{"id":6566,"date":"2026-01-15T21:04:58","date_gmt":"2026-01-15T21:04:58","guid":{"rendered":"https:\/\/albanitaly.al\/?p=6566"},"modified":"2026-01-15T21:04:59","modified_gmt":"2026-01-15T21:04:59","slug":"e-shtune-e-diel-dhe-e-hene-eduardo-de-filippo-dhe-nostalgjia-e-nje-familjeje-normale","status":"publish","type":"post","link":"https:\/\/albanitaly.al\/sq\/sabato-domenica-e-lunedi-eduardo-de-filippo-e-la-nostalgia-della-famiglia-normale\/","title":{"rendered":"\u201c"E shtun\u00eb, e diel dhe e h\u00ebn\u00eb." Eduardo De Filippo dhe nostalgjia e nj\u00eb familjeje normale"},"content":{"rendered":"

Nj\u00eb nga komedit\u00eb m\u00eb komplekse t\u00eb Eduardo de Filippos, opera debutoi n\u00eb Teatro Argentina n\u00eb Rom\u00eb, duke emocionuar publikun dhe kritik\u00ebt nj\u00ebsoj. Luca De Fusco drejton nj\u00eb prodhim q\u00eb i flet zemr\u00ebs s\u00eb \u00e7do epoke, duke eksploruar marr\u00ebdh\u00ebniet familjare dhe brisht\u00ebsin\u00eb e lidhjeve njer\u00ebzore, duke ofruar nj\u00eb zgjidhje t\u00eb papritur p\u00ebr shp\u00ebtim. Vepra m\u00eb \u00e7ehoviane e gjeniut napolitan do t\u00eb jet\u00eb n\u00eb turne deri n\u00eb fund t\u00eb prillit.<\/em><\/p>\n\n\n\n

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

V\u00ebnia n\u00eb sken\u00eb e re e Luca De Fuscos e vepr\u00ebs \u201cE shtun\u00eb, e diel dhe e h\u00ebn\u00eb\u201d, nj\u00eb komedi n\u00eb tre akte nga Eduardo De Filippo, rikthen n\u00eb sken\u00eb nj\u00eb tekst q\u00eb, pas nj\u00eb mungese prej m\u00eb shum\u00eb se nj\u00ebzet vjet\u00ebsh, gjen ritmin e tij natyror n\u00eb Teatro Argentina: at\u00eb t\u00eb nj\u00eb komedie q\u00eb pulson n\u00ebn sip\u00ebrfaqe, ku jeta e p\u00ebrditshme b\u00ebhet material dramatik dhe familja nj\u00eb laborator tensionesh delikate. De Fusco i afrohet Eduardos me nj\u00eb qasje analitike, pothuajse filologjike q\u00eb nuk ngurt\u00ebson, por ndri\u00e7on: regjia l\u00ebviz si nj\u00eb sond\u00eb n\u00eb palosjet e tekstit, duke krijuar nj\u00eb brend\u00ebsi sht\u00ebpiake q\u00eb vibron me ironi, konflikt dhe but\u00ebsi.<\/p>\n\n\n\n

Dramaturgjia e jet\u00ebs s\u00eb p\u00ebrditshme<\/strong><\/p>\n\n\n\n

Dreka e s\u00eb diel\u00ebs b\u00ebhet zemra q\u00eb rreh e shfaqjes, nj\u00eb mjet dramatik q\u00eb e transformon kuzhin\u00ebn n\u00eb nj\u00eb dhom\u00eb djegieje emocionale. Rag\u00f9 q\u00eb zien ngadal\u00eb nuk \u00ebsht\u00eb m\u00eb thjesht nj\u00eb detaj realist, por p\u00ebrfaq\u00ebson nj\u00eb koh\u00eb t\u00eb brendshme, nj\u00eb frym\u00ebmarrje t\u00eb ngroht\u00eb q\u00eb n\u00ebnvizon shfaqjen e p\u00ebr\u00e7arjeve familjare. N\u00eb gar\u00ebn kulinare, n\u00eb xhelozin\u00eb imagjinare, n\u00eb rolet q\u00eb peshojn\u00eb si pjata t\u00eb \u00e7rregullta, krijohet nj\u00eb gjeografi sentimentale, e b\u00ebr\u00eb nga dallime minimale, nga heshtje q\u00eb zgjerohen, nga fjal\u00eb q\u00eb prekin dhe plagosin. De Fusco kap k\u00ebt\u00eb material t\u00eb brisht\u00eb dhe e rregullon at\u00eb n\u00eb sken\u00eb me sakt\u00ebsi pothuajse koreografike, duke lejuar q\u00eb jeta e p\u00ebrditshme t\u00eb b\u00ebhet ritual dhe gjestet sht\u00ebpiake t\u00eb b\u00ebhen zbulesa. K\u00ebshtu, sht\u00ebpia e familjes Priore transformohet n\u00eb nj\u00eb vend t\u00eb pezulluar, ku jeta e zakonshme hapet n\u00eb nj\u00eb dimension poetik. Regjisori krijon nj\u00eb teat\u00ebr intimiteti n\u00eb t\u00eb cilin \u00e7do detaj b\u00ebhet shenj\u00eb e nj\u00eb ekuilibri t\u00eb pasigurt dhe, pik\u00ebrisht p\u00ebr k\u00ebt\u00eb arsye, ende na shqet\u00ebson. Brenda nj\u00eb luge q\u00eb rrotullohet, nj\u00eb shikim devijues, nj\u00eb pjat\u00eb pritjeje, shfaqen simbole t\u00eb dinamik\u00ebs familjare dhe njer\u00ebzore relacionale. Kjo \u00ebsht\u00eb arsyeja pse vepra shp\u00ebrthen n\u00eb t\u00eb tashmen me r\u00ebnd\u00ebsin\u00eb e zakoneve dhe ndjenjave q\u00eb p\u00ebrshkruan. Familja mbetet nj\u00ebkoh\u00ebsisht nj\u00eb vend i fshehur dhe nj\u00eb zbules\u00eb, nj\u00eb rol dhe nj\u00eb identitet, nj\u00eb streh\u00eb dhe nj\u00eb shp\u00ebtim. Por me k\u00ebt\u00eb vep\u00ebr, Eduardo kthehet p\u00ebr t\u00eb na treguar di\u00e7ka m\u00eb shum\u00eb: ai flet p\u00ebr nevoj\u00ebn ton\u00eb p\u00ebr t'i p\u00ebrkasur dikujt edhe n\u00eb kurriz t\u00eb identitetit ton\u00eb, p\u00ebr t'iu p\u00ebrmbajtur pritjeve t\u00eb t\u00eb tjer\u00ebve n\u00eb k\u00ebmbim t\u00eb dashuris\u00eb. P\u00ebr t\u00eb na zbuluar, n\u00eb shk\u00ebmbimin prek\u00ebs midis Ros\u00ebs dhe Peppinos, se dashuria \u00ebsht\u00eb f\u00ebmija i s\u00eb v\u00ebrtet\u00ebs.<\/p>\n\n\n\n

Historia e vepr\u00ebs<\/strong><\/p>\n\n\n\n

E shkruar n\u00eb vitin 1959 dhe e p\u00ebrfshir\u00eb n\u00eb "Cantata dei giorni dispari", komedia p\u00ebrfaq\u00ebson nj\u00eb nga momentet m\u00eb komplekse n\u00eb vepr\u00ebn e Eduardos. \u00cbsht\u00eb nj\u00eb vep\u00ebr q\u00eb arrin nj\u00eb ekuilib\u00ebr t\u00eb rrall\u00eb, borgjez, pothuajse \u00e7ehovian, e nd\u00ebrtuar n\u00eb nj\u00eb koh\u00eb t\u00eb pezulluar n\u00eb t\u00eb cil\u00ebn dreka e s\u00eb diel\u00ebs b\u00ebhet nj\u00eb shkas p\u00ebr brisht\u00ebsi. N\u00eb t\u00eb, Eduardo eksploron familjen si nj\u00eb mikrokozmos shoq\u00ebror, duke parashikuar thyerje q\u00eb do t\u00eb b\u00ebheshin t\u00eb dukshme vet\u00ebm dekada m\u00eb von\u00eb. Pavar\u00ebsisht se i p\u00ebrket nj\u00eb koleksioni t\u00eb sh\u00ebnuar nga nj\u00eb vizion i hidhur i ekzistenc\u00ebs, "E shtun\u00eb, e diel dhe e h\u00ebn\u00eb" surprizon dhe prek me fundin e saj t\u00eb ndritsh\u00ebm, pothuajse nj\u00eb kund\u00ebrpik\u00eb ndaj zhg\u00ebnjimit. Familja jo vet\u00ebm q\u00eb mbijeton, por ribashkohet p\u00ebrmes dialogut autentik. Familja nuk reziston, por rilind, si\u00e7 do t\u00eb thot\u00eb Donna Rosa n\u00eb vargun e saj t\u00eb fundit.\u00a0<\/p>\n\n\n\n

Drejtim i sakt\u00eb dhe transparent p\u00ebr t\u00eb hetuar realitetin<\/strong><\/p>\n\n\n\n

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

De Fusco zgjedh nj\u00eb drejtim transparence, nj\u00eb q\u00eb nuk mbishkruan, por interpreton. I tiji \u00ebsht\u00eb nj\u00eb drejtim "partiture", q\u00eb respekton ritmin, pauzat dhe dinamik\u00ebn e brendshme t\u00eb tekstit. Larg \u00e7do tundimi p\u00ebr t\u00eb rishkruar, regjisori punon me zbritje: ai lejon q\u00eb fjal\u00ebt e Eduardit t\u00eb zgjerohen, i bindur se forca e tyre q\u00ebndron n\u00eb sakt\u00ebsin\u00eb kirurgjikale me t\u00eb cil\u00ebn ato v\u00ebzhgojn\u00eb marr\u00ebdh\u00ebniet njer\u00ebzore. \u00cbsht\u00eb nj\u00eb gjest kund\u00ebr-rryme n\u00eb nj\u00eb teat\u00ebr q\u00eb shpesh ngat\u00ebrron shqet\u00ebsimin me thell\u00ebsin\u00eb. K\u00ebtu, megjithat\u00eb, leht\u00ebsia b\u00ebhet nj\u00eb instrument i s\u00eb v\u00ebrtet\u00ebs, dhe nj\u00eb buz\u00ebqeshje nj\u00eb port\u00eb drejt kompleksitetit.<\/p>\n\n\n\n

\u201c"Familja Piscopo", thot\u00eb Luca De Fusco, "\u00ebsht\u00eb nj\u00eb familje e v\u00ebrtet\u00eb, e lidhur ngusht\u00eb dhe e p\u00ebrkushtuar ndaj ritualeve t\u00eb saj. Na prek sepse ato din\u00eb t\u00eb sh\u00ebrojn\u00eb plag\u00ebt e tyre dhe e vler\u00ebsojn\u00eb sh\u00ebndetin e grupit si p\u00ebrpar\u00ebsi. Grat\u00eb, si\u00e7 kan\u00eb t\u00eb drejt\u00eb, nuk qepin m\u00eb k\u00ebmisha dhe \u00e7orape p\u00ebr burrat e tyre dhe nuk i kushtojn\u00eb m\u00eb or\u00eb t\u00eb t\u00ebra p\u00ebrgatitjes s\u00eb rag\u00f9-s\u00eb legjendare. Megjithat\u00eb, ajo familje bazohej n\u00eb nj\u00eb ekuilib\u00ebr q\u00eb ne ende nuk e kemi gjetur. Duke rilexuar k\u00ebt\u00eb kryevep\u00ebr, mbetemi m\u00eb nostalgjik\u00eb p\u00ebr ekuilibrin e humbur sesa p\u00ebr parashikimin e konflikteve t\u00eb ardhshme. Dhe ndoshta del n\u00eb pah d\u00ebshira e Eduardo-s p\u00ebr nj\u00eb familje "normale", nj\u00eb q\u00eb ai nuk e pati kurr\u00eb". Ndihm\u00ebs regjisor: Lucia Rocco.<\/p>\n\n\n\n

Interpretime t\u00eb shk\u00eblqyera dhe aft\u00ebsi t\u00eb pat\u00ebmet\u00eb aktrimi<\/strong><\/p>\n\n\n\n

Trupa e udh\u00ebhequr nga Teresa Saponangelo (Rosa Priore) dhe Claudio Di Palma (Peppino Priore) krijon nj\u00eb ansamb\u00ebl kompakt t\u00eb aft\u00eb t\u00eb p\u00ebrcjell\u00eb thell\u00ebsin\u00eb emocionale t\u00eb familjes Priore. Saponangelo sjell n\u00eb jet\u00eb nj\u00eb Rosa Priore me shum\u00eb shtresa, nj\u00eb figur\u00eb fem\u00ebrore q\u00eb thith tensionin dhe qeveris kaosin me nj\u00eb forc\u00eb t\u00eb heshtur. Di Palma, si Peppino, mish\u00ebron n\u00eb m\u00ebnyr\u00eb t\u00eb admirueshme xhelozin\u00eb imagjinare q\u00eb Eduardo e p\u00ebrshkruan si nj\u00eb hije q\u00eb \u00ebsht\u00eb m\u00eb shum\u00eb psikologjike sesa reale. P\u00ebrreth tyre, familja Piscopo, n\u00eb t\u00eb cil\u00ebn tre breza jan\u00eb t\u00eb bllokuar n\u00eb nj\u00eb ekuilib\u00ebr t\u00eb brisht\u00eb, l\u00ebviz n\u00eb nj\u00eb kor q\u00eb De Fusco e orkestron me rigorozitet muzikor. Francesco Biscione (Antonio Piscopo, babai i Ros\u00ebs), jep nj\u00eb performanc\u00eb t\u00eb gjall\u00eb poetike, duke zbuluar melankolin\u00eb e nj\u00eb plaku t\u00eb lodhur.<\/p>\n\n\n\n

Skenografia dhe kostumet e Marta Crisolini Malatesta ofrojn\u00eb nj\u00eb fuqi t\u00eb rrall\u00eb gjith\u00ebp\u00ebrfshir\u00ebse, nd\u00ebrsa ndri\u00e7imi i Gigi Saccomandi krijon nj\u00eb piktoresk hijeje dhe drite q\u00eb rr\u00ebfen n\u00eb m\u00ebnyr\u00eb t\u00eb p\u00ebrsosur ndryshimet n\u00eb ton t\u00eb dram\u00ebs.<\/p>\n\n\n\n

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

Nj\u00eb trash\u00ebgimi q\u00eb vazhdon n\u00eb turne komb\u00ebtar<\/strong><\/p>\n\n\n\n

Debutimi p\u00ebrkon me dhjet\u00ebvjetorin e ndarjes nga jeta t\u00eb Luca De Filippo, duke i shtuar nj\u00eb vler\u00eb simbolike shfaqjes q\u00eb tejkalon sken\u00ebn. \u00cbsht\u00eb nj\u00eb homazh q\u00eb nuk k\u00ebnaqet me nostalgji, por riafirmon vitalitetin e nj\u00eb trash\u00ebgimie artistike q\u00eb vazhdon t\u00eb v\u00ebr\u00eb n\u00eb pik\u00ebpyetje koh\u00ebt tona. "E shtun\u00eb, e diel dhe e h\u00ebn\u00eb" konfirmon k\u00ebshtu veten si nj\u00eb komedi e domosdoshme, nj\u00eb vep\u00ebr q\u00eb, midis leht\u00ebsis\u00eb dhe thell\u00ebsis\u00eb, rikthen forc\u00ebn e nj\u00eb teatri q\u00eb \u00ebsht\u00eb ende gjall\u00eb, i aft\u00eb t\u00eb ndri\u00e7oj\u00eb brisht\u00ebsin\u00eb ton\u00eb me nj\u00eb hir t\u00eb q\u00ebndruesh\u00ebm. Prodhuar nga Teatro di Roma \u2013 Teatro Nazionale, Teatro Stabile di Torino \u2013 Teatro Nazionale, Teatro Stabile di Bolzano, Teatro Biondo di Palermo dhe LAC Lugano Arte e Cultura, shfaqja do t\u00eb jet\u00eb n\u00eb turne komb\u00ebtar deri n\u00eb fund t\u00eb prillit. <\/p>\n\n\n\n

N\u00eb Bolzano nga 15 deri n\u00eb 18 janar, n\u00eb Trento nga 22 deri n\u00eb 25 janar, n\u00eb Torino nga 27 janar deri n\u00eb 8 shkurt, n\u00eb Firence nga 11 deri n\u00eb 19 shkurt, n\u00eb Pontedera m\u00eb 21 dhe 22 shkurt, n\u00eb Napoli nga 3 deri n\u00eb 8 mars, n\u00eb Ankona nga 11 deri n\u00eb 15 mars, n\u00eb Palermo nga 21 deri n\u00eb 29 mars, n\u00eb Ascoli Piceno m\u00eb 14 dhe 15 prill, n\u00eb Fermo nga 17 deri n\u00eb 19 prill, n\u00eb Brescia nga 22 deri n\u00eb 26 prill.<\/p>","protected":false},"excerpt":{"rendered":"

Tra le commedie pi\u00f9 complesse d Eduardo de Filippo, l\u2019opera ha debuttato al Teatro Argentina di Roma entusiasmando pubblico e critica. Luca De Fusco firma la regia di uno spettacolo capace di parlare al cuore di ogni tempo, indagando le relazioni familiari e la frangibilit\u00e0 dei rapporti umani, offrendo una inaspettata soluzione di salvezza. L\u2019opera […]<\/p>\n","protected":false},"author":16,"featured_media":6567,"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":24,"footnotes":""},"categories":[446],"tags":[],"class_list":["post-6566","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\/6566","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=6566"}],"version-history":[{"count":1,"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/posts\/6566\/revisions"}],"predecessor-version":[{"id":6570,"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/posts\/6566\/revisions\/6570"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/media\/6567"}],"wp:attachment":[{"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/media?parent=6566"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/categories?post=6566"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/tags?post=6566"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}