Puppet Theater | National Theater for Children!

National Children’s Theater or Puppet Theater (as it was called until 2003) is a special type of theater art, which is mainly based on the use of puppets, which are thought of as characters.

In addition to puppets, other forms of means are also applied in this theater, such as the use of masks by actresses, clothing imitating animals or other methods and techniques. Due to its nature and object, this theater has as its audience the minors up to adolescence, but the shows are not excluded when they include and mean an adult spectator.

In the few traditions of this type of theater, which came from playing with “bastards”, toys in pagan and religious ceremonies and processions, imitations of animals, etc., the use of known techniques, which were alienated from worldly experiences, were introduced. With a modest troupe of experienced actresses, on December 16, 1950, the first professional puppet theater was opened in Tirana. The opening premiere of this theater was the well-known fairy tale “Snow White”. Llazer Verria was also the first director of this theater .

He later staged the play “The Red Flower” (1951), where the fantastic, fairy-tale character of the subject, the strange characters and the beautiful scenes, brought great joy and interest to the young viewers.

In the first years, due to the lack of local authors, the repertoire was taken over by foreign parts, mainly Soviet and other Eastern countries. Afterwards, original pieces by Albanian authors were also staged. Among these, the original piece “Cinderella” by Andon Pano, which was a stage adaptation full of imagination and fantasy of the well-known subject of this Albanian fairy tale.

An intriguing adaptation for the children’s stage was the play “The Old Man and the Young Man” (1951), which had built a hilarious subject based on Albanian folk songs. Also the parts “Lajmetari” (1952); and “Bardha Bardhoshi” (1952) by Zihni Sakos had a good following from young viewers, and then “Para provimeve” (1952) by Tashko Lako.

In the stage of the National Children’s Theater in the first years of its activity, well-known classical European authors found a place with their works, such as the adaptation for children by Tonin Shiroka of the novel “Don Quixote” by Cervantes, or the part “Cosette”, the excerpt from the novel “Les Miserables” by V, Hugo.

In the composition of the troupe of actresses of the first years of the theater were: Rina Burda / Melpomeni Cobani / Vera Zheji / Drita Kallamata / Avni Resuli / Qenan Toro / Zija Grapshi / Myftar Myftari / Eleni Plasari / Xhavit Xhepa / Pleurat Armiri / Xhavit Sallaku e many others…

The experience gained created the possibility of increasing the artistic level of this theater, improving the technique of using puppets, the quality of creating models, imitating and animating skills of the actresses.

In the years 1955 – 1960, dramaturgical creativity in this theater was also oriented towards the promotion of original national plays. During this time, a series of new plays were staged, such as: “The postman’s bicycle” and “The long-nosed princess” by Andon Pano, “Gjinkalla” by Tashko Lako, “Dysh ne aritmetike” by Tonin Shiroka, “Bariu and kacamicri” by Xhavit Sallaku, “Gjysmagjeli” (1960) by Moisi Zaloshnje…

In the 1960s, there was a noticeable improvement in the quality of this theater, which was seen in a more imaginative treatment of the scenographic environments, in the further skilling of puppetry, in the equipment with some technical tools necessary to realize a greater suggestive effect as well as stimulating the imagination and imagination of the little spectators.

The growth and consolidation of this theater was noticed in the level of dramas on stage, in the acting of the actresses, but also in the active presence of a directorial concept that increasingly operated in relation to the features and artistic structures offered by the Puppet Theater as such.

Among the most popular parts of these years were: “The Dog’s Trial” (1962) by Bedri Dedja; “Wild goat” (1962) by Kole Jakova; “Daci i zi me dy kobure” (1964) by Tonin Shiroka; “The beauty of the earth” (1964) by Xhavit Sallaku; “Kapuci i Gimit” (1965); “Lindita” (1966);

In the second half of the 60s, the support that was given to the creativity of Albanian authors, the strengthening of the national character with subjects, themes, the use of legends, myths and generally the area of popular creativity, especially the demand for beating a concrete problems that were naturally related to the lives of Albanian children, to the reality they knew. …

Among the pieces displayed in this period were the “Living Statue”; “Meeting of revolutionaries”; “The strength of the collective” all in 1968 with the same author Andon Pano; “Brave little decorator” (1968); “Pioneers protect the republic” (1966); “Pishtare ne fortune” (1967) by Xhavi Sallaku; “Borizani i vogel” (1968) by Tonin Shiroka; “Iron Fist” (1969); “Linda’s Mistakes” (1970) by the author Pleurat Armiri; “We work and have fun” (1974) by I, Brahos; as well as other parts…

Meanwhile, the works of foreign authors were staged: “The Good Soldier Shvejk” based on Hashek’s well-known novel and the Italian part “Buratino”.

As much as the tendency appeared in the 70s to include in the subjects of the pieces as much as possible within the society, with open educational and formative goals, however, the increase in the literary and cultural level of the authors and directors of this theater, made the fantastic element, the spirit of adventure, the many challenges and vicissitudes faced and overcome by the characters not to be overlooked, but instead to find their literary and artistic equivalent.

Several plays by writers for children with fables and interesting subjects from the National Liberation War or the life of that time were successful: “They fight for freedom” by Xh. Sallaku; “Gracka” by Gaqo Bushake and Pleurat Armiri; “Prefect” adaptation of Besim Levonje’s comedy; “Castle and poison” by I. Kadarese; “Gjezat e teto Dijes” and “Festa e dijes” by A. Pano; “White lines” by G, Bushaka.

One of the organic tendencies of creativity in the theater was undoubtedly the bringing of the historical reality and that of the day in the illustrations of the figures of animals, living things, plants and objects, thanks to the form of animation and the fantastic veil of the events, as seen in the stage parts realized with level such as: “Brumbulli me ngjyra” by T. Shiroke; “Uprising in the palace” by B. Dedja; “Three loyal friends” by Moisi Zaloshnja; “Victory of bees” by Injac Saraci and others;

Improvements in the acting technique of the actors, in the enrichment of the types of puppets and their use, as well as in the scenographic finding as well as in the increase of the reflective ability of the director, were also noted during the 80’s.

 Photo gallery from theatrical puppet shows
   
   
   
   
   
   
   

The National Children’s Theater was better oriented towards the pieces that covered topics and subjects as close as possible to the nature and psychology of children, moving more and more to the second level didascaly type pieces.

Now the National Children’s Theater had created a wide fund of plays, turning itself into a theater-repertory, which filled all days of the week with performances of different types. In addition to the works of the fund, other new ones were realized, such as: “Lepurushi veshkaushi” (1980) by Gjike Kurtiqi; “Sorkadhja e bukur” (1981) by Tasim Gjokutaj; “Kur vjen baba Viti” (1985) by Violeta Kongo; “Pinoku” (1985) adapted by Tonin Shiroka; “Snow White” (1987) by Petraq Risto; “Cinderella” (1989) by V. Kongo, etc.

After the 90s, freed from aesthetic limitations, this theater treated the children’s world with another expressive language. In this period, several successful shows were realized, such as: “Semi found a shoe” (1993) by Naum Prifti; “Flowers of the Little Idea” (1996) by Elona Velce; “Beauty and the Beast” (1998) adapted by Mira Minga; “Kacamicri seeks friends” (1999) by Skender Hasko; “Macoku me cizme” (1999) adapted by P. Armiri and others.

With the play “Kacamicri and Friends”, the National Children’s Theater has participated in several international meetings outside the country.

The pieces: “Cufo and Pipi” (2000) by Gaqo Bushakes brought an interesting flow in terms of the redeemed treatment of the subjects and an obvious freedom of fantasy in the twisting of life possibilities;

“King will become me” (2002) by Leonard Dali; “Pentagram of dreams” (2003) by Vangjel Kozmai and other shows;

The most prominent directors who worked in this theater were: Xhemal Broja; Lazar Verria; Pandi Stillu; Selman Vaqarri; Andon Pano; Xhavit Sallaku; Aunt Grapshi; Pleurat Armiri; Lavdie Shehu (Toro); Klaudia Mikeli;

Scenographers: Ndoc Kodheli; Tonin Shirko; Romeo Cani. The troupe of the National Children’s Theater has participated in several international meetings of children’s theaters, giving performances in Austria, Italy, Bulgaria, Hungary, Macedonia, Greece, Kosovo and other countries.

In 1995, the Balkan Children’s Theater Festival took place in Tirana. Until 2003 it was called the Puppet Theater and after that year it was called the National Theater for Children, whose building is located in the center of Tirana.

The performance hall has 160 seats per viewer and every year on average, the troupe of actresses has given about 150 performances in Tirana and other cities of our country. The National Theater has always been a place for the qualification of other artists through the puppet theaters in the country’s districts.

This troupe uses wire puppets, marionettes, masks, shadow theater, pantomime and acting. The most complete personnel of this theater was in 1991, where there were a total of 36 of these 22 actresses; 1 director; 1 director; 1 manager; 1 conductor; 1 scenographer; 9 help personnel and administration.

The exclusivity on this page is dated July 7, 2023.

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Albanian Cinematography in activity since 2013
Reference: Adapted from “Encyclopedia, Theater and Albanian Cinematography” – J. Papagjoni / Toena 2009 / p.490-492 As well as “History of the Albanian Theater” – 1985 /p.177-181 / Mira Minga; “History of the Puppet Theater” (Thesis), Library of the Academy of Arts, – 1978 / Ismail Hoxha; “From life to theater, from theater to life” – “Naim Frasheri” Publishing House – Tirana 1972/Z. Dokle/ p. 151-157;