{"id":1052,"date":"2025-11-20T14:11:15","date_gmt":"2025-11-20T14:11:15","guid":{"rendered":"https:\/\/logbook.al\/?page_id=1052"},"modified":"2025-11-24T12:58:34","modified_gmt":"2025-11-24T12:58:34","slug":"drama-e-daniil-harmsit-a-eshte-valle-teater-pa-dyshim-po","status":"publish","type":"page","link":"https:\/\/logbook.al\/?page_id=1052","title":{"rendered":"Drama e Daniil Harmsit, a \u00ebsht\u00eb vall\u00eb teat\u00ebr? Pa dyshim, po!"},"content":{"rendered":"\n
NGA Alexandra Millner<\/h5>\n\n\n\n

Mikrotekstet \u2013 proza e shkurt\u00ebr dhe minidramat e Daniil Harmsit \u2013 i atribuohen t\u00eb ashtuquajtur\u00ebs let\u00ebrsi e absurdit, ngase ato refuzojn\u00eb t\u00eb p\u00ebrfshihen n\u00eb nj\u00eb kuad\u00ebr kuptimor mimetik-reprezentativ. Nga ky k\u00ebndv\u00ebshtrim, Alfred Jarry dhe Guillaume Apollinaire-i, n\u00eb sfer\u00ebn dramatike mund t\u00eb na duken si figura t\u00eb krahasueshme me Harmsin, kurse n\u00eb rrafshin epik, m\u00eb i af\u00ebrt me t\u00eb konsiderohet Franz Kafka. Ky krahasim \u2013 t\u00eb pakt\u00ebn i pjessh\u00ebm \u2013 mund t\u00eb pranohet si i till\u00eb, por nuk i b\u00ebn fort nder ve\u00e7ant\u00ebsis\u00eb-autonomis\u00eb s\u00eb teksteve t\u00eb Harmsit dhe rrethanave jo aq t\u00eb zakonshme si jan\u00eb sajuar ato. Shmangia, ose dhe mungesa e veprimit skenik \u00ebsht\u00eb tipar i njohur karakteristik i absurdit, ashtu dhe mos-hasja e protagonist\u00ebve heroik\u00eb, si dhe mungesa e dialog\u00ebve konvencionale.<\/h4>\n\n\n\n

Megjithat\u00eb, nuk do t\u00eb mjaftonte mungesa e ngjarjes dhe e subjektit p\u00ebr t\u2019i p\u00ebrkufizuar tekstet e Harmsit, por, p\u00ebrqendrimi ndaj incidenteve paraprake, pra ndaj \u201crasteve\u201d nga e p\u00ebrditshmja, q\u00eb ngjallin atraksion t\u00eb madh ndaj \u201cqen\u00ebsis\u00eb\/ve\u00e7antis\u00eb-si\u00e7-jan\u00eb\u201d [1]<\/mark><\/sup><\/a><\/sup>, pra, si dukuri jet\u00ebsore. <\/h4>\n\n\n\n

Kjo jo-ngjarje aq banale, q\u00eb tregohet me aq p\u00ebrkushtim lakonik, mund t\u00eb lexohen edhe nga prizmi politik: si protest\u00eb e heshtur dhe jo-spektakulare, apo si karikatur\u00eb subversive e ish sistemit sovjetik.<\/h4>\n\n\n\n

Studimi i Hansen-L\u00f6ve\u2013<\/strong>it mbi rrym\u00ebn e neoprimtivizmit n\u00eb periudh\u00ebn moderniste ruse[2]<\/mark><\/sup><\/a>, tregon se n\u00eb dramat e Harmsit hasim p\u00ebrshkrimin mbi v\u00ebshtrimin naiv f\u00ebmij\u00ebror nga jeta e vegj\u00eblis\u00eb, nj\u00eb lloj v\u00ebshtrimi q\u00eb nuk merret aq shum\u00eb me shkaqet, sesa me t\u00eb tanishmen, duke rrokur \u00e7do-gj\u00eb-n\u00eb<\/em> aty p\u00ebr aty, n\u00eb p\u00ebrmbajtjen e plot\u00eb ashtu si\u00e7 shfaqet ajo. Zhvendosja e elementeve m\u00eb t\u00eb vogla t\u00eb veprimit nga konteksti i tyre kohor dhe hap\u00ebsinor, shpie n\u00eb \u201cvyshkjen e kuptimit (obessmyslivanie<\/em>) dhe n\u00eb l\u00ebkundjet e boshtit kuptimor n\u00eb tekstet me mendime t\u00eb turbullta <\/strong>t\u00eb absurdist\u00ebve.\u201d[3]<\/mark><\/sup><\/a> Por, edhe tekste t\u00eb tjera, q\u00eb shkojn\u00eb p\u00ebrtej t\u00eb atyp\u00ebratyshmes jan\u00eb t\u00eb mbushura p\u00ebrplot kund\u00ebrth\u00ebnie dhe shp\u00ebrpjestim. N\u00eb teat\u00ebr n\u00eb p\u00ebrgjith\u00ebsi zot\u00ebron logjik\u00eb krejt tjet\u00ebr nga ajo e bot\u00ebs reale. Mbase, p\u00ebrmes logjik\u00ebs, k\u00ebsaj bote s\u2019mund t\u2019i gjendet dot filli. <\/h4>\n\n\n\n

Kur Daniil Harmsi dhe Aleksand\u00ebr Vedenskij bashk\u00eb me miq t\u00eb tjer\u00eb, m\u00eb 1927 themeluan n\u00eb Leningradin e at\u00ebhersh\u00ebm Bashk\u00ebsin\u00eb e Artit Real \u201cOBERIU\u201d, p\u00ebrmes nj\u00eb Manifesti t\u00eb p\u00ebrbashk\u00ebt ata vun\u00eb n\u00eb pik\u00ebpyetje vet\u00eb thelbin e teatrit. N\u00ebse deri at\u00ebher\u00eb aktori, l\u00ebvizjet skenike, skenografia, rekuizitat dhe ndri\u00e7imi i n\u00ebnshtrohen shfaqjes teatrore, apo nj\u00eb lloj inskenimi me synim q\u00eb rrethanat (ngjarjet) t\u00eb vendosen sa m\u00eb t\u00eb qarta e kuptimplote n\u00eb sken\u00eb, tashm\u00eb k\u00ebto elemente skenike \u00e7lirohen nga detyrimi p\u00ebr t\u00eb shpjeguar \u00e7do rrethan\u00eb. <\/h4>\n\n\n\n

\u201cTeatri nuk bazohet m\u00eb aspak n\u00eb ato rrethana. Tashm\u00eb aktori, kur luan ministrin e hiqet k\u00ebmbadoras zvarr\u00eb e qarash si ujk ul\u00ebrin n\u00eb sken\u00eb; apo nj\u00eb tjet\u00ebr, kur luan fshatarin rus dhe befas ja kris fjalimit latinisht gjer\u00eb e gjat\u00eb: ky pra \u00ebsht\u00eb teatri, q\u00eb e mban spektatorin gjall\u00eb \u2013 pa marr\u00eb parasysh subjektin, a rrethan\u00ebn dramatike. Thjesht t\u00eb ve\u00e7ohet ai moment; ngase vet\u00ebm vargu i \u00e7asteve t\u00eb tilla, t\u00eb organizuara mir\u00eb nga regjisori mund ta b\u00ebj\u00eb nj\u00eb shfaqje teatri, q\u00eb ndjek nj\u00eb linj\u00eb m\u00eb vete, dhe e gjen kuptimin e vet skenik. Pik\u00ebrisht at\u00ebher\u00eb kemi nj\u00eb rrethan\u00eb, q\u00eb ve\u00e7 teatri \u00ebsht\u00eb n\u00eb gjendje ta sjell\u00eb n\u00eb jet\u00eb. [\u2026] T\u00eb gjitha k\u00ebto shpien n\u00eb nj\u00eb pik\u00eb \u2013 drejt nj\u00eb bote q\u00eb b\u00ebhet e dukshme, pavar\u00ebsisht materialit t\u00eb saj \u2013 ve\u00e7se t\u00eb shpalosur n\u00eb m\u00ebnyra t\u00eb ndryshme, e krejt\u00ebsisht t\u00eb ve\u00e7anta <\/strong>n\u00eb form\u00ebn e vet. [\u2026] Ne i qasemi rrethan\u00ebs (subjektit) n\u00eb aspekte dramaturgjike. Fillimisht e zhvillojm\u00eb n\u00eb nj\u00eb form\u00eb m\u00eb t\u00eb thjesht\u00eb, pastaj befas nd\u00ebrhyhet n\u00eb \u00e7aste q\u00eb n\u00eb dukje t\u00eb par\u00eb jan\u00eb t\u00eb pakuptimta e t\u00eb par\u00ebnd\u00ebsishme. Kjo mund t\u00eb sjell\u00eb \u00e7udi. E ndoshta d\u00ebshironi t\u00eb rigjeni ligjishm\u00ebrin\u00eb e zakonshme logjike q\u00eb e hasni dhe e shihni n\u00eb jet\u00eb; por, k\u00ebtu, ama, nuk do ta gjeni dot.\u201c[4]<\/mark><\/sup><\/a><\/h4>\n\n\n\n

Shembuj p\u00ebr nj\u00eb teat\u00ebr t\u00eb till\u00eb (n\u00eb manifestin e sapop\u00ebrmendur), jan\u00eb ngjarjet e shkurtra e pa kontekst n\u00eb sken\u00eb: dy persona q\u00eb komunikojn\u00eb p\u00ebrmes gjuh\u00ebs s\u00eb shenjave n\u00eb sken\u00eb, nd\u00ebrkoh\u00eb, q\u00eb i rrudhin buz\u00ebt si triumfator\u00eb; apo shembulli i samovarit t\u00eb vendosur mbi karrige, prej t\u00eb cilit, n\u00eb vend t\u00eb avullit, dalin dy duar. Pik\u00eb. Kjo \u00ebsht\u00eb \u00e7\u00ebshtja. \u201cKy<\/em> \u00ebsht\u00eb teat\u00ebr!\u201d. [5]<\/mark><\/sup><\/a><\/sup><\/h4>\n\n\n\n

N\u00eb k\u00ebt\u00eb pik\u00eb i jemi afruar duksh\u00ebm teatrit t\u00eb objekteve. Nj\u00eb teat\u00ebr i till\u00eb objektesh dhe figurash, q\u00eb i ka kushtuar dhe vazhdon t\u2019i kushtoj\u00eb kujdes t\u00eb ve\u00e7ant\u00eb, jo vet\u00ebm skenave t\u00eb vogla alternative, por edhe formave minimale (minore) letrare, \u00ebsht\u00eb padyshim Kabinetttheater-i n\u00eb Vjen\u00eb. Julia Reichert (1950\u20132024), themeluesja dhe drejtoresha artistike e Kabinetttheater-it, iu p\u00ebrkushtua ve\u00e7an\u00ebrisht k\u00ebsaj let\u00ebrsie teatrore.  <\/h4>\n\n\n\n

Ajo e pat nisur krijimtarin\u00eb teatrore pik\u00ebrisht me \u201cTableaux vivants\u201d: imazhe t\u00eb l\u00ebvizshme, inskenime t\u00eb shkurtra t\u00eb shoq\u00ebruara me muzik\u00eb. Hapin e par\u00eb drejt inskenimit ia doli ta b\u00ebj\u00eb me nj\u00eb tekst dramatik t\u00eb Daniil Harmsit: Plakat kureshtare<\/em>.[6]<\/mark><\/sup><\/a> <\/mark>Ja si e paraqet situat\u00ebn n\u00eb k\u00ebt\u00eb pjes\u00eb t\u00eb shkurt\u00ebr Harmsi:<\/h4>\n\n\n\n
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\u201c<\/em><\/strong>Nj\u00eb plak\u00eb ca si tep\u00ebr kureshtare nxori kok\u00ebn n\u00eb dritare, dhe aq shum\u00eb u var, sa ra e vdiq e u plasarit fare. Mandej plaka e dyt\u00eb e nxori kok\u00ebn n\u00eb dritare dhe e shihte t\u00eb vrar\u00ebn, por dhe ajo nga kureshtja e tep\u00ebrt u var aq shum\u00eb, sa ra dhe u plasarit fare. Nga dritarja pastaj ra plaka e tret\u00eb, pastaj e kat\u00ebrta, pastaj e pesta. Pasi ra edhe plaka e gjasht\u00eb, k\u00ebt\u00eb pamje s\u2019e duroja dot m\u00eb, dola n\u00eb Tregun Maltsevski, atje ku thuhej se nj\u00eb t\u00eb verb\u00ebri ia fal\u00ebn nj\u00eb shall t\u00eb thurur\u201d. <\/p>\n<\/blockquote>\n\n\n\n

Tekstet e Daniil Harmsit \u2013 <\/strong>ndon\u00ebse pjes\u00eb p\u00ebrb\u00ebr\u00ebse e avangard\u00ebs letrare historike \u2013 n\u00eb thelb jan\u00eb tekste mbi gjuh\u00ebn. K\u00ebt\u00eb e shpjegojn\u00eb edhe refleksionet e m\u00ebposhtme t\u00eb vet\u00eb regjisores Julia Reichert:<\/h4>\n\n\n\n

\u201cNa q\u00eblluan dy p\u00ebrkthime, e mes tyre, p\u00ebr nj\u00eb folje esenciale has\u00ebm n\u00eb divergjenca thelb\u00ebsore: fjala ruse \u201crasbilas<\/em>\u201d n\u00eb nj\u00ebrin p\u00ebrkthim ishte dh\u00ebn\u00eb \u201ce theu qaf\u00ebn\u201d. Kurse m\u00eb pas vum\u00eb re se p\u00ebrkthimi i Peter Urbanit (\u201csie zerschellte<\/em>\u201d \/ \u201cu plasarit<\/em>\u201d) jo vet\u00ebm q\u00eb i rrinte m\u00eb af\u00ebr origjinalit, por edhe i p\u00ebrshtatej m\u00eb mir\u00eb mund\u00ebsive tona regjisoriale \u2013 madje ai na \u201cdiktoi\u201d edhe qasjen p\u00ebr nj\u00eb proces m\u00eb t\u00eb thell\u00eb, strukturor e t\u00eb q\u00ebndruesh\u00ebm. <\/strong>P\u00ebr reprizat e para t\u00eb shfaqjes, sajova nj\u00eb seri <\/strong>kokash njeriu nga qeramika artistike, q\u00eb n\u00eb \u00e7astin kur i l\u00ebshonim nga dritarja, cop\u00ebtoheshin mbi dyshemen\u00eb e para-sken\u00ebs. Fytyrat e \u201cplakave kureshtare\u201d ishin leht\u00eb t\u00eb z\u00ebvend\u00ebsueshme dhe pa shprehje n\u00eb fytyr\u00eb. P\u00ebr t\u00eb arritur shkall\u00ebn e duhur t\u00eb abstraksionit \u2013 sidomos gjat\u00eb punimit t\u00eb \u201ckukullave me tipare njer\u00ebzore\u201d n\u00eb kontrast me objektet \u2013 ua lija fytyrat t\u00eb lyera, por me konture t\u00eb mprehta, me q\u00ebllim q\u00eb aktori n\u00eb l\u00ebvizje e sip\u00ebr t\u00eb mund ta gjente drit\u00ebn dhe shprehjen e duhur p\u00ebr figur\u00ebn e vet. \u2018Nj\u00eb dit\u00eb prej dit\u00ebsh, teksa kaloja p\u00ebr t\u00eb disat\u00ebn her\u00eb pran\u00eb nj\u00eb sht\u00ebpie n\u00eb periferi t\u00eb Gracit, m\u2019u shfaq kjo pamje shum\u00eb shpesh: n\u00eb kat t\u00eb par\u00eb: dritarja e hapur, aty sip\u00ebr jast\u00ebku p\u00ebr t\u00eb mb\u00ebshtetur b\u00ebrrylat, filxhani i kafes\u00eb p\u00ebr t\u2019u k\u00ebndellur, e gazeta Kronenzeitung<\/em> dhe qeni q\u00eb leh aty ndan\u00eb \u2013 k\u00ebnd i rehatsh\u00ebm, pra, i rregulluar me mund t\u00eb madh, p\u00ebr nj\u00eb plak\u00eb me z\u00eb kumbues me nj\u00eb <\/strong>filxhan kafeje pran\u00eb\u2026 kaq, mjafton! Meq\u00eb n\u00eb teatrin e kukullave abstraksioni manifestohet kur ia delegojm\u00eb (projektojm\u00eb) rolet nj\u00eb objekti, p\u00ebr mua ai ishte objekti, imazhi im!  \u201cMateriali ka kujtes\u00eb<\/em>!\u201d, m\u00eb thoshte miku im Reinhard Lettau, gjat\u00eb nj\u00eb vizite n\u00eb Kabinetttheater, ngase, shtonte: \u201cEdhe sendet nxjerrin lot\u00eb\u201d. K\u00ebshtu, objekti, pra filxhani n\u00eb k\u00ebt\u00eb rast, u ngrit n\u00eb rang \u201csubjekti\u201d q\u00eb \u201cluan\u201d filxhanin si rol, por edhe luan (p\u00ebrfaq\u00ebson) kok\u00ebn e nj\u00eb plake kureshtare: ka llojlloj tipe filxhan\u00ebsh, ato t\u00eb stilit mokka<\/em>, me vegj elegant t\u00eb lakuar e t\u00eb harkuar lart, ngjyr\u00eb ari; ngjash\u00ebm sikurse i p\u00ebrdornin ato zonjat e viteve 50-t\u00eb <\/strong>t\u00eb stilit Lilienthal <\/em>me vesh\u00eb asimetrik\u00eb, ekscentrik\u00eb e nuanca pastel; por edhe ato delikatet prej procelani fin, tejet transparente t\u00eb stilit melazh\u00eb<\/em>, vegj\u00ebt e t\u00eb cilave na kujtojn\u00eb at\u00eb gishtin e vog\u00ebl t\u00eb zonjave gjat\u00eb pirjes q\u00eb binte duksh\u00ebm n\u00eb sy; si dhe filxhan\u00ebt e r\u00ebnd\u00eb, t\u00eb sajuar n\u00eb form\u00eb portreti, t\u00eb trash\u00eb, q\u00eb t\u00eb kujtojn\u00eb kafen me qum\u00ebsht t\u00eb holl\u00eb dhe t\u00eb ftoht\u00eb; e ata q\u00eb modelohen bazuar te llojet e luleve apo te th\u00ebniet e urta \u2013 po aq t\u00eb trash\u00eb. Her\u00eb pas here hasim edhe ndonj\u00eb t\u00eb tipit Zwiebelmustrige<\/em>, filxhan\u00eb sikur t\u00eb ishin ngritur nga tryezat borgjeze me tort\u00ebn Gugelhupf pran\u00eb, dhe nga \u2018kureshtja e tep\u00ebrt\u2019, thua kishin p\u00ebrfunduar ult\u00ebsirave <\/strong>m\u00eb t\u00eb thella p\u00ebr t\u00eb soditur gjer\u00eb e mban\u00eb. <\/strong>\u00c7do filxhan shpalos nj\u00eb histori; forma e tyre i b\u00ebn fytyrat t\u00eb duken paksa ndryshe, por n\u00eb thelb jan\u00eb t\u00eb ngjashme, ngase i n\u00ebnshtrohen nj\u00eb funksioni t\u00eb nj\u00ebtrajtsh\u00ebm. Gjasht\u00eb plakat n\u00eb tregun Maltsevski, q\u00eb \u201cnxor\u00ebn kok\u00ebn n\u00eb dritare, dhe aq shum\u00eb u var\u00ebn, sa ran\u00eb e vdiq\u00ebn e u plasarit\u00ebn fare\u201d, humb\u00ebn jet\u00ebn \u201ctotalisht\u201d n\u00eb nj\u00eb vdekje teatrale \u2013 dhe kjo ndodhi mu n\u00eb Kabinetttheater, t\u00eb nd\u00ebrtuar n\u00eb hap\u00ebsirat e dikurshme t\u00eb pun\u00ebtoris\u00eb s\u00eb Fabrik\u00ebs s\u00eb par\u00eb t\u00eb Porcelanit n\u00eb Vjen\u00eb, n\u00eb adres\u00ebn: 49 oborri i rrug\u00ebs Porzellangasse, n\u00eb distriktin e n\u00ebnt\u00eb t\u00eb Alsergrundit vjenez. Figurina e narratorit n\u00eb pjes\u00eb, i veshur n\u00eb uniform\u00eb <\/strong>infermiere, i artikulon fjal\u00ebt qart\u00eb me nj\u00eb ngjyrim krejt t\u00eb ve\u00e7ant\u00eb zanor \u2013 i grumbullon dhe pastron cop\u00ebzat e mbetura \u2013 aty n\u00eb parasken\u00eb. Disa vite m\u00eb von\u00eb, n\u00eb nj\u00eb festival n\u00eb Odesa, kur e luajt\u00ebm pjes\u00ebn n\u00eb versionin origjinal rusisht, e pyet\u00ebm nj\u00eb studente, q\u00eb i m\u00ebsonte artikulimin rusisht aktorit ton\u00eb Christopher Widauer, p\u00ebr asociimin, lidhjen e saj me fjal\u00ebn \u201drasbilas<\/em>\u201d \u2013 ajo u p\u00ebrgjigj metaforikisht: \u201cP\u00ebraf\u00ebrsisht k\u00ebshtu: sikur nj\u00eb send, ta z\u00ebm\u00eb prej porcelani, t\u00eb binte nga nj\u00eb lart\u00ebsi e madhe dhe t\u00eb b\u00ebhej cop\u00eb e th\u00ebrrime n\u00eb tok\u00eb\u201d.[7]<\/sup><\/a><\/h4>\n\n\n\n

Plakat kureshtare <\/em>t\u00eb Daniil Harmsit jan\u00eb ende pjes\u00eb e repertorit t\u00eb Kabinetttheater-it, dhe publiku vazhdon t\u2019i mir\u00ebpres\u00eb ato. Rastet prej p\u00ebrditshm\u00ebris\u00eb, ashtu si\u00e7 i skicon Harmsi, duket se nuk kan\u00eb ndryshuar fort, pa\u00e7ka se n\u00ebn rrethana krejt t\u00eb tjera sot. <\/h4>\n\n\n\n

Teksti \u00ebsht\u00eb parath\u00ebnie e Alexandra Millner p\u00ebr botimin n\u00eb shqip t\u00eb disa materialeve dramatike t\u00eb Daniil Harmsit, me titull \u2018Plakat kureshtare\u2019, botuar k\u00ebto dit\u00eb nga sht\u00ebpia botuese Logbook, me p\u00ebrkthim t\u00eb Besim Alilit dhe Alban Beqirajt. <\/em><\/strong>

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[1]<\/mark><\/sup><\/a> Lisanne Sauerwald: Charms, Daniil: Das Prosawerk. N\u00eb: Heinz Ludwig Arnold (Ed.):  Kindlers Literatur Lexikon (KLL). Stuttgart: J.B. Metzler 2021. URL: https:\/\/doi-org.uaccess.univie.ac.at\/10.1007\/978-3-476-05728-0_11308-1<\/h4>\n\n\n\n

[2]<\/mark><\/sup><\/a> Aage A. Hansen-L\u00f6ve: L\u00f6ve: \u00dcber das vorgestern ins \u00fcbermorgen. Neoprimitivismus in Wort- und Bildkunst der russischen Moderne. Paderborn: Wilhelm Fink 2016.<\/h4>\n\n\n\n

[3]<\/mark><\/sup><\/a> Po aty, faqe 397.<\/h4>\n\n\n\n

[4]<\/mark><\/sup><\/a> N. N.: Oberiu \u2013 Vereinigung der Realen Kunst \u2013 Manifest, 1928. n\u00eb: Zwischenf\u00e4lle \u2013 Courteline, Cami, Charms. Programmheft des Burgtheaters. Vjen\u00eb 2010, o. S.<\/h4>\n\n\n\n

[5]<\/mark><\/sup><\/a> Po aty.<\/h4>\n\n\n\n

[6]<\/mark><\/sup><\/a> <\/mark>Julia Reichert: Durch das ge\u00f6ffnete Fenster f\u00e4llt die Sonne. In: Alexandra Millner (Ed.): Niemand stirbt besser. Theaterleben und B\u00fchnentod im Kabinetttheater. Vjen\u00eb: Sonderzahl 2005, faqe. 14.<\/h4>\n\n\n\n

[7]<\/mark><\/sup><\/a> <\/mark>Julia Reichert: Durch das ge\u00f6ffnete Fenster f\u00e4llt die Sonne. In: Alexandra Millner (Ed.): Niemand stirbt besser. Theaterleben und B\u00fchnentod im Kabinetttheater. Vjen\u00eb: Sonderzahl 2005, faqe 17\u201318.<\/h4>\n","protected":false},"excerpt":{"rendered":"

NGA Alexandra Millner Mikrotekstet \u2013 proza e shkurt\u00ebr dhe minidramat e Daniil Harmsit \u2013 i atribuohen t\u00eb ashtuquajtur\u00ebs let\u00ebrsi e absurdit, ngase ato refuzojn\u00eb t\u00eb p\u00ebrfshihen n\u00eb nj\u00eb kuad\u00ebr kuptimor …<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-1052","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/logbook.al\/index.php?rest_route=\/wp\/v2\/pages\/1052","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/logbook.al\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/logbook.al\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/logbook.al\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/logbook.al\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1052"}],"version-history":[{"count":7,"href":"https:\/\/logbook.al\/index.php?rest_route=\/wp\/v2\/pages\/1052\/revisions"}],"predecessor-version":[{"id":1079,"href":"https:\/\/logbook.al\/index.php?rest_route=\/wp\/v2\/pages\/1052\/revisions\/1079"}],"wp:attachment":[{"href":"https:\/\/logbook.al\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1052"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}