{"id":1973,"date":"2019-02-18T13:21:13","date_gmt":"2019-02-18T12:21:13","guid":{"rendered":"http:\/\/www.nyje.al\/?p=1973"},"modified":"2024-09-03T12:20:08","modified_gmt":"2024-09-03T10:20:08","slug":"breht-nje-diskutim-mbi-metoden","status":"publish","type":"post","link":"https:\/\/nyje.al\/sq\/breht-nje-diskutim-mbi-metoden\/","title":{"rendered":"Breht, nj\u00eb diskutim mbi metod\u00ebn?"},"content":{"rendered":"
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nyje.al | 18.02.2019<\/strong><\/span><\/p>

\"\"<\/a><\/em><\/span>
Me rastin e 60-vjetorit t\u00eb vdekjes s\u00eb Bertold Brehtit, Teatri \u201cPiccolo Teatro di Milano\u201d p\u00ebrkujton autorin dhe vepr\u00ebn e tij \u201cOpera p\u00ebr tri grosh\u00eb\u201d me regjisor Giorgio Strehler. N\u00eb kuad\u00ebr t\u00eb nj\u00eb serie takimesh p\u00ebr tekstet dhe autorin q\u00eb po zhvillohen n\u00eb Milano, sjellim p\u00ebr lexuesit e \u201cNyjes\u201d nj\u00eb p\u00ebrmbledhje t\u00eb intervist\u00ebs s\u00eb filozofit Rocco Ronchi n\u00eb lidhje me librin e tij teorik \u201cBrecht: Introduzione alla filosofia\u201d, publikuar n\u00eb vitin 2013. Intervista e filozofit \u00ebsht\u00eb p\u00ebrkthyer nga gjuha origjinale.<\/em><\/span>
\u00c7far\u00eb mund t\u00eb na interesoj\u00eb ende sot e k\u00ebsaj dite nga vepra e Brehtit, e nj\u00eb autori q\u00eb ka qen\u00eb i lidhur me nj\u00eb periudh\u00eb historike t\u00eb viteve n\u00ebnt\u00ebqind, me ideologjin\u00eb e komunizmit dhe me praktika t\u00eb teatrit epik t\u00eb cilat priremi t\u00eb mos i p\u00ebrdorim m\u00eb?<\/em><\/span><\/p>

Do t\u00eb dalloja n\u00eb veprat e tij form\u00ebn dhe p\u00ebrmbajtjen. Brehtizmi, si nj\u00eb p\u00ebrbashk\u00ebsi p\u00ebrmbajtjesh, sipas meje, nuk \u00ebsht\u00eb besnik ndaj vet\u00eb Brehtit; e redukton Brehtin n\u00eb nj\u00eb grumbull vlerash, parimesh, a \u00e7\u00ebshtjesh ideologjike, ndaj si i till\u00eb \u00ebsht\u00eb ekstremisht reduktues p\u00ebr figur\u00ebn e tij. \u00c7ka gjej totalisht aktuale n\u00eb mendimin e Brehtit – dhe n\u00eb dramaturgjin\u00eb e tij \u2013 \u00ebsht\u00eb \u00e7\u00ebshtja e metod\u00ebs, t\u00eb cil\u00ebs i n\u00ebnshtrohet edhe p\u00ebrmbajtja. Ndaj mendoj se duhet rifilluar nga metoda brehtiane q\u00eb nuk \u00ebsht\u00eb thjesht nj\u00eb metod\u00eb e kufizuar nga dimensioni specifik i dramaturgjis\u00eb, por duhet t\u00eb kuptohet n\u00eb nj\u00eb nivel m\u00eb t\u00eb lart\u00eb, pak a shum\u00eb si at\u00ebher\u00eb kur flitet p\u00ebr metod\u00ebn karteziane apo p\u00ebr ndonj\u00eb metod\u00eb shkencore. E me sa duket, fjala \u201cmetod\u00eb\u201d na \u00e7on drejt nj\u00eb q\u00ebndrimi q\u00eb duhet ta marr\u00eb p\u00ebrsip\u00ebr ai q\u00eb k\u00ebrkon ta njoh\u00eb dhe ta ndryshoj\u00eb realitetin.<\/span><\/p>

A mund t\u00eb p\u00ebrcaktojm\u00eb se cilat jan\u00eb element\u00ebt e metod\u00ebs brehtiane q\u00eb p\u00ebrb\u00ebjn\u00eb interes p\u00ebr nj\u00eb filozof si ju?<\/em><\/span>
Metoda brehtiane dhe metoda e filozofis\u00eb jan\u00eb n\u00eb thelb identike. Karakteristika dometh\u00ebn\u00ebse e raportit mes Brehtit dhe filozofis\u00eb nuk \u00ebsht\u00eb vet\u00ebm p\u00ebr shkak se Brehti e prezanton filozofin\u00eb apo marksizmin si tema t\u00eb pun\u00ebs s\u00eb tij. Brehti e prezanton filozofin\u00eb si metod\u00eb. Teatri i tij \u00ebsht\u00eb filozofik nga k\u00ebndv\u00ebshtrimi formal: p\u00ebr aq koh\u00eb sa ai \u00ebsht\u00eb teat\u00ebr epik. \u00cbshte teat\u00ebr filozofik sepse niset nga ideja q\u00eb operacioni teatror duhet t\u00eb zgjidhet n\u00eb nj\u00eb m\u00ebnyr\u00eb a tjet\u00ebr, n\u00eb nj\u00eb problematizim sistematik t\u00eb gj\u00ebrave q\u00eb jan\u00eb t\u00eb dukshme. Metoda brehtiane \u00ebsht\u00eb kjo: problematizimi i dukjes, i gj\u00ebrave q\u00eb n\u00eb dukje jan\u00eb t\u00eb qarta. \u00cbsht\u00eb shum\u00eb e ngjashme me at\u00eb q\u00eb Husserli e quan \u201creduktimi fenomenologjik\u201d, e q\u00eb p\u00ebr shkak t\u00eb saj, Brehti i v\u00ebn\u00eb n\u00eb sken\u00eb nga Strehleri n\u00eb Milano ngjalli entuziazmin e shkoll\u00ebs fenomenologjike milaneze, me n\u00eb krye Enzo Pacin.<\/span><\/p>

Brehti n\u00eb vepr\u00ebn e tij \u201cAs rregulli dhe as p\u00ebrjashtimi\u201d shkruan: \u201cE \u00e7uditshme, edhe pse e zakont\u00eb\u201d\u2026<\/em><\/span>
\u00c7far\u00eb ka pra pas gjith\u00eb k\u00ebsaj Verfremdungseffkt , n\u00ebse jo nj\u00eb teknik\u00eb e t\u00ebhuajzimit t\u00eb cil\u00ebn Brehti e merr nga formalist\u00ebt rus\u00eb p\u00ebrgjat\u00eb q\u00ebndrimit t\u00eb tij n\u00eb Rusi? Teknika e tjet\u00ebrsimit nuk \u00ebsht\u00eb teknik\u00eb dramaturgjike; teknika e \u201ctjet\u00ebrsimit\u201d \u00ebsht\u00eb ripropozimi n\u00eb nivel dramaturgjik i asaj q\u00eb ka q\u00ebn\u00eb gjithmon\u00eb pozicionimi i filozofit n\u00eb lidhje me eksperienc\u00ebn. N\u00ebse dikush rikthehet n\u00eb fillesat e filozofis\u00eb per\u00ebndimore gjen figur\u00ebn e Sokratit. \u00c7far\u00eb e b\u00ebn Sokratin filozof tipik? Fakti q\u00eb nuk k\u00ebnaqet nga p\u00ebrgjigjet tradicionale p\u00ebr \u00e7\u00ebshtje t\u00eb m\u00ebdha t\u00eb njeriut. Sokrati problematizon sistematikisht k\u00ebto p\u00ebrgjigje, dmth i vendos ato n\u00eb m\u00ebnyr\u00eb konstante n\u00eb nj\u00eb situat\u00eb \u201cepoch\u00e8\u201d.<\/span>
Sokrati a nuk krahasohej ndoshta me nj\u00eb silur? Kjo thuhet n\u00eb \u201cSimpoziumin\u201d, dialogu i famsh\u00ebm n\u00eb t\u00eb cilin Aristofani flet p\u00ebr Sokratin. N\u00eb t\u00eb thuhet se Sokrati prezantohet n\u00eb qytet si dikush q\u00eb e \u201cmpin\u201d bashk\u00ebfol\u00ebsin. P\u00ebrse e mpin? Sepse e paralizon, e paralizon sepse p\u00ebrg\u00ebnjeshtron, madje e v\u00eb n\u00eb situat\u00eb t\u00eb till\u00eb ku duhet t\u00eb vet\u00ebp\u00ebrg\u00ebnjeshtrohet. A nuk jan\u00eb vall\u00eb k\u00ebto pozicione dhe metoda dramaturgjike brehtiane? A nuk konsiston k\u00ebtu edhe teknika e recitimit t\u00eb aktor\u00ebve brehtian\u00eb, q\u00eb Brehti e zgjidh n\u00eb formul\u00ebn e tij unike \u201cjo k\u00ebshtu, po k\u00ebshtu\u201d?<\/span><\/p>

Shum\u00eb kontroverse, nd\u00ebr t\u00eb tjera, p\u00ebr m\u00ebnyr\u00ebn se si duhet t\u00eb aplikohet\u2026<\/em><\/span>
\u00cbsht\u00eb e pamundur ndoshta p\u00ebr t\u2019u aplikuar. Nuk jam ekspert i k\u00ebtyre gj\u00ebrave, por e kam pyetur gjithmon\u00eb veten n\u00ebse \u00ebsht\u00eb e mundur t\u00eb m\u00ebsosh t\u00eb recitosh n\u00eb m\u00ebnyr\u00eb t\u00eb till\u00eb q\u00eb p\u00ebr \u00e7do veprim dramaturgjik t\u00eb mund t\u00eb shprehej nj\u00ebkoh\u00ebsisht n\u00eb m\u00ebnyr\u00eb t\u00eb t\u00ebrthort\u00eb edhe nj\u00eb rezultat tjet\u00ebr, dmth imagjinojm\u00eb tashm\u00eb nj\u00eb veprim dramatik por \u00ebsht\u00eb e nevojshme q\u00eb aktori t\u00eb shpreh\u00eb bashk\u00eb me veprimin q\u00eb po kryen edhe mund\u00ebsin\u00eb e nj\u00eb veprimi tjet\u00ebr q\u00eb nuk kryhet kurr\u00eb. \u00cbsht\u00eb e ngjashme sikur aktorit do t\u2019i duhej nj\u00ebkoh\u00ebsisht t\u00eb pohonte dhe menj\u00ebher\u00eb t\u00eb p\u00ebrg\u00ebnjeshtronte at\u00eb q\u00eb po thot\u00eb. Kjo p\u00ebr Brehtin ishte e r\u00ebnd\u00ebsishme sepse b\u00ebhej fjal\u00eb, pik\u00ebrisht, p\u00ebr t\u00eb mos kristalizuar, p\u00ebr t\u00eb mos vazhduar me ndjeshm\u00ebri shum\u00eb t\u00eb fort\u00eb. Nga ana tjet\u00ebr, n\u00ebse e vrasim mendjen, cili \u00ebsht\u00eb efekti q\u00eb shkakton Sokrati tek bashk\u00ebbiseduesi? Efekti i Sokratit ndaj interlokutorit \u00ebsht\u00eb i nj\u00ebjt\u00eb, dmth q\u00eb bashk\u00ebfol\u00ebsi i tij paralizohet nga dialektika sokratike. Ai duhet t\u00eb marr\u00eb nj\u00ebfar\u00eb distance dhe duhet t\u00eb gjykoj\u00eb n\u00eb m\u00ebnyr\u00eb kritike ato q\u00eb jan\u00eb bindjet e tij.N\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb individi detyrohet t\u00eb vet\u00ebp\u00ebrg\u00ebnjeshtrohet. Tani, kur Sokrati, apo kur Platoni n\u00ebp\u00ebrmjet Sokratit, prezanton \u201cp\u00ebrg\u00ebnjeshtrimin\u201d e b\u00ebn si nj\u00eb teknik\u00eb t\u00eb purifikimit, sepse n\u00ebp\u00ebrmjet p\u00ebrg\u00ebnjeshtrimit ka nj\u00eb katarsis. Asaj, Platoni i jep nj\u00eb vler\u00eb fetare, t\u00eb shenjt\u00eb.<\/span><\/p>

Cili \u00ebsht\u00eb kuptimi i teatrit epik? Jo vet\u00ebm se arrin t\u00eb \u201cmpij\u00eb\u201d, apo t\u00eb problematizoj\u00eb, por se nj\u00ebkoh\u00ebsisht operon drejt purifikimit, drejt \u201ckatarsisit\u201d t\u00eb spektatorit, edhe pse me sa duket poetika brehtiane \u00ebsht\u00eb antiaristoteliane.<\/span>
Dhe ju insistoni tek ky antiaristoteliz\u00ebm?<\/span>
Po, k\u00ebmb\u00ebngul n\u00eb k\u00ebt\u00eb pik\u00eb pasi p\u00ebr mua mes dy klasik\u00ebve t\u00eb m\u00ebdhenj t\u00eb mendimit grek, Platonit dhe Aristotelit, Brehti q\u00ebndron n\u00eb krahun e Platonit. Kritika e tij p\u00ebr poezin\u00eb e Aristotelit \u00ebsht\u00eb nj\u00eb kritik\u00eb nga t\u00eb gjitha an\u00ebt dramaturgjike e bazuar mbi parimin \u201cEinfuhlung\u201d, pra mbi ndjeshm\u00ebrin\u00eb, e rrjedhimisht mbi kritik\u00ebn e natyralizmit\u2026 Por kjo kritik\u00eb e pam\u00ebshirshme q\u00eb Brehti b\u00ebn p\u00ebr teatrin natyralist duket, p\u00ebr dik\u00eb q\u00eb ka nj\u00eb minimum njohurish filozofike, si nj\u00eb rimarrje e kritik\u00ebs origjinale e Platonit n\u00eb librin e tij t\u00eb X-t\u00eb t\u00eb \u201cRepublik\u00ebs\u201d, n\u00eb distanc\u00eb kohore rreth 2000 vite kur Platoni p\u00ebr arsye politike dhe pedagogjike b\u00ebnte thirrje q\u00eb poet\u00ebt t\u00eb d\u00ebboheshin nga qyteti ideal.<\/span><\/p>

P\u00ebrse duheshin d\u00ebbuar poet\u00ebt? Sepse ata p\u00ebrfaq\u00ebsonin pedagogjin\u00eb zyrtare. N\u00eb bot\u00ebn platonike, poet\u00ebt ishin \u201cp\u00ebrndjek\u00ebsit\u201d q\u00eb k\u00ebrkonin t\u00eb bindnin n\u00ebp\u00ebrmjet magjepsjes dhe emocioneve. Poeti p\u00ebr Platonin nuk ishte ai q\u00eb ne sot kuptojm\u00eb me fjal\u00ebn \u201cpoet\u201d, krijuesi i lir\u00eb i imazheve. Platoni nuk kishte konceptim estetik p\u00ebr poezin\u00eb. P\u00ebr at\u00eb, poeti ishte pedagogu i komunitetit, z\u00ebdh\u00ebn\u00ebsi i dijes dhe pushtetit q\u00eb p\u00ebr\u00e7ohej gojarisht dhe q\u00eb duhej t\u00eb rishp\u00ebrndahej n\u00ebp\u00ebrmjet fjal\u00ebs.<\/span>
P\u00ebrse Brehti n\u00eb librin e tij mbi estetik\u00ebn teatrale flet p\u00ebr nj\u00eb teat\u00ebr t\u00eb nj\u00eb epoke shkencore si kjo e jona?<\/em><\/span><\/p>

Ai flet p\u00ebr nj\u00eb teat\u00ebr q\u00eb braktis truallin e imagjinares, p\u00ebr t\u00eb ardhur n\u00eb truallin e reales. Teatri brehtian \u00ebsht\u00eb radikalisht realist, n\u00ebse me \u201crealist\u201d n\u00ebnkuptojm\u00eb jo riprodhimin mimetik t\u00eb realitetit, por v\u00ebrtet\u00ebsin\u00eb e shkenc\u00ebs, dmth realja q\u00eb shkenca na e mund\u00ebson t\u00eb lind\u00eb si t\u00eb till\u00eb.<\/span>
Ajo q\u00eb \u00ebsht\u00eb e fshehur pas asaj q\u00eb duket, n\u00eb nj\u00eb far\u00eb m\u00ebnyre priret t\u00eb dal\u00eb nga nj\u00eb dimension ekskluzivisht njer\u00ebzor, q\u00eb nuk \u00ebsht\u00eb m\u00eb vet\u00ebm p\u00ebr p\u00ebrmasat e Njeriut. Brehti e kishte me retorik\u00ebn e humanizmit. Historia dhe ekonomia jan\u00eb fuqit\u00eb e m\u00ebdha q\u00eb e kap\u00ebrcejn\u00eb p\u00ebrmas\u00ebn njer\u00ebzore dhe q\u00eb vihen n\u00eb sken\u00eb n\u00ebp\u00ebrmjet teknik\u00ebs t\u00eb \u201ct\u00ebhuaj\u00ebsimit\u201d. N\u00eb teatrin epik ka nj\u00eb zgjedhje radikale, p\u00ebr mendimin tim, q\u00eb \u00ebsht\u00eb zgejdhja e reales p\u00ebrkundrejt imagjinares, dhe kjo \u00ebsht\u00eb nj\u00eb nga arsyet q\u00eb e b\u00ebjn\u00eb metod\u00ebn brehtiane absolutisht aktuale, dhe t\u00eb lidhur ngusht\u00ebsisht me nevojat tona.Nevoja jon\u00eb p\u00ebr t\u2019u \u00e7liruar nga nj\u00eb p\u00ebrmas\u00eb thashethemi, apo kurioziteti. Mendoj se lidhet me nevoj\u00ebn ton\u00eb p\u00ebr t\u00eb qen\u00eb t\u00eb mpreht\u00eb, jo n\u00eb kuptimin e mpreht\u00ebsis\u00eb q\u00eb vjen nga intuita profetike; por n\u00eb kuptimin e aft\u00ebsis\u00eb p\u00ebr t\u00eb par\u00eb p\u00ebrtej asaj q\u00eb duket, p\u00ebr t\u00eb par\u00eb strukturat e thella q\u00eb modelojn\u00eb sjelljet tona, aft\u00ebsia p\u00ebr t\u00eb par\u00eb matan\u00eb. Ky m\u00eb duket t\u00eb jet\u00eb ende nj\u00eb motiv thell\u00ebsisht platonik: t\u00eb shkuarit p\u00ebrtej opinionit, p\u00ebrtej modaliteteve t\u00eb zakonshme t\u00eb komunikimit, p\u00ebr t\u00eb par\u00eb se cilat jan\u00eb rr\u00ebnj\u00ebt e lidhjes son\u00eb shoq\u00ebrore. Kjo \u00ebsht\u00eb mpreht\u00ebsia q\u00eb \u00ebsht\u00eb shum\u00eb e pranishme n\u00eb pun\u00ebn e Brehtit. Metoda e \u201ct\u00ebhuaj\u00ebsimit\u201d duhet t\u00eb sjell\u00eb mpreht\u00ebsi.<\/span><\/p>

Dhe kjo mendoni se rrjedh nga besimi i tij t\u00ebr\u00ebsisht materialist?<\/em><\/span>
Brehti ka q\u00ebn\u00eb thell\u00ebsisht materialist, dhe kjo vihet re te nj\u00eb prej veprave t\u00eb tij m\u00eb t\u00eb diskutuara me titullin \u201cdie Ma\u00dfnahme\u201d (p\u00ebrkthyer shpesh si \u201cMasat e marra\u201d). Aty flet p\u00ebr sakrific\u00ebn e individit p\u00ebr Partin\u00eb. N\u00eb k\u00ebt\u00eb dram\u00eb kuptohet se cfar\u00eb dometh\u00ebnie ka materializmi p\u00ebr Brehtin. Materializmi p\u00ebr t\u00eb ka kuptimin e nj\u00eb pozicionimi n\u00eb favor t\u00eb proletariatit dhe nuk flet m\u00eb n\u00eb em\u00ebr t\u00eb moralit. Morali nuk q\u00ebndron mbi veprimin, por \u00ebsht\u00eb nj\u00eb element q\u00eb varet nga veprimi. P\u00ebr ta th\u00ebn\u00eb m\u00eb thjesht: p\u00ebr Brehtin imperativi \u00ebsht\u00eb hipotetik, dhe imperativi kategorik q\u00ebndron n\u00ebn imperativin hipotetik. Kanti b\u00ebnte dallimin mes imperativit hipotetik dhe atij kategorik: imperativi i v\u00ebrtet moral ishte imperativi kategorik: ligji i arsyes. Dhe n\u00ebse dikush pyet se \u00e7far\u00eb \u00ebsht\u00eb materializmi i Brehtit, \u00ebsht\u00eb n\u00eb fakt mbivendosja e imperativ\u00ebve hipotetik\u00eb ndaj atyre kategorik. Q\u00eb do t\u00eb thot\u00eb: morali nuk mund t\u00eb jet\u00eb i zgjedhur si \u201cmjeti i fund\u00ebm i gjyq\u00ebsis\u00eb\u201d ndaj sjelljes njer\u00ebzore. Morali \u00ebsht\u00eb n\u00eb loj\u00eb, morali b\u00ebn pjes\u00eb n\u00eb luft\u00ebn q\u00eb po vazhdon. Kjo \u00ebsht\u00eb, sipas meje, nj\u00eb m\u00ebsim shum\u00eb i v\u00ebshtir\u00eb, por shum\u00eb i dobish\u00ebm p\u00ebr ne sot. Sepse n\u00ebse shohim sot se si \u00ebsht\u00eb shnd\u00ebrruar e majta n\u00eb bot\u00eb, zbulojm\u00eb q\u00eb \u00ebsht\u00eb kthyer thelb\u00ebsisht n\u00eb nj\u00eb parti e moralit, asgj\u00eb tjet\u00ebr p\u00ebrve\u00e7se nj\u00eb l\u00ebvizje opinioniste q\u00eb mbi moralin kritikon rendin e nd\u00ebrtuar, dhe k\u00ebt\u00eb e b\u00ebn n\u00eb em\u00ebr t\u00eb Drejt\u00ebsis\u00eb, n\u00eb em\u00ebr t\u00eb Njeriut, n\u00eb em\u00ebr t\u00eb universaleve q\u00eb na vijn\u00eb si transhendental\u00eb n\u00eb nivelin e p\u00ebrvoj\u00ebs. N\u00eb thelb, e majta n\u00eb kompleksitetin e saj sot n\u00eb Itali \u00ebsht\u00eb kthyer n\u00eb nj\u00eb kritik\u00eb morale ndaj rendit ekzistues. \u00cbsht\u00eb puro idealiz\u00ebm, nuk \u00ebsht\u00eb materializ\u00ebm. Brehti na thot\u00eb: materializ\u00ebm do t\u00eb thot\u00eb t\u00eb flas\u00ebsh n\u00eb em\u00ebr t\u00eb atyre q\u00eb jan\u00eb t\u00eb fundit, n\u00eb em\u00ebr t\u00eb refugjat\u00ebve, t\u00eb cil\u00ebt jan\u00eb nj\u00eb figur\u00eb ky\u00e7e n\u00eb teatrin brehtian.<\/span><\/p>

N\u00eb eset\u00eb kritike t\u00eb Barthes-it shkruhet: \u201cPostulati i t\u00eb gjith\u00eb dramaturgjis\u00eb brehtiane \u00ebsht\u00eb q\u00eb, t\u00eb pakt\u00ebn sot, arti m\u00eb shum\u00eb se t\u00eb shpreh\u00eb realen, duhet t\u2019i jap\u00eb asaj nj\u00eb kuptim.\u201d<\/em><\/span>
Metoda Brehtiane nuk ka si q\u00ebllim t\u00eb prodhoj\u00eb nj\u00eb kuptim t\u00eb ri p\u00ebr realitetin, p\u00ebr t\u00eb na th\u00ebn\u00eb se si q\u00ebndrojn\u00eb gj\u00ebrat, \u00e7far\u00eb \u00ebsht\u00eb realiteti, por synon t\u00eb t\u00eb tregoj\u00eb realen. Brehti p\u00ebrdorte foljen zeigen p\u00ebr t\u00eb na treguar pik\u00ebrisht at\u00eb q\u00eb duhej t\u00eb ishte nj\u00eb nga detyrat e teatrit: teatri duhet t\u00eb shfaq\u00eb. Q\u00eb \u00ebsht\u00eb e kund\u00ebrta e t\u00eb treguarit. N\u00ebse mendojm\u00eb p\u00ebr teatrin epik, na shkon nd\u00ebrmend teatri narrativ, epika n\u00eb fakt na rid\u00ebrgon te rr\u00ebfimi, por n\u00eb realitet teatri epik \u00ebsht\u00eb nj\u00eb teat\u00ebr i shfaqjes, \u00ebsht\u00eb bazuar mbi parimin e \u201cshfaqjes\u201d dhe kjo mendoj \u00ebsht\u00eb pika rilevante. Teatri duhet t\u00eb jet\u00eb n\u00eb gjendje p\u00ebr t\u00eb na shfaqur at\u00eb q\u00eb heshtet, kur realiteti flet. Kjo e b\u00ebn metod\u00ebn e Brehtit sot e k\u00ebsaj dite jasht\u00ebzakonisht aktuale.<\/span>
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1.\u00a0Intervista e plot\u00eb gjendet n\u00eb: https:\/\/www.doppiozero.com\/materiali\/brecht-un-discorso-sul-metodo?fbclid=IwAR3JFidWVgT5KfOK_jAw63Js6IYGsY39hCpUF4g8xrp3rwSfB6-LBNDyYXY<\/em><\/a><\/span><\/span>
2. Sipas teoris\u00eb dramatike t\u00eb elaboruar t\u00eb B. Brecht, efekti i tjet\u00ebrsimi quhet efekti i \u201cdistanc\u00ebs\u201d\/larg\u00ebsis\u00eb\u201d q\u00eb aktori ngjall\/shkakton tek spektatori duke mos u identifikuar me personazhin apo ambjentin, por duke e p\u00ebrfaq\u00ebsuar at\u00eb. Sh\u00ebnim i p\u00ebrkthyesit, nga TRECCANI http:\/\/www.treccani.it\/vocabolario\/ricerca\/straniamento\/<\/a><\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"

nyje.al | 18.02.2019 Me rastin e 60-vjetorit t\u00eb vdekjes s\u00eb Bertold Brehtit, Teatri \u201cPiccolo Teatro di Milano\u201d p\u00ebrkujton autorin dhe vepr\u00ebn e tij \u201cOpera p\u00ebr tri grosh\u00eb\u201d me regjisor Giorgio Strehler. N\u00eb kuad\u00ebr t\u00eb nj\u00eb serie takimesh p\u00ebr tekstet dhe autorin q\u00eb po zhvillohen n\u00eb Milano, sjellim p\u00ebr lexuesit e \u201cNyjes\u201d nj\u00eb p\u00ebrmbledhje t\u00eb intervist\u00ebs s\u00eb filozofit Rocco Ronchi n\u00eb lidhje me librin e tij teorik \u201cBrecht: Introduzione alla filosofia\u201d, publikuar n\u00eb vitin 2013. Intervista e filozofit \u00ebsht\u00eb p\u00ebrkthyer nga gjuha origjinale. \u00c7far\u00eb mund t\u00eb na interesoj\u00eb ende sot e k\u00ebsaj dite nga vepra e Brehtit, e nj\u00eb autori q\u00eb ka qen\u00eb i lidhur me nj\u00eb periudh\u00eb historike t\u00eb viteve n\u00ebnt\u00ebqind, me ideologjin\u00eb e komunizmit dhe me praktika t\u00eb teatrit epik t\u00eb cilat priremi t\u00eb mos i p\u00ebrdorim m\u00eb? Do t\u00eb dalloja n\u00eb veprat e tij form\u00ebn dhe p\u00ebrmbajtjen. Brehtizmi, si nj\u00eb p\u00ebrbashk\u00ebsi p\u00ebrmbajtjesh, sipas meje, nuk \u00ebsht\u00eb besnik ndaj vet\u00eb Brehtit; e redukton Brehtin n\u00eb nj\u00eb grumbull vlerash, parimesh, a \u00e7\u00ebshtjesh ideologjike, ndaj si i till\u00eb \u00ebsht\u00eb ekstremisht reduktues p\u00ebr figur\u00ebn e tij. \u00c7ka gjej totalisht aktuale n\u00eb mendimin e Brehtit – dhe n\u00eb dramaturgjin\u00eb e tij \u2013 \u00ebsht\u00eb \u00e7\u00ebshtja e metod\u00ebs, t\u00eb cil\u00ebs i n\u00ebnshtrohet edhe p\u00ebrmbajtja. Ndaj mendoj se duhet rifilluar nga metoda brehtiane q\u00eb nuk \u00ebsht\u00eb thjesht nj\u00eb metod\u00eb e kufizuar nga dimensioni specifik i dramaturgjis\u00eb, por duhet t\u00eb kuptohet n\u00eb nj\u00eb nivel m\u00eb t\u00eb lart\u00eb, pak a shum\u00eb si at\u00ebher\u00eb kur flitet p\u00ebr metod\u00ebn karteziane apo p\u00ebr ndonj\u00eb metod\u00eb shkencore. E me sa duket, fjala \u201cmetod\u00eb\u201d na \u00e7on drejt nj\u00eb q\u00ebndrimi q\u00eb duhet ta marr\u00eb p\u00ebrsip\u00ebr ai q\u00eb k\u00ebrkon ta njoh\u00eb dhe ta ndryshoj\u00eb realitetin. A mund t\u00eb p\u00ebrcaktojm\u00eb se cilat jan\u00eb element\u00ebt e metod\u00ebs brehtiane q\u00eb p\u00ebrb\u00ebjn\u00eb interes p\u00ebr nj\u00eb filozof si ju? Metoda brehtiane dhe metoda e filozofis\u00eb jan\u00eb n\u00eb thelb identike. Karakteristika dometh\u00ebn\u00ebse e raportit mes Brehtit dhe filozofis\u00eb nuk \u00ebsht\u00eb vet\u00ebm p\u00ebr shkak se Brehti e prezanton filozofin\u00eb apo marksizmin si tema t\u00eb pun\u00ebs s\u00eb tij. Brehti e prezanton filozofin\u00eb si metod\u00eb. Teatri i tij \u00ebsht\u00eb filozofik nga k\u00ebndv\u00ebshtrimi formal: p\u00ebr aq koh\u00eb sa ai \u00ebsht\u00eb teat\u00ebr epik. \u00cbshte teat\u00ebr filozofik sepse niset nga ideja q\u00eb operacioni teatror duhet t\u00eb zgjidhet n\u00eb nj\u00eb m\u00ebnyr\u00eb a tjet\u00ebr, n\u00eb nj\u00eb problematizim sistematik t\u00eb gj\u00ebrave q\u00eb jan\u00eb t\u00eb dukshme. Metoda brehtiane \u00ebsht\u00eb kjo: problematizimi i dukjes, i gj\u00ebrave q\u00eb n\u00eb dukje jan\u00eb t\u00eb qarta. \u00cbsht\u00eb shum\u00eb e ngjashme me at\u00eb q\u00eb Husserli e quan \u201creduktimi fenomenologjik\u201d, e q\u00eb p\u00ebr shkak t\u00eb saj, Brehti i v\u00ebn\u00eb n\u00eb sken\u00eb nga Strehleri n\u00eb Milano ngjalli entuziazmin e shkoll\u00ebs fenomenologjike milaneze, me n\u00eb krye Enzo Pacin. Brehti n\u00eb vepr\u00ebn e tij \u201cAs rregulli dhe as p\u00ebrjashtimi\u201d shkruan: \u201cE \u00e7uditshme, edhe pse e zakont\u00eb\u201d\u2026 \u00c7far\u00eb ka pra pas gjith\u00eb k\u00ebsaj Verfremdungseffkt , n\u00ebse jo nj\u00eb teknik\u00eb e t\u00ebhuajzimit t\u00eb cil\u00ebn Brehti e merr nga formalist\u00ebt rus\u00eb p\u00ebrgjat\u00eb q\u00ebndrimit t\u00eb tij n\u00eb Rusi? Teknika e tjet\u00ebrsimit nuk \u00ebsht\u00eb teknik\u00eb dramaturgjike; teknika e \u201ctjet\u00ebrsimit\u201d \u00ebsht\u00eb ripropozimi n\u00eb nivel dramaturgjik i asaj q\u00eb ka q\u00ebn\u00eb gjithmon\u00eb pozicionimi i filozofit n\u00eb lidhje me eksperienc\u00ebn. N\u00ebse dikush rikthehet n\u00eb fillesat e filozofis\u00eb per\u00ebndimore gjen figur\u00ebn e Sokratit. \u00c7far\u00eb e b\u00ebn Sokratin filozof tipik? Fakti q\u00eb nuk k\u00ebnaqet nga p\u00ebrgjigjet tradicionale p\u00ebr \u00e7\u00ebshtje t\u00eb m\u00ebdha t\u00eb njeriut. Sokrati problematizon sistematikisht k\u00ebto p\u00ebrgjigje, dmth i vendos ato n\u00eb m\u00ebnyr\u00eb konstante n\u00eb nj\u00eb situat\u00eb \u201cepoch\u00e8\u201d. Sokrati a nuk krahasohej ndoshta me nj\u00eb silur? Kjo thuhet n\u00eb \u201cSimpoziumin\u201d, dialogu i famsh\u00ebm n\u00eb t\u00eb cilin Aristofani flet p\u00ebr Sokratin. N\u00eb t\u00eb thuhet se Sokrati prezantohet n\u00eb qytet si dikush q\u00eb e \u201cmpin\u201d bashk\u00ebfol\u00ebsin. P\u00ebrse e mpin? Sepse e paralizon, e paralizon sepse p\u00ebrg\u00ebnjeshtron, madje e v\u00eb n\u00eb situat\u00eb t\u00eb till\u00eb ku duhet t\u00eb vet\u00ebp\u00ebrg\u00ebnjeshtrohet. A nuk jan\u00eb vall\u00eb k\u00ebto pozicione dhe metoda dramaturgjike brehtiane? A nuk konsiston k\u00ebtu edhe teknika e recitimit t\u00eb aktor\u00ebve brehtian\u00eb, q\u00eb Brehti e zgjidh n\u00eb formul\u00ebn e tij unike \u201cjo k\u00ebshtu, po k\u00ebshtu\u201d? Shum\u00eb kontroverse, nd\u00ebr t\u00eb tjera, p\u00ebr m\u00ebnyr\u00ebn se si duhet t\u00eb aplikohet\u2026 \u00cbsht\u00eb e pamundur ndoshta p\u00ebr t\u2019u aplikuar. Nuk jam ekspert i k\u00ebtyre gj\u00ebrave, por e kam pyetur gjithmon\u00eb veten n\u00ebse \u00ebsht\u00eb e mundur t\u00eb m\u00ebsosh t\u00eb recitosh n\u00eb m\u00ebnyr\u00eb t\u00eb till\u00eb q\u00eb p\u00ebr \u00e7do veprim dramaturgjik t\u00eb mund t\u00eb shprehej nj\u00ebkoh\u00ebsisht n\u00eb m\u00ebnyr\u00eb t\u00eb t\u00ebrthort\u00eb edhe nj\u00eb rezultat tjet\u00ebr, dmth imagjinojm\u00eb tashm\u00eb nj\u00eb veprim dramatik por \u00ebsht\u00eb e nevojshme q\u00eb aktori t\u00eb shpreh\u00eb bashk\u00eb me veprimin q\u00eb po kryen edhe mund\u00ebsin\u00eb e nj\u00eb veprimi tjet\u00ebr q\u00eb nuk kryhet kurr\u00eb. \u00cbsht\u00eb e ngjashme sikur aktorit do t\u2019i duhej nj\u00ebkoh\u00ebsisht t\u00eb pohonte dhe menj\u00ebher\u00eb t\u00eb p\u00ebrg\u00ebnjeshtronte at\u00eb q\u00eb po thot\u00eb. Kjo p\u00ebr Brehtin ishte e r\u00ebnd\u00ebsishme sepse b\u00ebhej fjal\u00eb, pik\u00ebrisht, p\u00ebr t\u00eb mos kristalizuar, p\u00ebr t\u00eb mos vazhduar me ndjeshm\u00ebri shum\u00eb t\u00eb fort\u00eb. Nga ana tjet\u00ebr, n\u00ebse e vrasim mendjen, cili \u00ebsht\u00eb efekti q\u00eb shkakton Sokrati tek bashk\u00ebbiseduesi? Efekti i Sokratit ndaj interlokutorit \u00ebsht\u00eb i nj\u00ebjt\u00eb, dmth q\u00eb bashk\u00ebfol\u00ebsi i tij paralizohet nga dialektika sokratike. Ai duhet t\u00eb marr\u00eb nj\u00ebfar\u00eb distance dhe duhet t\u00eb gjykoj\u00eb n\u00eb m\u00ebnyr\u00eb kritike ato q\u00eb jan\u00eb bindjet e tij.N\u00eb k\u00ebt\u00eb m\u00ebnyr\u00eb individi detyrohet t\u00eb vet\u00ebp\u00ebrg\u00ebnjeshtrohet. Tani, kur Sokrati, apo kur Platoni n\u00ebp\u00ebrmjet Sokratit, prezanton \u201cp\u00ebrg\u00ebnjeshtrimin\u201d e b\u00ebn si nj\u00eb teknik\u00eb t\u00eb purifikimit, sepse n\u00ebp\u00ebrmjet p\u00ebrg\u00ebnjeshtrimit ka nj\u00eb katarsis. Asaj, Platoni i jep nj\u00eb vler\u00eb fetare, t\u00eb shenjt\u00eb. Cili \u00ebsht\u00eb kuptimi i teatrit epik? Jo vet\u00ebm se arrin t\u00eb \u201cmpij\u00eb\u201d, apo t\u00eb problematizoj\u00eb, por se nj\u00ebkoh\u00ebsisht operon drejt purifikimit, drejt \u201ckatarsisit\u201d t\u00eb spektatorit, edhe pse me sa duket poetika brehtiane \u00ebsht\u00eb antiaristoteliane. Dhe ju insistoni tek ky antiaristoteliz\u00ebm? Po, k\u00ebmb\u00ebngul n\u00eb k\u00ebt\u00eb pik\u00eb pasi p\u00ebr mua mes dy klasik\u00ebve t\u00eb m\u00ebdhenj t\u00eb mendimit grek, Platonit dhe Aristotelit, Brehti q\u00ebndron n\u00eb krahun e Platonit. Kritika e tij p\u00ebr poezin\u00eb e Aristotelit \u00ebsht\u00eb nj\u00eb kritik\u00eb nga t\u00eb gjitha an\u00ebt dramaturgjike e bazuar mbi parimin \u201cEinfuhlung\u201d, pra mbi ndjeshm\u00ebrin\u00eb, e rrjedhimisht mbi kritik\u00ebn e natyralizmit\u2026 Por kjo kritik\u00eb e pam\u00ebshirshme q\u00eb Brehti b\u00ebn p\u00ebr teatrin natyralist duket, p\u00ebr dik\u00eb q\u00eb ka nj\u00eb minimum njohurish filozofike, si nj\u00eb rimarrje e kritik\u00ebs origjinale e Platonit n\u00eb librin e tij t\u00eb X-t\u00eb t\u00eb \u201cRepublik\u00ebs\u201d, n\u00eb distanc\u00eb kohore rreth 2000 vite kur 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