the unity in the heart of the people, man is strengthened and tempered. . The center of the drama is the organization of illegal movement in the city and the education of a positive person, who makes a mistake temporarily, as a result of the disease. A good achievement in dramatic creativity is Teodor Laco's play "The dream of that winter". After the first dramas "The house in the alley", "A bride for Stasi" he wrote the drama "Duke u gdhire year `45" on the theme of the war for the consolidation of the new popular power, then the aforementioned drama "The sleep of that winter" and behind it "Gryke e Nemur". 
The drama "Winter's Sleep" manages to build a strong antagonistic conflict, concretized with characters, that remain in the mind of their human individuality like Hodoja, Serjani, Kabash Caushi, etc. The author underlines the war, differentiated people, clearly defined the line of demarcation between the interests of opposing, enemy classes. In war, a position is maintained, a side is taken. There is no middle. People's power was born in the struggle for national and social liberation, and this power was embodied in its highest and most complete form in the National Liberation Councils, which became the voice of the will of the people. 
The special merit of the drama "Baca i Gjetjave" is the true drawing of characters and types like that of Baca, Bajraktar, Harap of Shkodra, Bjeshka and others. This work has tension, the dramatic intrigue is found. Pomegranate flowers" is a drama with outstanding ideological values and political content. It gives pictures of the class war in the first years after the Liberation, when it was fought to consolidate and strengthen the new power of the people everywhere, even in the deepest villages of the Highlands. 
Even the drama "The Great Flood" proceeds in the right way in unraveling the problems it poses, in the presentation of characters with a spiritual world. It asserts powerful ideas and sounds current for our day. The breezes of the new life stir not only in the souls of the young people, both Bardha and Gjergji (once their families were enmity with each other), but also in that of the mother and her generation. The drama combines the dramatic and tense side of actions and characters with their lyrical and sometimes humorous side. With the drama "Shenomeni and me" H. Minarolli marks an increase in his creativity. It is a drama with a strong ideological and national base, with dramatic scenes and twists, with a complex composition and structure of conflict. The establishment of the cooperative was a desire of our patriotic peasantry, led by the Party, to prosper its life; it was a historical necessity. But in order to become a cooperative, they had to go through a fierce class war, with large dimensions, in a fight with the class enemy, the kulaks and diversionist gangs, as well as with the skepticism of the peasant as a small landowner. The truth down to the thin linguistic miniatures of the characters in this drama such as that of Rrapo, Teli, Dauti, Kaso, etc. constitute considerable value for the drama. The writer does not expose the facts and events immediately, but slowly, episode after episode, table after table, even until the last minute, he introduces a new character, Rushit, with a new event: See me in the cooperative. "Fundi i sinore" by M. Pone and "Lugajanet" by K. Jakove deal with the same topic: the collectivization of agriculture, but in different time periods. The first in the years after the Liberation and the second at the end of the 60s. Both dramas give a clear reflection of the time from which the subjects, conflicts and heroes were taken. In the years of the blockade, our people and country had to face a devastating storm: blackmails, intrigues, threats, etc., the heroism of our people, workers, peasants, cadres, intellectuals; the sweat of work in factories and plants, in agriculture, in mines and geological research for new areas of oil and minerals; sabotage by foreign specialists, the fight for bread, support in one's own forces find a place and are reflected in many dramas of those years, such as "Strength in the mountain" by M. Stefe, "Era e lartesiev" by N. Dokle, "Powerful hands" " by E. Rames, "Failure of a crusade" by K. Piros, "Flagure ne dallge" and other dramas of the time from the People's Theater 
Drama and other parts dealing with the problems of family and human education, the emancipation of women, the fight against old, patriarchal and liberal concepts towards family, life, society, work, property, etc. performances such as "Rruga Budi" were staged and welcomed by the public; "Done Boys"; "Sun over Caster"; "Short hunger"; "Lezja"; "The story of a name"; "The Great Road"; "Spring showers"; comedy "With full desire"; "Ladies from the city"; "Ah, this tractor driver" etc. 
R. Pulaha's comedy "Lady from the City", with spontaneous, natural humor and quite organically, without the intervention of any scenic artifice, it presents the problems of building the socialists of the village, the hard-working and optimistic people, the way in which flaws and distorted thoughts are filtered out of the positive social environment. Likewise, the drama "Patient Doctor" deals with the current problems of the time when it was staged. Happiness is work. A person can develop his creativity anywhere, even in the most distant area, as long as he does not lack the desire for work, the passion to fall, for creation, the good will to serve the society with piety, and the MOTHERLAND! Drama, more than any other genre, seeks and reflects the contradiction in open forms, it could not exist without it. For example, in Fadil Kraje's drama "Sun over Caster", the conflicts that exist within society, between what is foreign, are not given in full, but rather glossed over. The clarity of the conflict gives rise to whole scenes without action covered with a kind of "lyrism" or "poetry" that is not for the nature of the drama. In some other dramas, such as "The last night", "Don't take a nap", "The failure of a crusade", "The bread of our hands"; "Cleaning smoke"; "Confrontation", the idea is said, is declaimed many times in the form of aphorisms, quotes and does not come as a logical conclusion of the action, the event, the relationship. It is known that without conflict there is no drama. The lack of conflict leads to a lack of tension, therefore to a lack of action and action. It is precisely this force of conflicts that gives health and beauty to the best dramas of our tradition, such as: "Our land" by K. Jakove; "Mountain chick" by L. Pape; "The Fisherman's Family" by S. Pitarkes; "Pomegranate flowers"; "Name me too"; "Ladies from the city"; Maro mokra”; "Gryke e Nemur" In the play "The Betrothed" by G. Shamet, the figure of Alushi, former vice president of the cooperative and Zeqo, a simple peasant, who has been engaged to a girl for four years and now wants to get married, are treated so negatively, that the critical and satirical attitude misses the point. The use of the grotesque has a purpose, if it violates the truth of life, it is not an element or an artistic tool, which helps to express a given thought, but turns into a denigrating element. How correctly is the figure of the cunning and cunning enemy, the leader of the group of kulaks, Jan, in H. Minarrol's drama "Shenomeni and me" conceived. Beating his chest and loudly shouting "Long live the power", "Hurra, forward" he managed to get the workers into the gathering center. He appears given in flesh and soul after work, he seems principled and closely connected with the current power of the time, but as soon as he falls to his people and under suitable circumstances, he appears with his black soul, sabotages, confuses the heads of the peasants being able to have two faces… so the role is believable and not artificial regardless of the ideology of the time. Or in the drama "The secret was revealed" by P. Cerloit, the music professor, Valter Grethi, convinces you completely with his conspiratorial, smart and foxy actions. This is the merit of the realistic concept of the negative character, of the social-historical environment in in which this character lives, was formed and acts. 
Throughout the drama "Cuca e maleve" there are several matches and frequent conflicts with Paul, the brothers , for his patriarchal attitudes and concepts, with Zefi, with his sister-in-law, and with Fiz, but what elevates him as a heroine is the match with Dom Mark, the so-called "committee of the mountains", with the reaction that does not allow the spread of knowledge How much more valuable it would be, for example, if the author Kico Blushi in the drama "Lezja" penetrated into the conflict of opposing views and feelings between Leza and conservative people, which prevented him from realizing his goal and desire to It was never easy for a mountain girl to become a driver, and it took courage, determination, and sacrifice difficulties, to have his own zigzags as a person…all these suggest a strong conflict, packed with facts and emotional events. In this case, the author avoided it by contenting himself with a more or less lyrical presentation of the conflict, problems and characters. The end of the 2nd part! Link for the first part : https://www.kinetografia-shqiptare-sporti.com/nje-veshtrim-dhe-analize-mbi-dramaturgjine-shqiptare-pjesa-e-pare/ _______________ Reference: Theater and Actor – Publishing House " Naim Frasheri" – Tirana 1980 / J. Papagjoni. Adapted for the page Albanian Cinematography in November 2021 and stripped of the many, very long moral and ideological terms of the time when the book was written.
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