Shpend Ahmeti thrills with his final post on theatre, remembers his father

Artist and civil society have emerged against the collapse of this cultural institution, until reactions have occurred in Kosovo as well.

Recently the chairman of the Pristina municipality, Shpend Ahmeti, through a status status, has shown his connection to the theatre stage.

This is his full post:

Destruction of the Theatre

On the day of the collapse of the Theatre building in Tirana, when I opened to social networks, telephone bars were filled with reactions from people shocked by the collapse of this “institution<x1) cultural.

Big, little, young, old, men and women, sad boys and girls from Bager. In the next two days, I got involved in television debates on this topic around the border, but of course without saying a word, because I don't think it's up to me to talk about a building in Tirana.

I didn't get much of the debate. Maybe why I expected more. But, in fact, I realized that it wasn't my primary theme when I think about theater.

I grew up in Theatre. Wait! They don't tell me I went to theater as an intellectual. I grew up in theater because my parent was a theater actor for more than 30 years. At the age of 11, I knew Molier's Scrooge by heart, not that I was smart to read Molier's books at that age, but that my parent taught the text at home. I read the dialogue to other actors and Dad was practicing.

I was at every premiere in my childhood and after every premiere and show I went backstage and talked to the actors. I've personally met every actor in the theater and I know what they mean and what they don't. I remember when at the age of 14, after a premiere, my dad and Saber Fyzullah had even come to me with the question, what are you thinking? I told myself what the thought of a 14-year-old might interest you. But when I told them it was super, I saw the joy in their eyes. I've also known the Beq, who made sure that I sit down when I met without a ticket.

There is a show at the Pristina Theatre that has appeared over 400 times, where more than 90 per cent of the hall has been complete. Can you imagine, 400 of the same shows, full halls, where people have 385 cash, maybe more than the first time. I've seen hundreds of evidence, hundreds of fights, directors that seemed crazy to me when they insisted on a little detail. Actors who lost control when they did not get what they wanted.

But when I saw your audience, I forgot about the show. I couldn't help but describe the face of my parent when a director offered him a role. Splendor, pure happiness. Several days of discussion about the role, the show, and so forth.

In other words, I know how an artist, an actor, a theater man who costs his life to entertain others. My father has experienced this time, even after the war.

Now, imagine an actor as a father. At the comical meeting held in 2011 when he passed away, my family gave me the talk. There's one thing I've been telling you. My father was a man who then returned 100 times to life as a former actor. You don't understand the love of a profession (or, better call) until you're young with an artist. When I asked my father for advice, what he said to me, the whole boy was just an actor.

I never thought of it. They can tell me that. What a betrayal of his profession. But actually she wasn't a traitor to the profession, but don't betray me.

My parents are not unique. Everyone who's an artist has an artist in the vicinity knows what I'm talking about. You know what you need to show an actor like my dad's job to talk to me like that. Believe me, I'm not talking about the salary. But I'm talking about respect, love and just how much we've got and how much we appreciate the value of art and culture.

Look at the shows today, super talents, young boys and girls who put their whole life on the stage, who barely spend the month. The halls are rarely filled, and when artists are supported, there is usually no budget to cover the entire project. Where we support artists during the pandemic, there are more reactions to the millions lost in corruption. Our movies have world successes with minimum budgets, and when they're valued that way, we see them as our success and we start to destroy them.

So dear friends, we've destroyed the weather, with everyday bangers, we've taken the bricks one by one, and we've already left it dry, maybe even with ground damage.

Because, we still haven't realized that the theater even though the physical building (I don't intend to lower it), it doesn't have bricks or physical blocks. Tools are actors, producer directors. Platishers and the theater buffet. theatre audience, schills and technical workers.

And we have these blocks of bricks in our midst, and we have weather, and we're bypassing them, and we're disrespecting them by angering his profession for his life.

And with weak bricks, the building easily falls.