{"id":6369,"date":"2025-08-21T09:53:41","date_gmt":"2025-08-21T09:53:41","guid":{"rendered":"https:\/\/albanitaly.al\/?p=6369"},"modified":"2025-08-21T09:53:44","modified_gmt":"2025-08-21T09:53:44","slug":"ifigjenia-miti-qe-na-ve-ne-pikepyetje-mashtrimet-e-kohes-sone","status":"publish","type":"post","link":"https:\/\/albanitaly.al\/sq\/ifigenia-il-mito-che-ci-interroga-sugli-inganni-del-nostro-tempo\/","title":{"rendered":"Ifigjenia: Miti q\u00eb na v\u00eb n\u00eb pik\u00ebpyetje mashtrimet e koh\u00ebs son\u00eb"},"content":{"rendered":"

Kur teatri b\u00ebhet pasqyr\u00eb e psiqik\u00ebs dhe dinamik\u00ebs njer\u00ebzore, ai e thyen heshtjen q\u00eb i hesht viktimat. P\u00ebrjet\u00ebsin\u00eb e nj\u00eb miti q\u00eb na shqet\u00ebson t\u00eb gjith\u00ebve.<\/em><\/p>\n\n\n\n

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

N\u00eb mjedisin evokues t\u00eb Teatrit Romak n\u00eb Ostia, edicioni i par\u00eb i Festivalit Teatro Ostia Antica p\u00ebrfundoi me "Ifigenia", nj\u00eb vep\u00ebr me fuqin\u00eb p\u00ebr t\u00eb tronditur nd\u00ebrgjegjet. "Ifigenia" \u00ebsht\u00eb nj\u00eb krijim nd\u00ebrkomb\u00ebtar nga regjisorja spanjolle Eva Romero dhe shkruar nga Silvia Zarco. Projekti, i lindur nga nj\u00eb bashk\u00ebpunim midis Teatro di Roma dhe Festivalit prestigjioz Nd\u00ebrkomb\u00ebtar t\u00eb Teatro Cl\u00e1sico de M\u00e9rida, q\u00ebndron si nj\u00eb ur\u00eb lidh\u00ebse midis kulturave, por mbi t\u00eb gjitha midis epokave dhe gjendjeve mendore. Kur Aristoteli, n\u00eb "Poetik\u00eb", kritikoi transformimin e Ifigjenis\u00eb nga nj\u00eb viktim\u00eb e d\u00ebshp\u00ebruar dhe e pasigurt n\u00eb nj\u00eb heroin\u00eb q\u00eb sakrifikon veten me d\u00ebshir\u00eb p\u00ebr vendin e saj, ai nxori n\u00eb pah nj\u00eb nga dinamikat m\u00eb t\u00eb fuqishme t\u00eb natyr\u00ebs njer\u00ebzore: mashtrimin.<\/p>\n\n\n\n

Eva Romero tregon natyr\u00ebn e tradhtis\u00eb<\/strong><\/p>\n\n\n\n

Tragjedia e Ifigjenis\u00eb, e sakrifikuar nga babai i saj, Agamemnoni, p\u00ebr t\u00eb fituar favorin e per\u00ebndive n\u00eb Luft\u00ebn e Troj\u00ebs, nuk \u00ebsht\u00eb thjesht nj\u00eb p\u00ebrrall\u00eb e lasht\u00eb. \u00cbsht\u00eb nj\u00eb plag\u00eb arketipe q\u00eb vazhdon t\u00eb na ndiej\u00eb n\u00eb imagjinat\u00ebn ton\u00eb. Vajza mashtrohet nga babai i saj, i cili e b\u00ebn t\u00eb besoj\u00eb se do t\u00eb martohet me Akilin, vet\u00ebm p\u00ebr ta joshur at\u00eb n\u00eb Tauris, ku n\u00eb vend t\u00eb k\u00ebsaj do t'i sakrifikohet per\u00ebndesh\u00ebs Artemis, p\u00ebr t\u00eb marr\u00eb er\u00ebra t\u00eb favorshme drejt Troj\u00ebs. E gjith\u00eb flota e udh\u00ebhequr nga babai i saj d\u00ebshiron vdekjen e saj, me vet\u00ebm Akili, m\u00eb kot, q\u00eb i kund\u00ebrshton. Iluzioni i lumturis\u00eb rezulton t\u00eb jet\u00eb nj\u00eb plan vdekjeje. Ifigjenia, n\u00eb fillim nj\u00eb lut\u00ebse, pastaj e d\u00ebshp\u00ebruar, zgjedh t\u00eb p\u00ebrqafoj\u00eb logjik\u00ebn e babait t\u00eb saj dhe pranon t\u00eb sakrifikoj\u00eb veten p\u00ebr popullin e saj.<\/p>\n\n\n\n

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

<\/p>\n\n\n\n

 Eva Romero, me regjin\u00eb e saj intensive dhe vizionare, e transformon mitin n\u00eb nj\u00eb mjet p\u00ebr hetim psikologjik dhe social, duke sjell\u00eb n\u00eb sken\u00eb jo vet\u00ebm dhimbjen, por edhe heshtjen q\u00eb e rrethon at\u00eb dhe mashtrimin brenda t\u00eb cilit piqet. P\u00ebrmes nj\u00eb gjuhe universale dhe nj\u00eb rr\u00ebfimi q\u00eb nd\u00ebrthur t\u00eb kaluar\u00ebn dhe t\u00eb tashmen, Ifigjenia trajton \u00e7\u00ebshtjen e dhun\u00ebs gjinore me nj\u00eb thell\u00ebsi t\u00eb rrall\u00eb, duke na lejuar t\u00eb eksplorojm\u00eb efektet e manipulimit dhe mashtrimit. Figura e Ifigjenis\u00eb b\u00ebhet simbol i nj\u00eb sakrifice q\u00eb p\u00ebrs\u00ebritet, nga brezi n\u00eb brez, n\u00eb forma t\u00eb ndryshme, por me t\u00eb nj\u00ebjtin rezultat: mohimin e z\u00ebrit fem\u00ebror dhe respektimin e logjik\u00ebs s\u00eb xhelatit.<\/p>\n\n\n\n

Nj\u00eb reflektim mbi psikik\u00ebn kolektive<\/strong><\/p>\n\n\n\n

Shfaqja nuk denoncon thjesht erozionin e identitetit q\u00eb tradhtia p\u00ebrmes mashtrimit shkakton tek viktima. Ajo heton. Ajo thellohet. Na detyron t\u00eb p\u00ebrballemi me dinamikat e brendshme q\u00eb nxisin dhun\u00ebn: fajin, shtypjen emocionale, identifikimin me autorin e krimit. N\u00eb k\u00ebt\u00eb kuptim, Ifigjenia \u00ebsht\u00eb gjithashtu nj\u00eb udh\u00ebtim n\u00eb psikik\u00ebn kolektive, nj\u00eb ritual teatral q\u00eb na fton t\u00eb njohim hijet tona dhe t'i transformojm\u00eb ato. "Vajza ime po mb\u00ebrrin me fustanin e saj t\u00eb nus\u00ebris\u00eb dhe un\u00eb do ta vras", thot\u00eb Agamemnoni, nj\u00eb fraz\u00eb q\u00eb jehon si nj\u00eb grusht n\u00eb stomak. Nuk \u00ebsht\u00eb vet\u00ebm emblema e nj\u00eb tragjedie, por simboli i nj\u00eb mekanizmi psikologjik q\u00eb ende d\u00ebnon shum\u00eb gra dhe t\u00eb pafajsh\u00ebm n\u00eb heshtje dhe vuajtje.<\/p>\n\n\n\n

Sakrifica e Ifigjenis\u00eb nuk \u00ebsht\u00eb vet\u00ebm nj\u00eb akt tragjik, por edhe nj\u00eb shembull i fuqish\u00ebm i manipulimit emocional dhe mashtrimit sistemik. Babai i saj, Agamemnoni, nuk ia imponon drejtp\u00ebrdrejt vdekjen, por p\u00ebrkundrazi krijon nj\u00eb nevoj\u00eb, duke e b\u00ebr\u00eb t\u00eb besoj\u00eb se sakrifica e saj \u00ebsht\u00eb e nevojshme p\u00ebr t\u00eb mir\u00ebn e p\u00ebrbashk\u00ebt, p\u00ebr lavdin\u00eb, p\u00ebr shp\u00ebtimin e Greqis\u00eb. Ai i ofron asaj kuptim, nj\u00eb rr\u00ebfim heroik, dhe ajo e p\u00ebrqafon at\u00eb p\u00ebr t\u00eb shmangur p\u00ebrballjen me t\u00eb v\u00ebrtet\u00ebn e tradhtis\u00eb nga ai q\u00eb donte.
Kjo dinamik\u00eb \u00ebsht\u00eb psikologjikisht shkat\u00ebrruese. Ifigjenia mashtrohet, joshet nga nj\u00eb ideal dhe m\u00eb pas vritet. \u00cbsht\u00eb nj\u00eb form\u00eb e lashte e \u201cgazlighting\u201d, ku realiteti shtremb\u00ebrohet p\u00ebr ta b\u00ebr\u00eb t\u00eb papranueshmen t\u00eb pranueshme. Gruaja e re jo vet\u00ebm q\u00eb e pranon sakrific\u00ebn, por e k\u00ebrkon at\u00eb, e transformon at\u00eb n\u00eb nj\u00eb akt vullnetar, sepse alternativa do t\u00eb ishte t\u00eb pranonte humner\u00ebn: se babai i saj \u00ebsht\u00eb nj\u00eb politikan mizor, i gatsh\u00ebm t\u00eb b\u00ebj\u00eb gjith\u00e7ka p\u00ebr pushtet.
Ky identifikim i viktim\u00ebs me persekutuesin njihet n\u00eb psikologji si sindroma e Stokholmit. Ifigjenia nuk e lufton autorin e krimit, por e justifikon at\u00eb, e do dhe e mbron. \u00cbsht\u00eb nj\u00eb mekaniz\u00ebm mbrojt\u00ebs ekstrem: m\u00eb mir\u00eb t\u00eb vdes\u00ebsh me iluzionin e dashuris\u00eb sesa t\u00eb jetosh me dijenin\u00eb e tradhtis\u00eb.

Rezonanca bashk\u00ebkohore e mitit nga familja n\u00eb shoq\u00ebri
<\/strong>Euripidi, me \u201cIfigjenin\u00eb n\u00eb Aulis\u201d, na ofron nj\u00eb portret shqet\u00ebsues dhe t\u00eb thell\u00eb t\u00eb psiqik\u00ebs njer\u00ebzore: nj\u00eb vep\u00ebr q\u00eb parashikon temat e manipulimit, traum\u00ebs dhe rezistenc\u00ebs.\u00a0
Nga nj\u00eb perspektiv\u00eb bashk\u00ebkohore, historia e Ifigjenis\u00eb trajton disa dinamika n\u00eb t\u00eb cilat jemi t\u00eb zhytur. Manipulimi emocional n\u00eb marr\u00ebdh\u00ebniet familjare, ku nevoja krijohet artificialisht p\u00ebr t\u00eb fituar bindje. Narrativat e pushtetit, n\u00eb t\u00eb cilat sakrifica fem\u00ebrore romantizohet dhe b\u00ebhet e domosdoshme p\u00ebr t\u00eb ruajtur rendin.<\/p>\n\n\n\n


Strategji mbijetese psikologjike, ku viktima i p\u00ebrmbahet iluzionit n\u00eb m\u00ebnyr\u00eb q\u00eb t\u00eb mos shembet n\u00ebn pesh\u00ebn e s\u00eb v\u00ebrtet\u00ebs.
Euripidi, me \u201cIfigjenin\u00eb n\u00eb Aulis\u201d, na ofron nj\u00eb portret shqet\u00ebsues dhe t\u00eb thell\u00eb t\u00eb psiqik\u00ebs njer\u00ebzore, me nj\u00eb vep\u00ebr q\u00eb parashikon temat e manipulimit, traum\u00ebs dhe rezistenc\u00ebs, duke e b\u00ebr\u00eb at\u00eb ende jasht\u00ebzakonisht t\u00eb r\u00ebnd\u00ebsishme sot.
<\/p>\n\n\n\n

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

Teatri si nj\u00eb hap\u00ebsir\u00eb p\u00ebr sh\u00ebrim<\/strong><\/p>\n\n\n\n

Kasta, e p\u00ebrb\u00ebr\u00eb nga interpretues me intensitet t\u00eb jasht\u00ebzakonsh\u00ebm emocional, nuk aktron: mish\u00ebron. \u00c7do gjest, \u00e7do fjal\u00eb, \u00e7do heshtje \u00ebsht\u00eb e ngarkuar me kuptim psikik. Mar\u00eda Garral\u00f3n, Juanjo Artero, Laura Moreira dhe aktor\u00ebt e tjer\u00eb nuk sjellin personazhe n\u00eb sken\u00eb, por gjendje mendore. Dhe publiku, p\u00ebrball\u00eb k\u00ebsaj epifanie, mund ta p\u00ebrpunoj\u00eb traum\u00ebn, t\u00eb pranoj\u00eb plag\u00ebt e veta dhe t\u00eb t\u00eb tjer\u00ebve dhe t\u00eb filloj\u00eb udh\u00ebtimin drejt sh\u00ebrimit. "P\u00ebrmes nj\u00eb gjuhe universale dhe nj\u00eb historie prek\u00ebse", thot\u00eb regjisori, "ne jemi t\u00eb ftuar t\u00eb reflektojm\u00eb mbi t\u00eb kaluar\u00ebn ton\u00eb me shpres\u00ebn p\u00ebr t\u00eb nd\u00ebrtuar nj\u00eb t\u00eb ardhme m\u00eb t\u00eb drejt\u00eb dhe t\u00eb barabart\u00eb p\u00ebr t\u00eb gjith\u00eb". Dhe ndoshta, pik\u00ebrisht n\u00eb k\u00ebt\u00eb hap\u00ebsir\u00eb t\u00eb pezulluar midis tragjedis\u00eb dhe katarsisit, ne mund t\u00eb fillojm\u00eb t\u00eb rishkruajm\u00eb skenarin e njer\u00ebzimit ton\u00eb. N\u00eb dialogun midis mitit dhe bashk\u00ebkoh\u00ebsis\u00eb, midis dhimbjes dhe shpres\u00ebs, Ifigenia na kujton se teatri nuk \u00ebsht\u00eb vet\u00ebm art. \u00cbsht\u00eb vet\u00ebdije. \u00cbsht\u00eb nj\u00eb akt politik, etik dhe njer\u00ebzor. \u00cbsht\u00eb nj\u00eb ftes\u00eb p\u00ebr t\u00eb rimenduar marr\u00ebdh\u00ebnien ton\u00eb me pushtetin, me kujtes\u00ebn, me drejt\u00ebsin\u00eb.<\/p>","protected":false},"excerpt":{"rendered":"

Quando il teatro diventa specchio della psiche e delle dinamiche umane, rompe il bavaglio che silenzia le vittime. L\u2019eternit\u00e0 di un mito che ci riguarda tutti Di Rosalba Panzieri Nel suggestivo scenario del Teatro romano di Ostia, si \u00e8 conclusa la prima edizione del Teatro Ostia Antica Festival con \u201cIfigenia\u201d, un\u2019opera che ha il potere […]<\/p>\n","protected":false},"author":16,"featured_media":6371,"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":35,"footnotes":""},"categories":[446],"tags":[],"class_list":["post-6369","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-cultura-2"],"_links":{"self":[{"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/posts\/6369","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=6369"}],"version-history":[{"count":1,"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/posts\/6369\/revisions"}],"predecessor-version":[{"id":6374,"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/posts\/6369\/revisions\/6374"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/media\/6371"}],"wp:attachment":[{"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/media?parent=6369"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/categories?post=6369"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/tags?post=6369"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}