{"id":6602,"date":"2026-02-05T19:29:13","date_gmt":"2026-02-05T19:29:13","guid":{"rendered":"https:\/\/albanitaly.al\/?p=6602"},"modified":"2026-02-05T19:33:00","modified_gmt":"2026-02-05T19:33:00","slug":"rosa-e-eger-e-ibsenit-embleme-e-rinise-se-thyer","status":"publish","type":"post","link":"https:\/\/albanitaly.al\/sq\/lanitra-selvatica-di-ibsen-emblema-della-gioventu-spezzata\/","title":{"rendered":"\u201c"Rosa e eg\u00ebr" e Ibsenit \u00ebsht\u00eb nj\u00eb emblem\u00eb e rinis\u00eb s\u00eb thyer."},"content":{"rendered":"

Thomas Ostermeier, nj\u00eb figur\u00eb ky\u00e7e n\u00eb teatrin evropian dhe drejtor artistik i Schaub\u00fchne, vazhdon eksplorimin e tij t\u00eb \u00e7arjeve shoq\u00ebrore dhe zonave t\u00eb err\u00ebta t\u00eb shpirtit njer\u00ebzor me "Rosa e eg\u00ebr" t\u00eb Henrik Ibsenit, t\u00eb shfaqur n\u00eb Teatro Argentina. Rosa e plagosur q\u00eb vazhdon t\u00eb notoj\u00eb n\u00eb err\u00ebsir\u00ebn e papafingos \u00ebsht\u00eb simboli i t\u00eb rinjve q\u00eb rezistojn\u00eb pavar\u00ebsisht gjith\u00e7kaje, q\u00eb k\u00ebrkojn\u00eb nj\u00eb rrug\u00ebdalje nga g\u00ebnjeshtrat e t\u00eb rriturve dhe k\u00ebrkojn\u00eb t\u00eb drejt\u00ebn p\u00ebr t\u00eb qen\u00eb vetvetja. Ibsen u flet t\u00eb rinjve sepse i merr seriozisht, sepse njeh tek ata nj\u00eb forc\u00eb morale q\u00eb shoq\u00ebria tenton ta shtyp\u00eb. N\u00eb sken\u00eb n\u00eb Berlin nga 28 shkurti.<\/em><\/p>\n\n\n\n

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

E v\u00ebrteta nuk \u00ebsht\u00eb asgj\u00eb pa m\u00ebshir\u00eb. Kjo \u00ebsht\u00eb ajo q\u00eb duket se na tregon, midis mesazheve t\u00eb saj t\u00eb pafundme, Rosa e eg\u00ebr<\/em> nga Ibsen, nj\u00eb dram\u00eb q\u00eb zbulon t\u00eb gjith\u00eb egoizmin grotesk t\u00eb nj\u00eb bote t\u00eb rriturish t\u00eb krijuar p\u00ebr t\u00eb rritur, ku pafaj\u00ebsia shqyhet nga shp\u00ebrqendrimi i p\u00ebrgjithsh\u00ebm. Nj\u00eb vep\u00ebr e fuqishme, e aft\u00eb t\u00eb kap\u00eb n\u00eb m\u00ebnyr\u00eb t\u00eb p\u00ebrsosur bot\u00ebn e sotme, e cila mb\u00ebrriti n\u00eb Itali p\u00ebr her\u00eb t\u00eb par\u00eb, n\u00eb Teatro Argentina, pas debutimit t\u00eb saj n\u00eb Franc\u00eb, duke sjell\u00eb me vete radikalizmin e zakonsh\u00ebm t\u00eb vizionit t\u00eb Ostermeier.\u00a0<\/p>\n\n\n\n

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

Prodhimi \u00ebsht\u00eb nga Schaub\u00fchne Berlin n\u00eb bashk\u00ebprodhim me Festivalin e Avignonit dhe Teatro di Roma, me regji nga Thomas Ostermeier.<\/p>\n\n\n\n

N\u00eb k\u00ebt\u00eb lexim, regjisori gjerman i qaset t\u00eb v\u00ebrtet\u00ebs si nj\u00eb mjet t\u00eb paqart\u00eb: nj\u00eb premtim \u00e7lirimi dhe, n\u00eb t\u00eb nj\u00ebjt\u00ebn koh\u00eb, nj\u00eb forc\u00eb potencialisht shkat\u00ebrruese.<\/p>\n\n\n\n

Fluturimi i Mohuar, nj\u00eb komplot q\u00eb flet p\u00ebr sot<\/strong><\/p>\n\n\n\n

 Mikrokozmosi i Ekdal\u00ebve, nj\u00eb familje e pezulluar midis iluzioneve dhe sekreteve, b\u00ebhet nj\u00eb laborator brisht\u00ebsie, p\u00ebrmes nj\u00eb babai q\u00eb vet\u00eb-mitizon, nj\u00eb gjyshi q\u00eb gjen streh\u00eb n\u00eb kujtes\u00ebn e tij dhe nj\u00eb vajze t\u00eb sh\u00ebnuar nga nj\u00eb s\u00ebmundje q\u00eb askush nuk d\u00ebshiron ta em\u00ebrtoj\u00eb. Ardhja e Gregers, nj\u00eb idealist i fiksuar dhe i verbuar nga transparenca morale e pam\u00ebshirshme, prish k\u00ebt\u00eb ekuilib\u00ebr t\u00eb pasigurt, duke demonstruar se si e v\u00ebrteta, kur imponohet me dhun\u00eb, mund t\u00eb shkat\u00ebrroj\u00eb at\u00eb q\u00eb mbetet nga lumturia familjare. N\u00eb qend\u00ebr \u00ebsht\u00eb Hedvig e re, pafaj\u00ebsia e s\u00eb cil\u00ebs b\u00ebhet epiqendra sizmike e nj\u00eb bote t\u00eb nd\u00ebrtuar mbi g\u00ebnjeshtra. Finalja tragjike, e cila shp\u00ebrthen \u00e7do siguri me nj\u00eb t\u00eb sht\u00ebn\u00eb me arm\u00eb zjarri, b\u00ebhet lutja p\u00ebrfundimtare p\u00ebr dukshm\u00ebri nga nj\u00eb i ri i injoruar.<\/p>\n\n\n\n

 Ostermeier e p\u00ebrcjell k\u00ebt\u00eb tension me nj\u00eb skenografi t\u00eb mpreht\u00eb dhe shqet\u00ebsuese q\u00eb nuk i l\u00eb shikuesit shp\u00ebtim. Regjia e tij thellohet n\u00eb tekstin e Ibsenit me sakt\u00ebsi kirurgjikale, duke nxjerr\u00eb n\u00eb sip\u00ebrfaqe trauma t\u00eb shtypura dhe fantazma q\u00eb vazhdojn\u00eb t\u00eb p\u00ebrndjekin t\u00eb tashmen. "Rosa e eg\u00ebr" b\u00ebhet k\u00ebshtu jo vet\u00ebm nj\u00eb klasik i rishikuar, por edhe nj\u00eb mjet kritik q\u00eb v\u00eb n\u00eb pik\u00ebpyetje marr\u00ebdh\u00ebnien ton\u00eb me iluzione dhe t\u00eb v\u00ebrteta t\u00eb domosdoshme q\u00eb nuk mund t'i p\u00ebrballojm\u00eb. Aktor\u00ebt ofrojn\u00eb nj\u00eb shfaqje t\u00eb nj\u00eb finese t\u00eb jasht\u00ebzakonshme, secili duke lundruar n\u00eb \u00e7do dridhje emocionale, duke p\u00ebrcjell\u00eb si nuancat m\u00eb intime ashtu edhe acarimet m\u00eb ther\u00ebse. <\/p>\n\n\n\n

Nuk \u00ebsht\u00eb ende nj\u00eb bot\u00eb p\u00ebr t\u00eb rinjt\u00eb<\/strong>

 Ibseni ishte nj\u00eb mbrojt\u00ebs i vendosur i brezave t\u00eb rinj, dhe q\u00ebndrimi i tij brenda debatit kulturor t\u00eb koh\u00ebs s\u00eb tij, v\u00ebmendja e tij ndaj t\u00eb rinjve dhe grave, nuk ishte nj\u00eb aksident narrativ, por nj\u00eb zgjedhje koherente etike dhe politike. Vepra e tij \u00ebsht\u00eb vendosur n\u00eb zem\u00ebr t\u00eb kriz\u00ebs s\u00eb modernitetit t\u00eb shekullit t\u00eb n\u00ebnt\u00ebmb\u00ebdhjet\u00eb, kur strukturat borgjeze t\u00eb familjes, moralit dhe arsimit filluan t\u00eb tregonin \u00e7arjet e tyre. N\u00eb k\u00ebt\u00eb kontekst, Ibseni identifikon t\u00eb rinjt\u00eb dhe grat\u00eb si subjektet m\u00eb t\u00eb ekspozuara ndaj kontradiktave t\u00eb rendit shoq\u00ebror, por edhe m\u00eb t\u00eb aftat p\u00ebr t\u00eb perceptuar padrejt\u00ebsin\u00eb e tij. \u00cbsht\u00eb pik\u00ebrisht "Rosa e Eg\u00ebr" q\u00eb b\u00ebhet nj\u00eb emblem\u00eb e k\u00ebtij tensioni: Hedvigu i ri mish\u00ebron past\u00ebrtin\u00eb e vizionit q\u00eb bota e t\u00eb rriturve nuk mund ta toleroj\u00eb, aft\u00ebsin\u00eb p\u00ebr t\u00eb zgjedhur dhe imagjinuar nj\u00eb t\u00eb ardhme t\u00eb ndryshme. Ndjeshm\u00ebria e saj, shpesh e shp\u00ebrfillur nga t\u00eb rriturit si naivitet, n\u00eb vend t\u00eb k\u00ebsaj b\u00ebhet lentja p\u00ebrmes s\u00eb cil\u00ebs Ibseni ekspozon dhun\u00ebn e heshtur t\u00eb konvent\u00ebs. N\u00eb k\u00ebt\u00eb kuptim, figura e re nuk \u00ebsht\u00eb vet\u00ebm nj\u00eb viktim\u00eb, por edhe nj\u00eb zbuluese: ajo sheh at\u00eb q\u00eb t\u00eb rriturit nuk duan t\u00eb shohin. Rosa e plagosur q\u00eb noton n\u00eb err\u00ebsir\u00ebn e papafingos simbolizon t\u00eb rinjt\u00eb q\u00eb rezistojn\u00eb pavar\u00ebsisht gjith\u00e7kaje, q\u00eb k\u00ebrkojn\u00eb nj\u00eb rrug\u00eb p\u00ebrmes g\u00ebnjeshtrave t\u00eb t\u00eb rriturve dhe k\u00ebrkojn\u00eb t\u00eb drejt\u00ebn p\u00ebr t\u00eb qen\u00eb vetvetja. Ibseni u flet t\u00eb rinjve sepse i merr seriozisht, sepse njeh tek ata nj\u00eb forc\u00eb morale q\u00eb shoq\u00ebria tenton ta shtyp\u00eb, dhe flet p\u00ebr grat\u00eb sepse sheh tek ato, si tek t\u00eb rinjt\u00eb, mund\u00ebsin\u00eb e nj\u00eb bote m\u00eb t\u00eb v\u00ebrtet\u00eb, m\u00eb t\u00eb lir\u00eb dhe m\u00eb t\u00eb drejt\u00eb. Ibseni denoncoi vazhdimisht, n\u00eb fjalimet dhe letrat e tij, nj\u00eb shoq\u00ebri q\u00eb pengon rritjen morale t\u00eb t\u00eb rinjve, duke i rritur ata t\u00eb b\u00ebhen "kopje t\u00eb baballar\u00ebve t\u00eb tyre" n\u00eb vend t\u00eb individ\u00ebve autonom\u00eb. N\u00eb fjalimin e tij t\u00eb famsh\u00ebm t\u00eb vitit 1898 drejtuar Shoqat\u00ebs Norvegjeze p\u00ebr t\u00eb Drejtat e Grave, ai e lidhi \u00e7\u00ebshtjen e grave me at\u00eb t\u00eb t\u00eb rinjve, duke i p\u00ebrcaktuar t\u00eb dyja si beteja p\u00ebr lirin\u00eb njer\u00ebzore. N\u00eb shkrimet e tij private, ai kritikoi arsimin borgjez q\u00eb imponon bindjen dhe heqjen dor\u00eb nga e v\u00ebrteta e brendshme. Ky vizion p\u00ebrshkon dramat e tij, ku t\u00eb rinjt\u00eb jan\u00eb shpesh t\u00eb vetmit q\u00eb perceptojn\u00eb \u00e7arjet n\u00eb rendin shoq\u00ebror. K\u00ebtu vjen moderniteti i tij: n\u00eb njohjen se t\u00eb rinjt\u00eb kan\u00eb t\u00eb drejt\u00ebn dhe guximin t\u00eb zgjedhin se kush duan t\u00eb jen\u00eb.<\/p>\n\n\n\n

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

Sh\u00ebnime t\u00eb Drejtorit<\/strong><\/p>\n\n\n\n

\u201cRosa e Eg\u00ebr\u201d ofron nj\u00eb kanavac\u00eb t\u00eb p\u00ebrsosur p\u00ebr Thomas Ostermeier, i cili, i udh\u00ebhequr nga nj\u00eb qart\u00ebsi e pam\u00ebshirshme, zhytet n\u00eb t\u00eb kaluar\u00ebn e shtypur p\u00ebr t\u00eb zbuluar fantazmat q\u00eb e ndjekin t\u00eb tashmen: \u201cP\u00ebr nj\u00eb koh\u00eb t\u00eb gjat\u00eb\u201d, pohon regjisori, \u201ckam zhvilluar nj\u00eb marr\u00ebdh\u00ebnie thell\u00ebsisht personale me vepr\u00ebn e Ibsenit. Personazhet e tij duken bashk\u00ebkohor\u00eb; ata nxiten nga d\u00ebshira p\u00ebr t\u2019u pasuruar dhe urgjenca e jet\u00ebs, dhe nuk kan\u00eb frik\u00eb nga p\u00ebrballja. Ishte e r\u00ebnd\u00ebsishme p\u00ebr mua q\u00eb fjal\u00ebt e Ibsenit t\u00eb rezononin n\u00eb t\u00eb tashmen. Ibsen e shkroi \u201cRos\u00ebn e Eg\u00ebr\u201d dy vjet pas \u201cNj\u00eb Armik i Popullit\u201d, t\u00eb cil\u00ebn e vura n\u00eb sken\u00eb p\u00ebr Festivalin e Avignonit n\u00eb vitin 2012. T\u00eb dy dramat kan\u00eb nj\u00eb marr\u00ebdh\u00ebnie diametralisht t\u00eb kund\u00ebrt me t\u00eb v\u00ebrtet\u00ebn. N\u00eb Nj\u00eb armik i popullit<\/em>, e v\u00ebrteta duhet t\u00eb jet\u00eb absolute; n\u00eb Rosa e eg\u00ebr<\/em>, p\u00ebrkundrazi, evokohet si nj\u00eb koncept q\u00eb p\u00ebrpiqet t\u00eb gjej\u00eb vendin e tij n\u00eb bot\u00eb, n\u00eb kund\u00ebrshtim me ata q\u00eb k\u00ebrkojn\u00eb ta mbajn\u00eb t\u00eb fshehur. Rosa e eg\u00ebr mund t\u00eb lexohet si nj\u00eb p\u00ebrgjigje ndaj vepr\u00ebs "Nj\u00eb armik i popullit": a meriton e v\u00ebrteta t\u00eb thuhet gjithmon\u00eb dhe n\u00eb \u00e7do rast, apo ndonj\u00ebher\u00eb duhet t\u00eb g\u00ebnjejm\u00eb p\u00ebr t\u00eb mbijetuar? Duket se ka nj\u00eb lloj dialogu midis k\u00ebtyre dy veprave. Rosa p\u00ebrfaq\u00ebson simbolikisht k\u00ebt\u00eb familje t\u00eb p\u00ebrulur, q\u00eb p\u00ebrpiqet t\u00eb mbijetoj\u00eb pas t\u00eb gjitha v\u00ebshtir\u00ebsive q\u00eb i kan\u00eb kaluar. Vepra nuk ofron p\u00ebrgjigje, por e l\u00eb audienc\u00ebn me shum\u00eb pyetje.<\/p>\n\n\n\n

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

Shfaqjet e ardhshme, datat<\/strong><\/p>\n\n\n\n

\u201c"Die Wildente" (Rosa e eg\u00ebr) n\u00eb Berlin (Schaub\u00fchne am Lehniner Platz)
nga 28 shkurti deri m\u00eb 5 mars 2026.<\/p>\n\n\n\n

\u201cHistoria e Dhun\u00ebs\u201d
Nga 27 shkurti deri m\u00eb 2 mars 2026
Festivali i Adelaides, Adelaide, Australi

\u201c"M\u00eb quaj Paris"\u201d
21 dhe 22 Mars 2026
Teatri Arena del Sole, Bolonja, Itali

\u201c"Qui a tu\u00e9 mon p\u00e8re" (Kush vrau baban\u00eb tim)
Nga 26 deri m\u00eb 29 mars 2026
Com\u00e9die de Gen\u00e8ve, Gjenev\u00eb, Zvic\u00ebr

\u201cHeshtja\u201d
Nga 10 deri m\u00eb 12 prill 2026
Centro Dram\u00e1tico Nacional, Madrid, Spanj\u00eb

\u201c"Ndryshime"\u201d
8 dhe 9 maj 2026
Teatri Pergola, Firence, Itali

\u201cShikuesi\u201d
23 dhe 24 maj 2026
Teatri Pergola, Firence, Itali
dhe 15 qershor 2026
Festivali Nd\u00ebrkomb\u00ebtar i Teatrit n\u00eb Tbilis, Tbilisi, Gjeorgji<\/p>\n\n\n\n

Schaub\u00fchne \u00ebsht\u00eb nj\u00eb nga teatrot kryesore n\u00eb gjuh\u00ebn gjermane, q\u00eb jep shfaqje n\u00eb t\u00eb gjith\u00eb bot\u00ebn dhe pret festivalin nd\u00ebrkomb\u00ebtarisht t\u00eb njohur "FIND". I themeluar n\u00eb vitin 1962 n\u00eb Berlin nga nj\u00eb grup student\u00ebsh t\u00eb udh\u00ebhequr nga J\u00fcrgen Schitthelm, Schaub\u00fchne \u00ebsht\u00eb b\u00ebr\u00eb nj\u00eb nga teatrot m\u00eb t\u00eb famsh\u00ebm dhe m\u00eb t\u00eb njohur n\u00eb bot\u00ebn gjermanofol\u00ebse. Q\u00eb nga viti 1999, ai drejtohet nga drejtori artistik Thomas Ostermeier. Si nj\u00eb nga pes\u00eb teatrot m\u00eb t\u00eb m\u00ebdhenj t\u00eb p\u00ebrhersh\u00ebm n\u00eb Berlin, \u00ebsht\u00eb sinonim i teatrit modern dhe bashk\u00ebkohor. Schaub\u00fchne v\u00eb n\u00eb sken\u00eb nj\u00eb program prej t\u00eb pakt\u00ebn dhjet\u00eb shfaqjesh p\u00ebr sezon, p\u00ebrve\u00e7 nj\u00eb repertori prej af\u00ebrsisht 25 produksionesh ekzistuese. Repertori karakterizohet nga nj\u00eb pik\u00ebpamje kritike dhe analitike, shpesh politike, e realitetit shoq\u00ebror dhe p\u00ebrfshin vepra klasike dhe bashk\u00ebkohore. <\/p>","protected":false},"excerpt":{"rendered":"

Thomas Ostermeier, figura cardine del teatro europeo e direttore artistico della Schaub\u00fchne, prosegue la sua indagine sulle fratture sociali e sulle zone d\u2019ombra dell\u2019animo umano con \u201cL\u2019anitra selvatica\u201d di Henrik Ibsen, andata in  scena al Teatro Argentina.  L\u2019anitra ferita che continua a nuotare nel buio del solaio \u00e8 il simbolo dei giovani che resistono nonostante tutto, che […]<\/p>\n","protected":false},"author":16,"featured_media":6603,"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-6602","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\/6602","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=6602"}],"version-history":[{"count":1,"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/posts\/6602\/revisions"}],"predecessor-version":[{"id":6607,"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/posts\/6602\/revisions\/6607"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/media\/6603"}],"wp:attachment":[{"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/media?parent=6602"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/categories?post=6602"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/albanitaly.al\/sq\/wp-json\/wp\/v2\/tags?post=6602"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}