{"id":2590,"date":"2025-12-17T17:54:49","date_gmt":"2025-12-17T17:54:49","guid":{"rendered":"https:\/\/hani2roberteve.com\/?post_type=kritikat&#038;p=2590"},"modified":"2025-12-22T13:13:34","modified_gmt":"2025-12-22T13:13:34","slug":"labinot-balaj-teatri-kujtesa-dhe-filozofia-e-dokumentimit-ne-dodonen-e-viteve-1991-2001","status":"publish","type":"kritikat","link":"https:\/\/hani2roberteve.com\/en\/kritikat\/labinot-balaj-teatri-kujtesa-dhe-filozofia-e-dokumentimit-ne-dodonen-e-viteve-1991-2001\/","title":{"rendered":"Labinot Balaj: Teatri, Kujtesa dhe Filozofia e Dokumentimit n\u00eb Dodon\u00ebn e viteve 1991-2001"},"content":{"rendered":"<p class=\"wp-block-paragraph\">Recension mbi librin&nbsp;<strong>Alisa Canaj Maliqi, &#8220;Galeria Dodona 1997-1999&#8221;, Dukagjini, 2024<\/strong><\/p>\n\n\n\n<figure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-1 is-layout-flex wp-block-gallery-is-layout-flex\">\n<figure class=\"wp-block-image size-full\"><img loading=\"lazy\" decoding=\"async\" width=\"658\" height=\"560\" data-id=\"2573\" src=\"https:\/\/hani2roberteve.com\/wp-content\/uploads\/2025\/12\/dodona-6-1.jpg\" alt=\"\" class=\"wp-image-2573\" srcset=\"https:\/\/hani2roberteve.com\/wp-content\/uploads\/2025\/12\/dodona-6-1.jpg 658w, https:\/\/hani2roberteve.com\/wp-content\/uploads\/2025\/12\/dodona-6-1-300x255.jpg 300w, https:\/\/hani2roberteve.com\/wp-content\/uploads\/2025\/12\/dodona-6-1-14x12.jpg 14w\" sizes=\"auto, (max-width: 658px) 100vw, 658px\" \/><\/figure>\n<\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Ka vepra q\u00eb mblidhen, ka arkiva q\u00eb ruhen dhe ka libra q\u00eb b\u00ebhen trup i nj\u00eb kohe. Ky katalog i Alisa Canaj Maliqit \u00ebsht\u00eb i llojit t\u00eb tret\u00eb, nj\u00eb form\u00eb q\u00eb mish\u00ebron nj\u00eb periudh\u00eb, nj\u00eb hap\u00ebsir\u00eb dhe nj\u00eb energji kulturore q\u00eb nuk mund t\u00eb kuptohet me mjete t\u00eb thjeshta dokumentimi.&nbsp;\u00cbsht\u00eb nj\u00eb pasqyr\u00eb, jo si objekt i ngurt\u00eb, por si&nbsp;nj\u00eb&nbsp;m\u00ebnyr\u00eb e t\u00eb menduarit,&nbsp;nj\u00eb&nbsp;m\u00ebnyr\u00eb e t\u00eb qenit.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Teatri Dodona, gjysm\u00eb i duksh\u00ebm dhe gjysm\u00eb i fshehur n\u00ebn trysnin\u00eb e viteve&nbsp;t\u00eb \u201990-a, nj\u00eb koh\u00eb edhe me galeri arti&nbsp;(1997-1999)&nbsp;n\u00eb nj\u00eb objekt shtes\u00eb aty pran\u00eb, shfaqet n\u00eb k\u00ebt\u00eb lib\u00ebr si hap\u00ebsir\u00eb reflektimi filozofik p\u00ebr jet\u00ebn, artin dhe rezistenc\u00ebn. T\u00eb reflektosh p\u00ebr nj\u00eb periudh\u00eb do t\u00eb thot\u00eb t\u00eb pranosh se ajo ka nj\u00eb form\u00eb q\u00eb vazhdon t\u00eb jetoj\u00eb brenda nesh.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Pasqyra n\u00eb k\u00ebt\u00eb tekst nuk \u00ebsht\u00eb thjesht metafor\u00eb estetike, ajo \u00ebsht\u00eb koncept ontologjik. Ajo na kthen te ajo q\u00eb ka mbetur, duke e b\u00ebr\u00eb t\u00eb dukshme at\u00eb q\u00eb n\u00eb realitetin e p\u00ebrditsh\u00ebm t\u00eb viteve n\u00ebnt\u00ebdhjet\u00eb, ose si\u00e7 njihen edhe si&nbsp;\u201cvitet e gjata\u201d&nbsp;n\u00eb Kosov\u00eb, shpesh mbetej e padukshme, vet\u00eb gjesti i t\u00eb krijuarit. N\u00eb nj\u00eb koh\u00eb kur liria fizike ngushtohej, pasqyra e sken\u00ebs zgjerohej.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Asgj\u00eb nuk e pasqyron m\u00eb mir\u00eb k\u00ebt\u00eb tension t\u00eb ekzistenc\u00ebs sesa imazhet e k\u00ebtij katalogu:&nbsp;trupa t\u00eb p\u00ebrkulur, fytyra t\u00eb ndri\u00e7uara nga reflektor\u00eb t\u00eb improvizuar, shenja t\u00eb fragmentuara t\u00eb nj\u00eb bote artistike q\u00eb e nd\u00ebrtonte vetveten p\u00ebrmes munges\u00ebs. Pasqyra k\u00ebtu nuk jep vet\u00ebm refleksin e nj\u00eb kohe, ajo jep struktur\u00ebn e saj t\u00eb fsheht\u00eb. Ajo e kthen artin n\u00eb d\u00ebshmi dhe n\u00eb prani.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">S\u00eb k\u00ebndejmi, kjo i jep teatrit dhe galeris\u00eb Dodona statusin e aktit filozofik t\u00eb rezistenc\u00ebs. Dodona gjat\u00eb viteve nga 1991 deri m\u00eb 2001 nuk ishte vet\u00ebm vend i shfaqjeve dhe ekspozitave, ajo ishte laborator ontologjik i mbijetes\u00ebs. N\u00eb nj\u00eb realitet ku institucionet shtet\u00ebrore t\u00eb kultur\u00ebs u n\u00ebnshtroheshin kontrollit ose shkat\u00ebrrimit, vet\u00eb gjesti i daljes n\u00eb sken\u00eb b\u00ebhej akt filozofik, nj\u00eb pohim i qenies n\u00eb nj\u00eb koh\u00eb q\u00eb shpesh e mohonte t\u00eb qen\u00ebt.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Aktor\u00ebt, regjisor\u00ebt, skenograf\u00ebt, artist\u00ebt dhe kurator\u00ebt, t\u00eb gjith\u00eb pa p\u00ebrjashtim, kontribuonin n\u00eb nj\u00eb sistem t\u00eb ri t\u00eb t\u00eb menduarit, ku improvizimi nuk ishte vet\u00ebm mjet artistik, por m\u00ebnyr\u00eb p\u00ebr t\u2019u p\u00ebrballur me bot\u00ebn. \u00c7do prov\u00eb ishte form\u00eb e rezistenc\u00ebs s\u00eb qet\u00eb. \u00c7do shfaqje, ekspozit\u00eb dhe tribun\u00eb debatike ishte rikthim i liris\u00eb, nj\u00eb hap\u00ebsir\u00eb ku mendimi kritik dhe imagjinata nuk mund t\u00eb ndaloheshin.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">N\u00eb k\u00ebt\u00eb kontekst, Dodona e viteve n\u00ebnt\u00ebdhjet\u00eb nuk mbetet thjesht sht\u00ebpi e artit, ajo b\u00ebhet form\u00eb e etik\u00ebs sublime t\u00eb rezistenc\u00ebs. B\u00ebhet d\u00ebshmi e nj\u00eb p\u00ebrgjegj\u00ebsie ndaj shoq\u00ebris\u00eb, ndaj s\u00eb v\u00ebrtet\u00ebs, ndaj vet\u00eb ides\u00eb s\u00eb njeriut dhe fuqis\u00eb s\u00eb krijimtaris\u00eb s\u00eb tij.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">T\u00eb dokumentosh do t\u00eb thot\u00eb t\u00eb pranosh se koha nuk kalon pa l\u00ebn\u00eb shenja. Por dokumentimi i Alisa Maliqit nuk \u00ebsht\u00eb akt teknik, \u00ebsht\u00eb akt hermeneutik. Ajo nuk k\u00ebrkon vet\u00ebm t\u00eb ruaj\u00eb fotografin\u00eb e nj\u00eb momenti, por t\u00eb riprodhoj\u00eb tensionin e tij, frym\u00ebn e tij, t\u00eb path\u00ebn\u00ebn e tij. K\u00ebto imazhe jan\u00eb t\u00eb zhveshura nga neutraliteti, ato jan\u00eb t\u00eb mbushura me nj\u00eb etik\u00eb t\u00eb kujtes\u00ebs.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Filozofikisht, dokumentimi \u00ebsht\u00eb m\u00ebnyr\u00eb p\u00ebr t\u2019i dh\u00ebn\u00eb form\u00eb asaj q\u00eb p\u00ebrndryshe do t\u00eb humbiste. Ai \u00ebsht\u00eb&nbsp;nj\u00eb&nbsp;p\u00ebrpjekje p\u00ebr t\u00eb kapur ato \u00e7aste ku arti e sfidon padukshm\u00ebrin\u00eb, ku jeta ngurt\u00ebsohet p\u00ebr t\u2019u b\u00ebr\u00eb e lexueshme. N\u00eb k\u00ebt\u00eb katalog, dokumentimi merr rolin e nj\u00eb trupi t\u00eb dyt\u00eb n\u00eb koh\u00eb, nj\u00eb trup q\u00eb nuk ka humbur, por q\u00eb vazhdon t\u00eb nd\u00ebrveproj\u00eb me t\u00eb tashmen ton\u00eb.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">N\u00eb fotografit\u00eb e k\u00ebtij libri, trupat flasin. Flasin p\u00ebr frik\u00ebn, p\u00ebr tensionin, p\u00ebr shpres\u00ebn, p\u00ebr improvizimin e pamundur. Trupat e aktor\u00ebve n\u00eb sken\u00eb dhe n\u00eb imazhet e artefakteve nuk jan\u00eb vet\u00ebm instrumente, jan\u00eb tekst. Ata tregojn\u00eb histori q\u00eb nuk ishin t\u00eb regjistruara plot\u00ebsisht, por u ruajt\u00ebn n\u00eb fotografi q\u00eb kap\u00ebn l\u00ebvizjet, mimik\u00ebn, skulpturat dhe pikturat e nj\u00eb bote q\u00eb gjallonte mes rreziqeve.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dodona ishte sken\u00eb ku trupi individual dhe trupi kolektiv bashkoheshin. N\u00eb nj\u00eb shoq\u00ebri q\u00eb p\u00ebrjetonte traum\u00eb, arti b\u00ebhej m\u00ebnyra m\u00eb e sinqert\u00eb e sh\u00ebrimit. Nd\u00ebrsa jasht\u00eb Dodon\u00ebs trupi k\u00ebrc\u00ebnohej, brenda saj ai rifitonte dinjitetin, gjuh\u00ebn dhe hap\u00ebsir\u00ebn. K\u00ebto imazhe e b\u00ebjn\u00eb t\u00eb dukshme marr\u00ebdh\u00ebnien e nd\u00ebrlikuar midis traum\u00ebs dhe krijimit.<\/p>\n\n\n\n<figure class=\"wp-block-gallery has-nested-images columns-default is-cropped wp-block-gallery-2 is-layout-flex wp-block-gallery-is-layout-flex\"><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\">Se koha rishfaqet n\u00eb trajta ciklike dhe jo lineare e d\u00ebshmojn\u00eb vitet nga 1991 deri m\u00eb 1999, vite q\u00eb n\u00eb analet e historis\u00eb son\u00eb nuk jan\u00eb thjesht periudh\u00eb historike, por cik\u00ebl. N\u00eb k\u00ebt\u00eb katalog, koha nuk paraqitet si rrjedh\u00eb kronologjike, por si rrjet ku ngjarjet i rikthehen vetes p\u00ebr t\u2019u rikuptuar. P\u00ebrmes pasqyr\u00ebs, e shkuara flet me t\u00eb tashmen. P\u00ebrmes dokumentit, imazhi flet me narrativ\u00ebn. P\u00ebrmes interpretimit, arti vazhdon t\u00eb veproj\u00eb edhe pas p\u00ebrfundimit t\u00eb&nbsp;t\u00eb&nbsp;shfaqurit.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">K\u00ebtu koha nuk \u00ebsht\u00eb thjesht e kaluar, ajo \u00ebsht\u00eb e vazhdueshme. Ajo mbetet si drit\u00eb q\u00eb nuk fiket brenda nj\u00eb salle t\u00eb vog\u00ebl teatri, edhe kur dritat e jashtme veniteshin.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">N\u00eb fund, ky katalog nuk \u00ebsht\u00eb retrospektiv\u00eb, \u00ebsht\u00eb nd\u00ebrmjet\u00ebsim. Ai jo vet\u00ebm rikujton, por rikthen n\u00eb jet\u00eb. Pasqyra filozofike q\u00eb strukturon k\u00ebt\u00eb lib\u00ebr nuk tregon vet\u00ebm \u00e7far\u00eb ishte Dodona at\u00ebher\u00eb, ajo na detyron t\u00eb shohim \u00e7far\u00eb jemi sot p\u00ebrmes asaj p\u00ebrvoje. N\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb, libri i Alisa Canaj Maliqit shnd\u00ebrrohet n\u00eb hap\u00ebsir\u00eb ku kujtesa nuk \u00ebsht\u00eb vet\u00ebm akt i s\u00eb kaluar\u00ebs, por energji e s\u00eb tashmes. Ai na m\u00ebson se dokumentimi \u00ebsht\u00eb akt i t\u00eb menduarit, se arti \u00ebsht\u00eb form\u00eb e s\u00eb v\u00ebrtet\u00ebs dhe se pasqyra, ajo q\u00eb supozojm\u00eb se thjesht reflekton, n\u00eb t\u00eb v\u00ebrtet\u00eb krijon.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"439\" height=\"439\" src=\"https:\/\/hani2roberteve.com\/wp-content\/uploads\/2025\/10\/labinot-balaj-hani.webp\" alt=\"\" class=\"wp-image-2618\" style=\"aspect-ratio:0.997722014593344;width:192px;height:auto\" srcset=\"https:\/\/hani2roberteve.com\/wp-content\/uploads\/2025\/10\/labinot-balaj-hani.webp 439w, https:\/\/hani2roberteve.com\/wp-content\/uploads\/2025\/10\/labinot-balaj-hani-300x300.webp 300w, https:\/\/hani2roberteve.com\/wp-content\/uploads\/2025\/10\/labinot-balaj-hani-150x150.webp 150w, https:\/\/hani2roberteve.com\/wp-content\/uploads\/2025\/10\/labinot-balaj-hani-12x12.webp 12w\" sizes=\"auto, (max-width: 439px) 100vw, 439px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><strong>Labinot Balaj, studiues dhe publicist<\/strong><\/p>\n\n\n\n\n\n<figure class=\"wp-block-image size-large is-resized\"><img loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"228\" src=\"https:\/\/hani2roberteve.com\/wp-content\/uploads\/2025\/12\/EN_FundedbytheEU_RGB_POS-1-1024x228.png\" alt=\"\" class=\"wp-image-2605\" style=\"width:auto;height:75px\" srcset=\"https:\/\/hani2roberteve.com\/wp-content\/uploads\/2025\/12\/EN_FundedbytheEU_RGB_POS-1-1024x228.png 1024w, https:\/\/hani2roberteve.com\/wp-content\/uploads\/2025\/12\/EN_FundedbytheEU_RGB_POS-1-300x67.png 300w, https:\/\/hani2roberteve.com\/wp-content\/uploads\/2025\/12\/EN_FundedbytheEU_RGB_POS-1-768x171.png 768w, https:\/\/hani2roberteve.com\/wp-content\/uploads\/2025\/12\/EN_FundedbytheEU_RGB_POS-1-1536x342.png 1536w, https:\/\/hani2roberteve.com\/wp-content\/uploads\/2025\/12\/EN_FundedbytheEU_RGB_POS-1-2048x456.png 2048w, https:\/\/hani2roberteve.com\/wp-content\/uploads\/2025\/12\/EN_FundedbytheEU_RGB_POS-1-18x4.png 18w\" sizes=\"auto, (max-width: 1024px) 100vw, 1024px\" \/><\/figure>\n\n\n\n<p class=\"wp-block-paragraph\"><em>Ky blog u botua me mb\u00ebshtetjen financiare t\u00eb Bashkimit Evropian n\u00eb kuad\u00ebr t\u00eb projektit \u201cZhvillimi i kritik<\/em><em>\u00eb<\/em><em>s artistike\u201d. P\u00ebrmbajtja e artikullit \u00ebsht\u00eb p\u00ebrgjegj\u00ebsi vet\u00ebm e Hani i 2 Robert\u00ebve dhe nuk pasqyron domosdoshm\u00ebrisht q\u00ebndrimet e Bashkimit Evropian.<\/em><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><\/p>","protected":false},"featured_media":2577,"parent":0,"template":"","meta":{"_acf_changed":true,"nf_dc_page":""},"categories":[],"class_list":["post-2590","kritikat","type-kritikat","status-publish","has-post-thumbnail","hentry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.5 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Labinot Balaj: Teatri, Kujtesa dhe Filozofia e Dokumentimit n\u00eb Dodon\u00ebn e viteve 1991-2001 - Hani i 2 Robert\u00ebve<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/hani2roberteve.com\/en\/kritikat\/labinot-balaj-teatri-kujtesa-dhe-filozofia-e-dokumentimit-ne-dodonen-e-viteve-1991-2001\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Labinot Balaj: Teatri, Kujtesa dhe Filozofia e Dokumentimit n\u00eb Dodon\u00ebn e viteve 1991-2001 - Hani i 2 Robert\u00ebve\" \/>\n<meta property=\"og:description\" content=\"Recension mbi librin&nbsp;Alisa Canaj Maliqi, &#8220;Galeria Dodona 1997-1999&#8221;, Dukagjini, 2024 Ka vepra q\u00eb mblidhen, ka arkiva q\u00eb ruhen dhe ka libra q\u00eb b\u00ebhen trup i nj\u00eb kohe. 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