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Rozina Kostani


In order to follow the historical consistency in Albanian theater, our view encounters with very interesting approaches; both in form and content. Such is the text and its stage effect, the “Gof” play. Putting people under tension, under constant pressure and denigration, stretched not only scenically or dramatically over time and space, but this time in reality also, making the absurd not to be articulated but asserted instead,as a rebel cell which develops in this fragmented body of the nation early in time, creating a coexistence between the executioner and the victim. Rexhep Qosja, a Kosovar academic, will comment on this coexistence that has not been respected as such: …honor me if you want me to love you. And, honor - has always had this meaning: accept me the way I accept you. During the observation of this historical-theatrical period, we notice that even in this theater consciously or subconsciously, an articulated Albanian spirit is starting to emerge, I mean, the directing power in this theater will no longer be in Macedonian expressions. The first Prague-educated director, Ahmet Jakupi, arrives in this theater, whilst the previous director M. Stefanovski, is handing over his responsibilities. The shift looks like a very cautious, political game of this community.

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