Nata e dyt\u00eb e Festivalit t\u00eb Teatrove me shfaqjen \u201cT\u00eb rresh, a t\u00eb mos rresh\u201d<\/p>\n
Suhareka po jeton k\u00ebto dit\u00eb me ritmin e teatrit, n\u00ebn udh\u00ebheqjen e aktorit Brahim Basha.<\/p>\n
Nga 9 deri m\u00eb 13 shtator 2026, Sht\u00ebpia e Kultur\u00ebs \u201cUk\u00eb Byty\u00e7i\u201d ka hapur dyert p\u00ebr edicionin e VII-t\u00eb t\u00eb Festivalit t\u00eb Teatrove, duke sjell\u00eb n\u00eb sken\u00ebn e saj trupa teatrore nga hap\u00ebsira shqiptare dhe duke e kthyer qytetin n\u00eb nj\u00eb pik\u00ebtakim t\u00eb artit, mendimit dhe emocionit.<\/p>\n
Pas hapjes me \u201cArt\u201d nga Teatri Komb\u00ebtar i Kosov\u00ebs, nata e dyt\u00eb, m\u00eb 10 shtator, i takoi Teatrit Shqiptar t\u00eb Shkupit me shfaqjen \u201cT\u00eb rresh, a t\u00eb mos rresh\u201d, me regji t\u00eb Shkumbin Istrefit.<\/p>\n
N\u00eb pamje t\u00eb par\u00eb, vet\u00eb titulli t\u00eb \u00e7on menj\u00ebher\u00eb te nj\u00eb prej dilemave m\u00eb t\u00eb njohura t\u00eb teatrit bot\u00ebror: \u201cT\u00eb rrosh a t\u00eb mos rrosh\u201d. Por shfaqja e mbr\u00ebmshme nuk \u00ebsht\u00eb nj\u00eb p\u00ebrs\u00ebritje e asaj dileme. Ajo e zhvendos at\u00eb n\u00eb nj\u00eb tjet\u00ebr terren njer\u00ebzor, nga dilema e ekzistenc\u00ebs te dilema e s\u00eb v\u00ebrtet\u00ebs.<\/p>\n
Dhe pik\u00ebrisht k\u00ebtu q\u00ebndron nj\u00eb nga shtresat m\u00eb interesante t\u00eb saj.<\/p>\n
N\u00ebse pyetja hamletiane ngrihet p\u00ebrball\u00eb jet\u00ebs dhe vdekjes, \u201cT\u00eb rresh a t\u00eb mos rresh\u201d na vendos p\u00ebrball\u00eb nj\u00eb pyetjeje po aq njer\u00ebzore, a kemi guximin ta p\u00ebrballojm\u00eb t\u00eb v\u00ebrtet\u00ebn, edhe kur ajo \u00ebsht\u00eb e dhimbshme, apo zgjedhim nj\u00eb g\u00ebnjesht\u00ebr q\u00eb p\u00ebr momentin na duket m\u00eb e leht\u00eb?<\/p>\n
Dy personazhet kryesore, dy polic\u00eb, gjenden p\u00ebrball\u00eb detyr\u00ebs p\u00ebr t\u2019i komunikuar nj\u00eb \u00e7ifti t\u00eb moshuar nj\u00eb lajm t\u00eb hidhur. P\u00ebrpjekja p\u00ebr t\u2019iu shmangur pesh\u00ebs s\u00eb s\u00eb v\u00ebrtet\u00ebs i fut ata n\u00eb nj\u00eb zinxhir g\u00ebnjeshtrash, duke e shnd\u00ebrruar nj\u00eb situat\u00eb t\u00eb thjesht\u00eb n\u00eb nj\u00eb p\u00ebrplasje me moralin, p\u00ebrgjegj\u00ebsin\u00eb dhe pasojat e zgjedhjeve.
\nK\u00ebshtu, e qeshura q\u00eb u krijua n\u00eb sken\u00eb nuk ishte vet\u00ebm p\u00ebr t\u00eb arg\u00ebtuar.
\nAjo t\u00eb b\u00ebn t\u00eb mendosh.
\nSepse ndonj\u00ebher\u00eb njeriu g\u00ebnjen jo vet\u00ebm p\u00ebr t\u00eb fshehur t\u00eb v\u00ebrtet\u00ebn, por edhe p\u00ebr t\u2019i ikur barr\u00ebs q\u00eb sjell ajo. Dhe pik\u00ebrisht aty lind pyetja e v\u00ebrtet\u00eb e shfaqjes. A \u00ebsht\u00eb m\u00eb e leht\u00eb t\u00eb jetosh me nj\u00eb t\u00eb v\u00ebrtet\u00eb t\u00eb dhimbshme apo me nj\u00eb g\u00ebnjesht\u00ebr t\u00eb rehatshme?
\nKjo e b\u00ebn titullin e shfaqjes nj\u00eb loj\u00eb t\u00eb zgjuar fjal\u00ebsh, por edhe nj\u00eb loj\u00eb serioze me nd\u00ebrgjegjen njer\u00ebzore.
\n\u201cT\u00eb rrosh a t\u00eb mos rrosh\u201d pyet p\u00ebr ekzistenc\u00ebn.
\n\u201cT\u00eb rresh a t\u00eb mos rresh\u201d pyet p\u00ebr m\u00ebnyr\u00ebn se si sillemi brenda asaj ekzistence.
\nDhe ndoshta k\u00ebtu t\u00eb dyja dilemat takohen: njeriu nuk sprovohet vet\u00ebm nga fakti se jeton, por nga zgjedhjet q\u00eb b\u00ebn nd\u00ebrsa jeton.
\nN\u00eb k\u00ebt\u00eb p\u00ebrballje skenike, aktor\u00ebt soll\u00ebn nj\u00eb loj\u00eb t\u00eb fuqishme, organike dhe t\u00eb harmonizuar. Kimia e tyre skenike e mbajti publikun t\u00eb p\u00ebrfshir\u00eb n\u00eb ritmin e shfaqjes, nd\u00ebrsa ekspresiviteti, dinamika dhe mpreht\u00ebsia psikologjike i dhan\u00eb tekstit dimensionin e duhur njer\u00ebzor.
\nPubliku qeshi, por nj\u00ebkoh\u00ebsisht u vu p\u00ebrball\u00eb vetes.
\nDhe ky \u00ebsht\u00eb ndoshta suksesi m\u00eb i madh i nj\u00eb komedie, t\u00eb t\u00eb b\u00ebj\u00eb t\u00eb qesh\u00ebsh pa t\u00eb lejuar t\u00eb dal\u00ebsh prej sall\u00ebs pa menduar.
\nDuartrokitjet e gjata n\u00eb fund t\u00eb shfaqjes ishin d\u00ebshmia e nj\u00eb komunikimi t\u00eb plot\u00eb mes sken\u00ebs dhe publikut. Nj\u00eb komunikim q\u00eb nuk u nd\u00ebrtua vet\u00ebm mbi interpretimin, por mbi nj\u00eb tem\u00eb q\u00eb i p\u00ebrket secilit prej nesh: t\u00eb v\u00ebrtet\u00ebs, g\u00ebnjeshtr\u00ebs, frik\u00ebs nga p\u00ebrballja dhe p\u00ebrgjegj\u00ebsis\u00eb q\u00eb mbart \u00e7do zgjedhje.<\/p>\n
Festivali vazhdon sonte me Teatrin e Gostivarit dhe shfaqjen \u201cNjeriu q\u00eb pa vdekjen me sy\u201d, m\u00eb 12 shtator me Teatrin e Tetov\u00ebs dhe \u201cDram\u00eb p\u00ebr t\u00eb qesh\u201d, nd\u00ebrsa m\u00eb 13 shtator, edicioni i sivjetsh\u00ebm p\u00ebrmbyllet nga Teatri i qytetit \u201cBekim Fehmiu\u201d i Prizrenit me \u201cPylli\u201d.
\nSuhareka, nd\u00ebrkaq, vazhdon t\u00eb d\u00ebshmoj\u00eb se arti nuk ka nevoj\u00eb gjithmon\u00eb p\u00ebr metropole p\u00ebr t\u00eb krijuar jehon\u00eb.
\nMjafton nj\u00eb sken\u00eb, nj\u00eb tekst, aktor\u00eb q\u00eb besojn\u00eb n\u00eb t\u00eb dhe nj\u00eb publik i gatsh\u00ebm t\u00eb d\u00ebgjoj\u00eb.
\nSepse teatri i mir\u00eb nuk t\u00eb l\u00eb aty ku t\u00eb gjen.<\/p>\n
T\u00eb b\u00ebn t\u00eb qesh\u00ebsh, t\u00eb shqet\u00ebson, t\u00eb v\u00eb n\u00eb dyshim dhe, mbi t\u00eb gjitha, t\u00eb detyron t\u00eb mendosh.<\/p>\n
Dhe n\u00ebse \u201cT\u00eb rrosh a t\u00eb mos rrosh\u201d mbetet nj\u00eb nga pyetjet e m\u00ebdha mbi ekzistenc\u00ebn, \u201cT\u00eb rresh a t\u00eb mos rresh\u201d na kujton se edhe brenda jet\u00ebs son\u00eb t\u00eb p\u00ebrditshme ekziston nj\u00eb betej\u00eb tjet\u00ebr: ajo mes s\u00eb v\u00ebrtet\u00ebs q\u00eb duhet p\u00ebrballuar dhe g\u00ebnjeshtr\u00ebs q\u00eb duket m\u00eb e leht\u00eb.<\/p>\n
Ndoshta pik\u00ebrisht aty fillon teatri i v\u00ebrtet\u00eb,
\naty ku qeshja mbaron, por pyetja vazhdon.<\/p>\n
Bruna Gosa<\/p>\n","protected":false},"excerpt":{"rendered":"
Nata e dyt\u00eb e Festivalit t\u00eb Teatrove me shfaqjen \u201cT\u00eb rresh, a t\u00eb mos rresh\u201d…<\/p>\n","protected":false},"author":1,"featured_media":50206,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[14],"tags":[],"class_list":["post-50203","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kulture"],"_links":{"self":[{"href":"https:\/\/faktiditor.ch\/index.php?rest_route=\/wp\/v2\/posts\/50203","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/faktiditor.ch\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/faktiditor.ch\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/faktiditor.ch\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/faktiditor.ch\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=50203"}],"version-history":[{"count":1,"href":"https:\/\/faktiditor.ch\/index.php?rest_route=\/wp\/v2\/posts\/50203\/revisions"}],"predecessor-version":[{"id":50207,"href":"https:\/\/faktiditor.ch\/index.php?rest_route=\/wp\/v2\/posts\/50203\/revisions\/50207"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/faktiditor.ch\/index.php?rest_route=\/wp\/v2\/media\/50206"}],"wp:attachment":[{"href":"https:\/\/faktiditor.ch\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=50203"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/faktiditor.ch\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=50203"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/faktiditor.ch\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=50203"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}