History of the Albanian Theater (People's Theatre) The first part, from the beginning until 1990! An English expression says: "The king is dead, long live the king" The most important theater institution in Albania. His birth was a marked national event, his journey a synthesis of human, social, political and civic experience. a place of knowledge and poetry, a laboratory for the processing of national consciousness, an open door for experiences and cultures that come from the world, pride and joy for every Albanian. The National Theater of Albania is one of the sublime values of Albanian culture, a school, a temple, an important artistic home throughout the national space. The building, which collapsed in May 2020, had a total of 52 staff members, of which 30 were actors, 1 director, 1 deputy director, 1 set designer, 1 stage inspector, background assistants (electrician, sound engineer, carpenter, stage worker), services , the administration of others. The most complete personnel achieved before 1991 resulted in a total of 90 people, of which 60 actors, 1 director, 4 directors, 1 dramatist, 1 scenographer, etc. The beginnings. The Kombétar Theater has its roots in the Amateur Theater Movement, starting from the Kombécare Renaissance, in the 20s-30s and up to the so-called Partisan Theater. When Tirana was declared the capital of Albania in 1920, efforts were made to acquire a new cultural status from it. In 1926, the building of the "Nacional" cinema was built, where, in addition to the screening of films, after 21:00, there were also theater shows. In the 1930s, Tirana became one of the largest theater circles, which was moving forward. The theater company "Tirana" (1932), directed by Mihal Popi*, Mursin and Xhevat Serezi, was a permanent group. She staged several plays by Xhevat Serez, plays by Foqion Postoli, comedies by Kristo Floqi, adaptations of Moliere's comedies, parts by Kerner, Schiller, etc. In Tirané, there were many amateur high school theater groups. In April 1929, the intellectual elite of the country first proposed the idea of creating an Albanian Kombétar Theater, but it remained unrealized. In 1930, the first philodramatic competition was organized in Tirané, where many theater groups from different parts of the country took part, and it became necessary to establish the "National" theater. For these reasons, the Ministry of Education opened in the school year 1932-1933 the first Dramatic School* in Albania, where 16 boys and 12 girls took part, which to be prepared as artists, the future of the theater. From the mid-1930s, the "Federation of Albanian Youth" was established under the Ministry of Education, which was interested in and organized, in fact, theatrical activities at the national level. The creation of an Albanian dramaturgy that begins to evolve within a growing culture, with authors such as Kristo Floqi, Et'hem Haxhiademi, Gjergj Fishta*, etc.; the creation of an institutional infrastructure through the establishment of various theater companies and several cinemas with stages, which also performed the role of theater, such as "Nacional", "Diana" (later named "Gloria") and "Rozafat"; the organization of competitions, the qualification of future artists – these together created the conditions for a significant progress of theater activities in Tirana, before now as a national cultural phenomenon, important in the processes of development and spiritual emancipation of the country. From 1932-1938 (on the eve of the invasion of Albania by Fascist Italy) many plays, farces, skits, especially comedies were performed on the stages of these three cinemas. Many talented actors stand out from the many theater companies, such as: Loro Kovaci*, Zef Hil Gega*, Zef Jubani*, KoIé Shiroka, Matish Prenushi, Pjetér Gjoka, Ndoc Meshkalla, Ndoc Prendushi, Rrok Zadeja, Kolé Mirashi, KoIé Gumshi , Gjon Krajni, Gjon Daja, Paulin Lacaj, Lec Fishta, Adem Kastrati, Ndrek Shkjezi, Luigj Mjeda, Luigj e Roza Kakariqi, Shyqyri Borshi, Lin Deda, Zenel Broja, Tef Leka, Gjon Karma* (all from Shkodra), VangjeI Grabocka*, Theodhora Sheri, Zisi Stavre, Misto e Andon Treska, Kostandin Grabocka, Dhimitér Trajce, Stefan Trebicka, LIazo Vishnja (from Korca), Gaqi Vishi (from VIora), Mihal Popi*, Muhsin Serezi, Xhevat Serezi, Mihal Stefa* , Hasan Reci, Matish Prendushi, Andrea Malo*, NikoIIa Panajoti (Tirana), Aqif SeIfo, Fejzi Hoxha, SeIami Xhaxhiu, Hamit Kokalari, Fane Rodi (Gjirokastér), Thanas Floqi, Faik Haxhiymeri, Pjetér Ndria, Mustafa Curri, Faik Pajuni ( Elbasan) etc. Foundation. At the end of April 1944, by order of the General Staff of the National Liberation Army, 16 people were gathered from the partisan theater groups and the field, led by Andon Pano, Pirro Kondi and Njazi Jaho. The group stayed for a month in Pérmet and on the day of the closing of the Pérmet Congress, they performed the piece "Elderly and War" by Sotir Papuli. This date also marked the creation of the core of the first theater in Albania, predetermined as "professional" by the delegates and forums of this Congress. It was placed in Poliqan and was called: "Central Group", and on September 25, 1944, "Central Theater of the National Liberation Army". It operated as such, continuously, for one year, until May 25, 1945, when, on his was created, later, for several times; the first in the history of Albania, the "Professional Theater"*. This theater (Central Theatre) came from the union of two well-known theater groups, the one from the district of Gjirokastré, directed by Andon Panon, and the one from the district of Korce, directed by Sokrat Mion*. The "Central Theater" had a composition of 35 selected artists. He created an active repertoire, both inherited from groups: partisan theaters, as well as with new pieces that came to the stage. Institutionalization. The construction of the Kombétar Theater building was done in 1939 by Italy as "kinemarevisté", later it was called "Kosova" Cinema-Teatér. It was precisely at this point that the government made the decision to form the Kombétar Theater. In April 1945, on the occasion of the 11th Rinisé Congress that was held in Tirana, several theatrical performances were given in different cities of the country. From a special "competent" group of these shows, the most talented actors were chosen to create the first professional theater in Albania. They were Mihal Popi, Fadil Shiroka, Mihal Stefa, Liza Vorfi*. Behije Cela, Gjon Karma, Hasan Regi, Ndoc Shkjezi, Ndoc Deda, etc., directed by Sokrat Mio , with the actors of the Dramatic School, on April 29, 1945, the comedy "Topazi" by the French writer Marcel Pagnol was shown. performed by Nonda Bulka; this was called the founding performance of the "Kombétar Theater". In May 1945 , a group of old and talented amateurs were invited to the theater "Professional Theater of the State" was created precisely on May 25, 1945, in the building (which was demolished in May 2020) of the National Theater on the occasion of the start of work on staging the 5-act drama "Gjido" (The Lover), of Yugoslav writers ZM Veselinovic and D. Barzak, by Yugoslav actor and director Bozha Nikolic, assisted by Sokrat Mio. The drama was edited and adapted by Spiro Lazri, also changing the names of the characters to be closer to the Albanian environment. The director Sokrat Mio also created a musical soundtrack to make the show more enticing. The actresses also performed. they also sang. In March of 1946, the director Pandi Stillu started working at the theater, and later became the chief director. He completed his three-year studies as an actor at the Academy of Theater in Bucharest, Romania, as well as a one-year course as a theater director. The arrival of some of their actors from Ushtrisé Theater such as Loro Kovaci', Marie Logoreci*, Violeta Manushi*, Pjeter Gjoka*, Ndrek Luca, Besa Imami brought new individualities, significantly influencing the interpretive mosaic of the Kombétar Theater. Until the establishment of the State Theatre, the actors worked without remuneration and were kept by the army. Then the state decided to pay him, also the environment inside the building of the Kombétar Theater, the hall and the accessories of the stage were arranged with few means. During the year I946 alone, a total of 10 premieres were prepared. At the end of May 1947, the administration was also appointed, its first director, the writer KoIé Jakova*, was appointed. In order to replace the troupe of artists from a professional point of view, the Committee of Culture and Arts invited the famous Russian director Vladimir Fyodorovic Dudin from the Soviet Union this month, which marked a turning point for the theater itself. The thirst to see a theater performance was great. Tickets were sold early, absorbing almost the maximum capacity of the theater with about 500 seats on average. During the first 5 years 1944-1949, 10 performances were given with 60,747 spectators; i.e. 2 times more than in 1938. Rok Dabérdaku* and later Ismail Hidri, Hysen DevoIIi* were appointed as the first scenographer of the Kombétar Theatre. With the opening of the new theater season in September 1947, the Russian director Aleksej Fjodorovic Dudin proposed to start a "Course for the professional development" of actors at the People's Theater, where subjects would be taught: Actor's skills, History, Diction, Stage movement, Pantomime, etc. This course lasted from January 1 to June 30 , 1948. In the first 15 years, the repertoire of the Kombétar Theater was dominated by the works of Russian-Soviet authors, such as: Korneicuk, Pogodin, Arbuzov, Gorbatov, etc. but along with them there were also some of the classic authors of the traditional style and the realistic current, such as: "I sémuri pér mend" by Tartufi, "Noble Bourgeois" by Molière, "Marriage", "The Auditor" by Gogol, "For the cat there is no time carnival" by N. Ostrovsky. "The Servant of Two Masters", "The Innkeeper" by K. Goldoni, "Rrénjé té IIa" by James Gou and D'Jusso, "I cuditshmi" by N. Hikmet, "Intrigé e Beloved ” by Schiller, “The truth of Spain” by FG Lorkés, “The morality of Mrs. Dulska” by G. ZapoIska, “The gardener’s dog” by Lope de Vege, “The merry lady of Windsor”, “Much ado about nothing”, “ Othello", Hamlet, Shakespeare's "King Lear", etc. Of course, the directors of most of these shows were Kricko, Bortko, Jubov Kricko (Kricko's wife), as well as Cefranova. Albanian directors assigned Iuan the role of assistant (first, second or third) and in special cases they directed the performances themselves. Sokrat Mio, Pandi Stillu, Andon Pano, Besim Levonja were among the first Albanian directors of the Kombétar Theater in the 1945-1955 decade. After that, the directors Andrea Malo*, Kujtim Spahivogli, Mihal Luarasi, Selman Vaqarri, Pirro Mani, who had finished their Iarta studies to direct in the Soviet Union, Czechoslovakia, Hungary, etc., were appointed to the Kombétar Theater. In addition to foreign pieces, more and more attempts were made for original national works. The comedy "Prefect" by Besim Levonja, the dramas "Halili and Hajria", "Toka joné" by Kolé Jakovés, "Family of the fisherman" by Sulejman Pitarkés reached the true level of representation, turning into real indicators and significant artistic values. The theater was more and more aimed towards the national repertoire, where important social and political themes stand out, but, on the other hand, the influence of the schematic optics of the "new age", which consisted of open performances, was increasingly felt in this repertoire. of the intervention of ideology and politics in the arts. In 1959, the troupe of actresses reached 40. Within 15 years, the Kombétar Theater gave a total of 110 premieres, of which "Prefect", "Revizori", "Halili and Hajria" were the most popular. , "Toka joné", "Fishman's Family", "Otello", "Orét e Kremlinit" etc. The drama "Halili and Hajria" was shown 214 times during ten years 1951-1956, on different stages of the country, seen by 110,000 spectators in the city and the countryside. Of the 27 premieres given in the years 1954-1959, 11 of them were plays written by Albanian authors. In 1950, "People's Theatre ” reached up to 2,500 bookings at the job centers, despite the numerous requests of the public; all the shows were for women. This extraordinary "hunger" of the public for the theater, in addition to many reasons of a historical, sociological or political nature, is also explained by the lack of entertainment and other pleasures, which were very limited in that period. Russian directors. The Kombétar Theater was strongly influenced by the Russian theater school. The help that was given, in the first 10-15 years, by well-known Soviet directors such as: AF Dudin, AI Kricko, J. Kricko, V. Bortko, Zina Andri, NV Cefranova (the latter, pedagogue-consultant for the completion of the process teacher at the Iarté school for actors "Aleksander Moisiu"), was an important factor in the qualification of the artists as well as in the experience of the prevailing tendencies in the Kombétar Theater. They were inculcated, according to a training program, with one-two-year schooling courses, the basic principles of the Russian theater school, known as the "Sistemi i Stanislavski". on the other hand, the teaching of the Russian directors also brought uniformity in the performance style, sometimes avoiding the organic nature of the actors, stiffening and misrepresentation. of feelings than only feelings. Equally, the methodology of acting that came from the Russians also overlooked other ways of Iojés. which were equally successful in the world, limiting not a little the entertaining character, the gaiety and generally the plastic development of its creation. It became heavy and turned, not infrequently, into a static world, absolutizing "living" and underestimating the presentation side and the game of conventions. The need for the protection of the Kombétar Theater, the interests and mass attendance of the public, made the state take care of who studied in high schools in the Soviet Union or other Eastern countries (Hungary, Czechoslovakia, etc.) some of them, such as: Pirro Mani, Kujtim Spahivogli, Esat Oktrova, Mihal Luarasi, Andrea Malo, Andon Pano, or others like Drita Agolli*, these directors, who more and who less, brought the experience of the Russian theater, or the Russian theater school, introducing a new spirit to the Kombétar Theater " ids="545" display="basic_thumbnail"] Theater and politics. In its history, the Kombétar Theater has been greatly damaged by the excessive presence of politics, not only in its direction and completion, but also in the concrete content of the performances. In the years 1945-1955, the Albanian state tried to orient the National Theatre, in at least three directions: a) providing a repertoire mainly with "Socialist Realism" dramas that came from Yugoslav, Russian and other eastern countries' repertoires and authors; b) encouraging Albanian dramaturgy to feed the repertoire with original, but oriented subjects; c) the professional development of actresses through learning the principles of the Stanislavski System. In the years 1955-1965, the policy towards the Kombétar Theater is oriented, at most, towards a) the qualification of directors, set designers, in high schools of art in the Soviet Union and the countries of the East, which bring about significant improvements in the level and artistic language of performances; b) the addition of the troupe of actors with young actors who came from the Iarté school for the actor "Aleksandér Moisiu"; c) the staging of some major works from world dramaturgy, with Russian and Albanian directors; d) the organization of the first festivals of professional theaters as a competition of values, promotion of profiles and as a school for the exchange of artistic experiences; e) the transformation of the Kombétar Theater into a school and a place for exchange of experience with other theaters in Albania : a) the treatment of national dramaturgy as the basic element of the repertoire; b) the gradual limitation of world dramaturgy, especially the contemporary one; c) the promotion of the artistic language in the late 1960s and early 1970s. In 1985, the intensification of politics, with the complete isolation of the country, resulted in: a) the almost complete removal of the works from the world dramaturgy fund; b) the extreme politicization of the subjects and the creation of a perverse climate within the collective of artists, with dramatic changes ; c) the punishment as "modernists" of some of the innovative artists (up to imprisonment, exile and removal), the personalization of many others, consequently the extreme schematization of creativity'; d) packaging of repertoire and premieres. In the years 1985-1992, in the period after Enver Hoxhe's death, a certain liberalization of the state's policy towards the Kombétar Theater began until 1990. It is noted: a) a wider presence of foreign repertoire; b) the courage to touch on "taboo topics", forbidden before, with the strengthening of social criticism towards corruption in the state administration, the desire for more rights; c) the embrace of political changes; d) the first experiments and the taste of unproven authors; e) the conflict of the generations, the rude interruptions in the Albanian drama The second (1991 – 2020) _________________ TEXT COPYING IS PROHIBITED! Materials from the book "Encyclopedia, Theater and Cinematography" – Toena 2009 / p. 476-486 Academy of Sciences of Albania, Center of Art Studies, 2005 (J. Papagjoni); "20 years in TP – impressions and memories, 1977" (A. Pano); , Art Studies Center, Tirana 1999 (J. Parrot); "Knocks on Theater doors" – critical articles, "Naim Frasheri" Publishing House, Tirana 1967 (M. Gjini); "Theatre and time" – studies, Naim Frasheri Publishing House, 1975 (M. Gjini); "Life of artists" (portraits), "Knowledge" Publishing House, Tirana 1999, etc.
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