Theatre protesters have kidnapped a political gang

There are at least three lynching messages for Albanian culture, from the political theatre stage, moved before the ruins of the collapsed Theatre.

First, it's the link of those who want a new Theatre. Most of these are the most important figures in the history of the Albanian Theatre. We've seen their names, their interviews, even those who were coughing up on this scene, died hoping to have a new Theatre.

They are all the remains of the Albanian Theatre, from Kadri Roshi, to become a new Theatre, to Rudenika, Jayst, Paja, Tower, etc.

We all went to Theatre from them, not from the building. They produced the Albanian Theatre every day, with their talent, the power of their art, despite ideology and the restrictions that time had imposed on them.

They made us go to that theater building without the terms of a theater. They are being lynned by several Democratic Party militants, who have the biggest dream, to become theatre director, as they never become his actors.

The real drama is that when the new, modern and comfortable theater becomes, I'm afraid I'm never going to see a part, if these guys get on stage, even though the building is gonna be good. Very difficult to convince a normal citizen that these mediocres who have become political actors will convince you to go see them as actors.

Second, it is the lynching of those activists or citizens who have conviction that the collapse of an old theater building is wrong.

The normal division in this city was to take place between those with no taste for the Old Theatre and those who want a new Theatre.

And this divide exists, it's real. The problem is that those with homesickness for the old theater have been kidnapped by a political gang that is left without cause and runs like a shadow behind any civic anger to feed.

That's what they did with Park, with the Ring, and so do the Theatre. The first victims of this gang left without cause are the idealists of this cause, those citizens, actors and civil society activists, who are on the streets today for their obedience to the old theater. They're beating each other up, why don't they clap Luli's arrival, or why they didn't say “Bravo Monica”, when she said “would take Eddie Rama's ear.

This shows the engineering political culture and tolerance they have, if they have power. It is the same as in 2007, when Berisha gave 6m euros to his brother-in-law, to make Enver Hoxha Theatre Pyramid, removing this building from the canned object, applauded or kept silent.

The Berishas ate 6m euros, left the building in misery and today beat those who do not applaud Berisha in the rally. The same were silent when Berisha gave Kinostudio to his media clients, or when he destroyed the historic club “Partizan” to make 200 square metres of palaces, his son-in-law.

And all this has to do with the hypocrisy of two-three speakers in that tribunes, who tell themselves actors, but they're actually just PD militants.

They're betraying citizens who really have pain for the National Theatre, but not for the opposition political theater. They have trusted citizens, calling in a rally, where they are beaten unless they applaud the arrival of Luli, Monica, or Sali Berisha.

The third, and the worst, is the courage to lynch the most important figures of the Albanian nation, why don't they become part of this political theater.

A PDA consortium, E. Capri, representing the DP officially, as its official, receiving a salary from the Albanian state, had attacked with a barbarous dictionary Ismail Kadare, such as “A man on the graveside”, who is not talking about the Theatre.

To think for a moment that people who are supposedly getting on the streets on behalf of cultural values wish us death, the largest monument of Albanian culture still alive, luckily Albania, Albania's cultural passport in the world, and the only symbol that probably identifies us with Western values on the highest scale, understands that this issue of Haxhi Qamilists has no connection with Albania's cultural identity, with its cultural values, and much less with that of the Theatre.

They are a gang that wants to take citizens hostage on behalf of their political agenda, and to lynch any talent, any theatre personality and any personality of Albanian culture that they cannot list.

They feel that violence and the lynching of those who think differently is the only means that society can keep quiet and make way for them. The same did at the beginning of the century, the shirts and then the Communists.

To scream like “Lover” of cultural heritage for a tag building and curse to death from the same Tribe Ismail Kadare, means to be a symbol of Albanian anticultural and a savage enemy of it (the only amnesty is stupid).

Crying for the boards of an old building and lynching the most remarkable figures of the Albanian Theatre, who want a new building, means never being with the heritage of the Albanian Theatre, but with the idea that actors are only those who serve you politically.

In the end, pretending to be an actor, being a dreamer of power to become a director, and then presenting all of this as a cultural revolution in Albania, has been a primitive imitation of the Chinese cultural revolution, which led writers and artists to rice, to glorify those who hold political talks at the theatre stage.

This is not the battle for Albanian theatre and culture, but the battle against the values of the Albanian Theatre and the top values of Albanian culture, which have given identity to the culture of the Albanian nation.

I don't know what to do with the new theater when it's built and how good it will be, but it's enough for one of these faces to climb on that stage to waste that money. That Albanian culture is not brick mortar, but Albanian books, dramas and movies.

They were made by Ismail Kadare, who are cursed and brought to fate, Kadri Roshi, Robert Nwendenica, Victor Giyst, and dozens of others who are being lynching at these political gatherings.

The Albanian culture, its identity that has been produced by the choirs of our culture, does not collapse either Edi Rama or Sali Berisha, or Monica Kryegri, just as the Bird of Enver Hoxha did not.

These clowns then paid in PD play it like actors on boulevard, they can't even read it, that most of them get the book, and no longer they play, as they try to.

There are at least three lynching messages for Albanian culture, from the political theatre stage, moved before the ruins of the collapsed Theatre.

First, it's the link of those who want a new Theatre. Most of these are the most important figures in the history of the Albanian Theatre. We've seen their names, their interviews, even those who were coughing up on this scene, died hoping to have a new Theatre.

They are all the remains of the Albanian Theatre, from Kadri Roshi, to become a new Theatre, to Rudenika, Jayst, Paja, Tower, etc.

We all went to Theatre from them, not from the building. They produced the Albanian Theatre every day, with their talent, the power of their art, despite ideology and the restrictions that time had imposed on them.

They made us go to that theater building without the terms of a theater. They are being lynned by several Democratic Party militants, who have the biggest dream, to become theatre director, as they never become his actors.

The real drama is that when the new, modern and comfortable theater becomes, I'm afraid I'm never going to see a part, if these guys get on stage, even though the building is gonna be good. Very difficult to convince a normal citizen that these mediocres who have become political actors will convince you to go see them as actors.

Second, it is the lynching of those activists or citizens who have conviction that the collapse of an old theater building is wrong.

The normal division in this city was to take place between those with no taste for the Old Theatre and those who want a new Theatre.

And this divide exists, it's real. The problem is that those with homesickness for the old theater have been kidnapped by a political gang that is left without cause and runs like a shadow behind any civic anger to feed.

That's what they did with Park, with the Ring, and so do the Theatre. The first victims of this gang left without cause are the idealists of this cause, those citizens, actors and civil society activists, who are on the streets today for their obedience to the old theater. They're beating each other up, why don't they clap Luli's arrival, or why they didn't say “Bravo Monica”, when she said “would take Eddie Rama's ear.

This shows the engineering political culture and tolerance they have, if they have power. It is the same as in 2007, when Berisha gave 6m euros to his brother-in-law, to make Enver Hoxha Theatre Pyramid, removing this building from the canned object, applauded or kept silent.

The Berishas ate 6m euros, left the building in misery and today beat those who do not applaud Berisha in the rally. The same were silent when Berisha gave Kinostudio to his media clients, or when he destroyed the historic club “Partizan” to make 200 square metres of palaces, his son-in-law.

And all this has to do with the hypocrisy of two-three speakers in that tribunes, who tell themselves actors, but they're actually just PD militants.

They're betraying citizens who really have pain for the National Theatre, but not for the opposition political theater. They have trusted citizens, calling in a rally, where they are beaten unless they applaud the arrival of Luli, Monica, or Sali Berisha.

The third, and the worst, is the courage to lynch the most important figures of the Albanian nation, why don't they become part of this political theater.

A PDA consortium, E. Capri, representing the DP officially, as its official, receiving a salary from the Albanian state, had attacked with a barbarous dictionary Ismail Kadare, such as “A man on the graveside”, who is not talking about the Theatre.

To think for a moment that people who are supposedly getting on the streets on behalf of cultural values wish us death, the largest monument of Albanian culture still alive, luckily Albania, Albania's cultural passport in the world, and the only symbol that probably identifies us with Western values on the highest scale, understands that this issue of Haxhi Qamilists has no connection with Albania's cultural identity, with its cultural values, and much less with that of the Theatre.

They are a gang that wants to take citizens hostage on behalf of their political agenda, and to lynch any talent, any theatre personality and any personality of Albanian culture that they cannot list.

They feel that violence and the lynching of those who think differently is the only means that society can keep quiet and make way for them. The same did at the beginning of the century, the shirts and then the Communists.

To scream like “Lover” of cultural heritage for a tag building and curse to death from the same Tribe Ismail Kadare, means to be a symbol of Albanian anticultural and a savage enemy of it (the only amnesty is stupid).

Crying for the boards of an old building and lynching the most remarkable figures of the Albanian Theatre, who want a new building, means never being with the heritage of the Albanian Theatre, but with the idea that actors are only those who serve you politically.

In the end, pretending to be an actor, being a dreamer of power to become a director, and then presenting all of this as a cultural revolution in Albania, has been a primitive imitation of the Chinese cultural revolution, which led writers and artists to rice, to glorify those who hold political talks at the theatre stage.

This is not the battle for Albanian theatre and culture, but the battle against the values of the Albanian Theatre and the top values of Albanian culture, which have given identity to the culture of the Albanian nation.

I don't know what to do with the new theater when it's built and how good it will be, but it's enough for one of these faces to climb on that stage to waste that money. That Albanian culture is not brick mortar, but Albanian books, dramas and movies.

They were made by Ismail Kadare, who are cursed and brought to fate, Kadri Roshi, Robert Nwendenica, Victor Giyst, and dozens of others who are being lynching at these political gatherings.

The Albanian culture, its identity that has been produced by the choirs of our culture, does not collapse either Edi Rama or Sali Berisha, or Monica Kryegri, just as the Bird of Enver Hoxha did not.

These clowns then paid in PD play it like actors on boulevard, they can't even read it, that most of them get the book, and no longer they play, as they try to.