{"id":6323,"date":"2025-07-21T19:49:55","date_gmt":"2025-07-21T19:49:55","guid":{"rendered":"https:\/\/albanitaly.al\/?p=6323"},"modified":"2025-07-21T19:49:57","modified_gmt":"2025-07-21T19:49:57","slug":"antigona-e-anouil-magjeps-ne-teatrin-ostia-antica","status":"publish","type":"post","link":"https:\/\/albanitaly.al\/sq\/lantigone-di-anouil-incanta-al-teatro-di-ostia-antica\/","title":{"rendered":"Antigona e Anouil magjeps n\u00eb teatrin Ostia Antica"},"content":{"rendered":"

Roberto Latini <\/em>sjell n\u00eb sken\u00eb nj\u00eb tragjedi q\u00eb v\u00eb n\u00eb pik\u00ebpyetje tmerret e koh\u00ebrave tona. Si pjes\u00eb e Festivalit Teatro Ostia Antica \u2013 Kuptimi i s\u00eb Kaluar\u00ebs \u2013 shfaqja p\u00ebrqendrohet n\u00eb temat e drejt\u00ebsis\u00eb dhe rebelimit.<\/em><\/p>\n\n\n\n

Nga Rosalba Panzieri<\/p>\n\n\n\n

Antigona e Sofokliut \u00ebsht\u00eb nj\u00eb tragjedi q\u00eb ka shtrir\u00eb mij\u00ebvje\u00e7ar\u00eb pa humbur asnj\u00eb nga fuqia e saj pjellore, duke p\u00ebrjet\u00ebsuar jet\u00ebn e p\u00ebrjetshme t\u00eb heroin\u00ebs nd\u00ebrsa ajo pranon vdekjen p\u00ebr t'i sh\u00ebrbyer vlerave t\u00eb lashta n\u00eb vend q\u00eb t\u00eb jetoj\u00eb sipas dekreteve diktatoriale. Antigona \u00ebsht\u00eb aq e gjall\u00eb, aq e nevojshme, sa \u00ebsht\u00eb p\u00ebrkthyer dhe p\u00ebrshtatur n\u00eb 1,530 versione, sipas eseut t\u00eb George Steiner t\u00eb vitit 1984 "Antigonat". Nga Euripidi te Brecht, nga Hordelin te Teatri i Gjall\u00eb, nga Hegeli te Kierkegaard, nga Nietzsche te Frojdi, \u00e7do interpretim i Antigon\u00ebs nuk e shterron pasurin\u00eb e mitit, por mish\u00ebron disa nga kontradiktat tragjike t\u00eb gjendjes njer\u00ebzore. N\u00ebn qiellin e Ostia Antica, n\u00eb sken\u00ebn e Teatro Romano, Roberto Latini ka sjell\u00eb n\u00eb sken\u00eb nj\u00eb Antigon\u00eb, madh\u00ebsia e s\u00eb cil\u00ebs \u00ebsht\u00eb e jona, at\u00eb t\u00eb Jean Anouil. Antigona e Anouilh, megjith\u00ebse e frym\u00ebzuar nga tragjedia e Sofokliut, largohet rr\u00ebnj\u00ebsisht p\u00ebr t\u00eb sjell\u00eb n\u00eb sken\u00eb personazhe moderne dhe thell\u00ebsisht njer\u00ebzore. Kjo \u00ebsht\u00eb arsyeja pse \u00ebsht\u00eb nj\u00eb nd\u00ebrmarrje e guximshme ta p\u00ebrfshijm\u00eb at\u00eb n\u00eb tem\u00ebn "Ndjesia e s\u00eb Kaluar\u00ebs" t\u00eb Festivalit Teatro Ostia Antica. Kjo Antigon\u00eb na ngjan, larg idealit t\u00eb plot\u00eb, t\u00eb lart\u00eb dhe t\u00eb pakorruptuesh\u00ebm t\u00eb krijes\u00ebs s\u00eb imagjinuar nga Sofokliu; ajo jeton brenda horizonteve m\u00eb t\u00eb ul\u00ebta, n\u00eb nj\u00eb bot\u00eb ku "e keqja \u00ebsht\u00eb e leht\u00eb dhe e mira \u00ebsht\u00eb e paarritshme", si\u00e7 shkroi Giovanni Giudici. Pik\u00ebrisht p\u00ebr shkak t\u00eb k\u00ebsaj v\u00ebrtet\u00ebsie ndaj dob\u00ebsive tona, n\u00eb nd\u00ebrgjegjen n\u00eb gjysm\u00eb shtiz\u00eb q\u00eb i sjellim tmerrit bashk\u00ebkohor, t\u00eb cilin kemi m\u00ebsuar ta p\u00ebrtypim, Anouil di t\u00eb na v\u00ebr\u00eb n\u00eb dyshim. E vendosur n\u00eb Franc\u00ebn e pushtuar, tragjedia b\u00ebhet nj\u00eb metafor\u00eb e fuqishme p\u00ebr rezistenc\u00ebn kund\u00ebr autoritetit, duke eksploruar konfliktin e p\u00ebrjetsh\u00ebm midis ligjit dhe nd\u00ebrgjegjes.<\/p>\n\n\n\n

\"imazhi<\/figure>\n\n\n\n

Antigona midis rr\u00ebnojave t\u00eb Ostia Antik\u00ebs ec\u00ebn mbi nd\u00ebrgjegjen ton\u00eb<\/strong><\/p>\n\n\n\n

Brenda koh\u00ebrave tona, jan\u00eb krijuar ferre t\u00eb rinj, monumente t\u00eb ngritura p\u00ebr m\u00ebsimet e pam\u00ebsuara t\u00eb s\u00eb kaluar\u00ebs, duke vjellur gjakun e pafajsh\u00ebm t\u00eb qenieve njer\u00ebzore, shpesh f\u00ebmij\u00eb. K\u00ebto katedrale dhimbjeje ngrihen mbi \u00e7do horizont, duke na m\u00ebsuar shikimin me pranin\u00eb e tyre, duke na bindur t\u00eb jetojm\u00eb me tmerrin. Kjo Antigone na e thot\u00eb kaq mir\u00eb k\u00ebt\u00eb, duke u rebeluar edhe kund\u00ebr korruptimit t\u00eb shikimit, edhe para heshtjes dinake. "Cila do t\u00eb jet\u00eb lumturia ime? \u00c7far\u00eb gruaje t\u00eb lumtur do t\u00eb b\u00ebhet Antigona e vog\u00ebl? \u00c7far\u00eb mjerimesh do t\u00eb duhet t\u00eb kryej\u00eb edhe ajo, dit\u00eb pas dite, p\u00ebr t\u00eb shkulur me dh\u00ebmb\u00ebt cop\u00ebn e saj t\u00eb vog\u00ebl t\u00eb lumturis\u00eb? M\u00eb thuaj, kujt do t'i duhet t\u00eb g\u00ebnjej\u00eb, kujt do t'i duhet t\u00eb buz\u00ebqesh\u00eb, kujt do t'i duhet t'ia shes\u00eb veten? Kujt do t'i duhet ta l\u00ebr\u00eb t\u00eb vdes\u00eb duke u larguar?" N\u00eb k\u00ebt\u00eb p\u00ebrgjigje ndaj Kreonit, Antigona ngre t\u00eb nj\u00ebjt\u00ebn pyetje p\u00ebr ne.<\/p>\n\n\n\n

Regjisori Roberto Latini, vet\u00eb interpretues i rolit t\u00eb Antigona, <\/em>krijon nj\u00eb dialog t\u00eb shk\u00eblqyer mbi njer\u00ebzimin t\u00eb konceptuar si nj\u00eb monolog shum\u00ebz\u00ebr\u00ebsh, nj\u00eb rr\u00ebfim intim dhe sekret q\u00eb zbulon kontradiktat njer\u00ebzore n\u00eb nj\u00eb p\u00ebrballje t\u00eb vazhdueshme me veten ton\u00eb, midis arsyes dhe drejt\u00ebsis\u00eb, ligjeve njer\u00ebzore dhe ligjeve morale. Tragjedia sheh interpretimin e Manuela Kusterman (Infermiere<\/em> <\/em>Dhe kor<\/em>), Silvia Battaglio (Ismene <\/em>Dhe lajm\u00ebtar<\/em>), Ilaria Drago (Haemon<\/em> <\/em>Dhe roje<\/em>) dhe Francesca Mazza (Creonte), p\u00ebr nj\u00eb bashk\u00ebprodhim t\u00eb La Fabbrica dell'Attore teatro Vascello me Teatro di Roma.<\/strong><\/p>\n\n\n\n

"Antigona sh\u00ebrben p\u00ebr t\u00eb na ngush\u00eblluar", thot\u00eb Roberto Latini. "Ne e kemi evokuar, e kemi imagjinuar, e kemi matur sipas vog\u00eblsis\u00eb son\u00eb. E kemi mbajtur, i jemi lutur, e kemi l\u00ebshuar n\u00eb zemrat tona. I kemi treguar histori, sa her\u00eb q\u00eb kemi mundur. E kemi rishkruar me fjal\u00ebt e reja q\u00eb kemi m\u00ebsuar duke jetuar, duke vdekur n\u00eb d\u00ebshtimin e p\u00ebrditsh\u00ebm, duke e ditur se \u00e7do ndryshim \u00ebsht\u00eb tashm\u00eb Teat\u00ebr. Dhurata q\u00eb sjellim \u00ebsht\u00eb nj\u00eb premtim, dhe Anouilh \u00ebsht\u00eb nj\u00eb Antigone q\u00eb na flet aq ngusht\u00eb sa pothuajse mund ta p\u00ebrqafojm\u00eb. E d\u00ebgjojm\u00eb t\u00eb flas\u00eb p\u00ebr ne n\u00eb \u00e7do gjuh\u00eb, dhe kuptojm\u00eb gjith\u00e7ka, \u00e7do nuanc\u00eb, heshtje, frym\u00ebmarrje."<\/p>\n\n\n\n

Anouil tregon historin\u00eb <\/strong>kull\u00eb<\/strong>mjek\u00ebr e<\/strong>qenie njer\u00ebzore<\/strong> bashk\u00ebkohor <\/strong><\/p>\n\n\n\n

Antigona nuk \u00ebsht\u00eb m\u00eb heroina e drejt\u00eb dhe e ashp\u00ebr, por nj\u00eb vajz\u00eb e pasigurt dhe e shqet\u00ebsuar, n\u00eb k\u00ebrkim t\u00eb kuptimit dhe nj\u00eb z\u00ebri t\u00eb vetin, e ndar\u00eb midis d\u00ebshir\u00ebs p\u00ebr t\u00eb pohuar veten dhe frik\u00ebs nga vdekja. Edhe Kreoni transformohet: ai nuk \u00ebsht\u00eb m\u00eb nj\u00eb tiran, por nj\u00eb njeri pragmatik q\u00eb k\u00ebrkon t\u00eb shp\u00ebtoj\u00eb Antigon\u00ebn. Konflikti midis t\u00eb dyve nuk \u00ebsht\u00eb m\u00eb nj\u00eb kontrast i qart\u00eb ideologjik, por nj\u00eb dialog shpirtrash kontradiktor\u00eb q\u00eb k\u00ebrkojn\u00eb kuptim. Me dialog\u00eb intensiv\u00eb dhe t\u00eb menduar, Anouilh portretizon personazhe q\u00eb jan\u00eb t\u00eb gjall\u00eb, t\u00eb preksh\u00ebm dhe t\u00eb hapur ndaj nj\u00eb mij\u00eb interpretimeve, t\u00eb aft\u00eb ta b\u00ebjn\u00eb dram\u00ebn t\u00eb jehoj\u00eb p\u00ebrtej koh\u00ebs dhe kontekstit historik. Antigona e tij, e lindur n\u00eb err\u00ebsir\u00ebn e luft\u00ebs, vazhdon t'u flas\u00eb audiencave fal\u00eb njer\u00ebzimit dhe paqart\u00ebsis\u00eb s\u00eb saj t\u00eb thell\u00eb.  <\/p>\n\n\n\n

Zanafilla e Antigon\u00ebs nga Anoui<\/strong>i\/e\/t\u00eb<\/strong><\/p>\n\n\n\n

M\u00eb 6 shkurt 1944, n\u00eb Parisin e pushtuar, Antigona e Jean Anouilh u shfaq premier\u00eb n\u00eb Th\u00e9\u00e2tre de l'Atelier. Pritja ishte e ftoht\u00eb, por shfaqja shkaktoi reagime t\u00eb forta: disa e pan\u00eb at\u00eb si nj\u00eb simbol t\u00eb Rezistenc\u00ebs, t\u00eb tjer\u00eb si nj\u00eb justifikim t\u00eb pushtetit. Debati ishte i nxeht\u00eb, i nxitur nga fakti se censura gjermane nuk e kishte prekur at\u00eb, duke ngritur dyshime p\u00ebr kolaboracioniz\u00ebm. N\u00eb realitet, Anouilh e kishte modifikuar tekstin p\u00ebr t\u00eb shmangur censur\u00ebn, si\u00e7 zbulohet n\u00eb letrat pas vdekjes. Vet\u00ebm n\u00eb nj\u00eb shfaqje, ai lejoi shp\u00ebrndarjen e flet\u00ebpalosjeve t\u00eb Rezistenc\u00ebs, por mbeti i paqart\u00eb dhe nuk mbajti nj\u00eb q\u00ebndrim politik. Ai foli publikisht vet\u00ebm n\u00eb vitin 1945 n\u00eb mbrojtje t\u00eb Robert Brasillach, nj\u00eb shkrimtar dhe gazetar i d\u00ebnuar me vdekje p\u00ebr bashk\u00ebpunim, duke shprehur frik\u00ebn p\u00ebr teprimet e spastrimit. Pas vitesh heshtjeje, n\u00eb vitin 1978 ai sqaroi se Antigona e tij lindi si nj\u00eb p\u00ebrgjigje emocionale ndaj tragjedis\u00eb s\u00eb koh\u00ebs, ve\u00e7an\u00ebrisht posterave t\u00eb rezistenc\u00ebs t\u00eb q\u00eblluar nga nazist\u00ebt.<\/p>","protected":false},"excerpt":{"rendered":"

Roberto Latini porta in scena una tragedia che ci interroga sugli orrori dei nostri giorni. Nell\u2019ambito del Teatro Ostia Antica Festival – il senso del passato- lo spettacolo mette al centro il tema della giustizia e della ribellione Di Rosalba Panzieri L\u2019Antigone di Sofocle \u00e8 una tragedia che ha cavalcato millenni senza perdere niente della sua […]<\/p>\n","protected":false},"author":16,"featured_media":6324,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_seopress_robots_primary_cat":"","_seopress_titles_title":"","_seopress_titles_desc":"","_seopress_robots_index":"","iawp_total_views":36,"footnotes":""},"categories":[423],"tags":[],"class_list":["post-6323","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-arte-libri-musica"],"_links":{"self":[{"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/posts\/6323","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/users\/16"}],"replies":[{"embeddable":true,"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/comments?post=6323"}],"version-history":[{"count":1,"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/posts\/6323\/revisions"}],"predecessor-version":[{"id":6326,"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/posts\/6323\/revisions\/6326"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/media\/6324"}],"wp:attachment":[{"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/media?parent=6323"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/categories?post=6323"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/tags?post=6323"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}