Marie Logoreci (1920-1988)
Singer / Actress, “People’s Artist” & “The Honour of the Nation”
Born on September 23, 1920 in Shkodër. Undoubtedly iconic of the Theater scene. A complete actress, perhaps the greatest of the Albanian scene. She raised in scenic art different characters of Albanian mothers, mainly those of the north, turning herself into a symbol of the Albanian “Loke” mother. In the film, she appeared in “Skenderbeu” (1953).
Her film career will extend from 1953 to 1979.
Meanwhile, in the theater she will have a more excellent career from 1947 to 1977. Maria will also direct the drama “Light” by Mimika Luca. She started her artistic activity at school, where she played in the school theater, drew and sang. In 1945, she began to sing on Radio Tirana and in concerts that were given in the cities of Albania, as well as went on tour abroad as a soloist of the General Choir of the State. There were about 100 songs in her repertoire. In 1947, she began to work at the “Teatri Popullor” (today the National Theatre). Her first performance on the stage of the Theater was Elmira in Moliere’s comedy “Tartufi”.
her father Palok Çurçia was a craftsman and her mother Roza, a housewife. Marie was called Tushi as a child. Tushi finished the female school of the “Stigmatize Sisters”, a school that also included optional religious subjects in its curriculum. In this school, as well as later in high school, the first trends began to appear. She draws beautifully, sings, and later begins to accompany herself on the mandolin or guitar, dislikes math and Faith. But singing and drawing were the passion of her age.
Fortunately, about 20 drawings from that time have been preserved, in which she demonstrates a gentle and delicate spirit and a fine relationship with the object she draws; love, sharp and observant eye, harmony of colors and fantasy in drawing make you think only of talent. At this age, for a short time, she mastered the Italian and Montenegrin languages, but what strongly influenced her soul and left a lasting impression was the acquaintance from a young age with the customs, traditions and epics of the north through the mountaineers who hosted her in her house. Knowing and later studying these customs, environment, folklore and ethnography became a new passion for “Tushi”.
She left Shkodra in 1937, at the age of 17, together with her family, in addition to her patriotic spirit, her talent, her love for folklore, her mandolin and the short name Tushi that accompanied her throughout her life in her family and relatives.
Maria got married in Tirana to Kolë Logoreci, who at that time had returned from Vienna where he had finished his secondary and higher studies in economics. At the “Friends of Music” he had attended for five years lessons on Vienna’s beloved instrument, the violin. He was a very good economist and within a few years he became Head of the State Budget and received the highest title of the time in Albania “Knight of the order of Skenderbeu”. Kola was the eldest son of the patriot and linguist Mati Logoreci (Teacher of the People title), one of the well-known figures of the society of the time.
He came from the well-known family of Logoreci, mentioned since 1300 under the name Logoreseos. In the house of the Logorecis, Maria came into contact with the society of the time with Matia’s conversations with Fishta, Koliqi, Çabeji, Xhuvani and with the conversations about Luigj Gurakuqi, and Mjeda (whom Matia had as an aunt). In this environment, Marie’s passion found ground to develop and her spiritual and intellectual world became wider. She started learning German from her husband.
Cycling was also included in her passions. She went for rides with her husband on bicycles, often in Durrës, but also as far as Shkodër.
Marie Logoreci’s artistic life began as a singer at Radio Tirana in 1945, where she sang as a soloist, directly into the microphone, in 20-minute shows, folk songs from Shkodra, central Albania and partisan songs. In the meantime, she attended a one-year singing course that was opened near the Artistic High School in Tirana, with teacher Jorgjia Trujë (People’s Artist). She also started singing in concerts that were given in the capital on different occasions. In 1947, she participated as a soloist in the general choir of the State with which she also toured abroad. Seeing Marie’s performance ability when she sang, they proposed her to work at the People’s Theater (Teatri Popullor).
This transition was difficult both for Marie and for the environment. But the emancipated family and her husband Kola played a big role, not only agreeing, but also helping her, freeing her from a lot of work so that she could move forward, develop her talent. Thus, in November 1947, the curtain of real stage life opened for Marie, she was already an actress of the “People’s Theatre”. Her stage path passed with effort, but with the satisfaction of fulfilling her passion and success. But this path was hindered by family difficulties caused by the death of her husband Kola and the obligation to provide for her son alone; so that she, at that time of personality and character formation, would not feel the emptiness that is normally caused by the absence of one of the parents.
Maria was very systematic, always busy with work but found time to take care of the garden, the many flowers, the pigeons, dogs and cats, cook, prepare for the show, read or listen to music. She never said “I’m tired”. You could always see her doing things quickly, full of energy and temperament, as much and when he walked it looked like she was running.
She had an amazing memory, she remembered verses of our Albanian legends, whole pages from the “Iliad” and the “Odyssey”, as she remembered the texts of plays that were given 30 years ago.
Marie Logoreci has remained in the memory of those who knew her as she was, smiling, simple, sincere, lively and full of life; a woman with all-round knowledge with whom you wanted to talk about anything and ask for an opinion, an advice. Maria was in complete harmony with the temperament and specificity of all the features of her nature, which have found the strength of expression, psychological depth and artistic maturity in her art. With her creative work, Marie Logoreci has given us a rich gallery of figures that will not be forgotten for their masterful sculpting, expressive power and realism.
The range of roles performed by Maria is wide and rich in similar and opposite types and characters. Her interpretive artistry and emotional power have stretched from the brightest sides of the human soul to the darkest ends. We remember Alice Langton, the capricious, conservative, camouflaged and racist bourgeois in “Deep Roots”. Kristina Padera, the evil hypocrite, the leader of the conspirators in “The Conspiracy of the Convicted”. Gertrude, the queen who fights with herself with no way out in “Hamlet”. Fatimja, the woman obsessed with court intrigues, as subservient as she is arrogant, in “Halili and Hajria”. Bernarda Alba, the black woman with cold and shocking power.
Who has seen it, was not moved and did not wipe away a secret tear from Marie Loken’s interpretation of “Our Land”. Thus, in the works of Shakespeare, Moliere, Lorka, Gorky, etc., as well as in the national works of Kola Jakovo, Ndreka Luca, etc., the number of characters interpreted and the large number of artistic figures created by her, give us the whole portrait full of this outstanding artist.
Her portrait is particularly expressive, with clear individual features, with a special color, with an unrepeatable inner and outer harmony. Dramatic character, expressiveness of movements and features, fiery temperament, have found full expression in her whole being and in her vocals. She knows how to impose the artistic figure on the spectator with all the tools of her acting arsenal, from the rich intonation of her voice to the dynamic and expressive nature of her features.
She has managed to know the acoustic force of the voice and its effect on the spectator to the point of virtuosity. The long work as an actress made her interested in directing as well. Her activity as a director is successful but modest and does not take an important place in her creativity, but it shows her wide interests, the creative spirit that has not lost its vitality even with the years. Maria was also a pioneer of Albanian cinematography.
She was a performer in the first Albanian short film, in 12 films of Kinostudio and Television production. The interpretation of Marie Logoreci in the film preserves to some extent the features of the stage interpretation. The first roles in the cinema certainly had their own difficulties, which she pointed out when talking about her performance in the film. It is understandable that it was the first steps of our cinematography, the theater actors brought a certain theatricality to the interpretation, however the heroines created by Maria in the film are individualized figures, which preserve their value in the history of Albanian cinema in relation to the time.
Maria remained a great stage actress. She created her own art. Being a keen observer of the people’s life, she managed to collect the vital pollen and throw it into her artistic work, giving the spectator the human spirit, pain, protest, revolt, hatred, cynicism, hypocrisy, cunning, etc… what it is the essence of the role, that magic that creates a true art.
Her artistic language is expressive and colorful, the stage tools used by Maria, were skillfully realized by her putting her own stamp of interpretation, which was personal to Maria. Her most successful roles are: Jessi in “The Russian Issue”, Alisa Langton in “Deep Roots”, Kristina Padera in “Conspiracy of Convicts”, Fatimja in “Halili and Hajrija”, Aljona Patrovna in “Six Lovers”, Lokja in “Our Land”, Ledi Milford in “Intrigue and Love”, Tringa in “The Seven Shaljans”, Gertrude in “Hamlet”, Bernarda Alba in “Bernarda Alba’s House”, Tadrahova in “The Morality of Mrs. Dulska”, Mother Xhun in “The great impassable wall”, Mara in “The flood”, Old woman in “The roof of all”, Mother in “Cuca e maleve”, Gjela in “The great flood” etc.
Marie Logoreci passed away in Tirana in her villa from a heart attack on June 19, 1988. In addition to various orders and medals, she holds the high title “People’s Artist”. In 2015, exactly 27 years after her death, the president of the Republic Mr. Bujar Nishani gave her the title “Honour of the Nation”.
“Skenderbeu” (1953) – Countess; “Her childrens (1957) – Fatima; “Tana” (1958) – Stefani’s Mother; “Special Duty” (1963) ; “Our Land” (1964) “Lokja”; “Echoes on the Coast” (1966) – Nena; “Guerrilla Unit” (1969) – Nena; “Operation Fire” (1973) ; “The General of the dead army” (1975) – Colonel Zampa’s Mother; “My Wedding Toast” (1978);”From the Middle of Blackness” (1978) ; “Small Unit” (Not shown in public) (1979)
Russian Affair (1947) – Jesse
Tartufi (1947) – Elmira
Deep Roots (1949) – Alisa Lengton
The Conspiracy of the Convicted (1950) – Kristina Padera
Halili and Hajria (1950) – Fatimja
Six lovers (1952) – Aljona Patrovna
Our Land (1954) – Loke
Love and Intrigue (1957) – Ledi Milford
“Seven Shaljans” (1958) – Triga
Hamleti (1960) – Gertruda
Shtepia e Bernarda Alba (1961) – Bernarda Alba
The moral of miss Dulska (1962) – Tadrahova;
The Great Wall (1966) – Mother Xhun
“Perkolgjinajt Family (1966) – Mara;
“Drita” ( 1967) – Violet – directed by: Marie Logoreci
Cuca e maleve (1967) – Prenda
The shelter of Vullve (1968) – Old woman
The great flood (1977) – Gjela
These are some of the main parts that Maria has played on the stage of the National Theatre.
Albanian Cinematography in activity since 2013.
Reference: “Drita” Newpaper, issue of June 26, 1988 as well as from the book “Marie Logoreci”. The photos are a contribution of the admins of the “K.SH” page. Published for the first time since June 2015 and revised in the following years.
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