{"id":6576,"date":"2026-01-26T23:23:02","date_gmt":"2026-01-26T23:23:02","guid":{"rendered":"https:\/\/albanitaly.al\/?p=6576"},"modified":"2026-01-26T23:23:04","modified_gmt":"2026-01-26T23:23:04","slug":"doktori-i-te-cmendurve-dhe-teatri-quirino-behet-skena-e-krizes-se-identitetit","status":"publish","type":"post","link":"https:\/\/albanitaly.al\/sq\/il-medico-dei-pazzi-e-il-teatro-quirino-diventa-palcoscenico-della-crisi-di-identita\/","title":{"rendered":"\u201c"Doktori i \u00c7mendur" dhe Teatri Quirino b\u00ebhen skena e kriz\u00ebs s\u00eb identitetit"},"content":{"rendered":"

Nj\u00eb nga veprat m\u00eb ikonike t\u00eb babait t\u00eb teatrit dialekt, ajo i v\u00eb n\u00eb pik\u00ebpyetje publikut bashk\u00ebkohor rreth identitetit. Shfaqja, e adaptuar nga ligji post-Basaglia nga Leo Muscato, ofron nj\u00eb lexim ironik dhe t\u00eb pam\u00ebshirsh\u00ebm t\u00eb t\u00eb gjitha obsesioneve bashk\u00ebkohore, t\u00eb ekspozuara pik\u00ebrisht nga mashtrimi i protagonistit. Datat e turneut<\/em><\/p>\n\n\n\n

Nga Rosalba Panzieri <\/p>\n\n\n\n

\u201c"Doktori i \u00c7mendur", drama e famshme e Eduardo Scarpetta-s, \u00ebsht\u00eb rikthyer n\u00eb sken\u00ebn italiane n\u00eb 100-vjetorin e vdekjes s\u00eb autorit t\u00eb saj. Babai i teatrit modern dialekt, Scarpetta ishte nj\u00eb aktor dhe dramaturg i shquar napolitan. Eduardo, Titina dhe Peppino De Filippo, t\u00eb lindur nga marr\u00ebdh\u00ebnia e tij me Luisa De Filippo-n, jan\u00eb dhuratat e tjera t\u00eb m\u00ebdha t\u00eb Scarpetta-s p\u00ebr teatrin nd\u00ebrkomb\u00ebtar.\u00a0<\/p>\n\n\n\n

P\u00ebr t\u00eb nderuar autorin, Teatro Quirino n\u00eb Rom\u00eb ka zgjedhur t\u00eb v\u00ebr\u00eb n\u00eb sken\u00eb nj\u00eb nga veprat e tij m\u00eb ikonike, e cila do t\u00eb vizitoj\u00eb disa teatro italiane deri m\u00eb 15 shkurt. <\/p>\n\n\n\n

\u201c"Doktori i \u00c7mendur" eksploron me delikates\u00eb dhe inteligjenc\u00eb vij\u00ebn e holl\u00eb midis normalitetit dhe \u00e7menduris\u00eb, duke kapur t\u00eb gjith\u00eb shijen e teatrit t\u00eb madh napolitan. Nj\u00eb kryevep\u00ebr e b\u00ebr\u00eb e famshme edhe nga versioni filmik me protagonist Tot\u00f2-n, komedia sillet rreth personazhit t\u00eb njohur t\u00eb Sciosciammocca-s, krijuar nga Eduardo Scarpetta dhe nj\u00eb simbol i humorit t\u00eb p\u00ebrjetsh\u00ebm.<\/p>\n\n\n\n

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

Komploti<\/strong><\/p>\n\n\n\n

Don Felice Sciosciammocca, nj\u00eb provincial naiv dhe i pasur, mb\u00ebrrin n\u00eb Napoli me gruan e tij p\u00ebr t\u00eb vizituar nipin e tij Ciccillo, t\u00eb cilin e mb\u00ebshteti p\u00ebrmes studimeve t\u00eb tij dhe i cili tani i thot\u00eb se \u00ebsht\u00eb b\u00ebr\u00eb nj\u00eb psikiat\u00ebr i suksessh\u00ebm, drejtor i nj\u00eb klinike prestigjioze p\u00ebr t\u00eb s\u00ebmur\u00ebt mendor\u00eb. I kapur n\u00eb befasi nga mb\u00ebrritja e papritur e xhaxhait t\u00eb tij, Ciccillo improvizon nj\u00eb g\u00ebnjesht\u00ebr monumentale: Pensione Stella, ku ai jeton nj\u00eb jet\u00eb t\u00eb pamatur, b\u00ebhet menj\u00ebher\u00eb nj\u00eb azil pleqsh i respektuesh\u00ebm. I bindur se \u00ebsht\u00eb v\u00ebrtet n\u00eb nj\u00eb institucion psikiatrik, Don Felice i ngat\u00ebrron banor\u00ebt e \u00e7uditsh\u00ebm dhe t\u00eb pasigurt me pacient\u00eb q\u00eb vuajn\u00eb nga obsesionet m\u00eb t\u00eb \u00e7uditshme, duke shkaktuar nj\u00eb vorbull keqkuptimesh, keqinterpretimesh dhe situatash paradoksale. K\u00ebshtu, lindin nj\u00eb s\u00ebr\u00eb situatash komike, t\u00eb cilat jan\u00eb b\u00ebr\u00eb pjes\u00eb e kujtes\u00ebs kolektive t\u00eb teatrit napolitan.  <\/p>\n\n\n\n

Midis nj\u00eb studenti pompoz, nj\u00eb muzikanti t\u00eb varf\u00ebr dhe disi kleptoman, nj\u00eb aktori amator t\u00eb fiksuar pas Otellos dhe nj\u00eb n\u00ebne k\u00ebmb\u00ebngul\u00ebse q\u00eb k\u00ebrkon nj\u00eb burr\u00eb p\u00ebr vajz\u00ebn e saj, Pensione Stella shnd\u00ebrrohet n\u00eb syt\u00eb e tij n\u00eb nj\u00eb cirk t\u00eb v\u00ebrtet\u00eb tmerresh. Me \u00e7do takim, hutimi i tij rritet, derisa \u00ebsht\u00eb vet\u00eb Sciosciammocca ai q\u00eb duket m\u00eb i \u00e7menduri nga t\u00eb gjith\u00eb, i bllokuar n\u00eb nj\u00eb sall\u00eb pasqyrash q\u00eb v\u00eb n\u00eb pik\u00ebpyetje vet\u00eb identitetin e tij.  <\/p>\n\n\n\n

Nga realiteti i shekullit t\u00eb n\u00ebnt\u00ebmb\u00ebdhjet\u00eb n\u00eb realitetin pas-Basaglia-s<\/strong><\/p>\n\n\n\n

N\u00eb versionin origjinal t\u00eb Scarpetta-s, "Doktori i \u00c7mendur" zhvillohet n\u00eb Napolin e fundit t\u00eb shekullit t\u00eb n\u00ebnt\u00ebmb\u00ebdhjet\u00eb, nj\u00eb qytet borgjez i klas\u00ebs pun\u00ebtore q\u00eb po p\u00ebrjeton transformime shoq\u00ebrore, moda t\u00eb reja dhe frik\u00ebra t\u00eb reja. Azili \u00ebsht\u00eb nj\u00eb vend misterioz dhe i friksh\u00ebm, dhe komedia lind nga nj\u00eb keqkuptim: ngat\u00ebrrimi i nj\u00eb konvikti me nj\u00eb spital psikiatrik.\u00a0<\/p>\n\n\n\n

\u00cbsht\u00eb nj\u00eb shoq\u00ebri q\u00eb lul\u00ebzon nga pamja e jashtme, rolet e ngurta dhe naiviteti borgjez q\u00eb Scarpetta i demaskon me fars\u00eb.<\/p>\n\n\n\n

Regjia e Leo Muscato-s e zhvendos historin\u00eb midis fundit t\u00eb viteve 1970 dhe fillimit t\u00eb viteve 1980, n\u00eb mes t\u00eb revolucionit kulturor t\u00eb Ligjit Basaglia, i cili shfuqizoi spitalet mendore dhe prezantoi forma t\u00eb reja t\u00eb kujdesit, t\u00eb cilat u pan\u00eb me dyshim, ve\u00e7an\u00ebrisht nga nj\u00eb provincial naiv si Don Felice.\u00a0\u00a0<\/p>\n\n\n\n

\u201c"Mbyllja e spitaleve mendore", shpjegon Muscato, "nxori n\u00eb pah nj\u00eb epok\u00eb mosbesimi dhe konfuzioni. Ishte momenti i p\u00ebrsosur p\u00ebr t\u00eb tronditur sigurit\u00eb e Don Felice-s.". <\/p>\n\n\n\n

Me t\u00eb mb\u00ebrritur n\u00eb Napoli, Sciosciammocca e gjen veten n\u00eb nj\u00eb qytet t\u00eb gjall\u00eb, kontradiktor dhe plot ngjyra, ku nuk mund t\u00eb dalloj\u00eb m\u00eb midis t\u00eb sh\u00ebndoshit dhe t\u00eb pash\u00ebndetshmit. Identiteti i tij fillon t\u00eb shk\u00ebrmoqet, duke e \u00e7uar at\u00eb n\u00eb pyetjen m\u00eb radikale: po sikur ai vet\u00eb t\u00eb ishte i \u00e7menduri i v\u00ebrtet\u00eb?<\/p>\n\n\n\n

Ky zhvendosje kohore i lejon regjisorit t\u00eb luaj\u00eb me nj\u00eb estetik\u00eb ikonike q\u00eb p\u00ebrfshin baseta, syze t\u00eb m\u00ebdha, pantallona t\u00eb gjera si zile dhe nj\u00eb kolon\u00eb zanore t\u00eb p\u00ebrjetshme. Por p\u00ebrtej arg\u00ebtimit, del n\u00eb pah nj\u00eb reflektim m\u00eb i thell\u00eb mbi identitetin. <\/p>\n\n\n\n

N\u00ebse t\u00eb gjith\u00eb mund t\u00eb ngat\u00ebrrohemi me dik\u00eb tjet\u00ebr, kush jemi ne n\u00eb t\u00eb v\u00ebrtet\u00eb?<\/p>\n\n\n\n

\"whatsapp<\/figure>\n\n\n\n

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

Nj\u00eb drejtim q\u00eb di t\u00eb flas\u00eb me t\u00eb tashmen <\/strong><\/p>\n\n\n\n

K\u00ebtu \u00ebsht\u00eb vendi ku drejtimi i ri takon thelbin e Scarpetta-s.  <\/p>\n\n\n\n

N\u00eb shekullin e n\u00ebnt\u00ebmb\u00ebdhjet\u00eb, farsa demaskoi ngatht\u00ebsin\u00eb borgjeze.  <\/p>\n\n\n\n

N\u00eb vitet 1970, ai demaskoi brisht\u00ebsin\u00eb gjithmon\u00eb t\u00eb pranishme t\u00eb nj\u00eb vendi q\u00eb ende nuk ishte n\u00eb gjendje t\u00eb bashk\u00ebjetonte me lirin\u00eb, kujdesin dhe identitetin e vet. Por \u00ebsht\u00eb te spektator\u00ebt q\u00eb materiali skenik gjen hap\u00ebsir\u00eb p\u00ebr frym\u00ebmarrje dhe hap\u00ebsir\u00eb p\u00ebr reflektim, duke na detyruar t\u00eb v\u00ebm\u00eb n\u00eb pik\u00ebpyetje konceptet e normalitetit dhe \u00e7menduris\u00eb. Po sikur shoq\u00ebria jon\u00eb t\u00eb normalizonte n\u00eb t\u00eb v\u00ebrtet\u00eb manit\u00eb e panum\u00ebrta?<\/p>\n\n\n\n

\u201c"Scarpetta," thekson Muscato, "qeshte me bashk\u00ebkoh\u00ebsit e tij. Un\u00eb p\u00ebrpiqem t\u00eb na b\u00ebj t\u00eb qeshim me veten ton\u00eb, sepse konfuzioni yn\u00eb nuk \u00ebsht\u00eb shum\u00eb i ndrysh\u00ebm nga i tyre.". <\/p>\n\n\n\n

Shfaqja rrjedh n\u00eb m\u00ebnyr\u00eb brilante, duke shfaqur aft\u00ebsit\u00eb e aktor\u00ebve, t\u00eb cil\u00ebt ruajn\u00eb nj\u00eb ekuilib\u00ebr t\u00eb shk\u00eblqyer narrativ. Disa interpretime t\u00eb ekzagjeruara nuk duken t\u00eb pavend k\u00ebtu, por p\u00ebrkundrazi sh\u00ebrbejn\u00eb si nj\u00eb pasqyr\u00eb e pam\u00ebshirshme e bot\u00ebs bashk\u00ebkohore. Ajo q\u00eb mbetet, midis normalitetit dhe \u00e7menduris\u00eb, \u00ebsht\u00eb nj\u00ebfar\u00eb tensioni poetik.<\/p>\n\n\n\n

\u201c"Dhe n\u00eb fund," p\u00ebrfundon regjisori, "nd\u00ebrsa publiku qesh, Don Felice, me zemr\u00ebn e r\u00ebnduar nga zhg\u00ebnjimi, kupton se \u00ebsht\u00eb mashtruar si budalla: nipi i tij i dashur, ai p\u00ebr t\u00eb cilin ka sakrifikuar vite dhe para, e ka mashtruar me paturp\u00ebsin\u00eb e dikujt q\u00eb mashtron me letra me nj\u00eb t\u00eb verb\u00ebr. Ai buz\u00ebqesh me hidh\u00ebrim, i mb\u00ebshtjell\u00eb me xhaket\u00ebn e tij provinciale t\u00eb \u00e7uditshme. Ndoshta ai \u00ebsht\u00eb v\u00ebrtet m\u00eb i \u00e7menduri nga t\u00eb gjith\u00eb, sepse, pavar\u00ebsisht gjith\u00e7kaje, nuk mund t'i mohoj\u00eb askujt luksin e nj\u00eb fundi t\u00eb lumtur poetik." Dhe \u00ebsht\u00eb pik\u00ebrisht n\u00eb k\u00ebt\u00eb fund q\u00eb disfata e Don Felice i rikthen atij nj\u00eb fisnik\u00ebri q\u00eb na b\u00ebn t\u00eb biem n\u00eb dashuri me personazhin. <\/p>\n\n\n\n

Datat e turit:<\/p>\n\n\n\n

 27 janar n\u00eb Brindisi, nga 28 janari deri m\u00eb 1 shkurt n\u00eb Bari, 8 shkurt n\u00eb Novi Ligure, 11 shkurt n\u00eb Pinerolo, nga 14 deri m\u00eb 15 shkurt n\u00eb Civitavecchia. <\/p>\n\n\n\n

<\/p>","protected":false},"excerpt":{"rendered":"

Una delle opere pi\u00f9 rappresentative del padre del teatro dialettale, interroga il pubblico contemporaneo sull\u2019identit\u00e0. Lo spettacolo, nell\u2019adattamento post legge Basaglia, di Leo Muscato offre una lettura ironica e impietosa di tutte le manie contemporanee, smascherate proprio dall\u2019inganno del protagonista. Le date della tourn\u00e9e Di Rosalba Panzieri  “Il medico dei pazzi”, celeberrima opera di Eduardo […]<\/p>\n","protected":false},"author":16,"featured_media":6577,"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":11,"footnotes":""},"categories":[446],"tags":[],"class_list":["post-6576","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\/6576","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=6576"}],"version-history":[{"count":1,"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/posts\/6576\/revisions"}],"predecessor-version":[{"id":6580,"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/posts\/6576\/revisions\/6580"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/media\/6577"}],"wp:attachment":[{"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/media?parent=6576"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/categories?post=6576"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/tags?post=6576"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}