{"id":126484,"date":"2015-06-22T08:56:40","date_gmt":"2015-06-22T07:56:40","guid":{"rendered":"http:\/\/www.recom.link\/?p=126484"},"modified":"2015-06-22T09:13:25","modified_gmt":"2015-06-22T08:13:25","slug":"eshte-e-lavdishme-qe-ta-harrosh-atdheun","status":"publish","type":"post","link":"https:\/\/www.recom.link\/sq\/eshte-e-lavdishme-qe-ta-harrosh-atdheun\/","title":{"rendered":"\u00cbsht\u00eb e lavdishme q\u00eb ta harrosh atdheun"},"content":{"rendered":"

\"Bilten<\/a><\/p>\n

Nacionalizmi \u00ebsht\u00eb, sipas Ernest Gellnerit<\/strong>, parim politik, i cili k\u00ebrkon p\u00ebrputhjen e kufijve politik dhe etnik. Narrativi nacionalist e konstruon p\u00ebrkujtimin publik nga ato fakte, t\u00eb cilat mund ta legjitimojn\u00eb k\u00ebt\u00eb parim. Gjith\u00e7ka q\u00eb e v\u00eb n\u00eb pyetje p\u00ebrputhshm\u00ebrin\u00eb e cekur, zyrtarisht harrohet ose kuptimi i tij relativizohet.<\/p>\n

N\u00eb kontekstin e till\u00eb, \u00ebsht\u00eb i nj\u00eb r\u00ebnd\u00ebsie t\u00eb jasht\u00ebzakonshme vendi, n\u00eb t\u00eb cilin shfaqet kund\u00ebr-p\u00ebrkujtimi \u2013 p\u00ebrkujtimi i cili i takon grupeve minoritare dhe t\u00eb cilat jan\u00eb “t\u00eb margjinalizuara nga ana e kultur\u00ebs mbizot\u00ebruese”. I konsideruar si instrument i formave t\u00eb ndryshme t\u00eb mbizot\u00ebrimit shoq\u00ebror ose si rezistenc\u00eb ndaj t\u00eb nj\u00ebjt\u00ebs, p\u00ebrkujtimi b\u00ebhet akt politik. N\u00ebse flasim p\u00ebr an\u00ebn politike t\u00eb teatrit t\u00eb hap\u00ebsir\u00ebs post-jugosllave, ajo mund t\u00eb konstituohet pik\u00ebrisht aty, n\u00eb rezistenc\u00ebn ndaj memoricidit zyrtar, n\u00eb komemorimin e asaj q\u00eb historiografia zyrtare e harron, por edhe n\u00eb ri-interpretimet radikale t\u00eb fakteve, t\u00eb cilat nuk nisen nga premisat nacionaliste mbi kongruenc\u00ebn e asaj q\u00eb \u00ebsht\u00eb politike dhe nacionale.<\/p>\n

K\u00ebt\u00eb e ka treguar edhe “Antigona” e Sofokliut \u2013 dram\u00eb e p\u00ebrkujtimit t\u00eb imponuar, e harrimit q\u00eb i takon dhe e kund\u00ebr-p\u00ebrkujtimit. Rr\u00ebfimi mbi motr\u00ebn, e cila vendos p\u00ebr ta varrosur dhe p\u00ebr ta vajtuar v\u00ebllain e saj , t\u00eb cilit i \u00ebsht\u00eb mohuar kjo e drejt\u00eb me dekretin e qendr\u00ebs m\u00eb t\u00eb lart\u00eb politike t\u00eb pushtetit, mund t\u00eb funksionoj\u00eb edhe si alegori mbi shoq\u00ebrit\u00eb post-jugosllave dhe politikat e tyre t\u00eb p\u00ebrkujtimit dhe t\u00eb harrimit. Megjith\u00ebk\u00ebt\u00eb, shum\u00eb m\u00eb shum\u00eb se sa kjo, ai rr\u00ebfim flet p\u00ebr teatrin si p\u00ebr nj\u00eb vend t\u00eb emancipimit t\u00eb p\u00ebrkujtimit t\u00eb ndaluar.<\/p>\n

Nj\u00eb status i ve\u00e7ant\u00eb i p\u00ebrkujtimit, sakt\u00ebsisht i kund\u00ebr-p\u00ebrkujtimit, m\u00eb intrigon n\u00eb pun\u00ebn time teatrore q\u00eb nga vet fillimi. Pik\u00ebrisht kjo \u00ebsht\u00eb pika, n\u00eb t\u00eb cil\u00ebn mungesa anekdotike e interesave t\u00eb bashk\u00ebsis\u00eb m\u00eb t\u00eb gjer\u00eb p\u00ebr k\u00ebt\u00eb medium shnd\u00ebrrohet n\u00eb antagonizim t\u00eb shprehur shoq\u00ebror. N\u00eb vend t\u00eb inskenimit t\u00eb konflikteve midis personazheve fiktive, teatri n\u00eb k\u00ebt\u00eb rast e prodhon dram\u00ebn n\u00eb fush\u00ebn e gjer\u00eb shoq\u00ebrore, n\u00eb hap\u00ebsir\u00ebn e harrimit dhe t\u00eb p\u00ebrkujtimit t\u00eb normuar, q\u00eb, n\u00eb raport me te, p\u00ebrb\u00ebn\u00eb transgresion.<\/p>\n

Pik\u00ebrisht nga p\u00ebrvoja e pjes\u00ebmarrjes aktive ose pasive t\u00eb teatrit n\u00eb Kroaci n\u00eb harrimin zyrtarisht t\u00eb p\u00ebrcaktuar \u00ebsht\u00eb formuar vizioni im teatror mbi bot\u00ebn dhe mbi gjuh\u00ebn \u2013 burim i mosmarr\u00ebveshjeve t\u00eb p\u00ebrhershme dhe i kund\u00ebrshtimeve n\u00eb shumic\u00ebn e mjediseve n\u00eb t\u00eb cilat punoj. Mosmarr\u00ebveshja me bashk\u00ebsin\u00eb teatrore kroate e ka arritur kulmin e saj pik\u00ebrisht n\u00eb shfaqjen “Aktrimi kroat”, e cila ka p\u00ebrjetuar nj\u00eb lin\u00e7 profesional dhe medial, sepse e ka shtruar \u00e7\u00ebshtjen n\u00ebse “mundet q\u00eb ajo, t\u00eb cil\u00ebn shumica e aktrimit kroat e prodhon nga lufta e k\u00ebndej, fare t\u00eb quhet teat\u00ebr, n\u00ebse, p\u00ebrndryshe, teatri do t\u00eb duhej t\u00eb ishte akt shoq\u00ebror, etik dhe artistik, i cili ka guxim q\u00eb krimin ta quaj me emrin e tij, ta marr\u00eb t\u00eb drejt\u00ebn e arsyes dhe t\u00eb p\u00ebrcaktoj\u00eb mas\u00ebn e faj\u00ebsis\u00eb? \u00c7far\u00eb teatri mund t\u00eb jet\u00eb, ajo shumic\u00eb e aktrimit kroat, ai teat\u00ebr i cili nuk e njeh tragjedin\u00eb e bashk\u00ebqytetar\u00ebve t\u00eb vet? \u00c7far\u00eb teatri \u00ebsht\u00eb ai teat\u00ebr i cili ndaj fashizmit p\u00ebrgjigjet me \u2013 fashiz\u00ebm?”<\/p>\n

Kurse fashizmi i teatrit kroat, me t\u00eb cilin jam marr\u00eb n\u00eb at\u00eb shfaqje dhe mbi t\u00eb cil\u00ebn dhe me argumente t\u00eb nj\u00ebjta tmerrohen edhe e majta teatrore e edhe e djathta teatrore, hyn n\u00eb kuptimin e gjer\u00eb t\u00eb k\u00ebtij nocioni, ashtu si\u00e7 e ka p\u00ebrkufizuar Michael Foucault, <\/strong> i cili, krahas \u201cfashizmit historik, fashizmit t\u00eb Hitlerit<\/strong> e t\u00eb Musolinit\u201d,<\/strong> tek ai ka par\u00eb edhe kuptimin e \u201cfashizmit brenda t\u00eb gjith\u00eb neve, n\u00eb kokat tona dhe n\u00eb sjelljen ton\u00eb t\u00eb p\u00ebrditshme, fashiz\u00ebm ky i cili na b\u00ebn\u00eb q\u00eb ta duam pushtetin, q\u00eb ta d\u00ebshirojm\u00eb pik\u00ebrisht at\u00eb q\u00eb dominon mbi ne dhe na ka eksploatuar neve.\u201d\u00a0\u00a0 Fashistizimi i shoq\u00ebris\u00eb kroate \u00ebsht\u00eb realizuar, midis t\u00eb tjerash, edhe me q\u00ebndrimin jokritik ndaj pushtetit n\u00eb momentin kur ai politikisht ka sponzorizuar vrasjen e qytetar\u00ebve kroat t\u00eb komb\u00ebsis\u00eb fajtore, si\u00e7 ka qen\u00eb rasti me an\u00ebtar\u00ebt e familjes Zec, <\/strong>vrasjet n\u00eb Fush\u00ebn e Pakra\u00e7it, portin detar Lora, me hapjen e kampeve t\u00eb p\u00ebrqendrimit n\u00eb Hercegovin\u00ebn Per\u00ebndimore p\u00ebr boshnjak\u00ebt, me vrasjen dhe shp\u00ebrnguljen e serb\u00ebve gjat\u00eb aksionit Stuhia. Bashk\u00ebsia teatrore n\u00eb Kroaci t\u00eb gjitha k\u00ebto krime nuk i ka em\u00ebruar, aq m\u00eb pak ua ka marr\u00eb \u201ct\u00eb drejt\u00ebn n\u00eb arsyen dhe n\u00eb p\u00ebrcaktimin e mas\u00ebs s\u00eb faj\u00ebsis\u00eb\u201d.<\/p>\n

Por, bashk\u00ebsia teatrore n\u00eb at\u00eb periudh\u00eb, gjithsesi se me pun\u00ebn e saj dhe me aktivitetin e saj t\u00eb gjithmbarsh\u00ebm, por, n\u00eb kuptimin e par\u00eb t\u00eb fjal\u00ebs, edhe me marrjen e pushk\u00ebs n\u00eb duar, ka marr\u00eb pjes\u00eb n\u00eb makinerin\u00eb propagandistike \u2013luftarake t\u00eb HDZ-s\u00eb. N\u00eb vitin 1991, Hrvoje Hitrec<\/strong> e themelon grupin Satnia e artist\u00ebve kroat (Satnija hrvatskih umjetnika)<\/em>, n\u00eb t\u00eb cil\u00ebn, midis t\u00eb tjerash, kan\u00eb qen\u00eb edhe aktoret Jasna Bilushiq<\/strong> dhe Perica Martinoviq<\/strong>, pastaj regjisori Joshko Juvan\u00e7iq<\/strong> dhe aktori Ljubomir Kapor<\/strong>. Krahas Satnis\u00eb n\u00eb luft\u00eb jan\u00eb p\u00ebrfshir\u00eb aktor\u00ebt Sven Lasta<\/strong>, pastaj regjisori Miro Megjimorec<\/strong> dhe Slobodan Praljak<\/strong>. Kreshimir Dolen\u00e7iqi<\/strong> b\u00ebhet nj\u00eb lloj i regjisorit t\u00eb oborrit t\u00eb mandatuar p\u00ebr aranzhimin e ceremonive t\u00eb ndryshme t\u00eb Tugjmanit, prej t\u00eb cilave m\u00eb t\u00eb njohurat jan\u00eb funerali i Gojko Shushk\u00ebs<\/strong> dhe parada ushtarake n\u00eb Jarun 1997. Zllatko Vitezi n\u00eb HNK zagrebase e b\u00ebn\u00eb regjin\u00eb e dit\u00eblindjes s\u00eb Franjo Tugjmanit <\/strong>n\u00eb t\u00eb cil\u00ebn, midis t\u00eb tjerash, marrin pjes\u00eb edhe Ena<\/strong> Begoviqi<\/strong>, Dragan Despot<\/strong>, Vanja Drach<\/strong>, Kruno Shariq<\/strong>, Joshko Shevo<\/strong>, Zlatko Crnkoviq<\/strong>, Zharko Poto\u00e7njak<\/strong>, Franjo Kuhar<\/strong>, Mladen Vuliq<\/strong>, Zvonimir Zori\u00e7iq<\/strong>, Ivan Brkiq<\/strong>, Ivanka Boljkovac<\/strong>, si dhe Marko Torjanac<\/strong>.<\/p>\n

Shembuj ka ende edhe m\u00eb shum\u00eb, por edhe vet\u00ebm k\u00ebto tregojn\u00eb se shumica e e teat\u00ebrxhinjve n\u00eb Kroaci i \u00ebsht\u00eb n\u00ebnshtruar histeris\u00eb nacionale, dhe, n\u00eb mesin e tyre, ndryshe nga nj\u00eb pjes\u00eb e koleg\u00ebve t\u00eb tyre beogradas, nuk ia kan\u00eb dal\u00eb t\u00eb artikulojn\u00eb diskursin kund\u00ebr luft\u00ebs, madje as at\u00ebher\u00eb kur Kroacia ka punuar n\u00eb mas\u00eb t\u00eb madhe n\u00eb cop\u00ebtimin e Bosnj\u00ebs dhe Hercegovin\u00ebs ose kur informacionet mbi krimet e luft\u00ebs t\u00eb ushtris\u00eb kroate kan\u00eb qen\u00eb publike. At\u00ebher\u00eb, nuk befason fakti q\u00eb bashk\u00ebsia e till\u00eb teatrore, e cila e ka kryer pjes\u00ebn e saj t\u00eb pun\u00ebs n\u00eb harrimin dhe heshtjen zyrtarisht t\u00eb p\u00ebrcaktuar, sot d\u00ebshiron t\u00eb harroj\u00eb edhe veten e saj t\u00eb asaj kohe.<\/p>\n

 <\/p>\n

Se teat\u00ebrxhinjt\u00eb jan\u00eb material i p\u00ebrshtatsh\u00ebm p\u00ebr harrim dhe form\u00ebsim t\u00eb p\u00ebrshtatsh\u00ebm ideologjik, ka treguar edhe nj\u00eb shembull i periudh\u00ebs s\u00eb pasluft\u00ebs ku prap\u00eb \u00ebsht\u00eb realizuar nj\u00eb shkall\u00eb e lart\u00eb e mobilizimit n\u00eb luft\u00ebn e vazhduar me mjete t\u00eb tjera. \u00cbsht\u00eb fjala p\u00ebr “K\u00ebrkes\u00ebn e 555 personaliteteve t\u00eb shquara kroate drejtuar Qeveris\u00eb s\u00eb RK “, me t\u00eb cil\u00ebn \u00ebsht\u00eb k\u00ebrkuar q\u00eb Qeveria e Kroacis\u00eb ta refuzoj\u00eb dor\u00ebzimin e gjeneral Gotovin\u00ebs <\/strong>n\u00eb Tribunalin e Hag\u00ebs, si dhe q\u00eb nga prokuroria e Hag\u00ebs t\u00eb k\u00ebrkoj\u00eb nd\u00ebrprerjen e ndjekjes penale n\u00eb baz\u00eb t\u00eb aktakuz\u00ebs s\u00eb ngritur. K\u00ebrkes\u00ebn e kan\u00eb n\u00ebnshkruar artist\u00ebt e mposht\u00ebm teatror: Nada Abrus<\/strong>, Jasna An\u00e7iq<\/strong>, Inge Appelt<\/strong>, Ivica Barishiq<\/strong>, Sllavko Brankov<\/strong>, Mirela<\/strong> Brekalo<\/strong>, Lukrecija Breshkoviq<\/strong>, Ivan Brkiq<\/strong>, Miljenko Brle\u00e7iq<\/strong>, Senka Buliq<\/strong>, Helena Buljan<\/strong>, Boris Buzan\u00e7iq<\/strong>, Zlatko Crnkoviq<\/strong>, Branka Cvitkoviq<\/strong>, Velimir \u00c7okljat<\/strong>, Dragan Despot<\/strong>, Boris Dvornik<\/strong>, Nina Erak<\/strong>, Mato<\/strong> Ergoviq<\/strong>, Lidija Florijan<\/strong>, Emil Glad<\/strong>, Ivo Gregureviq<\/strong>, Goran Grgiq<\/strong>, Nives Ivankoviq<\/strong>, Darko Janesh<\/strong>, Vjekoslav Jankoviq<\/strong>, Zdenko Jel\u00e7iq<\/strong>, Ivan Jon\u00e7iq<\/strong>, Jasna Jukiq<\/strong>, Trpimir Jurkiq, Ljubo Kapor<\/strong>, Marija Kohn<\/strong>, Adam Kon\u00e7iq<\/strong>, Bozhidar Kosh\u00e7ak<\/strong>, Niko Kova\u00e7<\/strong>, Franjo Kuhar<\/strong>, Drazhen Kuhn<\/strong>, Niksha Kushelj<\/strong>, Danko Ljushtina<\/strong>, Mirjana Majurec<\/strong>, Slavica Maras-Mikulandra<\/strong>, Tomislav Martiq<\/strong>, Ante-\u00c7edo Martiniq<\/strong>, Misha Martinoviq<\/strong>, Maro Martinoviq<\/strong>, Perica Marinoviq<\/strong>, Damir Mejovshek<\/strong>, Igor Meshin<\/strong>, Boris<\/strong> Miholjeviq<\/strong>, Darko Milas<\/strong>, Helena Miniq<\/strong>, Vedran Mlikota<\/strong>, Suzana Nikoliq<\/strong>, Mia Oremoviq<\/strong>, Frane Pershin<\/strong>, Sinisha Popoviq<\/strong>, Zharko Poto\u00e7njak<\/strong>, Ksenija Prohaska<\/strong>, Ivica Pucar<\/strong>, Nada Rocco<\/strong>, Sinisha<\/strong> Ruzhiq<\/strong>, Davor Svedruzhiq<\/strong>, Boris Svrtan<\/strong>, Alen Shalinoviq<\/strong>, Krunoslav Shariq<\/strong>, Joshko Shevo<\/strong>, Glorija Sholetiq<\/strong>, Milan Shtrljiq<\/strong>, Zvonko Torjanac<\/strong>, Romina Vitasoviq<\/strong>, Zlatko Vitez<\/strong>, Edo Vujiq<\/strong>, Mladen Vuliq<\/strong>, Ivica Zadro<\/strong>, Mirta Ze\u00e7eviq<\/strong>, Zvonimir Zori\u00e7iq<\/strong>, Jozo Zovko<\/strong>, Vladimir Geriq<\/strong>, Branko Ivanda<\/strong>, Joshko Juvan\u00e7iq<\/strong>, Lawrence Kiiru<\/strong>, Vlatko Perkoviq dhe Zheljko Sene\u00e7iq<\/strong>.<\/p>\n

Nomina sunt odiosa<\/em>, por asnj\u00ebri prej k\u00ebtyre emrave nuk ka q\u00ebndruar n\u00eb asnj\u00eb k\u00ebrkes\u00eb me t\u00eb cil\u00ebn do t\u00eb k\u00ebrkohej procesimi i atyre q\u00eb kan\u00eb marr\u00eb pjes\u00eb “n\u00eb projektin e bashkuar kriminal, q\u00ebllimi i p\u00ebrbashk\u00ebt i t\u00eb cilit ka qen\u00eb largimi i p\u00ebrdhunsh\u00ebm dhe i p\u00ebrhersh\u00ebm i popullat\u00ebs serbe nga rajoni i Krajin\u00ebs, midis t\u00eb tjerash, me an\u00eb t\u00eb pla\u00e7kitjes, d\u00ebmtimit ose me an\u00eb t\u00eb shkat\u00ebrrimit t\u00eb plot\u00eb t\u00eb pron\u00ebs s\u00eb popullat\u00ebs serbe, me q\u00ebllim q\u00eb pjes\u00ebtar\u00ebt e asaj popullate t\u00eb dekurajohen ose t\u00eb parandalohen q\u00eb t\u00eb kthehen dhe prap\u00eb t\u00eb banojn\u00eb n\u00eb sht\u00ebpit\u00eb e tyre.” Sepse, ka qen\u00eb fjala p\u00ebr gjeneral Gotovin\u00ebn ose p\u00ebr dik\u00eb tjet\u00ebr \u2013 krimi \u00ebsht\u00eb krim dhe teatri kroat do t\u00eb duhej m\u00eb n\u00eb fund ta kuptonte se etniciteti i viktim\u00ebs ose i agresorit nuk mund t\u00eb jet\u00eb kriter i p\u00ebrkujtimit ose i harrimit.<\/p>\n

E, deri sa t\u00eb ndodh kjo, mbetet shfaqja “Aktor\u00ebt kroat”, t\u00eb cil\u00ebn me forc\u00eb t\u00eb nj\u00ebjt\u00eb e urrejn\u00eb edhe teat\u00ebrxhinjt\u00eb dhe edhe mbrojt\u00ebsit e edhe Kisha Katolike dhe shumica e publikut kroat. Tashm\u00eb, nj\u00eb koalicion i till\u00eb i urrejt\u00ebsve tregon forc\u00ebn e teatrit, q\u00eb, n\u00ebse d\u00ebshiron t\u00eb mbaj\u00eb minimumin e respektit moral ndaj vetes dhe shoq\u00ebris\u00eb t\u00eb cil\u00ebn e p\u00ebrfaq\u00ebson, do t\u00eb duhej t\u00eb b\u00ebhej nj\u00eb vend i privilegjuar i kujtimit, t\u00eb cilin e fshijn\u00eb t\u00eb gjitha institucionet tjera.<\/p>\n

 <\/p>\n

Oliver Frljiq<\/strong><\/p>\n

Autori \u00ebsht\u00eb regjisor teatror nga Kroacia <\/em><\/p>\n","protected":false},"excerpt":{"rendered":"Oliver Frljiq","protected":false},"author":8,"featured_media":126412,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[609],"tags":[1589],"class_list":["post-126484","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-vecanerisht-per-komra","tag-oliver-frljiq"],"acf":[],"yoast_head":"\n\u00cbsht\u00eb e lavdishme q\u00eb ta harrosh atdheun - REKOM ~ KOMRA ~ RECOM<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.recom.link\/sq\/eshte-e-lavdishme-qe-ta-harrosh-atdheun\/\" \/>\n<meta property=\"og:locale\" content=\"sq_AL\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u00cbsht\u00eb e lavdishme q\u00eb ta harrosh atdheun - 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