Burimi : Radiocorriere, prill 1934, f.29<\/figcaption><\/figure>\n\n\n\nIntervistat<\/u><\/em><\/strong><\/p>\n\n\n\nN\u00eb mesnat\u00eb pas teatrit, un\u00eb dhe nj\u00eb regjisor i famsh\u00ebm pim\u00eb nj\u00eb filxhan \u00e7okollat\u00eb puro n\u00eb nj\u00eb tryez\u00eb te Savini (<\/em>restorant i famsh\u00ebm n\u00eb Milano). Ngrem\u00eb syt\u00eb dhe pik\u00ebrisht p\u00ebrball\u00eb nesh, Aleksand\u00ebr Moisiu, me nj\u00eb zonjush\u00eb bionde, fillon dark\u00ebn e tij pas shfaqjes.<\/em> Moisiu ka tonin e p\u00ebrulur dhe t\u00eb zgjuar t\u00eb nj\u00eb njeriu t\u00eb vog\u00ebl, i gatsh\u00ebm p\u00ebr t\u00eb kapur nj\u00eb krah (flet\u00eb) pule dhe misterin e Faustit ose Henri IV me t\u00eb nj\u00ebjtin kujdes.<\/em> Ai \u00e7ohet p\u00ebr t\u00eb arritur kutin\u00eb e cigareve n\u00eb nj\u00eb xhep t\u00eb pardesys\u00eb s\u00eb tij. \u00cbsht\u00eb i leht\u00eb dhe fluturon sikur hapi i k\u00ebrcimit t\u00eb Hamletit do t\u00eb fillonte.<\/em><\/p>\n\n\n\nMiku im regjisor, i cili i gjykon burrat nga m\u00ebnyra se si l\u00ebvizin, m\u00eb b\u00ebn t\u00eb v\u00ebzhgoj thjesht\u00ebsin\u00eb ekstreme t\u00eb gjesteve t\u00eb tij dhe m\u00eb jep nj\u00eb m\u00ebsim gestologjie.<\/em> \u201cJa nj\u00eb njeri q\u00eb reciton me gjuh\u00ebn e jet\u00ebs, q\u00eb \u00ebsht\u00eb b\u00ebr\u00eb i thjesht\u00eb me meditime t\u00eb gjata.<\/em> Shikoni se si gjith\u00e7ka \u00ebsht\u00eb e sakt\u00eb dhe e matur…\u201d.<\/em> Dy metra larg tij nj\u00eb zot\u00ebri piktoresk, i cili ka si shoq\u00ebrues nj\u00eb tip kurioz me mjek\u00ebr t\u00eb mpreht\u00eb, mban nj\u00eb thik\u00eb e pirun me nj\u00eb dhun\u00eb pompoze.<\/em> \u201cKy duhet t\u00eb jet\u00eb patjet\u00ebr nj\u00eb aktor \u2013 m\u00eb thot\u00eb mjeshtri i gjesteve \u2013 por nj\u00eb aktor i ri\u201d.<\/em> \u201cAktor po, dhe shum\u00eb i shquar : nj\u00eb aktor jugor (meridional).\u201d<\/em> Un\u00eb mb\u00ebshtes jugun, i cili n\u00eb mendjen time do t\u00eb donte ta b\u00ebnte gjestikulacionin e bollsh\u00ebm legjitim dhe shpreh\u00ebs.<\/em><\/p>\n\n\n\n\u201cJu gaboheni miku im.<\/em> N\u00ebse ky zot\u00ebri do t\u00eb ishte nj\u00eb aktor i madh, nj\u00eb artist i v\u00ebrtet\u00eb, pik\u00ebrisht sepse \u00ebsht\u00eb jugor, nuk do t\u00eb hante me ato gjeste t\u00eb teatrit.<\/em> K\u00ebtu kemi t\u00eb b\u00ebjm\u00eb me nj\u00eb njeri q\u00eb mbart n\u00eb jet\u00eb t\u00eb gjitha q\u00ebndrimet false t\u00eb sken\u00ebs.<\/em> \u00c7do gjest, zot\u00ebria im i dashur, ka kuptimin e tij.<\/em> Shikoni atje nd\u00ebrsa Moisiu i ofron zonjush\u00ebs nj\u00eb pije. \u201cDas ist recht.\u201d<\/em> Kjo \u00ebsht\u00eb e drejt\u00eb. Thuhet k\u00ebshtu.<\/em> Kam kat\u00ebr dit\u00eb q\u00eb flas italisht.<\/em> Shihni k\u00ebto gjeste t\u00eb tjera.<\/em> Kjo nuk \u00ebsht\u00eb e drejt\u00eb.<\/em> Nj\u00eb gjest i vog\u00ebl zgjidh nj\u00eb situat\u00eb.<\/em> M\u00eb kujtohet nj\u00eb sken\u00eb ku duhej treguar se nj\u00eb infermiere q\u00eb prek me dor\u00eb ballin e ethsh\u00ebm t\u00eb nj\u00eb ushtari, ka nj\u00eb but\u00ebsi (ndjenj\u00eb) t\u00eb fshehur p\u00ebr pacientin e saj.<\/em> Provoi dhe riprovoi, nuk e arrinte kurr\u00eb rezultatin e nevojsh\u00ebm. Kjo ishte shum\u00eb e guximshme dhe e pap\u00ebrshtatshme, kjo ishte pa shprehje.<\/em> Gjith\u00e7ka u zgjidh kur infermierja n\u00eb vend q\u00eb ta prekte ballin e pacientit me pjes\u00ebn e pasme t\u00eb dor\u00ebs, e preku at\u00eb me p\u00ebll\u00ebmb\u00ebn.<\/em> P\u00ebll\u00ebmba e dor\u00ebs \u00ebsht\u00eb nj\u00eb tregues i lidhjes, but\u00ebsis\u00eb, intimitetit. Do t\u00eb puth\u00ebsh dor\u00ebn e nj\u00eb zonje. Provoni t\u00eb puthni p\u00ebll\u00ebmb\u00ebn e saj.\u201d<\/em> Kjo puna e dor\u00ebs m\u00eb intereson : i b\u00ebj thirrje mikut tim t\u00eb vazhdoj\u00eb.<\/em> Vini re se aktor\u00ebt e filmave nuk din\u00eb se ku t\u00eb shikojn\u00eb.<\/em> Problem shum\u00eb kompleks.<\/em> Publiku e ndjek gjithmon\u00eb v\u00ebshtrimin e aktorit.<\/em> N\u00ebse aktori ul syt\u00eb, i gjith\u00eb publiku shkon t\u00eb k\u00ebrkoj\u00eb di\u00e7ka n\u00ebn k\u00ebmb\u00ebt e tij.<\/em> N\u00eb vend t\u00eb k\u00ebsaj, v\u00ebshtrimi i aktorit duhet t\u00eb ndjek\u00eb gjithmon\u00eb nj\u00eb objekt t\u00eb sakt\u00eb dhe pa ambiguitet.<\/em><\/p>\n\n\n\n\u00c7do gjest i tij, \u00e7do l\u00ebvizje e tij duhet t\u00eb p\u00ebrb\u00ebj\u00eb nj\u00eb tablo; jo n\u00eb kuptimin estetik dhe dekorativ, por n\u00eb kuptimin njer\u00ebzor dhe jet\u00ebsor.<\/em> Asgj\u00eb nuk duhet t\u00eb b\u00ebhet n\u00eb m\u00ebnyr\u00eb t\u00eb rast\u00ebsishme; n\u00eb jet\u00eb nuk b\u00ebni asgj\u00eb rast\u00ebsisht.<\/em> Edhe gjestet m\u00eb t\u00eb thjeshta dhe m\u00eb t\u00eb zakonshme jan\u00eb rezultat i traditave dhe zakoneve.<\/em> E nj\u00ebjta gj\u00eb n\u00eb sken\u00eb.<\/em> Me ndryshimin q\u00eb n\u00eb sken\u00eb \u00e7do gjest duhet t\u00eb shpreh\u00eb me thjesht\u00ebsin\u00eb m\u00eb t\u00eb madhe, nj\u00eb gjendje t\u00eb nevojshme p\u00ebr q\u00ebllimin e vepr\u00ebs.<\/em> Gjestet e tepruara dhe pa diskrecion duken m\u00eb spontanet, por jan\u00eb m\u00eb t\u00eb padobishmet dhe m\u00eb t\u00eb rremet, pasi nuk shprehin gj\u00eb tjet\u00ebr ve\u00e7 synimit p\u00ebr t\u00eb shprehur di\u00e7ka, e cila ende nuk \u00ebsht\u00eb zot\u00ebruar plot\u00ebsisht.<\/em><\/p>\n\n\n\nT\u00eb ashtuquajturit aktor\u00eb instinktiv\u00eb, q\u00eb rrotullojn\u00eb krah\u00ebt n\u00eb aj\u00ebr, jan\u00eb m\u00eb pak t\u00eb natyrsh\u00ebm;<\/em> edhe n\u00ebse n\u00eb jet\u00eb jan\u00eb m\u00ebsuar t\u00eb l\u00ebvizin n\u00eb hap\u00ebsir\u00eb.<\/em> I natyrsh\u00ebm \u00ebsht\u00eb gjesti i paramenduar q\u00eb shpreh me leht\u00ebsi at\u00eb q\u00eb do t\u00eb thot\u00eb. \u201cShikoni at\u00eb \u00e7ift atje q\u00eb han\u00eb rizoto alla Milanese dhe duket se po flasin me nj\u00eb zjarr (amsh) t\u00eb till\u00eb;<\/em> un\u00eb nuk e di se \u00e7far\u00eb i thon\u00eb nj\u00ebri-tjetrit.<\/em> Por \u00ebsht\u00eb e sigurt q\u00eb gruaja duhet t\u00eb ket\u00eb t\u00eb drejt\u00eb; sepse shikon drejt burrit. Kalor\u00ebsi (Kavalieri) ndjek rizoton n\u00eb lug\u00eb, ndihet i dob\u00ebt, sigurisht q\u00eb e ka gabim\u201d.<\/em> Ajo n\u00eb fakt ishte nj\u00eb grua e bukur, e cila i hodhi dy sy smerald shoq\u00ebruesit t\u00eb saj.<\/em> Kur t\u00eb jepen dy sy t\u00eb ngjash\u00ebm, mendova, gjestologjia ime m\u00eb m\u00ebson se kemi gjithmon\u00eb t\u00eb drejt\u00eb.<\/em> Edhe un\u00eb do t\u00eb ndiqja rizoton n\u00eb lug\u00eb…<\/em><\/p>\n\n\n\nENZO FERRIERI<\/em><\/strong><\/p>\n\n\n\n* (Nga Aurenc Bebja, Franc\u00eb) <\/strong><\/p>\n\n\n\n\u00a0https:\/\/www.darsiani.com\/la-gazette\/radiocorriere-1934-aleksander-moisiu-sipas-gazetarit-italian-enzo-ferrieri\/<\/a>.<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"Nga Aurenc Bebja*, Franc\u00eb \u2013 17 Maj 2022 \u201cRadiocorriere\u201d ka botuar, n\u00eb prill t\u00eb 1934, n\u00eb faqen n\u00b029, shkrimin e gazetarit italian Enzo Ferrieri p\u00ebr Aleksand\u00ebr Moisiun, t\u00eb cilin, Aurenc Bebja, n\u00ebp\u00ebrmjet Blogut \u201cDars (Klos), Mat \u2013 Albania\u201d, e ka sjell\u00eb p\u00ebr publikun shqiptar : Intervistat N\u00eb mesnat\u00eb pas teatrit, un\u00eb dhe nj\u00eb regjisor i famsh\u00ebm […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_seopress_robots_primary_cat":"none","_seopress_titles_title":"%%post_title%%","_seopress_titles_desc":"%%post_excerpt%%","_seopress_robots_index":"","footnotes":""},"categories":[2,18],"tags":[],"class_list":["post-32299","post","type-post","status-publish","format-standard","hentry","category-aktualitet","category-histori"],"_links":{"self":[{"href":"https:\/\/ulqini-online.com\/sajti\/index.php?rest_route=\/wp\/v2\/posts\/32299","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ulqini-online.com\/sajti\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ulqini-online.com\/sajti\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ulqini-online.com\/sajti\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/ulqini-online.com\/sajti\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=32299"}],"version-history":[{"count":1,"href":"https:\/\/ulqini-online.com\/sajti\/index.php?rest_route=\/wp\/v2\/posts\/32299\/revisions"}],"predecessor-version":[{"id":32301,"href":"https:\/\/ulqini-online.com\/sajti\/index.php?rest_route=\/wp\/v2\/posts\/32299\/revisions\/32301"}],"wp:attachment":[{"href":"https:\/\/ulqini-online.com\/sajti\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=32299"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ulqini-online.com\/sajti\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=32299"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ulqini-online.com\/sajti\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=32299"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
![\"Enzo](\"https:\/\/image.jimcdn.com\/app\/cms\/image\/transf\/dimension=683x10000:format=jpg\/path\/sccc878db2fcfc101\/image\/ie46860347a6b5f0b\/version\/1652595243\/image.jpg\")
![\"Burimi](\"https:\/\/image.jimcdn.com\/app\/cms\/image\/transf\/dimension=683x10000:format=jpg\/path\/sccc878db2fcfc101\/image\/i42ee36840576a282\/version\/1652595286\/image.jpg\")