{"id":498,"date":"2024-01-08T15:36:12","date_gmt":"2024-01-08T15:36:12","guid":{"rendered":"https:\/\/logbook.al\/?page_id=498"},"modified":"2025-11-25T09:28:08","modified_gmt":"2025-11-25T09:28:08","slug":"variacione-mbi-boshllekun-e-jon-fosse","status":"publish","type":"page","link":"https:\/\/logbook.al\/?page_id=498","title":{"rendered":"Variacione mbi boshll\u00ebkun e Jon Fosse"},"content":{"rendered":"\n
NGA Marion Ch\u00e9netier-Alev<\/strong><\/h5>\n\n\n\n

Fosse e anashkalon dialogun prej p\u00ebrkufizimit t\u00eb Hegel-it. N\u00eb teatrin e tij, dialogu mes personazheve nuk iu mund\u00ebson atyre t\u00eb zbulojn\u00eb karakterin, as synimet, apo q\u00ebllimet (ngaq\u00eb s\u2019kan\u00eb fare, mesa duket). Mosmarr\u00ebveshjen, dialogu e shpreh ve\u00e7 n\u00eb stad embrionar dhe nuk ia nd\u00ebrkall l\u00ebvizjen aksionit, nd\u00ebrsa ky i fundit mungon, pjes\u00ebrisht apo dhe krejt\u00ebsisht. Si rrjedhim, ngrem\u00eb pyetjen sesi e nd\u00ebrton Fosse dialogun, \u00e7far\u00eb q\u00ebllimi i sh\u00ebrben, e cilat lloj ndryshimesh p\u00ebson ai bazuar te situata konkrete.<\/h4>\n\n\n\n

Teat\u00ebr pa \u00abaksion\u00bb<\/em><\/strong><\/h5>\n\n\n\n

N\u00eb v\u00ebshtrim t\u00eb par\u00eb, mund t\u00eb p\u00ebrcaktojm\u00eb se teatri i Fosse-s\u00eb v\u00eb n\u00eb dyshim vet\u00eb termin dram\u00eb. N\u00ebse i p\u00ebrmbahemi ides\u00eb se ky term p\u00ebrfshin aksionin, veprimin, si dhe \u00abp\u00ebrfundimin q\u00eb arrihet n\u00ebn soditjen e t\u00eb tjer\u00ebve\u00bb – sipas kuptimit q\u00eb ofron Denis Gu\u00e9non – at\u00ebher\u00eb leht\u00eb e dallojm\u00eb sesi zhduket aksioni n\u00eb k\u00ebto drama; dallojm\u00eb dhe pasivitetin thelb\u00ebsor t\u00eb personazheve. Vdekja e nj\u00ebrit prej protagonist\u00ebve \u00ebsht\u00eb i vetmi \u00ab aksion \u00bb q\u00eb n\u00ebnvizon shtjell\u00ebn e pjes\u00ebve t\u00eb Fosse-s\u00eb. K\u00ebt\u00eb e hasim te pjes\u00ebt Foshnja, Nata me k\u00ebng\u00eb, Nj\u00eb dit\u00eb vere, Biri <\/em>dhe Variacione vdekjeje. <\/em>Por, edhe n\u00eb k\u00ebt\u00eb rast, vdekja nuk \u00ebsht\u00eb subjekt apo tem\u00eb e pjes\u00ebs; nuk \u00ebsht\u00eb as enigm\u00eb, as zgjidhje finale. P\u00ebr m\u00eb tep\u00ebr, vet\u00eb ngjarja mbetet p\u00ebrher\u00eb e shurdh\u00ebt, e mpakur. Ngaq\u00eb, ose nuk e shohim ngjarjen\u2013 vdekja ndodh jasht\u00eb skene (te Foshnja, <\/em>te Nata me k\u00ebng\u00eb, <\/em>dhe Nj\u00eb dit\u00eb vere<\/em>) e disa her\u00eb edhe jasht\u00eb koh\u00ebs skenike (te Variacione vdekjeje <\/em>lajmin e marrim vesh pas vdekjes s\u00eb vajz\u00ebs); ose, ngaq\u00eb aksioni \u00ebsht\u00eb disi i \u00e7`dramatizuar, nuk e kuptojm\u00eb shkakun e ngjarjes (te pjes\u00ebt Nj\u00eb dit\u00eb vere <\/em>dhe Variacione vdekjeje<\/em>), ose shkaku \u00ebsht\u00eb qesharak (si te Biri, Nata me k\u00ebng\u00eb<\/em>). Nga ana tjet\u00ebr, do v\u00ebrejm\u00eb sesi shkrimi i Fosse-s\u00eb sjell nj\u00eb frenim t\u00eb emocionit, \u00e7ka luan rol t\u00eb r\u00ebnd\u00ebsish\u00ebm te kjo p\u00ebrshtypja e \u00e7`dramatizimit. Vdekja k\u00ebtu, p\u00ebrsa aksion e duke i zmadhuar ndopak tiparet, nuk<\/em> e tjet\u00ebrson pesh\u00ebn e dialogut n\u00eb dram\u00eb \u2013 p\u00ebrve\u00e7 rasteve specifike \u2013 e nuk i nd\u00ebrkall l\u00ebvizje t\u00eb ve\u00e7ant\u00eb.<\/h4>\n\n\n\n

Ky aspekt, pra zhdukja e \u00abaksionit\u00bb, na lejon t\u00eb n\u00ebnvizojm\u00eb tani pik\u00ebn tjet\u00ebr, e cila shpjegon sesi dialogu i Fosse-s\u00eb funksionin me munges\u00eb, pra, sillet kot. M\u00eb lart p\u00ebrmenda pasivitetin e personazheve. At\u00eb e v\u00ebrejm\u00eb t\u00eb transpozuar konkretisht n\u00eb q\u00ebndrimin e tyre; shpesh, personazhet e Fosse-s\u00eb jan\u00eb ulur, ndenjur, shtrir\u00eb ose t\u00eb ngrir\u00eb n\u00eb k\u00ebmb\u00eb, ose duke soditur n\u00eb dritare. P\u00ebr m\u00eb tej, ky pasivitet jepet n\u00eb munges\u00ebn e<\/em> shkak\u00ebsis\u00eb<\/em>: duket se personazhet nuk jan\u00eb shkas p\u00ebr at\u00eb \u00e7ka u ndodh, ose, shkaku \u00ebsht\u00eb aq i larg\u00ebt, sa personazhet mbeten si t\u00eb harruar; por, sidoqoft\u00eb, ata rrall\u00eb aludojn\u00eb p\u00ebr ato shkaqe, e p\u00ebrher\u00eb n\u00eb m\u00ebnyr\u00eb fare kalimtare. P\u00ebr k\u00ebt\u00eb arsye dhe ngurrojm\u00eb t\u2019ua faturojm\u00eb atyre ngjarjet q\u00eb ndodhin (p\u00ebr shembull, shtatzania e vajz\u00ebs, te pjesa Emri,<\/em> duket e pavullnetshme; edhe vajza te Variacione vdekjeje<\/em> duket se me zor merr pjes\u00eb n\u00eb vdekje, sepse ajo b\u00ebhet pishman p\u00ebr gjestin e vet pas aktit). \u00cbsht\u00eb kjo nj\u00eb nd\u00ebr arsyet pse situatat ku ndodhen personazhet duken t\u00eb shk\u00ebputur nga e shkuara, si dhe nga e ardhmja, e duken pa fillim e pa p\u00ebrfundim.<\/h4>\n\n\n\n

V\u00ebrejm\u00eb k\u00ebsisoj se pjes\u00ebt e Fosse-s\u00eb nuk ndjekin kurb\u00ebn e ndonj\u00eb intrige q\u00eb avancon drejt zgjidhjes finale. Nuk ka koklavitje te ai, ndaj as dhe shkoklavitje si p\u00ebrfundim. Mosmarr\u00ebveshjet n\u00eb gjirin e \u00e7ifteve mbahen n\u00eb stadin sythor, jan\u00eb ende n\u00eb far\u00eb; n\u00eb fund t\u00eb tyre nuk ka as kriz\u00eb, as ndonj\u00eb harmoni t\u00eb rigjetur. Ndonj\u00ebher\u00eb Fosse hedh n\u00eb loj\u00eb ndonj\u00eb vegim, ngjarje sa p\u00ebr sy e faqe, \u00e7ka e b\u00ebn spektatorin t\u00eb besoj\u00eb se aty struket shkaku i dram\u00ebs (p\u00ebr shembull, ajo \u00e7far\u00eb babai s\u2019i ka rr\u00ebfyer kurr\u00eb n\u00ebn\u00ebs, te pjesa Emri;<\/em> ose dyshimi p\u00ebr burgim t\u00eb Birit<\/em> te drama me k\u00ebt\u00eb titull; ose dhe prekjet seksuale t\u00eb burrit ndaj vajz\u00ebs te Vizita<\/em>). K\u00ebto nuk jan\u00eb, pra, vet\u00ebm vegime dramatike (s\u2019e dim\u00eb sakt\u00eb n\u00eb kan\u00eb ndodhur v\u00ebrtet k\u00ebto ngjarje apo jo), mir\u00ebpo sakaq kuptojm\u00eb se ato as e modifikojn\u00eb situat\u00ebn, as hedhin fare drit\u00eb mbi t\u00eb kur jepet qysh n\u00eb fillim t\u00eb dram\u00ebs.<\/h4>\n\n\n\n

Karakteri prej natyre jopersonale, q\u00eb i mvesh personazhet, rrjedh nga boshll\u00ebku informativ rreth tyre. Pjes\u00ebt p\u00ebrmendin vet\u00ebm e vet\u00ebm lidhjet familjare apo sentimentale q\u00eb i bashkojn\u00eb; e prap\u00eb n\u00eb m\u00ebnyr\u00eb shum\u00eb t\u00eb p\u00ebrgjithshme. Vet\u00ebm n\u00eb pes\u00eb nga nj\u00ebmb\u00ebdhjet\u00eb pjes\u00ebt e tij, jepen emrat e personazheve; edhe aty jo t\u00eb t\u00eb gjith\u00ebve, ve\u00e7 n\u00eb tri nga pjes\u00ebt jepet personazh me em\u00ebr. Dhe b\u00ebhet fjal\u00eb ose p\u00ebr personazh n\u00eb dukje dyt\u00ebsor (si Bjarne te Emri<\/em>, Baste te Nata me k\u00ebng\u00eb<\/em>), ose p\u00ebr personazh t\u00eb zhdukur (si Asle te Nj\u00eb dit\u00eb vere<\/em>). Por as informacion p\u00ebr \u00e7ka ndodh jasht\u00eb n\u00eb bot\u00eb s\u2019ka; personazhet s\u2019kan\u00eb as \u00ab synime \u00bb, as \u00ab karakter \u00bb definitiv.<\/h4>\n\n\n\n
Teat\u00ebr i \u00abgjendjes\u00bb<\/em><\/strong><\/h5>\n\n\n\n

K\u00ebsisoj, dialogu i ka themelet mbi nj\u00eb boshll\u00ebk e ngrihet mbi gjith\u00eb sa nuk thuhet e \u00e7ka spektatori s\u2019ka p\u00ebr ta ditur. E pa-th\u00ebna (ajo q\u00eb nuk artikulohet) dhe heshtja mbizot\u00ebrojn\u00eb n\u00eb k\u00ebto pjes\u00eb. P\u00ebrmbajtja e replikave kufizohet n\u00eb fjal\u00eb fare banale, n\u00eb vendngjarje krejt normale; shum\u00eb fraza jan\u00eb t\u00eb pap\u00ebrfunduara. Fjalori \u00ebsht\u00eb enkas i varf\u00ebr, sintaksa fare elementare. Shk\u00ebmbimet sillen rreth llomotitjeve pa fund, p\u00ebrfshijn\u00eb pyetje q\u00eb iu dihet p\u00ebrgjigja. Fokusi i dialogut rikthehet s\u00ebrish mbi t\u00eb nj\u00ebjtat tema, por pa i shtjelluar ato. M\u00ebse nj\u00ebher\u00eb, Fosse-ja v\u00eb n\u00eb sken\u00eb personazhe q\u00eb s\u2019kan\u00eb
aft\u00ebsi komunikimi, s\u2019din\u00eb t\u00eb d\u00ebgjojn\u00eb a t\u00eb merren vesh; te k\u00ebto qenie, goj\u00ebky\u00e7ja mbetet tipar. T\u00eb gjith\u00eb duken krejt t\u00eb huaj p\u00ebr nj\u00ebri-tjetrin.
Dialogu i Fosse-s\u00eb nuk kontribuon aspak n\u00eb nd\u00ebrtimin e ndonj\u00eb vizioni, as nuk parashtron vlera; nuk jep formulime konkluzionesh. P\u00ebrkundrazi, me kalimin e koh\u00ebs, ai b\u00ebhet mjeti, saj\u00eb t\u00eb cilit kuptimi e gjykimi mbeten pezull (suspension)<\/em>. Kjo dramaturgji provokon pik\u00ebrisht nj\u00eb form\u00eb t\u00eb suspensit n\u00eb
mendjen e lexuesit-spektatorit, refleksi i t\u00eb cilit e shtyn t\u00eb shpresoj\u00eb se di\u00e7ka do ndodh\u00eb m\u00eb n\u00eb fund si p\u00ebrfundim. Mir\u00ebpo, th\u00ebn\u00eb p\u00ebrgjith\u00ebsisht, nuk ka fare zgjidhje n\u00eb teatrin e Fosse-s\u00eb. Kemi t\u00eb b\u00ebjm\u00eb k\u00ebtu me emocione t\u00eb p\u00ebrmbajtura. Lexuesi-spektatori mbetet pezull, gjith\u00eb suspens, n\u00eb pritje t\u00eb ndonj\u00eb identifikimi t\u00eb mundsh\u00ebm, dometh\u00ebn\u00eb t\u00eb ndonj\u00eb skeme<\/em> t\u00eb njohshme, t\u00eb lexueshme, t\u00eb ndonj\u00eb rendi kuptimor, t\u00eb ndonj\u00eb morali apo vizoni lidhur me bot\u00ebn. Leximi<\/em> (diksioni dhe interpretimi) i sken\u00ebs mbetet i stepur, p\u00ebrsa s\u2019e kemi skem\u00ebn m\u00eb lart. M\u00ebnyra e shkrimit t\u00eb Fosse-s\u00eb sikur priret ta pengoj\u00eb lexuesin-spektatorin q\u00eb t\u00eb mos e em\u00ebroj\u00eb at\u00eb \u00e7\u2019ndodh n\u00eb sken\u00eb, ta mbaj\u00eb lexuesin n\u00eb gjendje pritjeje, duke e l\u00ebn\u00eb
pezull fluksin mendor, q\u00eb \u00ebsht\u00eb fluks verbal. Kjo shpjegon edhe efektin hipnotik t\u00eb teksteve t\u00eb tij, rrjedhoj\u00eb kjo e nj\u00eb forme t\u00eb ngadal\u00ebsimit – gati si ajo e anestezis\u00eb \u2013 t\u00eb procesit mendor t\u00eb njohjes e t\u00eb em\u00ebrtimit. Pas t\u00eb gjitha k\u00ebtyre, v\u00ebshtir\u00eb q\u00eb l\u00ebnd\u00ebn e tekstit ta tresim kollaj, s\u2019ka as ingjestion t\u00eb p\u00ebrgjithsh\u00ebm t\u00eb reprezentimit <\/em>(paraqitjes, shfaqjes) apo t\u00eb leximit. Krijohet p\u00ebrshtypja se Fosse-ja sikur mban<\/em> di\u00e7ka prej m\u00ebnge, q\u00eb t\u2019ia ruaj\u00eb gjendjen, ta mbaj\u00eb<\/em> n\u00eb at\u00eb gjendje. <\/h4>\n\n\n\n

P\u00ebr \u00e7far\u00eb gjendje b\u00ebhet fjal\u00eb? P\u00ebr ta sakt\u00ebsuar k\u00ebt\u00eb, k\u00ebqyrim nga af\u00ebr sesi funksionon shkrimi aq i ve\u00e7ant\u00eb i k\u00ebtij autori. Teksti harliset rreth disa motiveve, q\u00eb mandej ai i braktis vijim\u00ebsisht. K\u00ebto motive p\u00ebrb\u00ebhen nga fraza segmentare, nga sintagma, q\u00eb vet\u00eb iu n\u00ebnshtrohen trajtimit t\u00eb holl\u00eb p\u00ebrs\u00ebritje-variacion, duke ndjekur ecurin\u00eb e kompozimit gati si n\u00eb muzik\u00eb. Vet\u00eb Fosse ka deklaruar se i punon tekstet \u00ab si muzikanti luan partitur\u00ebn \u00bb, (me) temat, variacionet, p\u00ebrs\u00ebritjet, da capo \u00bb.(1)<\/mark> Motivet ia l\u00ebn\u00eb vendin pleksjes, g\u00ebrshetimit t\u00eb ngjeshur, pa\u00e7ka vrimave t\u00eb heshtjes n\u00eb t\u00eb; motivet kan\u00eb p\u00ebr funksion vet\u00ebm t\u00eb sigurojn\u00eb, mesa duket, nj\u00eb far\u00eb vijueshm\u00ebrie gjuh\u00ebsore. Karakteristika e k\u00ebsaj vijueshm\u00ebrie \u00ebsht\u00eb se pistat e heshtjeve, q\u00eb e skandojn\u00eb at\u00eb, jo vet\u00ebm nuk e nd\u00ebrpresin, assesi, por dhe trup\u00ebzohen me t\u00eb. At\u00ebher\u00eb, heshtja del si substrat i gjuh\u00ebs, lehu nga ku ajo (gjuha) mbin; nd\u00ebrsa gjuha: zgjatim
i heshtjes, madje thellim, ose dhe v\u00ebnie e saj n\u00eb pik\u00ebpyetje. K\u00ebt\u00eb heshtje t\u00eb gjith\u00ebpranishme e d\u00ebshmon dhe tipografia e aplikuar, me ndarjen e replikave n\u00eb vargje t\u00eb lira e q\u00eb shkall\u00eb-shkall\u00eb izolon fjal\u00ebt, derisa hasim n\u00eb vargje nj\u00eb rresht-nj\u00ebfjal\u00eb. Nga m\u00ebnyra si Fosse-ja e p\u00ebrdor gjuh\u00ebn, duket se nuk synon t\u00eb p\u00ebrcjell\u00eb ndonj\u00eb kuptim; ai, n\u00ebn nd\u00ebrmjet\u00ebsimin e llomotitjeve, parashtron nj\u00eb bas t\u00eb vazhduesh\u00ebm(2)<\/mark>, nj\u00eb fluks, rip\u00ebrs\u00ebritjet leksikale e sintaktike t\u00eb t\u00eb cilave garantojn\u00eb ritmik\u00ebn homogjene dhe tingullore t\u00eb teksteve. Kjo linj\u00eb homogjene e tematik\u00ebs dhe stilit b\u00ebhet mandej dhe filli lidh\u00ebs i krejt veprave, saq\u00eb Fosse-ja shprehet se shkruan \u00ab nj\u00eb lloj teksti t\u00eb pa-fund \u00bb. <\/h4>\n\n\n\n

Kjo b\u00ebn q\u00eb ta p\u00ebrmbysim pik\u00eb-v\u00ebshtrimin e zakonsh\u00ebm ndaj gjuh\u00ebs: heshtja z\u00eb vendin kryesor; heshtje, t\u00eb cil\u00ebn gjuha ka mandej p\u00ebr funksion ta nxjerr\u00eb n\u00eb dukje. At\u00ebher\u00eb, q\u00ebllimi i shk\u00ebmbimit t\u00eb vokt\u00eb e bosh mes personazheve \u00ebsht\u00eb t\u00eb nxjerr\u00eb n\u00eb pah at\u00eb \u00ab gj\u00ebn\u00eb tjet\u00ebr \u00bb, p\u00ebr t\u00eb cil\u00ebn ata mbajn\u00eb vesh, e kjo shpjegon q\u00ebndrimin e tyre t\u00eb ngrir\u00eb, t\u00eb pal\u00ebvizur. Personazhet e Fosse-s\u00eb duken p\u00ebrher\u00eb n\u00eb gjendje pritjeje, me kryet prirur kah di\u00e7ka.<\/h4>\n\n\n\n

K\u00ebsisoj, i referohemi dy pjes\u00ebve n\u00eb ve\u00e7anti. Fjala \u00ebsht\u00eb p\u00ebr Nj\u00eb dit\u00eb vere<\/em> si dhe nj\u00eb pjes\u00eb krejt me vete n\u00eb korpusin letrar t\u00eb Fosse-s\u00eb, ngase shum\u00eb e shkurt\u00ebr: Fli vog\u00eblush<\/em>. Te Nj\u00eb dit\u00eb vere<\/em>, gruaja humbet partnerin e saj n\u00eb nj\u00eb udh\u00ebtim detar. Ajo pret me dit\u00eb, e n\u00eb fund bindet q\u00eb ai s\u2019do kthehet m\u00eb kurr\u00eb. Ajo
orvatet ta p\u00ebrshkruaj\u00eb k\u00ebshtu gjendjen e saj aktuale:<\/h4>\n\n\n\n
GRUAJA E MOSHUAR<\/strong>
Dhe un\u00eb aty
(...)
e ndjeja si m\u00eb shtohej boshll\u00ebku n\u00eb shpirt
(...)
sesi shnd\u00ebrrohesha n\u00eb boshll\u00ebk
si shiu dhe terri
si era dhe pem\u00ebt
si deti atje matan\u00eb
At\u00ebher\u00eb s\u2019kisha m\u00eb shqet\u00ebsime
At\u00ebher\u00eb ndihesha nj\u00eb bosh madhor e i qet\u00eb
At\u00ebher\u00eb isha vet\u00eb terr
nj\u00eb terr i zi
At\u00ebher\u00eb s\u2019isha m\u00eb fare
E nd\u00ebrkoh\u00eb e ndjeja se
po q\u00eb n\u00eb nj\u00ebfar\u00eb m\u00ebnyre shndrija
Thell\u00eb vetes sime
n\u00eb at\u00eb terr bosh
e ndjeja si shndriste ai terr bosh
ngadal\u00eb
pa pip\u00ebtir\u00eb kuptime
pa dashur t\u00eb thot\u00eb gj\u00eb
terri shndriste brenda meje
(...)
edhe dallg\u00ebt i ndija
ndjeja p\u00ebrplasjen e dallg\u00ebve
dallg\u00ebt pa da p\u00ebrplaseshin
dhe e ndjeja sesi dallg\u00ebt
p\u00ebrplaseshin p\u00ebrmes shiut e territ
q\u00eb tani ishin vet\u00eb un\u00eb
q\u00eb shpejt do qen\u00eb mua
q\u00eb do qen\u00eb un\u00eb p\u00ebrgjithmon\u00eb
... (3)<\/mark><\/pre>\n\n\n\n
Gruaja \u00ebsht\u00eb shnd\u00ebrruar n\u00eb munges\u00eb t\u00eb vetvetes, e nj\u00ebkoh\u00ebsisht ka si p\u00ebrvoj\u00eb nj\u00eb prani, s\u00eb cil\u00ebs nuk i gjen dot em\u00ebr. Ajo as nuk e di se kur<\/em> i ka ndodhur kjo p\u00ebrvoj\u00eb, \u00e7astin e k\u00ebtij kalimi n\u00eb at\u00eb gjendje t\u00eb re q\u00eb e mban t\u00eb ng\u00ebrthyer. Por ajo e di mir\u00eb se gjendet tashm\u00eb n\u00eb t\u00eb. E kjo koh\u00ebshm\u00ebri e re \u00ebsht\u00eb nj\u00eb koh\u00eb pezull, \u00e7ka e shenjojn\u00eb si didaskalit\u00eb – q\u00eb e tregojn\u00eb gruan, tashm\u00eb t\u00eb moshuar, n\u00eb t\u00eb nj\u00ebjtin pozicion sikur e re dikur, n\u00eb k\u00ebmb\u00eb duke soditur detin nga dritarja – ashtu edhe replikat e mikesh\u00ebs s\u00eb saj t\u00eb vjet\u00ebr, q\u00eb i ka ardhur p\u00ebr vizit\u00eb, replika q\u00eb theksojn\u00eb se ve\u00e7<\/em> n\u00eb at\u00eb pozicion te dritarja e ka par\u00eb ajo qysh prej asaj dite.<\/h4>\n\n\n\n
N\u00eb k\u00ebt\u00eb pjes\u00eb dialogu bart nj\u00eb status t\u00eb dyfisht\u00eb, m\u00ebdysh\u00ebs; e mund ta lexojm\u00eb k\u00ebt\u00eb tekst si monolog t\u00eb brendsh\u00ebm t\u00eb gruas me vetveten, tek kujton \u00e7astet dhe njer\u00ebzit nga e shkuara, me q\u00ebllimin t\u00eb kthjellohet mbi \u00e7ka ka ndodhur. Pa u zgjatur shum\u00eb, mund t\u00eb themi se k\u00ebtu dialogu nuk sh\u00ebrben p\u00ebr t\u00eb avancuar n\u00eb rr\u00ebfim, n\u00eb kuptimin tradicional t\u00eb fjal\u00ebs, por si zbritje: kalojm\u00eb, nga plani horizontal, n\u00eb plan vertikal. Krijohet p\u00ebrshtypja sikur gruaja zhytet thell\u00eb brenda vetes, edhe spektatori me t\u00eb. Po prap\u00eb, spektatori nuk arrin ta njoh\u00eb
m\u00eb mir\u00eb, as t\u00eb kuptoj\u00eb m\u00eb sakt\u00eb personazhin. P\u00ebrkundrazi, misteri shtohet dhe m\u00eb. Kjo zhytje n\u00eb ligj\u00ebrimin sa fjalaman, aq dhe heshtak t\u00eb gruas, i krijon mund\u00ebsi lexuesit-spektatorit t\u00eb ndaj\u00eb me t\u00eb gjendjen ku ajo ndodhet, e t\u2019i qaset, bashk\u00eb me t\u00eb, k\u00ebtij bregu tjet\u00ebr, k\u00ebsaj t\u00eb panjohure, p\u00ebr t\u00eb cil\u00ebn gjuha s\u2019ka term. Fosse-ja vet\u00eb mendon se shkrimi e bart k\u00ebt\u00eb fuqin\u00eb p\u00ebr t\u00eb na afruar drejt s\u00eb panjohur\u00ebs, madje ai e mendon k\u00ebt\u00eb si rolin e shkrimit : \u00abShkrimi, shkrimi i mir\u00eb, pra, b\u00ebhet vendi ku nis ekzistenc\u00ebn di\u00e7ka e panjour, q\u00eb nuk ekzistonte hi\u00e7 m\u00eb
par\u00eb \u2026 K\u00ebshtu rrekemi t\u2019i qasemi nj\u00eb zone jasht\u00eb<\/em> kuptimit \u00bb. (4)<\/mark> Nga ana tjet\u00ebr, te Fli vog\u00eblush<\/em>, q\u00eb \u00ebsht\u00eb pjesa m\u00eb beketiane e Fosse-s\u00eb \u2013 ku karakteri jo-personal i personazheve arrin kulmin \u2013 dallojm\u00eb tri personazhe, t\u00eb p\u00ebrcaktuar si Personazhi 1, 2 e 3, t\u00eb vendosur mbi nj\u00eb sken\u00eb, q\u00eb duhet ta quajm\u00eb n\u00eb fakt nj\u00eb jo-vend (non-lieu). \u00cbsht\u00eb e vetmja pjes\u00eb e Fosse-s\u00eb, q\u00eb s\u2019e p\u00ebrcaktojm\u00eb dot se ku ndodh. T\u00eb tri personazhet japin e marrin ta p\u00ebrshkruajn\u00eb k\u00ebt\u00eb vend, q\u00eb nuk p\u00ebrshkruhet dot, as na b\u00ebjn\u00eb dot me dije, se as ata nuk e din\u00eb ku jan\u00eb, e as prej
kur; e mandej nisin kuptojn\u00eb se jan\u00eb aty prej moti, se ky vend \u00abiu duket mjaft i njohur \/ po aq sa dhe fare i panjohur \u00bb, se aty s\u2019ka as dyer, as dritare. Pra, ky jo-vend \u00ebsht\u00eb vendi ku s\u2019b\u00ebhet m\u00eb fjal\u00eb as p\u00ebr kuptime, as p\u00ebr ligj\u00ebrim. Ja nj\u00eb pjes\u00ebz nga faqja e fundit:<\/h4>\n\n\n\n
PERSONAZHI 3\ngjithkush kupton gjith\u00e7ka\ndhe asgj\u00eb\n\nPERSONAZHI 1\nS\u2019ka m\u00eb gj\u00eb p\u00ebr t\u00eb kuptuar\n\nPERSONAZHI 2\nMbaroi kjo pun\u00eb tani\n\nPERSONAZHI 3\nTani jemi vet\u00eb dashuria\ntani jemi vendi i vet\u00eb dashuris\u00eb\ndhe i rehatis\u00eb\nTani k\u00ebrrkush nga ju\ns\u2019ka pse flet m\u00eb\ntani do ta ky\u00e7im goj\u00ebn t\u00eb gjith\u00eb\npa mendime hi\u00e7\npa fjal\u00eb hi\u00e7\nMbaruan mendimet tani\nAs fjal\u00eb s\u2019ka m\u00eb tani (5)<\/mark>.<\/pre>\n\n\n\n
Vall\u00eb ta quajm\u00eb nj\u00eb \u00ab gjendje \u00bb, nj\u00eb \u00ab stad nd\u00ebrgjegjeje \u00bb, k\u00ebt\u00eb t\u00eb panjohur\u00eb, q\u00eb p\u00ebrpiqen t\u00eb rrokin personazhet e Fosse-s\u00eb? apo nj\u00eb \u00ab er\u00eb \u00bb t\u00eb mendimit? apo \u00ab zon\u00eb \u00bb gjeografike? apo temporalitet t\u00eb ri? nj\u00eb \u00ab jo-vend \u00bb? Sido me qen\u00eb, kjo e panjohur ndodhet n\u00eb kryq\u00ebzimin e kategorive t\u00eb mendimit e t\u00eb gjuh\u00ebs.<\/h4>\n\n\n\n
Nj\u00eb shkrim i vijuesh\u00ebm jo-shtjellues<\/h5>\n\n\n\n
Procedimet e shkrimit, q\u00eb mund\u00ebsojn\u00eb aksesin te kjo gjendje n\u00ebp\u00ebrmjet gjuh\u00ebs, procedime q\u00eb ndodhen n\u00eb qend\u00ebr t\u00eb vepr\u00ebs s\u00eb Fosse-s\u00eb, mbeten ende p\u00ebr t\u2019u p\u00ebrkufizuar. Midis shum\u00eb mjeteve stilistikore t\u00eb tij, duhet p\u00ebrmendur fillimisht efekti i ngadal\u00ebsimit, rrjedhoj\u00eb kjo e procedimeve me p\u00ebrs\u00ebritje-variacion: ecuria e tekstit nuk kryhet n\u00eb m\u00ebnyr\u00eb lineare, por saj\u00eb luhatjeve t\u00eb befta para-mbrapa, duke na sjell\u00eb nd\u00ebrmend edhe l\u00ebvizjen e dallg\u00ebve; k\u00ebshtu teksti del si sh\u00ebmb\u00eblltyr\u00eb e detit: p\u00ebrher\u00eb n\u00eb l\u00ebvizje, por, n\u00eb pamje k\u00ebndgjer\u00eb, i ngrir\u00eb, imobil. Jo rast\u00ebsisht n\u00eb k\u00ebto tekste imazhi i dallg\u00ebve q\u00eb plas\u00ebn e grafullojn\u00eb kthehet pa nda. Ky efekt i ngadal\u00ebsimit shkon paralel me ato \u00e7ka mund t\u2019i quajm\u00eb (n\u00eb gjuh\u00ebn e kinemas\u00eb) \u00abplane t\u00eb par\u00eb\u00bb t\u00eb shkrimit t\u00eb Fosse-s\u00eb, q\u00eb, sikurse p\u00ebrmend\u00ebm, izolojn\u00eb fjal\u00ebt n\u00eb rreshta, e ngulisin v\u00ebmendjen te nj\u00eb imazh, t\u00eb cilit i japin madh\u00ebsi e thell\u00ebsi n\u00ebp\u00ebrmjet llomotitjeve fjalamane. K\u00ebt\u00eb teknik\u00eb e v\u00ebrejm\u00eb sidomos te romanet e Fosse-s\u00eb, Melankolia I e II<\/em>. K\u00ebto dy dukuri \u00e7ojn\u00eb te nj\u00eb shkrirje dhe shtrirje t\u00eb \u00e7astit: Fosse-ja arrin t\u2019i jap\u00eb nj\u00eb shtres\u00eb m\u00ebse t\u00eb jasht\u00ebzakonshme, i jep v\u00ebllim nj\u00eb pike kohore, i jep koh\u00ebzgjatje \u00e7astit. <\/h4>\n\n\n\n
Saj\u00eb k\u00ebtyre p\u00ebrs\u00ebritje-variacioneve, Fosse-ja arrin ta shpraz\u00eb dialogun, deri n\u00eb at\u00eb pik\u00eb sa t\u2019i jap\u00eb nj\u00eb lloj t\u00ebhuaj\u00ebsie<\/em>, nj\u00eb lloj pazakonshm\u00ebrie gjuh\u00ebs dhe fjal\u00ebve t\u00eb p\u00ebrditshme. Rrjedha atonale, q\u00eb kaplon dialog\u00ebt, saj\u00eb mungesave t\u00eb shenjave t\u00eb pik\u00ebsimit – \u00e7ka i b\u00ebn t\u00eb luhaten infleksionet dhe intonacionet e pritshme – merr dhe ajo pjes\u00eb n\u00eb k\u00ebt\u00eb t\u00ebhuaj\u00ebsim t\u00eb gjuh\u00ebs; dhe shkakton nj\u00eb lloj z\u00ebri t\u00eb shesht\u00eb pa timb\u00ebr, si e n\u00ebnvizon
Claude R\u00e9gy n\u00eb librin e tij L\u2019Ordre des morts<\/em> (6)<\/mark>. K\u00ebshtu, hasim n\u00eb nj\u00eb shkrim, p\u00ebrmbajtja informative e t\u00eb cilit \u00ebsht\u00eb shprazur, saq\u00eb ai b\u00ebhet gati abstrakt; ky shkrim nuk skicon m\u00eb personazhet apo kuptimin; p\u00ebrkundrazi, i hap pa skaj, i mban n\u00eb gjendje t\u00eb hapur n\u00eb maksimum, n\u00eb dispozicion. Pra, vijueshm\u00ebria q\u00eb v\u00ebrejm\u00eb n\u00eb shkrimin e Fosse-s\u00eb \u2013 e jo vet\u00ebm brenda nj\u00eb vepre, por nga nj\u00ebra pjes\u00eb te tjetra \u2013 prodhon k\u00ebt\u00eb shkrim pezullues (suspensiv), q\u00eb duket si i pa-fund. Nuk ka p\u00ebrmbyllje t\u00eb dialogut te Fosse.<\/h4>\n\n\n\n
Duke p\u00ebrgjith\u00ebsuar, v\u00ebrejm\u00eb se personazhet e Fosse-s\u00eb nuk \u00ebsht\u00eb se flasin nga<\/em> boshll\u00ebku q\u00eb hapet mes tyre, por i drejtohen atij boshll\u00ebku<\/em>. Kemi t\u00eb b\u00ebjm\u00eb me nj\u00eb adresim t\u00eb shqend\u00ebrzuar. Ky adresim i shqend\u00ebrzuar\u2013 m\u00ebnyra si i drejtohen personazhet nj\u00ebri-tjetrit \u2013 m\u00eb ngjan \u00ebsht\u00eb baza e dramaturgjis\u00eb s\u00eb k\u00ebtij autori. Adresim, q\u00eb i paraqet – atij t\u00eb cilit i drejtohet – nj\u00eb person gjysma bosh, thua t\u00eb zbrazur nga vetvetja e krejt t\u00eb kthyer nga refleksioni i brendsh\u00ebm. Replikat e personazheve nuk e nxjerrin kurr\u00eb n\u00eb drit\u00eb thelbin e shk\u00ebmbimeve mes tyre.
Ashtu si dallg\u00ebt, ato vijn\u00eb e plasen n\u00eb breg (kujtojm\u00eb rr\u00ebfenj\u00ebn p\u00ebr f\u00ebmij\u00eb t\u00eb Fosse-s\u00eb me k\u00ebt\u00eb titull), aviten me l\u00ebvizjen para-mbrapa, q\u00eb i mban tek e nj\u00ebjta pik\u00eb. Sapo shk\u00ebmbimi b\u00ebn sikur progreson, shpejt nj\u00eb replik\u00eb e kthen pas n\u00eb pik\u00ebn e nisjes. Ky procedim i sjell lexuesit p\u00ebrshtypjen se teksti g\u00ebrryen hap pas hapi pamund\u00ebsin\u00eb (incapacit\u00e9) p\u00ebr t\u00eb th\u00ebn\u00eb, p\u00ebr t\u2019u shprehur; e mandej, i afrohet nj\u00eb zone t\u00eb ndezur, prania e s\u00eb cil\u00ebs b\u00ebhet
disi e perceptueshme n\u00eb boshin apo boshll\u00ebkun, q\u00eb krijojn\u00eb – duke u p\u00ebrs\u00ebritur – shk\u00ebmbimet \u00abzbraz\u00ebti\u00bb t\u00eb personazheve. K\u00ebshtu, teksti nis e shqend\u00ebrzon interesimin e lexuesit- spektatorit; e zhvendos nga plani informativ n\u00eb nj\u00eb tjet\u00ebr: tek ai me thell\u00ebsi dhe marrt\u00ebsi (opacitet) t\u00eb pa-em\u00ebr, ball\u00eb s\u00eb cil\u00ebs Fosse-ja vendos personazhet; edhe ne bashk\u00eb me ta. Pik\u00ebrisht ky shqend\u00ebrzim i vepr\u00ebs, si rezultat i shkrimit t\u00eb Fosse-s\u00eb, i jep gjuh\u00ebs at\u00eb rezonanc\u00eb t\u00eb \u00e7uditshme; e m\u00ebnjanon nga vij\u00eb-sh\u00ebnjimi i drejtp\u00ebrdrejt\u00eb, dhe e nxjerr n\u00eb dukje, jo
m\u00eb shum\u00eb p\u00ebr hir t\u00eb vetvetes, sesa p\u00ebr limitet q\u00eb ajo lejon t\u2019u qasemi. Ndaj, na duket e padrejt\u00eb t\u00eb flasim p\u00ebr adresim frontal, ballor, n\u00eb teatrin e Fosse-s\u00eb. M\u00eb drejt\u00eb do t\u00eb thoshim se Fosse-ja na fton t\u2019i mbyllim syt\u00eb s\u00eb bashku, ta eksplorojm\u00eb err\u00ebsir\u00ebn q\u00eb shk\u00eblqen saj\u00eb gjuh\u00ebs.<\/h4>\n\n\n\n
Kat\u00ebr pyetje k\u00ebtu, n\u00eb vend t\u00eb konkluzionit:<\/h4>\n\n\n\n
1. \u00c7far\u00eb i mbetet dialogut, kur adresimi \u00ebsht\u00eb (pothuajse) p\u00ebrher\u00eb i shqend\u00ebrzuar ?<\/h4>\n\n\n\n
2. \u00c7\u2019i mbetet dram\u00ebs, kur pasiviteti i personazheve e \u00e7orodit aksionin dramatik, kur dihet lidhja e ngusht\u00eb e k\u00ebtij aksioni me dialogun?<\/h4>\n\n\n\n
3. P\u00ebrpar\u00ebsia q\u00eb ai i jep heshtjes, refuzimi q\u00eb i b\u00ebn relievit, roli i shqend\u00ebrzimit, \u00e7far\u00eb lloj ndikimi mund t\u2019i sjellin struktur\u00ebs dhe natyr\u00ebs s\u00eb dram\u00ebs, dometh\u00ebn\u00eb vet\u00eb zhanrit teatral?<\/h4>\n\n\n\n
4. Sa p\u00ebr t\u2019iu avitur k\u00ebsaj gj\u00ebje ende pa term (indicible) e k\u00ebsaj t\u00eb panjohure, drejt s\u00eb cil\u00ebs hap shtegun vepra e Fosse-s\u00eb, a b\u00ebn t\u00eb flasim p\u00ebr di\u00e7 \u00ab p\u00ebrtej njer\u00ebzore \u00bb? Nuk m\u00eb duket aspak se kjo e panjohur ndodhet p\u00ebrtej njeriut; p\u00ebrkundrazi, \u00ebsht\u00eb nj\u00eb nga p\u00ebrmasat e tij. Porse, kjo e panjohur me siguri \u00ebsht\u00eb
nj\u00eb nga p\u00ebrmasat e tij. Porse, kjo e panjohur me siguri \u00ebsht\u00eb p\u00ebrtej gjuh\u00ebs, p\u00ebrtej konsumit t\u00eb p\u00ebrditsh\u00ebm q\u00eb i b\u00ebjm\u00eb ne asaj. N\u00ebse duhet t\u00eb kthehemi drejt horizonteve t\u00eb reja, pik\u00ebrisht drejt atij p\u00ebrteji t\u00eb gjuh\u00ebs duhet t\u00eb drejtohemi, duke menduar, pra, se puna q\u00eb Fosse-ja b\u00ebn me gjuh\u00ebn nuk duket aq ndryshe p\u00ebrpjekjeve t\u00eb Novarina-s. (7)<\/mark><\/h4>\n\n\n\n
<\/p>\n\n\n\n
P\u00ebrktheu: Idlir Azizaj Nivik<\/strong><\/h5>\n\n\n\n
<\/p>\n\n\n\n
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S h \u00eb n i m e:<\/strong>

1.<\/mark> Vet\u00ebvrasje n\u00eb fjord<\/em> (Suicide sur le fjord), bised\u00eb me Monique Le Roux, n\u00eb revist\u00ebn Le Quinzaine litt\u00e9raire<\/em>, nr. 827, Paris, 18-31 mars 2002.
2.<\/mark> (Sh\u00ebnim i botuesit<\/em>): termi i p\u00ebrdorur k\u00ebtu, \u2018basse continue\u2019, term kryesisht i muzik\u00ebs baroke, n\u00ebnkupton nj\u00eb form\u00eb shkrimi q\u00eb shoq\u00ebron nj\u00eb seksion t\u00eb partitur\u00ebs, \u2018pjes\u00ebn sip\u00ebrore\u2019, e lidhet me teknik\u00ebn e improvizimit.
3.<\/mark> Nga pjesa Nj\u00eb dit\u00eb vere<\/em>.
4.<\/mark> Jon Fosse, Gnosa e shkrimit<\/em> (La gnose de l\u2019\u00e9criture), LEXI\/ Textes n.4, Th\u00e9\u00e2tre National de la Colline, Paris, L\u2019Arche, 2000, fq. 134-135.
5.<\/mark> Nga pjesa Fli vog\u00eblush<\/em>.
6.<\/mark> Bota e t\u00eb vdekurve <\/em>(n\u00eb origjinal, L\u2019Ordre des morts), \u00e7ka n\u00ebnkupton nj\u00eb rend tjet\u00ebr, ndryshe nga ai t\u00eb gjall\u00ebve, pra jasht\u00eb ambicieve, lavdis\u00eb s\u00eb shpejt\u00eb, an\u00ebs spektakolare, etj. Besan\u00e7on, Les Solitaires Intempestifs, 1999, fq. 119: \u201cMungesa e shenjave t\u00eb pik\u00ebsimit \u2013 qoft\u00eb dhe e pik\u00ebpyetjeve \u2013 na e heq \u00e7do tentativ\u00eb drejt intonacionit\u201d, argumenton autori m\u00eb tej.
7.<\/mark> (Sh\u00ebnim i botuesit<\/em>) Ashtu si Claude R\u00e9gy, i cituar pak m\u00eb lart, Val\u00e8re Novarina b\u00ebn pjes\u00eb te figurat e r\u00ebnd\u00ebsishme aktuale t\u00eb teatrit francez. C. R\u00e9gy, regjisor i njohur sidomos p\u00ebr pun\u00ebn tep\u00ebr rigoroze me aktorin, ve\u00e7an\u00ebrisht me z\u00ebrin, vokalin e aktorit. V. Novarina, dramaturg e autor, i njohur p\u00ebr pjes\u00ebt tep\u00ebr eksperimentale dhe p\u00ebr pun\u00ebn k\u00ebrkuese me gjuh\u00ebn. Kompozimet e tij verbale kan\u00eb p\u00ebr sfond lojnat gjuh\u00ebsore t\u00eb Finnegans Wake<\/em> t\u00eb Joyce-it e flukset verbale t\u00eb Antonin Artaud-s\u00eb. Si ilustrim t\u00eb paraleles mes tij dhe Fosse-s\u00eb, q\u00eb b\u00ebn autorja n\u00eb k\u00ebt\u00eb hyrje, paraqesim k\u00ebt\u00eb fragment nga pjesa Un\u00eb, ti, ai (Je, tu, il)<\/em> e Novarina-s: \u201c\u2026Plotnia ve\u00e7 boshin do:

Boshi kurr\u00eb nuk ankohet.
N\u00eb bosh gjendet \u00e7do hap:
Ato q\u00eb boshi s\u2019i ndjen fare.
Plotnia mir\u00eb d\u00ebshiron n\u00eb boshll\u00ebk: Jeta f\u00ebrkon duart me t\u00eb.
Hi\u00e7i k\u00ebnaq\u00ebsi merr n\u00eb boshll\u00ebk:
Plotnia ajo s\u2019di gj\u00eb;
Plotnia ve\u00e7 boshit s\u2019do m\u00eb gj\u00eb
Boshi \u00ebsht\u00eb m\u00eb keq se plotnia.
Plot me bosh \u00ebsht\u00eb hi\u00e7i.<\/h6>\n<\/blockquote>\n\n\n\n
<\/p>\n","protected":false},"excerpt":{"rendered":"
NGA Marion Ch\u00e9netier-Alev Fosse e anashkalon dialogun prej p\u00ebrkufizimit t\u00eb Hegel-it. N\u00eb teatrin e tij, dialogu mes personazheve nuk iu mund\u00ebson atyre t\u00eb zbulojn\u00eb karakterin, as synimet, apo q\u00ebllimet (ngaq\u00eb …<\/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-498","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/logbook.al\/index.php?rest_route=\/wp\/v2\/pages\/498","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=498"}],"version-history":[{"count":18,"href":"https:\/\/logbook.al\/index.php?rest_route=\/wp\/v2\/pages\/498\/revisions"}],"predecessor-version":[{"id":1111,"href":"https:\/\/logbook.al\/index.php?rest_route=\/wp\/v2\/pages\/498\/revisions\/1111"}],"wp:attachment":[{"href":"https:\/\/logbook.al\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=498"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}