For the drama "Do or Die" by Jeton Neziraj directed by Blerta Rrustemi-Neziraj, the second performance in the competition of the 55th edition of the Theater Festival in Ferizaj.
Russia: Driton Fejzullahu
After a long absence, I decided to return to the theater. The reasons for my departure from this theater were many, but the strongest was related to the bitter experience I had with the play “Gadjo” which had shocked me so much that I decided not to step foot in the theater hall again. However, this time, the case was different, the “Theatre Festival” was taking place in the “Adriana” theater in Ferizaj, the 55th edition, an important event that brings together the most representative artistic troupes and plays from all Albanian regions. An added reason was the fact that the play “Do or Die” would be staged, dedicated to the prominent national figure Ukshin Hoti. This name made me curious, although my suspicion about the author remained great. And, unfortunately, this suspicion was confirmed.
Contextual confusion
Essentially, the drama aimed for a heroic-historical treatment, which would illuminate the fate of Ukshin Hoti and tell his story amidst prisons and torture. However, what was offered on stage was neither enlightenment nor glorification, but a hasty, confused misinterpretation without heroic and historical dimensions. The author showed a lack of knowledge of the historical horizon in which Ukshin Hoti had acted. The events depicted in prison and court failed to create the right atmosphere. The dramatic tension was missing, the deep pain was missing, the anger that Ukshin had in the face of the repressive system was missing. The play, instead of affirming his figure, limited and diminished him.
Depersonalization of the figure of Ukshin Hoti
One of the biggest artistic mistakes was the depersonalization of the figure of Ukshin Hoti. Instead of him being the axis of the drama, the weight was shifted to another character, Bajrush Xhemajli, who received more attention on stage. This made Ukshin, who should have been the center of the play, appear faded and peripheral. In some cases, even Ukshin's narrative voice was entrusted to an actress. This artificiality did not add strength to the scene, on the contrary, made his figure ambiguous, taking away the unique dimension that characterizes him.
Lack of research and confusion of contexts
Another obvious shortcoming was the lack of research. The drama mixed biographical and ideological elements in a confusing way. The retrospective of Ukshin’s life, from his first imprisonment to his tragic disappearance, was not treated accurately. The maxim “Do or die”, which is a powerful patriotic and philosophical statement, was not embodied in the dramatic text. It was reduced to a pale slogan, without depth, without ideological weight and without emotion. Another questionable feature was the introduction of other characters from Ferizaj (Bajrush Xhemajli, Lumnije Morina, Sanije Aliu, etc.), who seemed more like a way to attract the local audience than to enrich the structure of the drama. This created the impression of a bespoke text, and not of a drama that the figure of Ukshin Hoti deserves.
The fundamental question: what was the purpose of this drama? What was the purpose of the drama “Do or Die”? If the goal was to elevate the image of Ukshin Hoti, then the play failed, because he was portrayed as faded and alienated. If the goal was to inform the public, this information was served confused and unclear. If the goal was to soften the historical truth, then the drama achieved this, but at the expense of the truth and the image of Ukshin.
The figure of Ukshin Hoti is not a figure that can be treated easily. He is one of the greatest personalities of our history, a deep thinker and an idealist dedicated to the national ideal. His story is extraordinary, both painful and extremely inspiring. Precisely for this reason, any attempt to bring him to the stage must be based on serious readings and studies such as: “Letters” or Kadare’s work “Conversation Through the Iron Curtain” that would enrich and magnify Ukshin Hoti and raise him to a worthy height. The drama “Do or Die” did not fulfill either the historical or the dramatic mission. It not only did not elevate the figure of Ukshin Hoti, but it depersonalized him, denying his greatness. Letting me understand where Jeton Neziraj’s hand touched, the decline, degradation and destruction are certain. Instead of a worthy immortalization as the figure of Ukshin Hoti deserves, the audience received a pale, confused and depthless drama, without emotion and without any aesthetic charm. The selection of a personality like Ukshin Hoti is a great dramatic and artistic act that tempted me to see this performance without a point of potential. But this act of writing for the figure of Ukshin Hoti cannot be performed by anyone, nor superficially because it destroys one of the brightest figures of our national effort. The figure of Ukshin Hoti requires an author with a broad historical horizon, with deep philosophical knowledge and with a strong patriotic feeling. Only then can Ukshin Hoti take the place he deserves, even on the stage of the theater, just as he has in Albanian history.
/Express newspaper
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