Agron Jakupi Set designer, painter. He was born in Vlora, on November 26. He headed the artistic office "Jordan Misja" in 1973, while his university studies in 1976 at the High Institute of Arts, branch of visual arts for scenography. After their graduation, he was appointed as a scenographer at the "Petro Marko" theater in Vlora*, where I work, with an artistic career spanning over 35 years. He has realized about 50 scenographic projects of various stage shows, as well as concert scenography, festivals and all kinds of performances. In the 80s, in his artistic findings, trends were observed for a language that aimed at renewing expressive forms, not only those of decorative and realistic images, but also with symbolic and metaphorical overlays, such as in the processing of the square scenery, costumes, light and color, as well as in the measured equivalence of the environments with regard to contemporary scenographic markings, as was observed in the play Ura me tre harqe (1988), a staging of the homonymous novel by Ismail Kadare* in the 90s elements of the symbol, synthesizing ability, allegories and associations become more present, with his persistent research in the ideographic enrichment of scenes and scenographic pictures that come as close as possible to the environmental images, typical of certain historical periods where the events take place . The operation with marked elements, reduced and conventional in decor, in costumes as well as in the treatment of light and shadow were seen in the performance of the drama Three Minds at Auction by Ferdinand Hysit (1996), which was then followed by other performances, such as : Before the traffic light, Spirit of the wolf (drama by F. Hysi), Ah, my kidneys by Babis Cikliropulos (2002), Corruption in the palace of justice by Ugo Beti (2003). 
Metaphorical solutions, for example in the drama Merimanga (2004) with typos and the figure of the devil among them as an inspiration of crime and corruption; or the multitude of backdrops and the projection of shadows behind them as a sign of occult power in the drama "The killers left behind by Teodor Laço" (2007), alternate with the solutions of the realist Iloj, where they own elegantly furnished environments, luxury and hanging pictorial paintings , which place you in a given time, as for example in the drama The Importance of Being Honest (in the original: The Importance of Being Ernesto) by Oscar Wilde (2006). ________________ Albanian cinematography in activity since 2013 Reference: Encyclopedia of Albanian Theater and Cinematography – Toena 2009 / J. Papagjoni / p. 197-198
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