Cultural Institution Blesok • Established 1998
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ISSN 1409-6900 | UDK 82+7     Blesok no. 06 | volume II | January, 1999



                     Peer-reviewed journal
Blesok no. 06January, 1999
Theatre Reviews

Late Coming Bones

p. 1
Biljana Garvanlieva

    Teki Dervishi's play The bones that come late with it's pure and precise archetype theater language created powerful picture in the dramatization of an “Hamlet myth” about the clash between young intellectual and team collective.
    This clash has already been visualized in the scene space. The metal its made of is gray-green gamma of colors, and immediately establishes the rotten dramatic context-anchored collectives fascistic world, palace that controls even peoples dreams. That's why every paraphernalia brought on the scene becomes dramatically and metaphysically active. The stands and stylized in cage shape hats that the rhapsodies ware (evidenting dreams) are comic on one hand, but on the other, they paint the mechanization, stereotype and their characters captivity. Despite them, the trough where the old ladies bath the leading character is woman's uterus myth picture, from which he is reborn and self reunited.
    High calorie conflict of an individual against collective is strongly dramatized because of Refet Abazi's (as Mark Alem)emotive actor sensibility and Bajrush Mjaku (as clerk).
    While Abazi drowns his motion motivation from self provement and need for justice, he builds his character through incense and self unitement. Helped by his actor device he creates myth picture of an hermaphrodite.
    On contrary, Mjaku, with archetype symbols of rotten authority (invalid chair as throne; stick as his extended arm) he grafts it's rotten body and personal dull emotions like an expert.
       Vladimir Milchin, the director, through mathematically precise theater language thinks locally” but “acts global”.
    Albanian identity problem gets dimension of an universal human problem. In this case, theater language is more powerful then established spoken communication and emotional connection with the audience.
    Beside the fact that you don't understand Albanian language, through powerful picture built as an aura all around them, the actors, the director, the
    scenographyst, the designer and the composer, you have feeling that you do understand it. Understanding through the scaffolding of an non understandable language (because of technical disturbance-not having simultaneous translation) you can only admire this theater art peace stable architecture.

excerpt from the play

"Blesok" editions 01-93 are also available at CEEOL web site.

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